Random Institute is an extension of what a contemporary art institution can be, that is to say, truly unbothered by rules and bureaucracy. Ultimately, it brings together & curatorial and publishing activities.

Since March 2016, Random Institute is running the curatorial program for Despacio in San José, Costa Rica.
The best color is transparency.
The best defense is a good offense.
Untold Stories
Linda Tegg is an Australian artist who is currently pursuing her M.F.A. at School of the Art Institute of Chicago .

Don’t Talk to Strangers

ArchivedHappened in September 2015
I Never Read Art Book Fair
Neue Nationalgalerie

Many of life's most interesting situations arise from unexpected encounters with strangers. Don’t Talk to Strangers was conceived to lead viewers into such experiences by integrating the unexpected into the very structure of an exhibition.

The book retraces some of the dialogues that emerged from the exhibitions, which took place in New York and Zurich, somewhere between the openness of an art space and the intimacy of a stranger’s home.


A chance meeting in the street, a vision on the bus ride home, even a website stumbled upon by accident can channel the power of the unknown into richly evocative new experiences.

The dialogues found in this book are a result of the exhibition Don’t Talk to Strangers, which took place in New York and Zurich. What’s special about it? It was conceived to lead viewers toward new experiences by integrating the unexpected into its very structure.

Artists presented their works in the privacy of strangers’ homes, while items belonging to those same strangers (furniture, books, and personal objects) were reinstalled in a public art space. Once the exchange was completed, gallery visitors were invited to ask private hosts, whose phone numbers were available alongside their displayed belongings, about the opening hours of their newly appropriated “home galleries,” a far more personal experience.

Visitors searching for a contemporary art fix were instead led on a pilgrimage in the name of art, replacing the passive act of viewing with an open and unpredictable experience of exploration. The initial disappointment at the lack of works within the art space thus became a chance to discover far more than the art itself in exchange for taking the time to do so.

A stranger’s home offered the perfect setting, the grand stage from which a narrative could weave itself between host, viewer, and work of art, linking private and public spaces and quite possibly making someone’s personal experience an inseparable part of the art on display.

If Don’t Talk to Strangers offered a more personal system for viewing contemporary works, it’s only because those involved with the exhibition accepted a leap into the unknown. Maybe, by reading through some of narratives we’ve retraced as dialogues in this book, you will too.

Get your digital copy: Publication, Cover


September 19-21, 2015
Book presentation by Kodoji Press at the Tokyo Art Book Fair at Kyoto City University of Arts, Tokyo.

September 18-20, 2015
Book presentation by Kodoji Press at the NY Art Book Fair at MoMA PS1, New York

September 8, 2015
Book presentation at Sundowner, an event series that brings people together every other Tuesday on the terrace of the Neue Nationalgalerie, Berlin.

June 18, 2015
Official book release at the Art Book Fair I Never Read in Basel, Switzerland.


Home Stories with Cory Arcangel, Alejandro Cesarco, Peles Empire, Selina Grüter & Michèle Graf, Aloïs Godinat, Federico Herrero, San Keller, Karin Lehmann, Richard Long, Thomas Moor, Karyn Olivier, Linda Tegg, Slavs & Tatars, and Strangers.

With special contributions by Ahmet Bugdayci (New York), Samuel Leuenberger (Basel), Cory Arcangel (New York), San Keller (Zurich), and various strangers.

If you want to learn what strangers from a faraway city said to San Keller when he asked to be let into their homes with a copy of this book in his hand, you can call San Keller (phone number is published on page two).

Edited by Sandino Scheidegger & Nicola Ruffo

Publisher: Kodoji Press

Graphic Design: Atlas Studio

Don't Talk to Strangers

ArchivedHappened in October 2014
Fresh Window

We playfully confound two typically distinct spaces—the gallery & the domestic home—as artists present their work in the households of participating NY residents. In each dwelling, an installation area is designated, while the existing items (i.e. sofas, coffee tables, books, and personal objects) are moved and reinstalled in a gallery space.

With the artworks thus displaced, gallery visitors must directly contact the private hosts, whose phone numbers are available alongside their displayed belongings.


