DOCSLIB.ORG

Rollenflexibilität Und Demokratisierung in Der Kunst. Der Konzeptkünstler, Mail Artist Und Networker H

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rollenflexibilität Und Demokratisierung in Der Kunst. Der Konzeptkünstler, Mail Artist Und Networker H A NHANG Hoefert, Ute Christiane, Rollenflexibilität und Demokratisierung in der Kunst. Der Konzeptkünstler, Mail Artist und Networker H. R. Fricker (Art & Photography 1, ed. by B. Gockel), Heidelberg: arthistoricum.net, 2021. DOI: https://doi.org/10.11588/arthistoricum.845, e-ISBN: 978-3-948466-87-9 Liste von Arbeiten und Ausstellungen 1973 bis 1986 Die Liste zeigt einen Auszug aus der Werk- und Ausstellungsliste erschienen im Anhang des Katalogs H. R. Fricker: Erobert die Wohnzimmer dieser Welt! 2012. 1973 Kreise erste Bilder Walter Pfeiffer Fotografien im Auslöser-Richtung-Verfahren 1974 Zürich–Säntis, Säntis–Zürich Fotoaktion im Auslöser-Richtung-Verfahren Auf dem Weg zu ... Fotoaktion im Auslöser-Richtung-Verfahren Vorbild für Abbild Inserat, 3. August 1974, in Die Ostschweiz Übermalungen Fotos und Postkarten übermalt Auslöser-Stein Stempelaktion 1975 Selbstporträt als Soldat beschriftetes Automatenbild verschickt als Feldpost TV-Plakat Konzept für eine Plakatserie (nicht realisiert) 1976 Topographie–Fotographie Land Art-Aktion, Trogen 1977 Nahlinse Fotoaktion, München Blickfeld-Protokolle Fotoaktion (mit Nikolaus Erb), Paris und Trogen Spiegelplakate Fotoaktion, St. Gallen Der Landschaft ihr Bild zeigen Polaroid-Serie 1978 action replay Einzelausstellung, 27. Juni bis zum 17. Juli 1978, Caféstübli Angelika Kauffmann, Chur, Graubünden Schwarzer Balken Fotoserie 7 Stationen Konzept 1979 7 Stationen Plakatinstallation, APG-Plakatstellen und Ausstellung zur Plakat installation, Galerie Wilma Lock, St. Gallen Ex Officio Beitrag zur Gruppenausstellung Kunst auf dem Wasser, 7. Juli bis zum 16. August 1979, Kunsthaus Zug Brief an Rudolf Hanhart Anfrage zur Beurteilung der Realisierbarkeit eines Projektes (ehemaliger Konservator mit Plakatstellen in St. Gallen, 19. März 1979 Kunstmuseum St. Gallen) Schrei mit Bildern Fotowettbewerb Lebensraumzeichen Kleinplakataktion, St. Gallen 1980 Ei Aktion (mit Artisten des Ensembles Rigolo), Kantone: SG, AI und AR Höhlentransfer Konzept für eine Installation in der Säntishöhle mit Fotos vom geschlossenen Kunstmuseum in St. Gallen (nicht realisiert) Liste von Arbeiten und Ausstellungen 1973 bis 1986 287 Mineur Performance, Gruppenprojekt (u. a. mit Josef Felix Müller, Urs Eberle und Toni Calzaferri), Salpeterhöhle, Gossau, St. Gallen Licht Bild Raum Neonröhreninstallation anlässlich der 7. Schweizer Plastikausstellung, Biel Phänomene die durch Glas Einzelausstellung (auf Einladung von Josef Felix Müller), gesehen werden sind immer verdächtig 14. Juli bis zum 31. Juli 1980, St. Galerie, St. Gallen Eidgenössisches Schwing- und Kleinplakataktion Älplerfest St. Gallen, 23.– 24. August 1980 Fiktive Kunsthalle St. Gallen Plakataktion, St. Gallen tatenlos / tadellos Kleinplakataktion, Zürich In die Nacht schauend an Polaroid Malewitsch denken GSMBA-Jahresausstellung Stadttheater, St. Gallen 1981 Die neue LP – Ida Schläpfer – Inserat, in Zytglogge Zytig, Bern I shot the Landammann Ida S. Ida S. Leserbrief in der Appenzeller Zeitung Büro für künstlerische Umtriebe Gründung auf dem Land 1981–2000, Gestaltung von etwa Aktiv in der Mail Art-Szene 120 Artistamp-Markenbögen, 70 Stempeln und über 1500 Briefumschlägen, Beteiligung an über 400 Mail Art-Projekten, Treffen mit Networkern sowie die Einberufung und Ausrichtung von Mail Art- und Networker-Kongressen FRI-Art 81 Gruppenausstellung, 20. August bis zum 15. Oktober 1981, Freiburg Ich werfe meinen Schatten in St. Gallen, Streik für die Kleinplakatszene in St. Gallen vom 27. Februar 1981 bis 26. Februar 1982, Bilder für Passanten Bilder für