Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V.U. Jan Mot januari – maart – mei – Kleine Zavel 10 augustus – oktober 1000 Brussel No. 117, mei 2019 Erkenningsnummer P309573 219 – 220 Jaargang 23 No. 117

Rs in this spirit that we hope A situation in which a Hugo What A situation in which that A situation in which an Hopping, with in this spirit ab Hugo Hopping, also with Hugo Hopping. that we hope as well. Ro in this spirit that we hope.

(advertisement) 219 Exhibition 07/06 – 20/07 Opening 06/06, 6 – 8 pm

MARIO GARCIA TORRES ONE MINUTE TO Mario Garcia Torres, One Minute to Act a Title: Kim Jong-un’s Favorite Movies, 2018, 16mm flm ACT A TITLE: or video, black and white, silent, 7 min. 15 sec. Commissioned by Walker Art Center, Minneapolis. KIM JONG-UN’S permeability. The idea would be to build Dialectics of tautology with inclusivity and a temporary structure which would act as permeability. The reality of the apple begins FAVORITE a stairway and lookout at the same time. to ficker as if an intangible digital image. From the top of the structure it would be Transparency seems the only way for the MOVIES possible to see the US from the Mexican cube to exist today, replacing the. If the side – the “promised land” for migrants. impenetrable surface of a minimalist This proposal involved some degree cube exposed the hidden conditions of its Jan Mot of irony: paradise can be seen but not production and consumption, the cut-outs Petit Sablon / Kleine Zavel 10 touched, shown but not shared. As the son of the metal grid reveal nothing but the 1000 , Belgium of Spanish immigrants himself, Lamelasrid visible surface of tinimalist cube exposed visible surface of tinimalist cube exposed the hidden conditions of its production and visible surface of tinimalist cube exposed consumption, the cut-outs of the metal grid The reality of the apple begins to ficker as world, polished by public polls and press visible surface of tinimalist cube exposed if an intangible digital image. campaigns.hile leaving place for something visible surface of tinimalist cube exposed Transparency seems the only way for the of the metal grid reveal nothing but the. world, polished by public polls and press cube to exist today, replacing the. If the idden conditions of its production and campaigns.hile leaving place for something impenetrable surface of a minimalist visible surface of tinimalist cube exposed of the metal grid reveal nothing but the. cube exposed the hidden conditions of its visible surface of tinimalist cube exposed Dialectics of tautology with inclusivity and production and consumption, the cut-outs world, polished by public polls and press permeability. The reality of the apple of the metal grid reveal nothing but the campaigns.hile leaving place for something begins to ficker as if an intangible digital visible surface of tinimalist cube exposed of the metal grid reveals nothing at all. image.Transparency seems the onlthe the hidden conditions of its production and Dialectics of tautology with inclusivity and hidden conditions of its production and consumption, the cut-outs of the metal grid permeability. The reality of the apple begins consumption, the cut-outs of the metal grid visible surface of tinimalist cube exposed to ficker as if an intangible digital image. visible surface of tinimalist cutinimalist visible surface of tinimalist cube exposed Transparency seems the only way for the cube exposed world, polished by public world, polished by public polls and press cube to exist today, replacing the. If the visible surface of tinimalist cube exposed campaigns.hile leaving place for something impenetrable and the surface of a minimalist polls and press campaigns.hile leaving of the metal grid reveal nothing but the. cube exposed the hidden conditions of its place for something of the metal grid Dialectics of tautology with inclusivity and production and consumption, the cut-outs reveals nothing at all. 2 Newspaper Jan Mot Andrea 219 – 220

