NUMBER SIX: FLAMING CREATURES (8 September, 2012 – Spring 2013)
CONTENT
I INFORMATION II PRESS RELEASE III LIST OF WORKS
NUMBER SIX: FLAMING CREATURES
INFORMATION 29 August 2012
Duration: 8 September 2012 – Spring 2013
Opening: Friday, 7 September 2012, 7 p.m. – 11 p.m.
First day of public: Saturday, 8 September 2012, 11 p.m. – 11 p.m.
Opening hours: Every Saturday, 11 a.m. - 6 p.m.
Guided tours Free German-language guided tours of the upcoming exhibition NUMBER SIX: FLAMING CREATURES will be held every other Saturday (at 11 a.m. and 2 p.m.) beginning on 08 September 2012. Tours last 90 minutes and are limited to 25 people. Advance registration is required and is only possible online (http://www.julia- stoschek-collection.net/en/visitor-information/guided-tours.html) or by calling +49 211 58 58 84 0.
We can provide English-language tours of the upcoming exhibition, special tours and guided tours for groups outside our regular opening hours upon request. Please send any enquiries and registrations to the following e-mail address: visit@julia-stoschek- collection.net
For further informations please contact:
JULIA STOSCHEK COLLECTION Schanzenstrasse 54 D 40549 Duesseldorf Tel.: +49 (0) 211/ 58 58 84-0 Fax: +49 (0) 211/ 58 58 84-19 [email protected] www.julia-stoschek-collection.net
NUMBER SIX: FLAMING CREATURES (8 September, 2012 – Spring 2013)
A “love of the unnatural: of artifice and exaggeration” is how writer Susan Sontag, marked the concept of “camp”, which forms the red thread running through this exhibition from the JULIA STOSCHEK COLLECTION. “Camp” is an exaggerated kind of perception that emerged in the course of aestheticism and dandyism. “Camp” first came into being at the turn of the 20th century and peaked in the 1950s and 1960s. A key starting point for the exhibition, and one of immense historical importance, is the work of US artist, performer and underground filmmaker Jack Smith (born in 1932. Died in 1989); his scandal-sparking film FLAMING CREATURES (1962-63) is the source of the title of the new presentation.
Jack Smithʼs oeuvre strongly inspired an entire generation of artists such as Andy Warhol, Robert Wilson, Cindy Sherman, John Waters and Mike Kelley. Without him, “Camp”, Punk and Pop-Postmodernism would be inconceivable, as would experimental theater. FLAMING CREATURES is a surrogate for something that manifestly materializes as an extreme, excessive and exuberant element in the positions taken by the individual artists. In this context, Jack Smith should be seen not as the source of the idea, but as a key position in a critical enquiry into reality and fiction, identity and gender. An appropriation of fictitious realities or creaturely processes is common to all the works represented in the show.
SIN: This greets the visitor in the first room of the exhibition, lettering emerging from a bank of clouds in a work by Ed Ruscha (born in 1937). SIN-WITHOUT (2002), the full title of the piece, takes the initially inauspicious message, negates it and provides an ironic take on it. Here, Ruscha, who above all focuses on dissection, physicality and significance of language in his paintings, takes a known motif from the film world and places it within an inflated, religious context. In its appearance, the lettering imitates a closing sequence often seen in black-and-white movies, their conclusion announced with the French word “Fin”. Ruscha ennobles this in fact meaningless scene and confronts the beholder with a semantic misdirection that has been relieved of its original meaning and seeks to reveal the manipulative potential of the word.
The left-hand side of the first floor exhibition space will be taken up by the TRILL-OGY COMP (2009) multimedia installation created by US artist Ryan Trecartin (born in 1981). He devised the installation, which extends across three rooms, together with fellow artist Lizzie Fitch (born in 1981). In the three videos that make up the piece, Trecartin creates a hyper-reality that starts with everyday communication patterns and takes them to quite supernatural heights. The conversations among the protagonists do not follow any traditional narrative structure and instead their language is shot through with a jumble of grammatical inaccuracies, acronyms from Internet jargon and text-message abbreviations, and influenced strongly by the opportunities media images offer us all today.