Singvögel Aktion, Flawil, St. Gallen (50 Greifvogelattrappen aus Sperrholz und Ballons) 1982 Ida Schläpfer Kleinplakate mit Bärin verteilt in den Kantonen Appenzell Inner- und Ausserrhoden Ort der List Ofen für Pawel Petasz, Lehmen Artistic activities in the Country-side erste Mail Art-Show 1983 Ida-Schläpfer-Brücke Schilder und Plakate Appenzeller Brückenmord Aktion für die Ida-Schläpfer-Brücke Träume auf dem Tuma Arsa Beitrag für die Gruppenausstellung Art sin Tumas auf Hügeln rund um Domat-Ems, Graubünden Szene St. Gallen erste juryfreie Ausstellung (organisiert mit Josef Felix Müller und Alex Hanimann), St. Gallen ICON SHOW zweite Mail Art-Show 288 Anhang 1984 I cast my shadow in New York Postkarten-Aktion für seine Reise nach New york NET-WORK-CITY/NEW-YORK-CITY Markenbogen, Mail Artisten gewidmet Offener Brief verfasst mit Mark Bloch, versandt am 23.02.1984 The Malicious Tours Tourism-Aktion, Einladung an etwa 80 Mail Artisten AFTER DADAISM FLUXISM Stempel MAILISM COMES TOURISM MAIL ART IS NOT FINE ART, IT’S THE Stempel ARTIST WHO IS FINE SCHOOL IS OVER NOW Stempel (SORRY RAY JOHNSON) PANAMA (Post-ANArchie-Mail-Art), Markenbogen Abc-Markenbogen Briefmarkenbogen mit abgedrucktem Alphabet Bedeutende Zeitgenossen Markenbogen, Prepaid-Aktion Ort der List Ofen für Harald Naegeli, Berlin, Deutschland 1985 Reise Reise nach San Francisco und Los Angeles, USA WHITE PERIOD Mail Art-Aktion MY SHADOW IS MY GRAFFITI Pin Kegel-Kugel Skulptur überreicht beim Mail Art-Treffen in Amsterdam, Niederlande MOMA–Museum of Mail Art Mail Art-Show kehr-druck/up-side-down Markenbogen für Südafrika Tourism Review Volume Number One Manifest, Auflage 100 1986 Tapeten- und Teppichmuster für per Post und Fax verschickt Wohnräume Networkingmaterial Einzelausstellung (auf Einladung von Bernd Löbach), 8. März bis zum 6. April 1986, Museum für moderne Kunst, Weddel, Deutschland Besuch aus Japan Shozo Shimamoto aus Japan besuchte H. R. Fricker in Trogen Damned To Be A Host Stempel als Gastgeschenke übergeben an Mark Pawson, Michael Leigh, Hazel Jones und David Jarvis, London, England FEED THE TOURISTS Tourism-Arbeit, Institut für angewandten Realismus, UNION-Gebäude, Basel First Decentralized World-Wide Mail Art initiiert mit Günther Ruch Congress Ort der List Bahnhofspark St. Gallen Liste von Arbeiten und Ausstellungen 1973 bis 1986 289 H. R. Frickers frühe Bibliothek Die Liste wurde von der Autorin erstellt. Der Künstler übergibt diesen Teil seiner Bibliothek als Leihgabe Art Safiental in Tenna GR, Schweiz, 2020. Hans Joachim Albrecht, Farbe als Sprache. Robert Delaunay, Josef Albers, Richard Paul Lohse (Köln: Verlag M. DuMont Schauberg 1974). Werner van Appeldorn, Die optische Revolution. Die Zukunft der visuellen Medien – Diagnose und Prognose (Reinbek bei Hamburg: Rowohlt Taschenbuch Verlag 1972). Giulio Carlo Argan, Gropius und das Bauhaus (Reinbek bei Hamburg: Rowohlt Taschenbuch Verlag 1962). Walter Aue (Hg.), Science & Fiction (Frankfurt a. M.: Joseph Melzer Verlag 1971). Dr. Ewald Bender, Das Leben Ferdinand Hodlers (Zürich: Rascher & Cie. Verlag 1921). Walter Benjamin, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit (Frankfurt a. M.: Suhrkamp Verlag 1973). Walter Benjamin, Der Begriff der Kunstkritik in der deutschen Romantik, hg. von Hermann Schweppenhäuser (Frankfurt a. M.: Suhrkamp Verlag 1973). Britta Benke, Georgia O’Keeffe 1887–1986. Blumen in der Wüste (Köln: Benedikt Taschen Verlag GmbH 1999). Augusto Boal, Theater der Unterdrückten, hg. und aus dem Brasilianischen übersetzt von Marina Spinu und Henry Thorau (Frankfurt a. M.: Suhrkamp Verlag 1979). Claus Borgeest, Das Kunsturteil, Wiederaufnahmen eines Verfahrens (Frankfurt a. M.: Fischer Taschenbuch Verlag 1979). Gerhard Bott (Hg.), Das Museum der Zukunft. 