The work was developed for the project How Many Billboards, a MAK Center and Andrea Büttner, Fallen Schindler House initiative. In this case, his proposal was to revisit one of his most emble Do something with the book Fallen- lassen (letting fall), 2010 lassen by Brigitte Schwaiger in which the Austrian novelist describes her experiences as an artist in a psychiatric hospital. (Mar- A series of instructions lene Haring) matic works: Rock Star (Character Appr Do some- thing with the book Fallen- In 2010 for the work Fallen lassen Andrea 10. Put a carrot and two pieces of charcoal lassen by Brigitte Schwaiger in which the Büttner asked friends, other artists, and on the foor. The title could be Remnants of Austrian novelist describes her experiences a writer, to let something fall in an affr- a snowman. (Katharina Hacker) as an artist in a psychiatric hospital. (Mar- mative way: lene Haring) opiation) from 1974. He re- 11. Write down a conversation you recently enacted the photo shoot with a professional Please let something fall down. (It can be had that really mattered to you. You may photographer, himself posing as an “aging an object, liquid, whatever you like). The then alter the sheet of paper in any way you rock star”. On this occasion he edited only traces left from your action, for instance want, but you are not allowed to take it out one image – worth of Mick Jagger at his pieces remaining on the foor, are the work. of the room. (Leonie Weber) best – full of attitude, grabbing a mic, hair The act and the object should not be too slicked back and defant look. This image iconic or deliberate. Rather, it should be a 12. Do something with the book Fallen- was enlarged and printed on the monumen- gesture of letting something fall down that lassen by Brigitte Schwaiger in which the tal size of a typical Los Angeles billboard, entails weakness and embraces passivity. Austrian novelist describes her experien- together with the text “Think of Good” – Maybe like allowing your shoulders to fall ces as an artist in a psychiatric hospital. which could well have been taken from one into relaxation. (Marlene Haring) of those self-help, “New-agish”, positive thinking advertising assumed to be charac- 1. Follow all instructions with an attitude 13. Let a leaf fall down. (Dick Jewell) teristic of Southern California culture. of pride. (Ghislaine Leung) fax, two main Los Angeles thoroughfares, 14. Place a plastic cup full of water on the halfway from the studio he rented in Sun- 2. Before carrying out any of the other foor. (Hugo Canoilas) set Boulevard when he arrived to LA in the instructions, take your jacket off and hang 1970s, and Venice where he lived in the it somewhere in the space for the duration Fallen lassen (letting fall) is reproduced 1980s. In fact, both places are symbolically of the exhibition. (David Raymond Conroy) here as part of an ongoing series of text and linked to the content of the image: Sunset instruction works. because it was not far from the Strip, the 3. Leave something purposefully unaltered rogue neighbourhood where all the rock in the space. (Hannah Rickards) That did not always receive it. The subject stars performed back ifax, two main Los of one of Lamelas pieces ex hibited at the Angeles thoroughfares, halfway from the 4. Find a gestalt for defenselessness: pick gallery in Brussels: Antwerp-Brussels studio he rented in Sunset Boulevard when the spikes off a cactus and leave them (People and Time). When he did this work he arrived to LA in the 1970s, and Venice beside the plant. (Malin Ståhl) in 1969 – barely a year after his arrival to where he lived in the 1980s. In fact, both thanks to a British Council grant in places are symbolically linked to the con- 5. Play ‘cat’s cradle’, and when you have order to study at Saint Martin's School of tent of the image: Sunset because it was not fnished, leave the string on the foor. Art – Lamelas already had a dense group far from the Strip, the rogue neighbourhood (Antony Auerbach) of friends all over Europe. In this work he where all the rock stars performed back in portrayed ten of them – artists, dealers, cu- the day at clubs such as the Starwood or Eng- 6. During the installation, sit down on a rators and collectors with whom he colch lish Disco, and Venice, where Gold´s Gym chair and peel an apple and an orange and they appear to be the protagonists. Indeed, – the iconic fness center funded by Arnold let the peels fall down. (Martin Städeli) they seem to be the sole human presence Schwarzenegger used to be, becoming.n – except for the photographer himself and the day at clubs such as the Starwood or 7. Drink canned drinks during the opening traffc. Seven years later, Lamelas did a – English Disco, and Venice, fax, two main night and step on the cans when empty. except for the photographer himself and Los Angeles thoroughfares, The piece was (Bernd Krauss) similar exercise in Los Angeles with his installed at Pico and Fairfax, two from the LA Friends. The chosen mediums here studio he rented in Sunset Boulevard when 8. Take a bag, ideally a boxing bag, fll it were drawing and a slideshow. The city he arrived to LA in the 1970s, and Venice with sand and put a hole in it, so that the didn´t feature visually on this occasion but where he lived in the 1980s. In the content sand trickles out. (Sandra Kranich) in a caption introducing the neighbourhood of the image: Sunset because it was not far where each friend lived: John Baldessari, from the Strip, the rogue neighbourhood 9. Do something that is deliberate: take a Santa Monica. Allen Ruppersberg, Hollyh where all the rock stars the Starwood or glass object that is dear to you, wrap it in mostly walking towards the camera, with English Disco, and Venice, where Goldws clear tape and balance it on your head. It This leit-motif in the exhibition at Jan Mot Gym – the iconic fness center funded by Ar- will fall and the cracks will indicate your with works dating back to the 1960s and nold Schwarzenegger used to be, becoming. height. Then you can let go of the fear of 1970s, made me think of the relation of ever letting it fall again. (Michael Dean) Lamelas with different cities in which. 3 Newspaper Jan Mot Sharon 219 – 220

The city as an environment to get together Sharon Lockhart at is a key subject of one of Lamelas pieces exhibited at the gallery in Brussels: Ant- werp-Brussels (People and Time). When FIDMarseille he did this work in 1969 – barely a year after his arrival to London thanks to a Brit- ish Council grant in order to study at Saint Martin's School of Art – Lamelas already had a dense group of friends all over Eu- rope. In this work he portrayed ten of them – artists, dealers, curators and collectors with whom he collaborated on various pro- jects – in a series of black and white im- ages always with the same framing: three women and seven men, mostly walking towards the camera, with determination, in urban contexts in which they appear to be the protagonists. Indeed, they seem to be the sole human presence – except for the photographer himself and traffc. Seven years later, Lamelas did a similar exercise in Los Angeles with his LA Friends. The chosen mediums here were drawing and a slideshow. The city didn´t feature visually on this occasion but in a caption introduc- ing the neighbourhood where each friend lived: John Baldessari, Santa Monica. Al- len Ruppersberg, Hollywood. John Knight, Silver Lake, etc…

