Harald Szeemann Chronology of Projects
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The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
Alberto Giacometti and the Crisis of the Monument, 1935–45 A
UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures. -
1 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: the Importance of Émigré Art Dealers As Reflecte
Working Paper--Draft 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: The Importance of Émigré Art Dealers as Reflected in the Case Studies Of Curt Valentin and Otto Kallir-Nirenstein Please permit me to begin with some reflections on my own work on art plunderers in the Third Reich. Back in 1995, I wrote an article about Kajetan Mühlmann titled, “The Importance of the Second Rank.” 1 In this article, I argued that while earlier scholars had completed the pioneering work on the major Nazi leaders, it was now the particular task of our generation to examine the careers of the figures who implemented the regime’s criminal policies. I detailed how in the realm of art plundering, many of the Handlanger had evaded meaningful justice, and how Datenschutz and archival laws in Europe and the United States had prevented historians from reaching a true understanding of these second-rank figures: their roles in the looting bureaucracy, their precise operational strategies, and perhaps most interestingly, their complex motivations. While we have made significant progress with this project in the past decade (and the Austrians, in particular deserve great credit for the research and restitution work accomplished since the 1998 Austrian Restitution Law), there is still much that we do not know. Many American museums still keep their curatorial files closed—despite protestations from researchers (myself included)—and there are records in European archives that are still not accessible.2 In light of the recent international conference on Holocaust-era cultural property in Prague and the resulting Terezin Declaration, as well as the Obama Administration’s appointment of Stuart Eizenstat as the point person regarding these issues, I am cautiously optimistic. -
Schweizerische Kunstausstellung Basel 1956
1 A 1 Schweizerische 7815 Kunstausstellung Basel 1956 H Bazaine-Bertholle-Bissière- Eble Abstrakte Maler Estève-Hartung-Lanskoy- Loutre Manessier-Le Moal-Nallard Reichel-Singier-Vieira da Silva Spiller-de Staël Ausstellung Juni, Juli Maîtres de l'art moderne Delacroix-Renoir-van Gogh Cézanne -Braque-Rouault Picasso etc. Ausstellung August, September, Oktober Illustrierte Kataloge Galerie Beyeler Basel/Bäumleingasse 9 täglich (sonntags nur 10-12 Uhr) ETHICS SIK Telephon 222558 02000001352510 Schweizerische Kunstausstellung Basel 1956 A/\ r- vf Schweizerisches Institut WlU . W für Kunstwissenschaft Zürich Schweizer Mustermesse, Halle 8, «Baslerhalle» 2. Juni bis 15. Juli 1956 (ö ö ~t s \~2-~ Dauer der Ausstellung 2. Juni bis 15. Juli 1956 Besuchszeiten Täglich 10-12 und 14-17 Uhr Sonntags durchgehend von 10-17 Uhr Eintrittspreise Einmaliger Eintritt (inkl. Billettsteuer) Fr. 1.50 Schüler und Studenten Fr.I.¬ Schüler in geführten Gruppen Fr.-.50 Tageskarte Fr. 2.50 Illustrierter Katalog Fr. 2.50 Verkäufe Alle Verkäufe haben durch Vermittlung der Kasse zu erfolgen. Fürdie ausdem Ausland eingesandten Werke hat der Käufer den Zoll zu tragen. Die Abgabe der gekauften Werke erfolgt nach Schluß der Ausstellung. Prof. Dr. Max Huggler, Bern, Präsident Walter Bodmer, Basel Serge Brignoni, Bern Charles Chinet, Rolle Charles-François Philippe, Genf Hans Stocker, Basel Frau Janebé, Boudry Frau Elsa Burckhardt-Blum, Küsnacht, Ersatz Max von Mühlenen, Bern, Ersatz Rudolf Zender, Winterthur, Ersatz Werner Bär, Zürich, Präsident Bruno Giacometti, Zürich Otto Charles Bänninger, Zürich Hermann Hubacher, Zürich Remo Rossi, Locarno Max Weber, Genf Fräulein Hildi Hess, Zürich Paul Baud, Genf, Ersatz Casimir Reymond, Lutry, Ersatz Fräulein Hedwig Frei, Basel, Ersatz Architektonische Gestaltung E. -
Ingeborg Lüscher Biography