Participating artists are Thomas Moor (Switzerland), Karyn Olivier (Trinidad & Tobago), and Linda Tegg (Australia). Open daily from 12pm to 6pm. Friday night until 10pm. Download Dossier

The art world disrupts the private sphere and vice versa

Visiting another’s home leaves a lasting impression. From the authors on the bookshelves to the contents of the refrigerator, a personal dwelling offers almost imperceptible information about one’s life. Much the same, the artistic qualities of memories made in such a home correlate to the environment in which they occurred. This is a pivotal facet of Don’t Talk to Strangers, which atomizes preconceived notions of the gallery proper by casting a peculiar hue on the entrancing properties of that which we cannot live without: art.

Overlap of Public and Private Space

In this reappropriation of an exhibition, artists present installations in the households of participating Bushwick residents, rather than in the Fresh Window Gallery. Curators work closely with each dwelling’s artist to designate an installation area from which all existing items are relocated and installed at the gallery space.

Once the exchange is complete, viewers are invited to contact private hosts, whose phone numbers are available alongside their displayed belongings, to ascertain operation hours of their newly appropriated “home gallery.”

A Far More Personal Experience

By design, Don’t Talk to Strangers challenges viewers’ expectations and impishly suggests an alternative experience that is far more intimate than typical art viewings in gallery settings. While Fresh Window Gallery visitors are initially denied access to the work they desire, they find reciprocity in elite-access at the cost of their time.

This inventive model encourages a deeper level of participation by diverting the impulse to passively consume. If the viewer takes full advantage, each visit to Fresh Window Gallery offers another phone number, another unique experience, and another opportunity for adventure.

The heightened sense of participation, contacting hosts and making appointments, results in a heightened sense of investment. In this way, Don’t Talk to Strangers reaches beyond an exhibition. Viewers searching for a contemporary art fix will be challenged to pursue a pilgrimage in the name of art, allowing exploration to play a role in their eventual experience of the work.

Consequently, the initial disappointment from lack of artwork becomes a chance to discover far more than the artwork itself.

Polyphonic Roles of Host and Viewers

Meanwhile, the host wears many hats—fellow man, homeowner, art expert, guide, and institution. By welcoming viewers into their home, they also welcome the possibility of new perspectives and interpretations of the artwork at hand.

Though the newly-formed relationship between host and viewer may end post-viewing, while together, both parties are of one ambition: to let art happen outside of the institutionalized art world, as well as to rediscover their autonomy as art viewers and enthusiasts.

Such a circumstance, however, also forces the host into a position of influence, just as any art institution influences its patrons. As a result, the host’s life story is on display like the art in their home. This creates a more personal system for viewing contemporary works: an intimate environment that will no doubt lend itself to a fond and vivid memory in the archive of the viewer’s life.

Random Institute entreats its audience to bask in the unknown and to reap the reward of memories, knowledge, and experience. The home of a stranger offers the perfect setting, the grand stage from which a narrative will naturally emerge amongst the trio of host, viewer, and artwork. This narrative becomes both a tale closely linked to the home and, quite possibly, an inseparable part of the artwork displayed in Don’t Talk to Strangers.

The exhibition ran from October 23rd to 26th, 2014 and took place at Fresh Window Gallery, 56 Bogart Street, Brooklyn.

The second edition of Don’t Talk to Strangers took place in Zurich, Switzerland.

Animal Studies

ArchivedHappened in August 2011
Alpineum Produzentengalerie

Eine Selektion an neuen Video- und Fotoarbeiten von Linda Tegg wurde in Kooperation mit dem Alpineum Luzern gezeigt. Die australische Künstlerin zeichnet sich durch eine forschende, dokumentierende Haltung aus.

Ein Wolf, ein Schaf und ein artifiziell anmutendes Wesen.


Indem die Künstlerin die mit der Kamera beobachteten Wesen mit einer spezifischen Situation, einem oft auch inszenierten Setting konfrontiert, erhält die forschende Perspektive eine bestimmte Richtung. Es kristallisiert sich eine Fragestellung, ein Forschungsinteresse heraus, das Linda Tegg dokumentiert und analysiert.