Jack Smith is the central figure on the exhibitionʼs second floor. His films form the focal point of the presentation, flanked by costume accessories, collages, an extensive photo cycle by Gwenn Thomas (born in 1945) and a TV documentation by Birgit Hein (born in 1942). FLAMING CREATURES (1962-63) was strongly influenced by the 1940s Hollywood B movies such as Ali Baba and the Forty Thieves and constitutes a homage to María Montez, a film star of the time and object of admiration for Smith. Although structured like a conventional feature film, his first cinematic piece takes place in a rather unusual setting – a harem of women, men and transvestites. But despite a long-standing ban on showing the film, it still quickly achieved cult status. In addition to FLAMING CREATURES, a cinema room designed especially for the exhibition will also show another five, carefully selected 16-mm films, accompanied by two annexed exhibition spaces. Today, Smith, a Bohemian who died of AIDS in 1989, is considered one of the most important directors in US underground film between the 1950s and 1970s. His work distinguishes itself in its lightness, playfulness and its fancy for eccentricity and absurdity, and would go on to become a role model for both the film and art worlds.
Mike Kelley (born in 1954. Died in 2012) was one of the most provocative post- conceptual artists on the West Coast. Kelley developed his incomplete series entitled EXTRACURRICULAR ACTIVITY PROJECTIVE RECONSTRUCTIONS on the basis of anonymous photographs of folk performances he found in high school yearbooks. He then reconstructed these scenes and adapted them for a Freudian projection of themes from his own personal world of images. In EAPR #36 (VICE ANGLAIS) (2011), the last filmic piece by Kelley prior to his suicide, the artist stages the myth surrounding the excentric british pre-Raphaelite painter and poet Dante Gabriel Rosetti – in the style of British Hammer Gothic films in which offensive eroticism is packaged in trashy horror plots. Treading the thin line between banality and brutality, Kelley thus creates a metaphor for a nascent subcutaneous authoritarian structure. Kelley underscored the sense of “crossing” in his artistic output by playing in the Punk and Noise-Rock bands Destroy all Monsters and The Poetics in the 1970s and 1980s.
The spatial interventions by German artist John Bock (born in 1965) form complex environments, his walk-through installation KUMULIERTE SUMMENMUTATION (2012) being a case in point. Itʼs a labyrinth-like edifice consisting of several rooms and was developed and stages specifically for this presentation.
The film LÜTTE MIT RUCOLA (2006) is located at the heart of the retrospective-like psychographical landscape: it is an extreme depiction of violence, blood and torture which at first sight reads like a splatter movie but is staged such as to easily top that genre.
Pieces by Aura Rosenberg, Tony Oursler, Bruce Nauman and Paul McCarthy, serve to sharpen the exhibitionʼs focus on how each artist explores the self and self- alienation. By using disguise or clown-like exaggeration the artists involved create a new dimension, one not limited to film and instead also including a physical level. Moreover, a conscious addressing of Pop and trivial culture is a further connecting element. In particular, Ryan Trecartin, Ed Ruscha as well as Paper Rad, Mike Kelley and John Bock adapt these themes in their works, subjecting them to an ironic twist.
The Hatje-Cantz Verlag will be publishing a catalogue to accompany the exhibition in November 2012.
The following artists feature in the exhibition: John Bock, Lizzie Fitch, Birgit Hein, Mike Kelley, Paul McCarthy, Bruce Nauman, Tony Oursler, Paper Rad, Peaches, Aura Rosenberg, Ed Ruscha, Jack Smith, Gwenn Thomas, Ryan Trecartin
From September 2012 to March 2013, an accompanying film program will be shown every second Wednesday of the month at STUDIO 54. First showing: Wednesday September 12, 2012, 7.30 p.m., free entry!