43 Beiträge zur Diskussion über die Zukunft des Museums (Köln: Verlag M. DuMont Schauberg 1970). Bertolt Brecht, Über Politik und Kunst, hg. von Werner Hecht (Frankfurt a. M.: Suhrkamp Verlag 1971). Bazon Brock, Ästhetik als Vermittlung. Arbeitsbiographie eines Generalisten, hg. von Karla Fohrbeck (Köln: DuMont Buchverlag 1977). Daniel Charles, John Cage oder die Musik ist los, übersetzt von Eberhard Kienle (Berlin: Merve Verlag 1979). Judy Chicago, Durch die Blume. Meine Kämpfe als Künstlerin (Reinbek bei Hamburg: Rowohlt Taschenbuch Verlag 1984). Jürgen Claus, Umweltkunst, Aufbruch in neue Wirklichkeiten (Zürich: Edition Interfrom 1982). Raymond Cogniat, Villon, Peintures (Paris: Fernand Hazan 1963). Gilles Deleuze und Félix Guattari, Rhizom (Berlin: Merve Verlag 1977). Ernst Diez, Islamische Kunst. Gesamtregister, Ullstein Kunstgeschichte, hg. von Hans-Günther Sperlich, Bd. XX (Frankfurt a. M; Berlin: Verlag Ullstein GmbH 1964). Martin Disler und Dieter Hall, Nachbar der Welt (Zürich: Nachbar der Welt Verlag 1980). Dietrich Evers und Ludwig Pauli, Felsbilder in den Alpen (Regensburg: Studio Druck 1981). Konrad Farner, Tod der Kunst? (Zürich: Hans-Rudolf Lutz 1971). Gisela Febel und Gerhart Schröder, La Piazza. Kunst und öffentlicher Raum. Geschichte – Realitäten – Visionen, Internationales Symposium Stuttgart, Mai 1988 (Stuttgart: Verlag Gerd Hatje 1992). Helmut Federle, New Suicide Grafic, Faces and other Pieces (Zürich: Nachbar der Welt Verlag 1981). 290 Anhang Lothar Fischer, Max Ernst in Selbstzeugnissen und Bilddokumenten (Reinbek bei Hamburg: Rowohlt Taschenbuch Verlag 1969). Vilém Flusser, Gesten. Versuch einer Phänomenologie (Bensheim; Düsseldorf: Bollmann Verlag 1993). Gisèle Freund, Photographie und Gesellschaft (München: Rogner & Bernhard 1976). Johannes Gachnang, Die neue historische Architektur des Johannes Gachnang, Das byzantini- sche Buch (Zürich: Verlag Hans-Rudolf Lutz 1970). William Gibson, Cyberspace, hg. von Wolfgang Jeschke, 6. Aufl. (München: Wilhelm Heyne Verlag 1992). William Gibson, Biochips. Der Bio-High-Tech-Markt ist wie der für Drogen heiß umkämpft – und tödlich, hg. von Wolfgang Jeschke, 5. Aufl. (München: Wilhelm Heyne Verlag 1992). William Gibson, Mona Lisa Overdrive,
Load more

Recommended publications
  • Collaborative “Mail Art” Puts the Post in Postmodernism Letters, Envelopes and Enclosures Take Center Stage in an Intimate New Art Show
    Collaborative “Mail Art” Puts the Post in Postmodernism Letters, envelopes and enclosures take center stage in an intimate new art show Envelope decoration was always a staple of the mail art experience. This colorful letter was sent from performance artist Anna Banana (Anna Lee Long) to collagist John Evans in 2010. (John Evans papers, Archives of American Art). By Ryan P. Smith JULY 30, 2018 In the era of instant messaging and FaceTime on the go, it can be easy to forget the pleasure of shuffling out to the mailbox in hope of discovering a thoughtful note from an old friend. Removing a letter from its envelope is a rich tactile experience, and marginalia, cross-outs, distinct penmanship and quirky enclosures combine to give epistolary exchanges a uniquely personal flavor. In the experimental artistic simmer of the late 1950s, the everyday creativity of letter-writing gave rise to a veritable movement: that of “mail art,” an antiestablishment, anything-goes mode of serial imaginative expression whose inclusive nature has kept it alive even into the Digital Age. Now a new show, “Pushing the Envelope,” organized by the Smithsonian's Achives of 2018 American Art and opening August 10 at the Lawrence A. Fleischman Gallery in Washington, D.C., promises to shine a spotlight on the medium. The enigmatic Neo-Dada collagist Ray Johnson, a Detroit native who struggled with fame even as he appropriated images of movie stars for his art, pioneered in the field of mail art, weaving together an immense spider web of collaborators that would survive him following his sudden suicide in 1995.