Die Resultate ihrer visuellen Untersuchungen sind offen, unintendiert und mitunter überraschend und verweisen auf das Interesse der Künstlerin für Tiere und die mit ihnen verknüpften Konnotationen.

In Wolf Video Study (Mexican Grey) wird ein mexikanischer Wolf mit einer verfremdeten Umgebung konfrontiert, die Kamera dokumentiert akribisch seine Bewegungen, Wahrnehmungen und Reaktionen. Während die Versuchsanordnung in der Wolfsstudie offen gelegt ist, bleibt es der Betrachterin, dem Betrachter in der Sheep Video Study (crop) verborgen, inwieweit die seltsam gesteuert wirkenden Bewegungen des Schafes bewusst provoziert oder aber zufällig sind. Nicht klar zu identifizierende Tiere sondern ein unbestimmbares Wesen steht im Fokus der Videoarbeit Tortoise.

Durch die Auflösung der Grenze zwischen natürlicher und mechanischer Spezies erfährt nun die Wahrnehmung des Betrachters eine Irritation, sein Sehverhalten wird zum Forschungsobjekt. So sind wir in jeder Hinsicht aufgefordert, uns auf die künstlerischen Recherchen von Linda Tegg einzulassen.

Zur Ausstellung erscheint die zweisprachige Publikation 'Animal Studies' mit einem Essay von Gioia dal Molin

Gezeigte Werke:

Wolf Video Study (Mexican Grey) - Part 1

Wolf Video Study (Mexican Grey) - Part 2

Sheep Video Study (crop)

Wolf Study (Mexican Grey A / B / C)

Video Stills, Tortoise (Mexico City) Mirrored plexiglass with 5 dancers

Women (entangled)

The exhibition took place from August 12 to September 12, 2011 at Alpineum Produzentengalerie in Lucerne, Switzerland.

Goat Studies

ArchivedHappened in August 2011
Centre d’Art Neuchâtel

For many of us, the world seems to be one of immense performance where we must both perceive and perform our respective roles. The Australian artist Linda Tegg is fascinated by the notion of ‘the natural’ as a cultural construct. Her video investigations are designed to get closer to an understanding of how we frame reality, and the experience on which we draw to do so.

Goats under surveillance.


Goat Study is a series of investigations made on site at the Centre d’Art Neuchâtel. The work explores relational realities, the body in space, and the notion of ‘the natural’ as a cultural construct by artist Linda Tegg.

She uses performance, photography and video in various configurations to explore viewing experience, both temporally and spatially, as well as what can happen during that experience.

In Goat Study both the camera and pedestal position the goat’s body in space. By returning the empty pedestal and videos to the site she creates a commemorative space, the apex of the pedestal empty, leaving only traces of what had once been.

The goats in this work may act as metaphors, but simultaneously offer the prospect and awareness of perceptual systems that create alternative realities to our own.

Goat Study 1a:
Two goats enter a gallery and stand on marks positioned in the space. They then exit.
Duration: 3mins

Goat Study 2
A goat stands on a pyramid in a gallery space while a camera circles around.
Duration: 3mins

Goat Study 3
6 goats move freely around a gallery space with a pyramid in the centre. 1 goat is then instructed to climb to the top of the pyramid
Duration: 3mins

Goat Study 4
Goat walks into frame and stands on mark Duration: 3min

Shooting schedule

Press Review by Dylan Ranforth for the The Sydney Morning Herald:

Animal Magic. Linda Tegg has ignored at least half of the famous injunction to never work with children or animals – the artist recently travelled to the Centre d'Art Neuchâtel in Switzerland, where she introduced a small herd of goats into the gallery.

Tegg has previously worked with a range of trained animals in her videos, performances and photography – it was a skillful sheep that caught the Swiss curator's eyes.

As for the sheep's biblical offsider, "for centuries the goat has been cast as a symbol of unruliness,lust and Satan ... The animals in my work come with an enormous range of associations and cliches but I try to look beyond that," Tegg says. (...)

