TAKE ME (I'M YOURS)

With MONSTER (KOKO edition), Kerstin Brätsch & Sarah Ortmeyer collaborated to create an environment combining nature and artificiality. The eggs displayed in the staircase by Kerstin Brätsch seem to have fallen from tall palm trees designed by Sarah Ortmeyer. The visitor is invited to make his or her way through this offbeat setting and pick up fruits like an Easter egg hunt. Picking up these eggs reminds the first gesture of men and women who fed themselves with what nature provides.

Between the two Divan pieces, artist Douglas Gordon invites visitors to participate in a raffle. The prize, winning an intimate dinner with the artist himself, turns art into a social event.

Before entering into Salon Dupré, artist Rirkrit Tiravanija sets up an environment that invites to sharing with each other. People can gather around a 14th century still from Syria that produces rose water. Every each visitor can take a vial of this perfume and also eat a rose-scented Host.The title of the work, Untitled (Eau de RRose of Damascus), is a reference to both the primary function of the still as well as its particular shape that recalls the Bottle Rack from Marcel Duchamp. RRose also refers to the creation in 1921 of a perfume called Eau de voilette Belle haleine by Duchamp’s alter ego RRose Sélavy in collaboration with Man Ray.

Visitors have to pick up one of Felix González-Torres’ posters from the stacks to activate the work of art. This process turns each stack into a "huge public sculpture" because of their scattering and permanent circulation. This work of art is made public mainly because it has the power to belong to everyone by taking advantage of its reproducibility. Another work of Félix González-Torres, Untitled (Revenge) is a bunch of blue candies displayed on the ground of an exhibition room. The weight of this pile represents the one of Felix González-Torres and his partner, Ross, who both died from AIDS. The erosion of the candy pile echoes the slow consummation of the couple bodies by the disease.

A performer behind a table, like a vendor, provides an object. When the first visitor enters the room, the performer tries to exchange this object for any object belonging to the visitor and which he or she is willing to swap. A collective bargaining is then set up about the value of exchange. Roman Ondák produces works that echo the exhibition space and place the visitor at the centre of the creative process. He creates a situation in which the visitor is involved and actuates the work, which "develops" throughout the exhibition.

Franco Vaccari is the first artist to install a working photo booth in an exhibition space and make it available to the public. The artist's work encourages visitors to take a picture of them and pin it up to the walls of the gallery. Visitor's work is split between a co-creation and a souvenir from his or her participation to the exhibition. Franco Vaccari uses photography as a proof of a physical presence of the individual.