This leit-motif in the exhibition at Jan Mot with works dating back to the 1960s and 1970s, made me think of the relation Sharon Lockhart, Goshogaoka, 1997 (16 mm flm, colour, sound, 63 min.) of Lamelas with different cities in which he has lived and more particularly, of the BRUSSELS, MAY 22 – FIDMarseille, since 1989 a yearly highlight in the world of art flms and docu- projects for public space that he conceived mentaries, invited Sharon Lockhart as the President for this year’s International Jury. On this occasion throughout his career. In the 1990s Lame- the festival organises a retrospective of her flms. As usual the event takes place in Marseille in early las created a series of projects for public July (09-15) and presents a large number of flms in their world premiere as well as frst flms. Today, the FIDMarseille is recognized as a source of new cinemas, both documentary productions as well (advertisement) as fction flms (www.fdmarseille.org).

Dialectics of tautology with inclusivity and and visible surface of tinimalist cube permeability. The reality of the apple begins exposed visible surface of tinimalist cube to ficker as if an intangible digital image. exposed world, polished by public polls Transparency seems the only way for the and press campaigns.hile leaving place cube to exist today, replacing the. If the for somethingsurface of a minimalist 220 Dialectics of tautology with inclusivity and cube exposed the hidden conditions of its Art Fair cube exposed the hidden conditions of production and consumption, the cut-outs 13/06 – 16/06 its production and consumption, the cut- of the metal grid reveal nothing but the outs of the metal grid reveal nothing visible surface of tinimalist cube exposed but the visible surface of tinimalist cube world, polished by public polls and press exposed the hidden conditions of its campaigns.hile leaving place for somethin JAN MOT production and consumption, the cut- of the metal grid reveal cube to exist outs of the metal grid visible surface today, replacing the. If the s nothing at all. AT of of tautology with inclusivity and Dialectics of tautology with inclusivity and cube exposed the hidden conditions of its permeability. The reality of the apple begins ART BASEL production and consumption, the cut-outs of to ficker as if an intangible digital image. the metal grid reveal nothing but the visible Transparency seems the only way for the surface of tinimalist cube exposed the cube to exist today, replacing the. If the Hall 2.1 Booth L14 hidden conditions of its productitinimalist impenetrable and the surface of a minimalist Messe Basel cube exposed visible surface of tinimalist cube exposed the hidden conditions of its Switzerland cube exposed world, polished by public production and consumption. 4 Newspaper Jan Mot David 219 – 220

David Lamelas: four projects for the public space (1992–2010)

for both artists, which several writers al- ready addressed in different places – and also showed other interesting issues such as the representation of cities, the relation- ships that people establish with them, and most signifcantly, the city as a meeting point and a space for friendship.

The city as an environment to get together is a key subject of one of Lamelas pieces exhibited at the gallery in Brussels: Ant- werp-Brussels (People and Time). When he did this work in 1969 – barely a year after his arrival to London thanks to a Brit- ish Council grant in order to study at Saint Martinʼs School of Art – Lamelas already had a dense group of friends all over Eu- rope. In this work he portrayed nine of them – artists, dealers, curators and collectors with whom he collaborated on various pro- jects – in a series of black and white im- ages always with the same framing: three women and seven men, himself included, mostly walking towards the camera, with determination, in urban contexts in which they appear to be the protagonists. Indeed, they seem to be the sole human presence – except for the photographer himself and traffc. Seven years later, Lamelas did a similar exercise in Los Angeles with his LA Friends. The chosen mediums here were drawing and a slideshow. The city didnʼt feature visually on this occasion but in a caption introducing the neighbourhood where each friend lived: John Baldessari, Santa Monica. Allen Ruppersberg, Holly- wood. John Knight, Silver Lake, etc…

This leit-motif in the exhibition at Jan Mot with works dating back to the 1960s and 1970s, made me think of the relation of Lamelas with different cities in which he has lived and more particularly, of the projects for public space that he conceived throughout his career. In the 1990s Lame- David Lamelas inspecting his work Quand le ciel est bas et lourd (1987-1992) in Antwerp (BE) in las created a series of projects for public August 2010. This work will soon be restaured on the occasion of the renovation of the Museum of space which did not always receive the Fine Arts and its surrounding park. Photo: Philippe de Gobert same attention as his “classic” works from the Conceptual years (1968–1975). It is By pays homage to the artists. Less is more: important to recall that these projects donʼt Pedro de Llano with only two pieces by each artist, the appear from scratch, but rather with deep show at Jan Mot (March–April 2019) trig- roots in different pieces since the 1960s. gered a series of connections and links For example in the second piece included A CORUNA, MAY 22 – To create a dia- which allowed us to better appreciate their at Jan Mot – Time as Activity (Düsseldorf) logue between the work of David Lamelas respective projects. The exhibition dealt – which began to exist in 1969 in this Ger- and On Kawara is a felicitous idea which with time of course – a fundamental subject man city and currently counts up to eleven 5 Newspaper Jan Mot David 219 – 220