Press Office Monika Lahrkamp Schanzenstrasse 54 D 40549 Düsseldorf Tel.: +49 (0) 211/ 58 58 84-12 Fax: +49 (0) 211/ 58 58 84-19 [email protected] www.julia-stoschek-collection.net
III LIST OF WORKS
John Bock Untitled 2012 Mixed media installation
Lütte mit Rucola 2006 Video 35ʼ40ʼʼ color, sound
Die Ruhe 2012 Video color, sound
Ungetüm 2012 Sculptur Metal 260 x 168 x 185 cm
Videokistenhaufen consisting of the videos:
1. Im Schatten der Made / Berlin 2. Bauchhöhle bauchen / Japan 3. Lecker Puste / Watermill Center NY 4. Pi Bean / London 5. Lichterloh roh 6. Nichts unter der Kinnlade / Berlin 7. Die abgeschmierte Knicklenkung im Gepäck verheddert sich im weissen Hemd / Berlin HKW 8. Seewolf / Schweiz 9. Lütte mit Rucola 10. Monsiuer et Monsieur / Montreal On loan from the artist John Bock, Berlin
Lizzie Fitch, Ryan Trecartin with Rhett LaRue and Adam Trecartin Aventura, 2012 Mixed media Installation Dimensions variable On loan from New Galerie, Paris
Birgit Hein Kino 74 – Jack Smith BRD 1974 16 mm film transferred to video 10ʼ color, sound Production: WDR On loan from Birgit Hein
Mike Kelley Extracurricular Activity Projective Reconstruction #36 (Vice Anglais) 2011 Video 25ʼ15ʼʼ color, sound
Extracurricular Activity Projective Reconstruction #36 (Vice Anglais) 2011 Lenticular panel and light box 82.6 x 122.6 x 10.2 cm
Audio-Dateien: Mike Kelley, Paul McCarthy, Violent Onsen Geisha Comp O.S.O. 2003 CD, Compound Annex Records
Mike Kelley, Paul McCarthy, Violent Onsen Geisha Sod And Sodie Sock And Studio C 2003 2 CD, Compound Annex Records
The Poetics Critical Inquiry In Green 1998 CD, Compound Annex Records
The Poetics Remixes Of Recordings 1977 to 1983 1996 3 CD, Compound Annex Records
Destroy All Monsters Live In Tokyo & Osaka 1996, 1994 CD, Compound Annex Records
Destroy All Monsters The Detroit Oratorio 2003 CD, Compound Annex Records
Paul McCarthy Icicle Slobber 1975 Video 1ʼ11ʼʼ b/w, sound
Ma Bell 1971 Video 1971 7ʼ06ʼʼ b/w, sound
Painting Face Down – White Line 1972 Video 6ʼ02ʼʼ b/w, sound
Pipe Shadow 1975 Video 4ʼ57ʼʼ b/w, sound
Upside Down Pipe 1975 Video 0ʼ38ʼʼ b/w, sound
Upside Down Spitting - Bat 1975 Video 4ʼ26ʼʼ b/w, sound
Whipping the Wall with Paint 1975 Video 3ʼ19ʼʼ b/w, sound
Bruce Nauman Art Make-Up, No.1 white 1967 16 mm film, transferred to video 10ʼ39ʼʼ color, silent
Art Make-Up, No. 2 pink 1967 16 mm film, transferred to video 10ʼ40ʼʼ color, silent
Art Make-Up, No. 3 green 1967 16 mm film, transferred to video 10ʼ52ʼʼ color, silent
Art Make-Up, No. 4 black 1967 16 mm film, transferred to video 10ʼ17ʼʼ color, silent
Gauze 1969 16 mm film, transferred to video 8ʼ b/w, silent
Pulling Mouth 1969 16 mm film, transferred to video 8ʼ b/w, silent
Tony Oursler EVOL 1984 Video 28ʼ58ʼʼ color, sound
Son of Oil 1982 Video 16ʼ08ʼʼ color, sound Tunic (Song for Karen) 1990 Video 6ʼ17ʼʼ color, sound Tony Oursler in Collaboration with the Band Sonic Youth
Paper Rad P-Unit Mixtape 2005 2005 Video 21ʼ color, sound
Aura Rosenberg Mike Kelley / Carmen 1996 Inkjet print 104 x 78 x 5 cm
Harmony Korine / Carmen 1996 Inkjet print 104 x 78 x 5 cm
Ed Ruscha Sin-Without Lithograph 68 x 116.9 cm
Jack Smith Flaming Creatures 1962-63 16 mm film 43ʼ b/w, sound
Scotch Tape 1959-63 16 mm film 5ʼ color, sound
Overstimulated 1959-63 16 mm film 5ʼ b/w, silent
Normal Love 1963-65 16 mm film 120ʼ b/w, sound
No President 1967-70 16 mm film 45ʼ b/w, sound
Song for Rent 1969 4ʼ 16 mm film color, sound