    [Show full text]
  • Danish Artists in the International Mail Art Network Charlotte Greve
    Danish Artists in the International Mail Art Network Charlotte Greve According to one definition of mail art, it is with the simple means of one or more elements of the postal language that artists communicate an idea in a concise form to other members of the mail art network.1 The network constitutes an alternative gallery space outside the official art institution; it claims to be an anti-bureaucratic, anti-hierarchic, anti-historicist, trans-national, global counter-culture. Accordingly, transcendence of boundaries and a destructive relationship to stable forms and structures are important elements of its Fluxus-inspired idealistic self-understanding.2 The mail art artist and art historian Géza Perneczky describes the network as “an imaginary community which has created a second publicity through its international membership and ever expanding dimensions”.3 It is a utopian artistic community with a striving towards decentralized expansion built on sharing, giving and exchanging art through the postal system. A culture of circulation is built up around a notion of what I will call sendable art. According to this notion, distance, delay and anticipation add signification to the work of art. Since the artists rarely meet in flesh and blood and the only means of communication is through posted mail, distance and a temporal gap between sending and receiving are important constitutive conditions for the network communication. In addition, very simple elements of the mail art language gain the status of signs of subjectivity, which, in turn, become constitutive marks of belonging. These are the features which will be the focus of this investigation of the participation of the Danish artists Mogens Otto Nielsen, Niels Lomholt and Carsten Schmidt-Olsen in the network during the period from 1974–1985.
    [Show full text]
  • Ray Johnson Drawings and Silhouettes, 1976-1990. RJE.FA02L.2012 RJE.01.2012 Finding Aid Prepared by Finding Aid Prepared by Julia Lipkins
    Ray Johnson drawings and silhouettes, 1976-1990. RJE.FA02L.2012 RJE.01.2012 Finding aid prepared by Finding aid prepared by Julia Lipkins This finding aid was produced using the Archivists' Toolkit August 18, 2015 Describing Archives: A Content Standard Ray Johnson Estate January 2013 34 East 69th Street New York, NY, 10021 (212) 628-0700 [email protected] Ray Johnson drawings and silhouettes, 1976-1990. RJE.FA02L.2012 Table of Contents Summary Information ................................................................................................................................. 3 Biographical Note.......................................................................................................................................... 4 Scope and Contents Note.............................................................................................................................. 4 Administrative Information .........................................................................................................................5 Related Materials ........................................................................................................................................ 6 Controlled Access Headings..........................................................................................................................6 Bibliography...................................................................................................................................................7 Collection Inventory.....................................................................................................................................