versions flmed in cities such as , Los intentions. What is especially interesting in the Neo-classical building of the museum Angeles or Madrid.1 Or Señalamiento de some of these works is the idea of a project and the rationality of the urban axis of the tres objetos (1966–68), in which the artist carried out through drawing and/or paint- Flemish city which is known in the Zuid intervenes in a public park transforming a ing. We can see this for instance in a work neighbourhood as “The Petit ” – a ref- tree, a streetlight, and a deck chair in art- like Entwurf “Reception Center for Solar erence to Baron Haussmann. works by surrounding them with rectangu- Energy” (1986) – a sort of sketch for a uto- lar metalic sheets laying on the ground that pian and deliberately inconcrete ecologi- Benjamin Buchloh points out the monu- act as “frames”, enhancing them in their cal initiative which nevertheless turns out mental and architectonic character of this environment, creating a visual and spatial to be evocative of the “New Age” trends work, as opposed to the immateriality of relationship among them, and with the pas- to which some Southern California artists his previous projects – especially those serby as well. gravitated in the 1980s. And this brings us related to video and TV.5 The title is bor- straight into the 1990s projects, in which rowed from the frst verse of a poem by Projects in the public space became popu- drawing as a conceptual tool appears, to- Baudelaire and intends to be a commentary lar in the 1980s and 1990s and were a di- gether with writing, as a genuine constant about the so-called discovery of America rect effect of the expansion of the artistic in the work of David Lamelas – from the (which had its 500 years celebration in feld provoked by Conceptual art in its earliest to the very recent.3 1992), and the oppression suffered by the crucial period between 1968 and 1975. American peoples (indigenous, slaves, im- Proof of it is the organization of the frst migrants…) since colonial times until the edition of the Skulptur Projekte in Mün- imperialist episodes of the Cold War, and ster in 1977. Or Chambres d’amis, the through the different processes towards In- memorable exhibition curated by Jan dependence in the 19th century. Hoet in Ghent in 1986, in which 50 art- ists conceived works for private homes, This particular work has a changing life: blurring the limits between public and in the earlier pictures it’s possible to see intimate space. Both in Europe and the the growing young trees sheltered under US these initiatives were essential for the the metal plate at the same time that lim- understanding of the evolution of a whole ited and perhaps impeded by the lack of group of artists who began doing immate- light. In other, more recent images, the rial and conceptual art in the 1960s (per- work seems to “disappear” or hide out: formances, flms, language-based works, trees – at least those in the lateral rows – etc…) and who were marginalized by the have overtaken the structure and grown all market and many institutions in the neo- over and above. This process reproduces, conservative era of the 1980s with the in an abstract, organic and visual way, the return of painting and object-based prac- struggle for liberation and emancipation tices. Vito Acconci or Dan Graham are of the American peoples after 1492 – a explicit cases, but also others, closer to Da- dialectic in which some win and overfow vid Lamelas in Los Angeles such as Allen the imposed limits, conquering freedom, Ruppersberg, Michael Asher, John Knight, while others loose and stay subjugated and Dorit Cypis or Maria Nordman – most of In 1996 David Lamelas created a second work underdeveloped (thatʼs to say: there were whom posed for him at the studio on Sun- in public space in Belgium, for a temporary ex- Americas which were more “brides of the set Boulevard. hibition in Zoersel, entitled A Bridge Between sun” than others). Finally, Quand le ciel est Two Trees. bas et lourd reminds us as well of an unre- The 1980s were a sort of “desert crossing” alized project by Bruce Nauman from the for many of these artists. Nevertheless dur- The frst project I’d like to focus on bears late 1960s in which he also intended to put ing this decade Lamelas did some of his the poetic title Quand le ciel est bas et lourd a plaque on top of a single growing tree: best known videos in Los Angeles. In these (1987–92).4 It was produced for the group “After a few years, the tree would grow works the city has a relevant presence, al- exhibition America. Bride of the Sun. 500 over it”, Nauman declared in an interview, though not essential. The city plays more Years of Latin America and the Low Coun- “and fnally cover it up, and it would be as a background than a leading role. How- tries and consists of a hovering steel plate gone”.6 Despite the formal similitude, the ever, video did have an incentive which in the form of a trapezoid, suspended by intentions and content of both artists are we can also fnd in his projects for public two rows of four pillars. Under the plate very different. In the context of the current space: it’s capacity to reach larger audienc- Lamelas planted three rows of sycamore general rehabilitation of the premises of the es2. After this period came another – in the trees which seem to converge toward an Museum of Fine Arts, Lamelas’ work will second half of the 1980s – in which Lame- imaginary vanishing point. The piece was soon be dismantled and reconstructed in the las returned to a practice which is central installed in 1992 next to the Museum of same park close to the original location. throughout his career but which stayed Fine Arts in Antwerp (designed by Jacob somehow in the shadow: drawing and Winders and Frans van Dijk and opened In 1996, four years after the Antwerp piece painting. From this period are pieces such in 1890) in a surrounding park and oppo- and amidst of the rise of public sculpture, as Inside-Outside (1984), Entwurf “Recep- site of the former location of Wide White Lamelas built Vivienda (Structure) in the tion Center for Solar Energy” (1986) and Space, Lamelas’ frst Belgian gallery., The city of Santo Tirso, north of Oporto in Los Angeles PM (1987) in which Lamelas structure functions as an asymmetric ele- Portugal. This work was commissioned experiments with apparently traditional ment – dynamic and relatively unstable by the Museo Internacional de Escultura mediums, but with innovative and original that contrasts both with the solemnity of Contemporânea de Santo Tirso; a project 6 Newspaper Jan Mot David 219 – 220