Ingeborg Lüscher Biography 1936 Born as Ingeborg Löffler in Freiberg in Saxony (Germany) 1946 – 1949 Rudolf-Steiner-School in Dresden 1 1949 Relocation to West Berlin 1956 School-leaving examinations 1956 – 1958 Acting studies at drama school Marlise Ludwig, Berlin, state-approved graduation 1958 First film engagements, including the main female role of Madelon in “Cardillac”, the first b/w Ufa TV film after the end of World War II (story E. T. A. Hoffmann) Ensemble member at Vagantenbühne and Renaissance Theater Berlin, tour to Switzerland 1959 Meets the Swiss colour psychologist Max Lüscher, marriage Ensemble member at Komödie Basel, main female role of Dynamene in the Swiss TV film “Ein Phönix zuviel / A Phenix Too Frequent” with original dialogues by Christopher Fry 2 1960 – 1967 Psychological studies, including at the Berlin Free University Numerous main female roles in b/w TV films, like “Jennifer” 1965, Alwine von Valencay in Jean Anouilh‘s „Leben wie die Fürsten” 1966 (directed by Helmut Käutner) and Laura Manulescu in „Des Rätsels Lösung“ 1966 (with Ivan Desny) 1967 Journey to India Relocation to Ticino (Switzerland) Film shootings in Prague, Gräfin Nettelburg in the TV film „Till Eulenspiegel“ (with Helmut Lohner) Meets dissidents of the later Prague Spring and starts critical questioning the own role in her life Separation from Max Lüscher Turns to fine art as an autodidact and takes the former studio of Hans Arp in Locarno 1967 - 1972 Works with fire and with cigarette stubs Contact to artists of the Nouveau Réalisme www.ingeborgluescher.com 1969 Travels to New York, meets Tiny Duchamp, Christo and Andy Warhol Discovers the hermit Armand Schulthess at Onsernone Valley (Switzerland), starts the photographic documentation of his encyclopedic forest („Der größte Vogel kann nicht fliegen. -
"Un Moderno Edificio Amministrativo" : Il Nuovo Complesso Architettonico Adibito a Uffici Dello Stato a Bellinzona
"Un moderno edificio amministrativo" : il nuovo complesso architettonico adibito a Uffici dello Stato a Bellinzona Autor(en): Cavadini, Nicoletta Ossanna Objekttyp: Article Zeitschrift: Kunst + Architektur in der Schweiz = Art + architecture en Suisse = Arte + architettura in Svizzera Band (Jahr): 58 (2007) Heft 1: Im Büro = Au bureau = In ufficio PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-394356 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot -
R O H L M a N N L I S T 2
R O H L M A N N Rare Books on Architecture, Art and Design - Japanese Books L I S T 2 8 3 Architecture Art and Design Japanese Books Antiquariat Heinz Rohlmann Untere Dorfstraße 49 50829 Köln Germany Telefon 0221-34666601 Mobil 0175-4173774 Mail: [email protected] www.antiquariat-rohlmann.de 1 ERENBURG (or EHRENBURG), Ilya (Grigorevich). A vse-taki ona vertitsja. [And yet the world goes round]. Moscow and Berlin, Gelikon (1922). 139, (3)pp. and Moscow and 16 photogravures on plates, and line illustrations by F. Léger, and others. 22,5 x 16,5 cm. Original illustrated wrappers (F. Leger). EUR 2400 This rare treatise on contemporary avant-garde art by Ehrenburg (1891-1967) is not only noteworthy for its typographical experiementation, but it defends Contructivism in early art ("Oblozhka raboty Fernanda Lezhe") and includes also a penetrating analysis of the "new architecture" which Vladimir E. Tatlin and his work are seen to have generated. Among the artists the Russian critic considers are Léger, Lipchitz, Lissitzky, Picasso, Rodchenko, Van Doesburg and even from a Charlie Chaplin film. Very fine uncut copy. 2 Kandinsky, Wassily. Kanjinsukî no geijutsuron (カンヂンスキーの芸術論). [Über das Geistige in der Kunst ]. Tokyo, Idea Shoin 1924. 170 leaves: = 110 leaves with printed text; 60 leaves of glossy paper with plates, printed title in Japanese and Western characters on glossy paper, monochrome photographic portrait of Kandinsky. 25,5 x 19,5 cm. Original publisher´s cloth with gilt, original card slipcase. EUR 800 A very scarce edition of Kandinsky's „Uber das Geistige in der Kunst“ published in Japan in 1924. -
Documenta 5 Working Checklist
HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha. -
Art of Tomorrow : Fifth Catalogue of the Solomon R. Guggenheim Collection