    [Show full text]
  • Ray Johnson and the Mail Art Scene in Eastern Europe*
    Kunsttexte.de/ostblick 3/2014 - 1 Kornelia Röder Ray Johnson and the Mail Art Scene in Eastern Europe* Introduction The 1983 video Zone1, by the artist Jakobine Engel, The aim was to be quicker and smarter. Birger Jesch was recorded secretly in the underground station for example used envelopes normally carrying letters between East and West Berlin before the wall broke of condolence. Paweł Petasz sewed his letters in order down. ‘Zone’ was an insulting term for the Eastern to prevent them from being secretly opened by steam. Part of Germany, and this metaphorical expression Endré Tot and many others mailed their letters from gives an idea of the real situation with its lack of com- different cities and/or several times in the hope that munication and understanding during the time of one would arrive. the Cold War. Likewise, the dark tunnel with the light- ning spots could be read as a metaphor for the import- ance of creating an independent network of commu- nication and exchange between the two parts of the world and their different political systems. The artist Guillermo Deisler, who emigrated from Chile to East Germany in 1986, described the import- ance of the network of mail art, he called it a window to the world. The performance TRANS IDEEA by the artists Doru Tulcan and Iosif Kiraly from Timişoara (fig. 1) visualised the feeling of many people in the countries of Eastern Europe. These Romanian artists put themselves in a large envelope with stamps, postmark and recipient’s address. To understand the Fig. 1 Doru Tulcan and Iosif Kiraly, Timişoara,TRANS importance of the network it is necessary to IDEEA, Performance, October 1982.
    [Show full text]
  • Bern Porter Mail Art Collection, 1953-1992 (Bulk 1978-1992)
    http://oac.cdlib.org/findaid/ark:/13030/tf267n98nz No online items Finding aid for the Bern Porter mail art collection, 1953-1992 (bulk 1978-1992) Finding aid prepared by Lynda Bunting. Finding aid for the Bern Porter 900270 1 mail art collection, 1953-1992 (bulk 1978-1992) ... Descriptive Summary Title: Bern Porter mail art collection Date (inclusive): 1953-1992 (bulk 1978-1992) Number: 900270 Creator/Collector: Porter, Bern, 1911-2004 Physical Description: 19.25 linear feet(39 boxes, 1 flat file folder) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: American physicist, poet, publisher, editor of artists' books, illustrator and mail artist. Collection consists of five collections of mail art preserved by Porter from his own accumulation and those of fellow mail artists John Pyros, Carlo Pittore (née Charles Stanley), Robert Saunders, and Jay Yager. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Bern Porter was born Bernard Harden Porter on February 14, 1911 in Porter Settlement, Maine. Schooled in physics, Porter contributed to the Manhattan Project until 1945 when he quit shortly after he published Henry Miller's Murder the Murderer, an anti-war tract. Disillusioned by the misapplication of scientific potential, Porter began to express himself through a fusion of science and art. In 1959, he established the Institute for Advanced Thinking to encourage freelance physicists to develop ideas that combine physics and the humanities.
    [Show full text]
  • Oral History Interview with Alison Knowles
    Oral history interview with Alison Knowles This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Alison Knowles AAA.knowle10 Collection Overview Repository:
    [Show full text]
  • Mail ART Exhlbltlons O COMPETITIONS
    MAiL ART EXHlBltlONS O COMPETITIONS NEWS Kay Thomas, artist-in-residence, at Ross Elementary school designing the stamps for the united ~ations,Hundert- in Odessa, Texas has reported to Umbrella that there is a wasser said he tried to capture the spirit of the decla- children's Learning Disabled Class at the Elementary School ration, which was in 1948. where she works, and they have had their first exposure to Hundertwasser's vivid designs describe a series Mail Art, and they love it. Their teacher, Mrs. Hanes, is rights and freedoms that he believes are essential for quite enthusiastic and plans to give the kids one period a man's salvation. "A postage stamp is an important week to make Mail Art. So, Mail Art Network, send mail matter. Though it is very small and tiny in size, it art to Mrs. Hanes' Class, Ross Elementary School, P.O. Box bears a decisive message. stamps are the 3912, Odessa, TX 79761, and know that you are connec- measure to the cultural standing of a country.The ting children who really need encouragement-and you tiny square connects the hearts of the sender and won't believe how refreshing their mail art is! the receiver, reducing the distances. It is a bridge between people and countries. The postage stamp Guy Bleus is organizing the European Cavellini Festival passes all frontiers. It reaches men in. prisons, asy- for 1984 in Brussels. 1) Cavellini will be appointed or nomi- lums and hospitals." =hey can be purchased and nated the First President of the United States of Europe; used only in New York, Geneva and Vienna.