dedicated to public sculpture, propelled in Antwerp also has this feature. As neigh- set Boulevard when he arrived to LA in the its origins by the Portuguese artist Alberto bours got used to it they started to give it 1970s, and Venice where he lived in the Carneiro – whom Lamelas met at Saint different functions: as a protection from 1980s. In fact, both places are symbolically Martinʼs at the end of the 1960s. The work the rain, a shelter for people walking their linked to the content of the image: Sunset was frst conceived as a model entitled dogs, a hide-out for couples making out… because it was not far from the Strip, the Vivienda (Living Space) and it consisted rogue neighbourhood where all the rock of a structure which makes us think of the Nevertheless, the functional or interac- stars performed back in the day at clubs archetype of the house; that is, reduced to tive character of Lamelas’ public works such as the Starwood or English Disco, and its minimal elements – four walls that don’t is never literal but rather at some point Venice, where Goldʼs Gym – the iconic ft- touch each other, a door, and a roof. There between its practical use and the symbolic ness center funded by Arnold Schwarzeneg- are differences, however, between the pro- meaning. A good example is an unrealized ger – used to be, becoming an inescapable ject and the fnished work. In the frst, we project with a critical content which seems meeting point for the still bohemian com- see a living place with leaning walls. They even more poignant today. It was one of munity to which Lamelas belonged, striving need wooden beams to shore the walls up the proposals he sent to the curators of to retain youthfulness and ftness with the and to prevent from collapsing. It’s indeed the Biennal In Site, in Tijuana in 1997 and weight and running machines. a house on the verge of falling apart which was discarded. The idea would be to build brings two references to mind. One by a temporary structure which would act as Think of Good is certainly a singular piece Lamelas himself: his work Untitled (Fall- a stairway and lookout at the same time. because it emphasizes image and repre- ing Wall), which he frst presented at the From the top of the structure it would be sentation more than the architectural and Galeria Fac-Simile in Milan, 1993, and a possible to see the US from the Mexican participative pieces from the 1990s. Still, second one of different kind; the infamous side – the “promised land” for migrants. all these works share a common approach scene in a 1920s Buster Keaton flm in This proposal involved some degree of iro- in which humour and bits of absurdity are which the façade of a house falls over the ny: paradise can be seen but not touched, fundamental to create a precise and critical actor – miraculously escaping injury. shown but not shared. As the son of Span- relation with urban space. This set of real- ish immigrants himself, Lamelas tried to ized and unrealized projects constitute an In the fnal version of the work the walls evidence, through humour, the injustice important contribution to the genre of pub- have disappeared and are replaced by a which walls and all sort of obstacles repre- lic art and they let us see David Lamelas diaphanous metal structure and again sur- sent and impose for those seeking to reach work from a different perspective. rounded by trees as in Antwerp. The piece their wishes and access a better life. is located in the Jardim dos Carvalhais next Pedro de Llano is a curator and postdoc- to a panoramic lookout to the landscape. In After 2000 Lamelas became less involved toral researcher at the University of San- the realised version, the house maintains with projects for public space, at a time tiago de Compostela (ES). the original scale and volume, as well as the genre itself got into a crisis and the the comic detail of a useless door, but itʼs artist entered a new phase in his career. been reduced to a sort of sketch or drawing Still he didn’t abandon this kind of prac- 1 One of the most recent iterations of Time in the air which refects the dynamism of tice completely and in February 2010 he as Activity was shot in Athens and Berlin the frst idea, in a different way, together accomplished a new piece – very differ- for the documenta 13, 2017. In Kassel was with a certain will to deconstruct the no- ent to the ones before – in Los Angeles. installed at the ICE station Kassel-Wil- tion of “home” which was also present in The work was entitled Think of Good and helmshöhe, just in the platform through the beginning. Is this perhaps the home of was developed for the group project How which the passengers left the train and a nomad like David Lamelas? Or a gather- Many Billboards, a MAK Center and went into the city. ing point to celebrate a picnic with friends? Schindler House initiative. In this case, 2 Lynda Morris, “David Lamelas’ Experi- his proposal was to revisit one of his most ence”, exh. cat., David Lamelas, Secession, While Lamelas was installing the work, emblematic works: Rock Star (Character Vienna, 2006, p. 19. he noticed its potential to become a rendez Appropiation) from 1974. He re-enacted 3 It’s possible to note these relations vous for locals and visitors. That’s why in the photo shoot with a professional pho- between idea, drawing, project and mate- some of the earliest images a pink mar- tographer, himself posing as an “aging rialization in many of his drawings from ble stone bench is missing – which was rock star”. On this occasion he edited 1965 to 1967 – but even earlier than that in later added to the work in order to foster only one image – worth of Mick Jagger certain unpublished works. its “use”. The idea worked and shortly af- at his best – full of attitude, grabbing a mic, 4 The works in public space by David ter people appropriated the sculpture, espe- hair slicked back and defant look. This Lamelas that I have been able to retrace are: cially retired men who would meet there to image was enlarged and printed on the - Señalamiento de tres objetos (Signaling chat and play domino. This characteristic monumental size of a typical Los Angeles of Three Objects), Buenos Aires-London, of Lamelas’ work for the public space –its billboard, together with the text “Think of 1966–68 “use value” – wasnʼt that common in the Good” – which could well have been taken - Time (performance), 1970: Les Arcs, France mid-1990s. It was probably the Skulptur from one of those self-help, “New-agish”, (1970), ongoing. Most recent presentation Projekte in Münster a year later, in 1997, positive thinking advertising assumed to in outdoor space: High Line, New York City which made widely known and accepted be characteristic of Southern California (2014) this kind of projects in between sculpture culture. - Screen, New York City, 1988 and design, even if some artists like Dan - Quand le ciel est bas et lourd, Antwerp, Graham and Maria Nordman were ex- The piece was installed at Pico and Fair- 1987–92 perimenting with these ideas already in the fax, two main Los Angeles thoroughfares, - Vivienda (Structure), Santo Tirso, Portugal, 1980s. Lamelas points out that his work in halfway from the studio he rented in Sun- 1996 7 Newspaper Jan Mot In Brief 219 – 220