Untitled Approx. 1969 Mixed media 14 x 43.2 x 20.3 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled Year unknown Mixed media 17.8 x 33 x 43.2 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled 1970-75 Mixed media 12.7 x 40.6 x 43.2 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled 1970s Mixed media 15.2 x 53.3 x 33 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled 1970-75 Mixed media 7.6 x 40.6 x 61 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled 1978 Mixed media on paper 36.5 x 30.2 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled Year unknown Chalk on paper 29.2 x 35.6 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled 1970 b/w photography 42.5 x 34.9 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled 1977 Mixed media on paper 46.4 x 35.6 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled 1966 Mixed media on paper 35.6 x 45.7 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled 1978 b/w photography 38.1 x 40.3 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled 1964-81 Mixed media on paper 49.8 x 43.2 cm Loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Untitled 1970 Mixed media on paper 43.8 x 40.3 cm On loan from Gladstone Gallery, New York & Brussels Copyright Jack Smith Archive
Gwenn Thomas Photographic sequence documenting “Fear Ritual of Shark Museum” an action/performance by Jack Smith in Cologne Zoo 1974 Number varies, total of 50 photographs b/w, 28 x 35 cm On loan from Exile Gallery, Berlin
Ryan Trecartin Trill-ogy Comp 2009 Mixed media installation consisting of
P.opular S.ky (section ish) 2009 43’51’’ Video color, sound Courtesy of the artist
K-CoreaINC.K (section a) 2009 33’5’’ Video, color, sound Courtesy of the artist
Sibling Topics (section a) 2009 51’26’’ Video color, sound Courtesy of the artist
Schanzenstrasse 54 D 40549 Duesseldorf 40549 D 54 Schanzenstrasse Düsseldorf 40549 D 54 Schanzenstrasse
Location: Julia Stoschek Collection Stoschek Julia Location: Collection Stoschek Julia Ort:
Opening hours: every sat 11 am – 6 pm 6 – am 11 sat every hours: Opening Uhr 18 – 11 Sa jeden Öffnungszeiten:
Duration: 8 Sep 2012 – Spring 2013 Spring – 2012 Sep 8 Duration: 2013 Frühjahr – 2012 September 8. Dauer:
ironic twist. ironic Trecartin, Ed Ruscha aber auch Paper Rad, Mike Kelley und John Bock ironisieren und adaptieren diese in ihren Arbeiten. ihren in diese adaptieren und ironisieren Bock John und Kelley Mike Rad, Paper auch aber Ruscha Ed Trecartin,
Ed Ruscha as well as Paper Rad, Mike Kelley and John Bock adapt these themes in their works, subjecting them to an an to them subjecting works, their in themes these adapt Bock John and Kelley Mike Rad, Paper as well as Ruscha Ed Der bewusste Umgang mit Pop- oder Trivialkultur ist darüber hinaus ein weiteres verbindendes Element. Insbesondere Ryan Ryan Insbesondere Element. verbindendes weiteres ein hinaus darüber ist Trivialkultur oder Pop- mit Umgang bewusste Der
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one not limited to fi lm and instead also including a physical level. physical a including also instead and lm fi to limited not one clownesker Überhöhung erschaffen sie eine neue Ebene, die sich nicht auf das Filmische beschränkt, sondern den Körper als als Körper den sondern beschränkt, Filmische das auf nicht sich die Ebene, neue eine sie erschaffen Überhöhung clownesker