    [Show full text]
  • In the Mid-1950S Artist Ray Johnson
    In the mid-1950s artist Ray Johnson (1927-95) began to send collages, messages, and found and altered objects to a growing base of artists and friends, asking that they continue to expand this networked correspondence through the mail sys- tem, initiating what in the 1960s would be named the New York Correspondance School [sic]. Perhaps Johnson intended the name as a pun on the New York School, another name for the Abstract Expressionist movement based in New York, which had dominated the avant-garde since the late 1940s. Intentionally disconnected from traditional systems of art production and consumption, Johnson and other mail artists set their work within the present tense of social reality. "Mail Art," Johnson claimed, "has no history, only a present."1 Ray Johnson's work-collages, correspondence art, and performance events- remains mysterious and a bit hard to pin down. As a young artist, he studied at Black Mountain College, the progressive arts school in North Carolina founded in 1933. Johnson's early paintings nod to the Bauhaus heritage of his teacher Josef Albers. But soon after he settled in New York City in 1949, Johnson abandoned geometric abstraction and started making small collages. He moved in a new direction, toward chance-based expressions and explorations, more in line with John Cage and Merce Cunningham, whom he first encountered at Black Mountain, and their circle of friends in New York, including Robert Rauschenberg, Jasper Johns, and Cy Twombly. Johnson's collage approach was diaristic, a stream-of-consciousness flow through the matter and memory of his everyday life and surroundings, shifting from one topic to another, across all variety of things.
    [Show full text]
  • “What I Did on My Vacation Or Interior Scroll”
    Soft Network at Stanley and Sons The Art Building, Springs June 28, 2021 - July 31, 2021 “Interior Scroll or What I Did on My Vacation ” Taking its title from both the extraordinary Carolee Schneemann performance that was first staged in a gallery in East Hampton on August 29, 1975 as part of Joan Semmel and Joyce Kozloff’s feminist exhibition entitled Women Here and Now and a series of happenings organized by Allan Kaprow in 1967 throughout the Hamptons for CBS’s historic news program Eye on New York, Soft Network’s summer project gathers artwork, ephemera, performance and a moving-image program from a group of intergenerational artists in a sprawling, visual poem on mediation and re-mediation. Organized as a searching scroll of performance-related material, this project considers the fractured boundary between private and public as an endless performance of self, sometimes for no one and sometimes for many. Artists depicting other artists, their own personages, or correspondence reflective of one’s community and performance residuals convey the crucial role of both conversation and the record left after. Presenting this project at the Stanley & Sons store in the historic Art Building in the Springs, a space that once housed a darkroom and photo residency, is important to the organizers as it tempers the mythologized narrative of this specific East End location as mainly a center of mid 20th century painting and favors its rich collaborative history instead. The show is specifically situated during the summer months in a location associated as much with recreation as with art-making to propose an expansive view of performance for the camera or the page and looks at the complicated, yet integral role archival actions take in preserving fleeting, corporeal based work as well as artist networks.
    [Show full text]
  • NAM JUNE PAIK: the Late Style
    G A G O S I A N G A L L E R Y 31 August 2015 PRESS RELEASE GAGOSIAN GALLERY 7/F PEDDER BUILDING 12 PEDDER STREET T. +852.2151.0555 CENTRAL HONG KONG E. [email protected] HOURS: Tue–Sat 11:00am–7:00pm NAM JUNE PAIK: The Late Style Thursday, 17 September–Saturday, 7 November 2015 Opening reception: Thursday, 17th September, from 6:00 to 8:00pm I am a communication artist. —Nam June Paik Gagosian Hong Kong is pleased to present the first exhibition of Nam June Paik's work in Hong Kong, following the announcement of the gallery's worldwide representation of his estate. Born in Korea and living and working internationally, Paik brought television into the realm of art for the first time and treated it as a tactile and multisensory medium. Trained as a classical pianist, his early interests in composition and performance combined with his radical aesthetic tendencies brought him into contact with protagonists of the counter-culture and avant-garde movements of the 1960s, including Fluxus. Such engagement profoundly shaped his outlook at a time when electronic images were becoming increasingly present in everyday life. He embraced new technologies as material parts of his repertoire, which later included satellite transmissions, robots, and lasers. In 1974 Paik coined the term “electronic superhighway” to describe the exponential growth of new forms of communication. His installations, performances, and writings contributed to the creation of a media-based culture that expanded the very definition and aesthetic possibilities of making art. Video sculptures, paintings, and drawings produced during the last decade of Paik's life, many of which have never been exhibited, will be presented together with key works from the 1960s through the 1980s.