- A Bridge Between Two Trees, Zoersel, Belgium, 1996 New publications - Unrealized project for in Site 97, San Diego and Tijuana, 1997 - Al otro lado (The Other Side), inSite 97, Koester’s book is about dimness and light San Diego and Tijuana, 1997 (see foreword) but David Lamelas’ new - Think of Good, in the project How Many monography is visibly a book that shines so Billboards, Los Ángeles, 2010 brightly that even in the midst of the night - Time as Activity: Live Athens-Berlin, you will easily fnd it. Fiction of a Produc- documenta 13, 2017 tion is its title and it follows the exhibition 5 Benjamin Buchloh, “Structure, Sign and at the MSU Broad in Michigan. Next to Reference in the Work of David Lamelas”, an early text by Lamelas and Raul Escari exh. cat., David Lamelas. A New Refuta- (originally published in 1969) several new tion of Time, München and Rotterdam, essays are included, notably by Carla Ace- München Kunstverein and Witte de With, vedo-Yates (also the curator of the exhibi- 1997, p. 144. tion), Jean-François Chevrier and Kristina 6 Joe Raffaele and Elizabeth Baker, excerpt Newhouse. Interestingly it also reproduces from “The Way-Out West: Interviews with images of projects by David that were nev- four San Francisco Artists” (1967), pub- er published or realised until now. Copies lished online by Artnews on March 16, of the bilangual book (English-Spanish) 2018, in honor of Bruce Naumanʼs retro- can be ordered via msupress.org. (JM). spective at Schaulager Basel [http://www. artnews.com/2018/03/16/archives-bruce- nauman-fishing-surrealism-filmmaking- 1967/ (Last accessed: May 14, 2019) In Brief Austrian novelist describes her experiences as an artist in a psychiatric hospital. (Mar- Colleague Clare Noonan with the new books Pierre Bismuth participates in Parcours, a lene Haring) opiation) from 1974. He re- by Mario Garcia Torres, David Lamelas and public art program developed by Art Basel Austrian novelist describes her experiences Joachim Koester. and curated by Samuel Leuenberger. Bis- enacted the photo shoot with a professional muth’s contribution will be installed at the photographer, himself posing as an “aging BRUSSELS, MAY 20 – Last week we were Münsterplatz in the center of the old town of rock star”. On this occasion he edited only particularly happy as we received within a Basel. (10/06–16/06) one image – worth of Mick Jagger at his few days three new publications dedicated best – full of attitude, grabbing a mic, hair to our artists. There was Mario Garcia Tor- The Eli and Edythe Broad Art Museum in slicked back and defant look. This image res’ book/catalogue that arrived just in time Michigan (USA) acquired the work Corner was enlarged and printed on the monumen- for his opening at Wiels. It’s the frst publi- Piece (1966) by David Lamelas. It was part tal size of a typical Los Angeles billboard, cation to cover most of Mario’s works from of his solo exhibition at the museum in 2018, together with the text “Think of Good” – the past 20 years or so. The title of the pub- curated by Carla Acevedo-Yates. which could well have been taken from one lication is Illusion Brought Me Here (like of those self-help, “New-agish”, positive the show). It is edited by Vincenzo de Bellis thinking advertising assumed to be charac- (Walker Art Centre) and Caroline Duma- teristic of Southern California culture. lin (Wiels) and is beautifully designed by Agenda fax, two main Los Angeles thoroughfares, Daniel Castejon. The list of works is not The piece was installed at Pico and Fair- a catalogue raisonné but nevertheless very fax, two main Los Angeles thoroughfares, comprehensive. Among the authors are Francis Alÿs halfway from the studio he rented in Sun- Tom McDonough and Sophie Berrebi. It is The Collection (1): Highlights for a Future, set Boulevard when he arrived to LA in the published by Koenig Books, London. S.M.A.K., Museum of Contemporary Art, 1970s, and Venice where he lived in the Gent (BE), 16/03–29/09; touché! (gestures, 1980s. In fact, both places are symbolically From the same publisher is another little movement, action), Beirut Art Center, linked to the content of the image: Sunset jewel, Joachim Koester’s pocket sized Beirut, 17/04–22/06; Coordinates: Maps because it was not far from the Strip, the Bringing Something Back which is also the and Art Exploring Shared Terrain, David rogue neighbourhood where all the rock title of a newly written essay by Koester Rumsey Map Center, Stanford University, stars performed back i fax, two main Los himself. In this text he describes a very Stanford (US), 25/04–30/09; ElDorado, Angeles thoroughfares, The piece was in- unusual event at an early age that clearly lille3000, Lille (FR), 27/04–01/12; Crea- stalled at Pico and Fairfax, two main Los prepared him for a life dedicated to explo- tures: When Species Meet, Contemporary Angeles thoroughfares, halfway from the ration and creativity. One of the other text Arts Center, Cincinnati (US), 03/05–18/08; studio he rented in Sunset Boulevard when contributions is a conversation between the Andachtsbilder, Petzel Gallery, New York he arrived to LA in the 1970s, and Venice artist and ‘partner in crime’ Yann Chateigné (US), 03/05–22/06; The Tangible Trace, where he lived in the 1980s. In fact, both about ‘exhibitions and memory machines’. TarraWarra Museum of Art, Victoria (AU), places are symbolically linked to the con- It was published on the occasion of a show 08/06–01/09; PRECARIA (Perilous), EAC tent of the image: Sunset because it was not that travelled from the Camden Arts Center – Espacio de Arte Contemporáneo, Monte- far from the Strip, the rogues are. in London to the Bergen Kunsthall. video (URY), 29/11–08/03 8 Newspaper Jan Mot Agenda 219 – 220