explores the self and self-alienation. By using disguise or clown-like exaggeration the artists involved create a new dimension, dimension, new a create involved artists the exaggeration clown-like or disguise using By self-alienation. and self the explores richten den Fokus der Ausstellung auf die Selbsterforschung des Künstlers und seiner Entfremdung. Mittels Maskierung oder oder Maskierung Mittels Entfremdung. seiner und Künstlers des Selbsterforschung die auf Ausstellung der Fokus den richten
Aura Rosenberg, Tony Oursler, Bruce Nauman and Paul McCarthy, serve to sharpen the exhibition’s focus on how each artist artist each how on focus exhibition’s the sharpen to serve McCarthy, Paul and Nauman Bruce Oursler, Tony Rosenberg, Aura Künstlerische Positionen wie die von Aura Rosenberg, aber auch die von Tony Oursler, Bruce Nauman und Paul McCarthy McCarthy Paul und Nauman Bruce Oursler, Tony von die auch aber Rosenberg, Aura von die wie Positionen Künstlerische
An appropriation of fi ctitious realities or creaturely processes is common to all the works represented in the show. Pieces by by Pieces show. the in represented works the all to common is processes creaturely or realities ctitious fi of appropriation An Allen Positionen der Ausstellung ist die Aneignung oder Vereinnahmung von fi ktiven Realitäten oder kreatürlichen Prozessen gemein. gemein. Prozessen kreatürlichen oder Realitäten ktiven fi von Vereinnahmung oder Aneignung die ist Ausstellung der Positionen Allen
and fi ction, identity and gender. gender. and identity ction, fi and und Geschlecht. und
In this context, Jack Smith should be seen not as the source of the idea, but as a key position in a critical enquiry into reality reality into enquiry critical a in position key a as but idea, the of source the as not seen be should Smith Jack context, this In Dabei ist Jack Smith nicht als Ideengeber anzusehen, sondern ist Schlüsselfi gur im Umgang mit Realität und Fiktion, Identität Identität Fiktion, und Realität mit Umgang im gur Schlüsselfi ist sondern anzusehen, Ideengeber als nicht Smith Jack ist Dabei
element in the positions taken by the individual artists. artists. individual the by taken positions the in element des Element manifestiert und materialisiert. materialisiert. und manifestiert Element des
is a surrogate for something that manifestly materializes as an extreme, excessive and exuberant exuberant and excessive extreme, an as materializes manifestly that something for surrogate a is FLAMING CREATURES FLAMING erweist sich als Surrogat, das sich in den einzelnen Künstlerpositionen als extremes, überborden- extremes, als Künstlerpositionen einzelnen den in sich das Surrogat, als sich erweist FLAMING CREATURES FLAMING
mental theater. mental nicht zu denken. zu nicht
John Waters and Mike Kelley. Without him, “Camp”, Punk and Pop-Postmodernism would be inconceivable, as would experi- would as inconceivable, be would Pop-Postmodernism and Punk “Camp”, him, Without Kelley. Mike and Waters John und Mike Kelley entscheidend geprägt. Ohne ihn wären „Camp“, Punk oder die Pop-Postmoderne sowie das experimentelle Theater Theater experimentelle das sowie Pop-Postmoderne die oder Punk „Camp“, wären ihn Ohne geprägt. entscheidend Kelley Mike und
Jack Smith’s oeuvre strongly inspired an entire generation of artists such as Andy Warhol, Robert Wilson, Cindy Sherman, Sherman, Cindy Wilson, Robert Warhol, Andy as such artists of generation entire an inspired strongly oeuvre Smith’s Jack Jack Smiths Werk hat eine ganze Generation von Künstlern wie Andy Warhol, Robert Wilson, Cindy Sherman, John Waters Waters John Sherman, Cindy Wilson, Robert Warhol, Andy wie Künstlern von Generation ganze eine hat Werk Smiths Jack
