A car accident with multiple cars and an ambulance

Result #1

 was the impetus for the show. The aim was to document, with photographs and written commentaries, the work of the underground artist John Goss. It was an interesting show, and one could only hope that the artists who ran the show would realize that it was a good idea. But to do so would be to accept the fact that Goss is a young and relatively unknown artist whose work is being ignored in favor of the more famous and well-known artists. This is a shame, because his work has a special vitality. His pictures are always beautiful, and they have the power to make one feel the presence of a presence beyond the borders of the photograph. The artist is one of the few artists whose work is actively and consciously part of the social and cultural life of a city. His works are an expression of the feelings of a city and of a people. They are a part of everyday life, but they are also a product of a creative imagination. The shows title, La Mécanique de la rue, is taken from a poem by Fernand Léger. It is a title that is fitting for a place like Marseille, where the atmosphere of the city and the citys spirit of competition are strong. In the name of this exhibition, the city of Marseille is once again inviting us to its gallery.

Result #2

A car accident with multiple cars and an ambulance ices the law of gravity and makes it impossible to use the car as a stand-in for the human body. It is a car accident, and yet the accident doesnt have to be a car accident. The accident is the accident, and the law of gravity applies to it. This accident, then, is an accident, and a law. But isnt it possible to talk about accident as a kind of accident? Do accidents have to be accidents? Thats exactly what accident-making is about. It is about creating an accident, and that is the only way to do it. In accident-making, the accident is a condition, and if the condition is not a condition then it is not a condition. And if it is a condition then it is a condition that is no condition, and the accident is a condition that is not a condition. This is exactly what accident-making is about.The accident-making of the car is also about the accident of the world, and the accident is about the accident of the world. The accident is a condition, and it is a condition that cannot be said to be a condition. It is not a condition that needs to be said to be a condition. It is a condition that cannot be said to be a condition, but that is a condition nonetheless. The car accident is the accident of the world, and the accident is about the accident of the world. The car accident is a condition, and it is a condition that cannot be said to be a condition, and that is a condition nonetheless. The accident is a condition that cannot be said to be a condition, and that is a condition that cannot be said to be a condition. This is exactly what accident-making is about.The accident is a condition that cannot be said to be a condition, and is a condition that cannot be said to be a condition. The car accident is the accident of the world, and the accident is about the accident of the world.

Result #3

A car accident with multiple cars and an ambulance ices the rules of the game, creating a contortionist version of an old-fashioned telephone. The camera is a small one, and the playing cards—the only objects on the table—are the smallest, so that the board of cards is the smallest, and the smallest card is the largest. This result is a metaphor for the other game, which is played out in the mirror: the game of mirrors.The game of mirrors is also the game of images, as in the film The Game of Illusion, 2001, in which a camera is used to depict a game of illusion, and also in the installation Ode la rue (A Rose) (The Rose), 2003, which features a large, bright red rose, a mirror, and a row of figures all playing at a rose, a game played with mirrors and a camera. In the other three works in this exhibition, Mitterman played with mirrors and mirrors themselves. The two-part video installation Untitled, 2003, and the installation In & Out, 2003, were both played with mirrors, and both involved the mirror as a point of departure for a game of illusion. In the latter, the mirror is a sort of first person, a place from which one stands, and it is the first game one plays. In the installation Untitled, 2003, a video of a car accident is projected onto a mirror, as if one were walking along a freeway and suddenly stops. The car crashes and a mirror is projected on top of the windshield. The mirror is a kind of third person, and it is the mirror of the car that is going up and down, but it is also a mirror that the car is driving. The mirror is also the mirror of the body, a body that has been broken and is now a mirror. The car has two mirrors and a mirror placed in it.

Result #4

A car accident with multiple cars and an ambulance ikebana, and a pair of moustaches and a black leather jacket. The drawing-and-painting are reminiscent of the work of Sean Scully, and the work has a strong, if ungraceful, post-Modernist influence. The image of the mangled car, the bloodied cadaver, and the mask look like the work of Robert Rauschenberg, and the mask, which is a perfect example of the surrealist abstraction of the past, is a perfect counterpart to the surrealist abstraction of the present. In this painting, the painting is the accident, and the accident is the mask. The car accident is a collision of cars, and the mask is a collision of masks. This is a collision of the primitive and the technological. In this painting, the primitive is the mask, and the mask is the car accident. This is a collision between the primitive and the technological, and it is a collision that is also a crash. The mask is a car crash, and the mask is a car accident. In this collision, the mask is a mask, and the primitive is the mask. This is a collision between the primitive and the technological, and it is a collision that is also a collision. The mask is a car crash, and the mask is a car accident. In this collision, the primitive is the mask, and the mask is the car accident. This is a collision between the primitive and the technological, and it is a collision that is also a crash. The mask is a car crash, and the primitive is the mask. This is a collision between the primitive and the technological, and it is a collision that is also a crash. The mask is a car crash, and the primitive is the mask. This is a collision between the primitive and the technological, and it is a collision that is also a crash. The mask is a car crash, and the primitive is the mask.

Result #5

A car accident with multiple cars and an ambulance  is the most obvious reference, but the reference isnt as blatant as the paintings: the accident is a figurative image of a car accident, but the car accident isnt represented. In fact, the car accident is an abstract painting (a red, white, and blue-striped car, with a green wheel) that is almost totally abstracted. I guess what I am saying is that, while the car accident is abstracted, the abstracted car is abstracted, and abstracted in a way that makes the car accident representational. The abstracted car is abstracted in the same way that the abstracted car is abstracted—with the exception that it is represented abstractly. What I am saying is that the abstract car accident is represented abstractly, and abstractly abstracted. I think that the car accident is an abstract image that is represented abstractly. The abstract car accident is represented abstractly, but abstractly, and is represented abstractly. This is a way of presenting the abstract car accident as a representation of a car accident. What I am saying is that the abstract car accident is presented abstractly, and presented as abstractly, because abstractness is a sign of representation. In this way, the abstract car accident is a representation of a car accident, and represents abstractly. The abstract car accident is represented as abstractly, but presented as abstractly. This is a way of presenting the abstract car accident as a representation of a car accident. The abstract car accident is presented as abstractly, but presented as abstractly. This is a way of presenting the abstract car accident as a representation of a car accident. The abstract car accident is presented as abstractly, but presented as abstractly. This is a way of presenting the abstract car accident as a representation of a car accident. The abstract car accident is presented as abstractly, but presented as abstractly.