A K SOLOMON R. GUGGENHEIM COLLECTION OF y . \ Digitized by the Internet Archive in 2011 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/artoftomorrowfif1939gugg ' The theme center of the New York World's Fair owes its inspiration to this creation of Rudolf Bauer, "The Holy One," painted in 1936, exhibited and published in 1937 in the United States of America. ART OF TOMORROW RUDOLF BAUER FIFTH CATALOGUE OF THE SOLOMON R. GUGGENHEIM COLLECTION OF NON-OBJECTIVE PAINTINGS PART OF WHICH IS TEMPORARILY EXHIBITED AT 24 EAST 54 th STREET, NEW YORK CITY st 1 OPENING JUNE , 1939 SOLOMON R. GUGGENHEIM FOUNDATION NEW YORK RUDOLF BAUER, No. 103, No. 104, No. 105, No. 106, "TETRAPTYCHON" Symphony in four movements. THE POWER OF SPIRITUAL RHYTHM A great epoch in art is started by genius who has the power to improve former accom- plishments and the prophecy to state the new ideal. Genius is a special gift of God to the elite of a nation. Great art is always advanced to the understanding of masses. Yet masses indirectly are benefited through the fame for culture which the advance guard of elite brings to them in the increase of their importance as a nation. There are thousands of people interested towards creating the importance of their century. When addressed to them, art is certain of response. In the coming millennium masses will profit by the prophetic cultural achievements of these thousands as courageous, honest, far-seeing creators influence the style of the earth of tomorrow. A highly developed taste, the most refined cultural expression of art can be acquired by anyone who is able to feel beauty. -
Klee in Bern in Leichter Sprache
Zentrum Paul Klee Klee ohne Barrieren Klee in Bern in Leichter Sprache 2 Um was geht es? Die Stadt Bern hat eine wichtige Rolle im Leben von Paul Klee gespielt. Die Ausstellung „Klee in Bern“ zeigt das auf. Paul Klee ist in Bern aufgewachsen und zur Schule gegangen. Er hat als junger Künstler in München gelebt. Er hat aber immer wieder Ferien bei seinen Eltern in Bern verbracht. Er hat auch den Kontakt zu seinen Berner Freunden behalten und gepflegt. Kunstsammler in Bern haben von Paul Klee Werke gekauft. Die Ausstellung stellt diese Sammler vor. Paul Klee konnte in Bern auch seine Kunst ausstellen. Paul Klee hat ab 1934 bis zu seinem Tod 1940 wieder in Bern gewohnt. In der Ausstellung kann man sein Atelier besichtigen. Es wurde für die Ausstellung nachgebaut. 3 In der Ausstellung sieht man Werke und Fotos von Paul Klee aus allen Lebensabschnitten: 1) Berner Ansichten 2) Die Familie Klee 3) Eberhard W. Kornfeld: Berner Galerist und Sammler 4) Der Sohn Felix Klee 5) Klees Atelier am Kistlerweg 6) Späte Werke Eingang 4 1 Berner Ansichten Paul Klee kann schon als Kind gut zeichnen. Das hat Paul Klee mit 10 Jahren gemalt. Als Jugendlicher zeichnet er in seine Schulbücher. Er zeichnet auch sein Zimmer. 5 Er zeichnet Landschaften von Kalendern ab. Er zeichnet aber auch in der Natur. Er besucht gerne den Dählhölzli-Wald und die Elfenau. Paul Klee hat diese Landschaft mit 16 Jahren 1895 gemalt. 6 In der Stadt Bern zeichnet er das Münster den Zytglogge-Turm die Altstadt vom Rosengarten aus das Matte-Quartier Er malt auch im Steinbruch von Ostermundigen. -
Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition
Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition Abstract This paper argues that Cardinal Points of Art, directed by Achille Bonito Oliva has been decisive in the formation of the contemporary Venice Biennale. The 45th Venice Biennale, (1993) was memorable for many reasons: the first exhibi- tion of Chinese painters in Venice, its transnational approach, and because it was the last time the Aperto exhibition was shown. Nevertheless, this was a complex and much criticised Biennale whose specific characteristics are also connected to the process of reform that the institution had been undergoing since the 1970s. The analysis of the exhibition starts with the examination of this legacy and continues by questioning Bonito Oliva’s curatorial contribution in order to define the specific features which helped to shape the contemporary Venice Biennale. Keywords Venice Biennale, Aperto, 1993, Achille Bonito Oliva, Nomadism, Coexistence, Contemporaneity OBOE Published online: September 16, 2020 Journal On Biennials and Other Exhibitions To cite this article: Clarissa Ricci, “Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition”, OBOE Journal I, no. 1 (2020): ISSN 2724-086X 78-98. oboejournal.com To link to this article: https://doi.org/10.25432/2724-086X/1.1.0007 Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition¹ Clarissa Ricci Introduction The format of today’s Venice Biennale is the result of a long intellectual and polit- ical negotiation.