of the title of the new presentation. presentation. new the of title the of (1962-63) auch der Ausstellung den Titel gibt. gibt. Titel den Ausstellung der auch (1962-63)
(1963) is the source source the is (1963) lm fi scandal-sparking his 1989); Died 1932. (born Smith Jack lmmaker fi and FLAMING CREATURES FLAMING Film skandalumwobener dessen 1989), † 1932. (* Smith Jack Underground-Filmemachers und Performers CREATURES FLAMING
A key starting point for the exhibition, and one of immense historical importance, is the work of US underground artist, performer performer artist, underground US of work the is importance, historical immense of one and exhibition, the for point starting key A Eine zentrale und historisch wichtige Ausgangsposition der Ausstellung sind die Arbeiten des US-amerikanischen Künstlers, Künstlers, US-amerikanischen des Arbeiten die sind Ausstellung der Ausgangsposition wichtige historisch und zentrale Eine
being at the turn of the 20th century and peaked in the 1950s and 1960s. 1960s. and 1950s the in peaked and century 20th the of turn the at being Anfang nahm „Camp“ an der Schwelle vom 19. zum 20. Jahrhundert und fand seinen Höhepunkt in den 1950er- und 1960er-Jahren. und 1950er- den in Höhepunkt seinen fand und Jahrhundert 20. zum 19. vom Schwelle der an „Camp“ nahm Anfang
“Camp” is an exaggerated kind of perception that emerged in the course of aestheticism and dandyism. “Camp” fi rst came into into came rst fi “Camp” dandyism. and aestheticism of course the in emerged that perception of kind exaggerated an is “Camp” „Camp“ ist eine überpointierte Art der Wahrnehmung, die sich im Zuge des Ästhetizismus und des Dandytums entwickelte. Den Den entwickelte. Dandytums des und Ästhetizismus des Zuge im sich die Wahrnehmung, der Art überpointierte eine ist „Camp“
the red thread running through this exhibition from the JULIA STOSCHEK COLLECTION. COLLECTION. STOSCHEK JULIA the from exhibition this through running thread red the Dieser ist zentraler Leitgedanke in der Neupräsentation der JULIA STOSCHEK COLLECTION. COLLECTION. STOSCHEK JULIA der Neupräsentation der in Leitgedanke zentraler ist Dieser
A “love of the unnatural: of artifi ce and exaggeration,” is how writer Susan Sontag described the concept of “camp”, which forms forms which “camp”, of concept the described Sontag Susan writer how is exaggeration,” and ce artifi of unnatural: the of “love A Als „die Liebe zum Unnatürlichen, zum Trick, zur Übertreibung“, so bezeichnet die Autorin Susan Sontag den Begriff des „Camp“. „Camp“. des Begriff den Sontag Susan Autorin die bezeichnet so Übertreibung“, zur Trick, zum Unnatürlichen, zum Liebe „die Als
Schanzenstrasse 54 [email protected] D 40549 Duesseldorf julia-stoschek-collection.net T. +49.211.585.884.0 F. +49.211.585.884.19 22 AURA ROSENBERG 25 JACK SMITH 30 JACK SMITH 34 JACK SMITH 38 JACK SMITH 41 JACK SMITH 44 BIRGIT HEIN SECOND FLOOR Mike Kelley / Carmen, 1996 Untitled, ca. 1969 Scotch Tape, 1959-63 Untitled, year unknown Untitled, 1977 Flaming Creatures, 1962-63 Kino 74 – Jack Smith, 1974 inkjet print, 104 × 78 × cm mixed media, 14 × 43.2 × 20.3 cm 16 mm film, 5’, color, sound crayon on paper, 29.2 × 35.6 cm mixed media on paper, 46.4 × 35.6 cm 16 mm film, 43’, b/w, sound 16 mm film transferred to video, 10’, color, sound 19 MIKE KELLEY Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011 lenticular panel and light box, 82.6 × 122.6 × 8.3 cm