The work (Goat Study Part 2) was later shown at the City Gallery Wellington in New Zealand. Introduction to the work:

Exhibition furniture is as familiar to gallery audiences as it is often invisible. The white plinth fits seamlessly into an environment typically defined by its austere cleanliness, clear light and sheer modernist architecture. A goat: less typical. In Linda Tegg’s work a young goat stands atop its triangular plinth. Pristine and monochromatic itself, but for its occasional restive movements the goat too could be art object, an extension of its environment, and certainly it’s the protagonist and performer in the context of this video.

Goat Study Part 2 is part of a series of related works by the artist, in which she stages the juxtaposition of what is ‘natural’ with codes of behaviour and conventions of display that govern spaces dedicated to aesthetic experience. Often involving animals, these works re-inhabit spaces we are familiar with—hotel rooms, galleries and other public buildings—so that we see them quite differently. To see a Mexican Grey wolf calmly stationed in a suburban twin-share is to reconsider ‘wildness’ and domesticity. It also brings into question what it means to perform to camera, the role of documentary, and distinctions we might make between environment, habitat, and site, a word prevalent in discussion around contemporary art.

A herd animal, the goat has the slightly uncomfortable air of one dislocated from its regular social and physical context. In its shifting movements we might recognise the sometimes veiled restlessness of human behaviour in a gallery, perhaps those of someone unsure if they are watching or being watched. Working always with domesticated and trained goats, and in close collaboration with their handlers, Tegg is interested in the layers of performance implicit in every viewing experience, and how a gallery is also a space of surveillance.

Filmed in the immaculate Centre d’art Neuchâtel in Switzerland, in this work the camera pans its subject with relentless focus. All poise and dignity, the goat ultimately seeks to exit the stage.

The production took place at the Centre d’Art Neuchâtel, Switzerland in August 2011.

Unknown Animal

ArchivedHappened in June 2011

Linda Tegg’s first solo exhibiton in Mexico City district displays two investigations into relational realities and the experience of looking. The first investigation takes place in a remote location near Sierra Blanca in western Texas.

On the edge of wildness and domesticity.


For the works shown in the show the artist worked with a Mexican Grey Wolf, a threatened species that teeters on the edge of wildness and domesticity. Along with Wolf Study, Linda Tegg presents the site-specific video work Tortoise.

The Mexican Grey Wolf originally ranged from central Mexico to the southwestern United States. By the 1950’s, intensive efforts by to eradicate the wolf had succeeded in eradicating the species from the wild. In the 1970’s the wolf was declared an endangered subspecies and today exists primarily in facilities in the United States and Mexico.

Along with Wolf, Linda Tegg will present the site-specific video work Tortoise. The work brings together a group of performers under a mirrored exoskeleton to become a distinct organism – a slowly moving blind spot in space. It reflects its audience and offers innumerable perspectives on its environment. This work follows on from a series of investigations into the experience of looking, both temporally and spatially, and what can happen to an audience during this experience.

Linda Tegg (Australia) makes explorations in her new animal study about the Mexican Wolf (canis lupus baileyi) while confronting and commanding the wolf with a video camera. The subspecies of the the Gray Wolf was declared an endangered subspecies since the 70’ and has remained so ever since.

Along with Wolf Study, Linda Tegg presents the site-specific video work Tortoise.

Selection of Press Voices about Unknown Animal:

> “Linda Tegg busca entender nuestra experiencia de la naturaleza, la esencia del animal y la manera en que se diferencia la perspectiva del lobo y del humano.” (De-Dealer, 02-06-2011)
> “Añadió que Linda Tegg hizo una intervención en el desierto de Texas con espejes monumentales; dejó a un lobo gris libre con estos objetos y llevó a cabo un video sobre el comportamiento del animal en este entorno intervenido.” (Publimetro, 08-06-2011)
> “La naturaleza animal cambian de acuerdo al entorno humano.” (Pulso Politico, 08-06-2011)

The exhibition took place from June 9 to July 9, 2011 at Marso Galería, Jalapa 90, Colonia Roma, Mexico City.
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