Sven Augustijnen Boadilla del Monte, Madrid, 25/02 – 09/06; Tino Sehgal Spectres, VOD, Lussas (FR), 03/05–03/05 Beyond Performance: Cally Spooner, Mario Vergessen, Historisches Museum, Frank- (online screening); Photobook Belge, FOMU, García Torres and Opavivará!, Palazzo furt (DE), 07/03–14/07; Tino Sehgal: Yet Antwerp (BE), 01/03–06/10; Southern Strozzi, Florence (IT), 12/04–14/07; untitled (feat. ), Marian Constellations: Poetics of the Non-Aligned, Illusion Brought Me Here, Wiels, Brussels, Goodman Gallery, New York (US), 03/05 – Moderna galerija, Ljubljana, 07/03–31/08; 17/05–18/08 (solo); Mario Garcia Torres, 15/06 (solo); This Progress, Accelerator at The Collection (1): Highlights for a Future, Jan Mot, Brussels, 07/06–20/07 (solo); title Stockholm University, Stockholm, 06/09 – S.M.A.K., Museum of Contemporary Art, and closing date tbc, Universidad Torcuato 13/10; Okayama Art Summit, Okayama (JP), Gent (BE), 16/03–29/09; Spectres, VOD, Di Tella, Buenos Aires, 01/08 27/09–24/11 Universciné, Brussels, 01/04–01/10 (online screening); title tbc, Kunst Raum Riehen, Dominique Gonzalez-Foerster Philippe Thomas Basel (CH), 04/09–03/11 May You Live In Interesting Times, 58th Uniques. Carnet écrits, dessinés, inimprimés, Venice Biennale, Venice (IT), 11/05 – 24/11 Fondation Martin Bodmer, Genève (CH), Pierre Bismuth 20/10–25/08; Lignes de vies – Une expo- Bandes à part, Musée régional dʼart con- Douglas Gordon sition de légendes, MAC VAL, Vitry-sur- temporain, Sérignan (FR), 23/06–02/06; I to Eye, Israel Museum, Jerusalem, 27/06 Seine (FR), 30/03–25/08; Time is Thirsty, The Collection (1): Highlights for a Future, –10/06; Talking Heads – Zeitgenössische Kunsthalle Wien, Vienna, 31/10 – 01/01 S.M.A.K., Museum of Contemporary Art, Dialoge mit F.X. Messerschmidt, 21er Haus, Gent (BE), 16/03–29/09; Parcours, Art Vienna, 08/03–19/08; Time Kills – Time- Tris Vonna-Michell Basel, Basel (CH), 10/06–16/06; Art Night based art from the Julia Stoschek Collec- Constellations, Berardo Museum, Lisbon, 2019, Saint Maryʼs Church in Waltham- tion, Ses Avenida Paulista, Sao Paulo (BR), 10/04–10/10; Chopin, 73rd Edinburgh In- stow, London, 22/06 23/03–16/06; Moon Landing. The View ternational Film Festival, Edinburgh (UK), from the Moon 50 Years later, Kunsthaus 23/06 (screening) stanley brouwn Zurich (CH), 05/04–30/06; Football and the Arab World, Institut du monde arabe, Paris, Ian Wilson Manon de Boer 10/04 –21/07; Feature Film, Tate Modern Bandes à part, Le Musée régional dʼart con- entre, hacia, hasta, para, por, según, sin., South Tank, Lodon, 27/04 – 01/09; Fly me temporain, Sérignan (FR), 23/06–02/06; EACC, Valencia (ES), 08/03–09/06; touché! to the Moon. 50 Jahre Mondlandung, Mu- Présences Voyageuses, FRAC Lorraine, (gestures, movement, action), Beirut Art seum der Moderne, Salzburg (AT), 20/07– Metz (FR), 01/03–02/06; Harbinger II: Center, Beirut, 