On loan from Gladstone Gallery, New York / Brussels Courtesy Gladstone Gallery, New York / Brussels On loan from Gladstone Gallery, New York / Brussels Courtesy Gladstone Gallery, New York / Brussels Production: West German Broadcasting Corporation, Cologne. © Jack Smith Archive © Jack Smith Archive © Jack Smith Archive © Jack Smith Archive On loan from WDR Archives & Birgit Hein, Berlin
26 Untitled, year unknown 31 JACK SMITH 35 JACK SMITH 42 JACK SMITH 45 GWENN THOMAS mixed media, 17.8 × 33 × 43.2 cm Overstimulated, 1959-63 Untitled, 1966 Normal Love, 1963-65 photographic sequence docu- Courtesy of Gagosian Gallery, New York 16 mm film, 5’, b/w, silent mixed media on paper, 35.6 × 45.7 cm 16 mm film, 120’, color, additional sound menting “Fear Ritual Of Shark Courtesy of the artist On loan from Gladstone Gallery, New York / Brussels Museum” - performance by Jack 20 MIKE KELLEY © Jack Smith Archive Smith in the Cologne Zoo, 1974 Extracurricular Activity Projective 23 AURA ROSENBERG first published in December 1974 in the avant- 39 JACK SMITH garde magazine Avalanche Reconstruction #36 (Vice Harmony Korine / Carmen, 1996 Untitled, ca. 1970 number varies, total of 50 photographs, b/w, Anglais), 2011 inkjet print, 104 × 78 cm 28 × 35 cm mixed media on paper, 43.8 × 40.3 cm video, 25’15”, color, sound
On loan from Gladstone Gallery, New York / Brussels Courtesy Gladstone Gallery, New York / Brussels On loan from Gladstone Gallery, New York / Brussels © Jack Smith Archive © Jack Smith Archive © Jack Smith Archive Courtesy Gladstone Gallery, New York / Brussels © Jack Smith Archive 27 Untitled, ca. 1970-75 32 JACK SMITH 36 JACK SMITH mixed media, 12.7 × 40.6 × 43.2 cm Song For Rent, 1969 Untitled, 1978 43 JACK SMITH Courtesy of Gagosian Gallery, New York 16 mm film, 4’ color, additional sound mixed media on paper, 36.5 × 30.2 cm No President, 1967-70 16 mm film, 45’, b/w, additional sound 21 DESTROY ALL MONSTERS Live In Tokyo & Osaka 1996, 2004 Audio CD, Compound Annex Records
On loan from Gladstone Gallery, New York / Brussels DESTROY ALL MONSTERS © Jack Smith Archive The Detroit Oratorio, 2003 Audio CD, Compound Annex Records Courtesy of the artist 40 JACK SMITH
On loan from Gladstone Gallery, New York / Brussels Untitled, 1964-81 THE POETICS 24 JOHN BOCK © Jack Smith Archive mixed media on paper, 49.8 × 43.2 cm On loan from Gwen Thomas & Exile, Berlin Courtesy of the artist & Exile, Berlin Remixes Of Recordings 1977 To Kumulierte Summenmutationen, Courtesy Gladstone Gallery, New York / Brussels © Jack Smith Archive Courtesy Gladstone Gallery, New York / Brussels 1983, 1996 2012 28 Untitled, 1970s © Jack Smith Archive mixed media installation Audio 3CD, Compound Annex Records mixed media, 15.2 × 53.3 × 33 cm 33 JACK SMITH Untitled, 1970 THE POETICS b/w photography, 42.5 × 34.9 cm Critical Inquiry In Green, 1998 Audio CD, Compound Annex Records On loan from Gladstone Gallery, New York / Brussels © Jack Smith Archive
MIKE KELLEY, PAUL M cCARTHY, 37 JACK SMITH VIOLENT ONSEN GEISHA Untitled, 1978 Sod And Sodie Sock b/w photograph collage, 38.1 × 40.3 cm and Studio C, 2003 On loan from Gladstone Gallery, New York / Brussels Audio 2CD, Compound Annex Records © Jack Smith Archive
MIKE KELLEY, PAUL 29 Untitled, ca. 1970-75 On loan from Gladstone Gallery, New York / Brussels M cCARTHY, VIOLENT ONSEN mixed media, 7.6 × 40.6 × 61 cm © Jack Smith Archive GEISHA COMP O.S.O., 2003
