has been for sale for some time, as you have seen. The maintenance and ongoing development to keep our non-profit and idealistic platform for contemporary art running and safe from hackers etc. costs money that is no longer there. Because of small investments that are necessary now and the running costs, we will have to shut down with a heavy heart at the beginning of summer on June 21.
Migrant crisis in Central America.
(www.hanskoster.com)
'Nondescript News 2018' is a compilation of TV stills (partly hidden by the speed of the medium) from several European news bulletins. These public images were watched collectively and categorically and form part of our worldview. Stripped of commentary and freed from their context, these explicit images have been neutralised. They are open to interpretation; an appeal is made to the viewer's archive of images. This always produces (individual) associations. But these rely on external iconography and may include stereotypes and preconceptions.
What have we all been watching and can we still interpret images in their originality?
(www.hanskoster.com)
Siempre Viva Business Park on the US-Mexican border in San Diego - USA.
(www.hanskostervrtvideo.com)
The US-Mexican border in Tijuana - Mexico.
(www.hanskostervrtvideo.com)
Border Field State Park on the US-Mexican border in San Diego - USA.
(www.hanskostervrtvideo.com)
The impact of social mobility and personal preferences on the urban development of Guayaquil - Ecuador.
(www.hanskostervrtvideo.com)
City of Dreams #3: Urban development in Manila Bay Freeport Zone - the Philippines.
(www.hanskostervrtvideo.com)
City of Dreams #2: Golf Island, a developer-driven reclamation in Jakarta - Indonesia.
(www.hanskostervrtvideo.com)
City of Dreams #1: Development of the gambling industry on the Cotai strip in Macau - China.
(www.hanskostervrtvideo.com)
'Nondescript News' is a compilation of TV stills (partly hidden by the speed of the medium) from several European news bulletins. These public images were watched collectively and categorically and form part of our worldview. Stripped of commentary and freed from their context, these explicit images have been neutralised. They are open to interpretation; an appeal is made to the viewer's archive of images. This always produces (individual) associations. But these rely on external iconography and may include stereotypes and preconceptions.
What have we all been watching and can we still interpret images in their originality?
(www.hanskoster.com)