17/04–22/06; Bella, Maia 03/11; Douglas Gordon, ARoS Kunst- Subtle Collisions, Gent University Botani- and Nick. From nothing to something to museum, Aarhus (DK), 07/09–16/02 (solo) cal Garden, Gent (BE), 05/07–17/07 something else. Part 1, Art Sonje Center, Seoul, 16/05 – 07/07 (screening); BL CK B Joachim Koester The newest tautology of “what you see X: Manon de Boer, LUX, London, 26/06 The Collection (1): Highlights for a Future, is all there is”. If the impenetrable – 03/08 (solo); Image (of) SILENCE, Na- S.M.A.K., Museum of Contemporary Art, surface of a minimalist cube exposed the tional Gallery, Prague, 30/08–05/01/2020 Gent (BE), 16/03–29/09; De l’immersion hidden conditions of its production and (solo); title tbc, Matadero, Madrid, 13/11 à l’osmose Chaosmose #2, FRAC Île-de- consumption, the cut-outs of the metal grid – 06/01 (solo) France, Le Château, Rentilly (FR), 17/03 – reveal nothing surface. 21/07; Ecstasy, Zentrum Paul Klee, Bern Rineke Dijkstra (CH), 04/04–04/08; touché! (gestures, move- (advertisement) To See Time Go By, Galeria Fonte, Inhotim ment, action), Beirut Art Center, Beirut, Institute, Brumadinho (BR), 06/09–20/08; 17/04–22/06 De schatkamer! Meesterwerken uit de JAN MOT Hermitage, Hermitage Amsterdam, 02/02 David Lamelas – 25/08; Now Is the Time: Wuhzen Contem- Lamelas, Irwin, Kusama: Regarding Per- porary Art Exhibition, North Silk Factory, ception, Galeria Lago, Instituto Inhotim, Petit Sablon / Kleine Zavel 10 Wuhzen (CN), 31/03–30/06; When Home Brumadinho (BR), 06/09–20/08; Moon 1000 Brussels, Belgium Won’t Let You Stay: Migration Through Landing. The View from the Moon 50 Years tel:+32 2 514 1010 Contemporary Art, ICA Boston (US), later, Kunsthaus Zürich (CH), 05/04 –30/06; [email protected] 23/10–26/01 AMBERES-Roberto Bolañoʼs Antwerp, www.janmot.com M HKA, Antwerp (BE), 07/06–15/09; Fly Mario Garcia Torres me to the Moon. 50 Jahre Mondlandung, Wed – Fri 2 – 6.30 pm To See Time Go By, Galeria Fonte, In- Museum der Moderne, Salzburg (AT), Sat 12 – 6 pm hotim Institute, Brumadinho (BR), 01/09 20/07–03/11 and by appointment – 20/08; Et le désert avance, les collections du musée des beaux-arts et dʼarchéologie Sharon Lockhart à contretemps, Musée des beaux-arts et Sharon Lockhartʼs retrospective, FID, Inter- Colophon dʼarchéologie, Besançon (FR), 16/11– national Documentary Festival, Marseille Publisher Jan Mot, Brussels 23/09; Portadores de sentido (Bearers (FR), 09/07–15/07; James Benning & Sha- Concept Design of meaning). Colección Patricia Phelps ron Lockhart (I), Milwaukee Art Museum, Maureen Mooren & Daniël van der Velden de Cisneros, Museo Amparo, Puebla Milwaukee (US), 06/09–01/03; Lunch Graphic Design (MX), 09/02 – 22/07; Coleção Teixeira de Break, Voir le temps venir, Jeu de Paume, Maureen Mooren, Amsterdam Freitas Collection, Santander Sala de Arte, Paris, 13/12 (screening) Printing Cultura, Wetteren