    [Show full text]
  • Crackerjack Kid * P.O.Box 978 * Hanover * NH 903755 USA
    EDITORIAL Toda la información recogida en estas páginas ha sido extraida via Internet del Electronic Museum of Mail Art, ver en estas mismas páginas las formas de acceso, como la información es totalmente gratuita, en el caso de hayas comprado este P.O.BOX solo estás pagando el precio de coste de las copias. Para dirigirse via postal al EMMA, escribir a: Crackerjack Kid * P.O.Box 978 * Hanover * NH 903755 USA Merz Mail Welcome to Electronic Museum of Mail Art (EMMA) Welcome visitors to EMMA, The Electronic Museum of Mail Art. Your guide and director at EMMA is Chuck Welch a.k.a. Crackerjack Kid. EMMA is mail art's first electronic maiibox museurn wliere the address is ttie art, the web is your key, and admission is free. Tlie nonprofit credo at EMMA is: You don't make a iiving out of mail art, you make an art out of iiving. Objectives at EMMA are: 1) introduce the electronic and (snail) mail art cornrnunities to one another; 2) develop the concept of ernailart; 3) Encourage emaiiart interactivity through visitations into EMMA's rooms, gaileries, and iibrary; 4) promote irnage exchange. EMMA's objectives reflect ongoing efforts to netlink online and offline mail art communities through the Netwarker Telenetlink 1995. i EMMA encourages you to browse through its interactive gaiieries and rooms. Lost? Begin at the Information Center and browse through EMMA's Directory. Here you'll tind the Emailart Directorv which iists current addresses of oniine emaiiartists. Now take time to meet your guide Cracker-iack Kid. The kid will lead you to the EMMA Libraq where you can read emailart zines such as the current issue of whnker Online, or browse through the contents of Eiernal Network: A Mnil Arr Antholopv.
    [Show full text]
  • MAIL ART H/STORY^Thefluxljs by Ken Friedman
    Oisteanu, Valery: Illegal Mail Art (a poetical essay), in: Mail Art Then and Now, The Flue, Vol. 4, No. 3-4 (special issue), 1984 Winter, pp. 11-12. MAIL ART H/STORY^THEFLUXlJS Downloaded from http://artpool.hu/MailArt/chrono/1984/FluxusFactor.html snared works of Arman and Spoerri, the by Ken Friedman decollages of Hains and Dufrene and the world-embracing, massively realized projects of Christo. The issues and ideas that motivated La Bertesca FLUX the Nouveaux Realistes also emerged in via del Carmine the Pop Art of the late '50's and early 20121 M ilano POST telefono 87.4J.13 | '60's in Britain and the United States, CARD PARTIAL PROGRAM : G. Brecht (Ladder, Chair, A Play. Lamp) Robert t ser (Pat’ s Birthday) Earle Joseph Byrd (Birds) John Cage (h'33” ) Barney Childs (Fourth String Quartet) P h ilip Corner Lucia Olugot iwski Robert FI 11 too (111 I' trade Mo. I - a 53 kg. poem) Malcolm though Pop Art tended to be an art Goldstein Rad Grcxmu/Rudolph Burckhardt {Shoot the Moor) Al Hanse Dick Higgins (Oanger Musi s tla ls . Two fo r Hemi Bay) Spencer lay) J ill Johnston Brooklyn Joe Jones J Holst (Stories) Terry Jennings (Piece fo r String Quartet) Ray \n which took the real into its scope (Mechanical Music) Alison Knowles (Proposition, Nlvea Cream Piece for Oscei ! Child Art) Arthur Kdpcke (music while you work) Tekenhlsa Kosugl (Micro I, An lea 1) P hilip Kruam (Construction fo r Perfoi y Kuehn Peter Longezo (A Method fo r Reversing the Direction of Rotation of the Planets) George Meciunas (Place for ___ ___ , ___ ,0r Everyman, Plano Compositions) Jackson Mac Low emblematically rather than by direct (John Bull Pack; Night Walk; Adams County, Illin o is ; Poert-au-l ice; Sth Light Poem; Solo Readings) Robert Morris (Stories, Construction) Robin Page (Soto fo r Guitar) Ben Patterson (Pond, Paper Pl< Gloves, from Methods t Processes; Three movements fo r seeing - Can you incorporation or manipulation.
    [Show full text]