Audio CD, Compound Annex Records Courtesy of the artist
features On loan from Gladstone Gallery, New York / Brussels Die Ruhe, 2012 © Jack Smith Archive video, color, sound On loan from Gladstone Gallery, New York / Brussels © Jack Smith Archive and Ungetüm, 2012 sculpture, metal, 260 x 168 x 185 cm On loan from Gladstone Gallery, New York / Brussels © Jack Smith Archive
3 BRUCE NAUMAN 5 BRUCE NAUMAN 8 TONY OURSLER 11 K-CoreaINC.K (section a), 14 PAUL McCARTHY 17 PAUL McCARTHY FIRST FLOOR Pulling Mouth, 1969 Gauze, 1969 EVOL, 1984 2009 Whipping The Wall With Paint, Pipe Shadow, 1975 BASEMENT 16 mm film transferred to video, 8’, b/w, silent 16 mm film transferred to video, 8’, b/w, silent video, 28’58”, color, sound video, 33’5”, color, sound 1975 video, 4’57”, b/w, silent 1 ED RUSCHA video, 3’19”, b/w, sound 46 PAPER RAD Sin-Without, 2002 P-Unit Mixtape, 2005 lithograph, 68 × 116.9 cm video, 21’, color, sound
Courtesy of the artist
Courtesy of Electronic Arts Intermix (EAI), New York Courtesy of Electronic Arts Intermix (EAI), New York Courtesy of Electronic Arts Intermix (EAI), New York Courtesy of the artist and Brooke Alexander, Inc., New York 12 PAUL McCARTHY On Loan from New Galerie, Paris / New York Courtesy of Electronic Arts Intermix (EAI), New York Courtesy of Electronic Arts Intermix (EAI), New York Upside Down Spitting - Bat, 1975 4 BRUCE NAUMAN 6 TONY OURSLER, 18 PAUL McCARTHY video, 4’26”, b/w, sound 15 PAUL McCARTHY Upside Down Pipe, 1975 Courtesy of Electronic Arts Intermix (EAI), New York 2 LIZZIE FITCH, RYAN Art Make-Up, No. 1 White, 1967 SONIC YOUTH 9-11 RYAN TRECARTIN Painting Face Down – White video, 0’38”, b/w, silent TRECARTIN, RHETT L aRUE, 16 mm film transferred to video, 10’39”, color, silent Tunic (Song For Karen), 1990 Trill-ogy Comp, 2009 Line, 1972 47 JOHN BOCK ADAM TRECARTIN video, 6’17”, color, sound mixed media installation consisting of Aventura, 2012 video, 6’2”, b/w, sound Lütte Mit Rucola, 2006 video, 35’40”, color, sound mixed media installation, dimensions variable 9 Sibling Topics (section a), 2009 video, 51’26”, color, sound
Courtesy of Electronic Arts Intermix (EAI), New York
Courtesy of Electronic Arts Intermix (EAI), New York PAUL McCARTHY Courtesy of Electronic Arts Intermix (EAI), New York 13 Icicle Slobber, 1975
Courtesy of Electronic Arts Intermix (EAI), New York video, 1’11”, b/w, sound Courtesy of Electronic Arts Intermix (EAI), New York Photography: Jan Windszus. Courtesy: Klosterfelde, Berlin; Courtesy of the artist Art Make-Up, No. 2 Pink, 1967 Anton Kern, New York. © 2006 John Bock. All rights reserved. 16 mm film transferred to video, 10’40”, color, silent 7 TONY OURSLER 10 P.opular S.ky (section ish), 16 PAUL McCARTHY Art Make-Up, No. 3 Green, 1967 Son Of Oil, 1982 2009 Ma Bell, 1971 video, 16’08”, color, sound video, 7’6”, b/w, sound 16 mm film transferred to video, 10’52”, color, silent video, 43’51”, color, sound
Art Make-Up, No. 4 Black, 1967 16 mm film transferred to video, 10’17”, color, silent
Courtesy of Electronic Arts Intermix (EAI), New York
On loan from New Galerie, Paris
Courtesy of the artist
Courtesy of Electronic Arts Intermix (EAI), New York
Courtesy of Electronic Arts Intermix (EAI), New York
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7 2 41 6 42 5 4 3 43 20 8
40 39 38 37 23 16 15 14 13 12 1 24 22 21 36 35 34 19
33 10 11 32
9 25 31 26 27 44 28 29 30 45
17 47 FIRST FLOOR 46 SECOND FLOOR