Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V. U . Jan Mot januari – maart – mei – Antoine Dansaertstraat 190 augustus – oktober 1000 Brussel No. 92, mei 2014 Erkenningsnummer P309573 150 – 152 Jaargang 18 No. 92

The work was about “defin- Ing as experiencing.” Wha- Le work was about “defin- ing as experiencing.” Wha- The work was about “defin- ing as experiencing.” Wha- The work was about “defin- ing as experiencing.” Wha The work was about “defin-

• David Lamelas will present his new ‘reading film’ entitled Mon Amour (2014) in the inaugural exhibition of the gallery’s new space. Opening June 11. 2 Newspaper Jan Mot Art Basel 150 – 151

Placed in Two Unconventional Forms, a work which was originally conceived for Gallery artists participating the exhibition Materiales, nuevas técnicas, nuevas expresiones at the Museo Nacional de Bellas Artes in Buenos Aires in 1968. in Art Basel programs This work, now considered a seminal example of Lamelas’s site-specific sculp- tural interventions, was installed in a pas- sageway connecting the neo-classical main building of the museum with the steel con- struction of its new extension. Square metal panels echoing the dimensions of the archi- tectural elements of the walkway were placed on the floor, loosely and randomly at first and eventually in an orderly geometric arrangement. The remaining panels were laid out on a table made of material left over from cutting the 28 plaques. For his degree show at St. Martin’s School of Arts in Lon- don in 1969, Lamelas restaged the work – but to please his tutor Anthony Caro, for whom an often-unifying coat of color con- stituted an important element of his sculp- tural practice, he painted the steel plates the color of rust. Many years later, in 2013, at the David Roberts Art Foundation in London it was reconstructed in its original form, which is now presented at Unlimited in collaboration with Michele Maccarone, New York and Sprüth-Magers, Berlin- London.

Two other artists of the gallery participate in 14 Rooms, an exhibition in Hall 3 of Messe Basel and co-curated by Klaus Bie- • David Lamelas, 28 Plaques Placed in Two Unconventional Forms, 1966-2013 (Exhibition view, senbach and Hans Ulrich Obrist: Domi- Museo Nacional de Bellas Artes, Buenos Aires, 1968) nique Gonzalez-Foerster will present a new and yet undisclosed work and Tino Sehgal BRUSSELS, 14 MAY – Pierre Bismuth, actors will carry out performances that will restage his work This is competition Manon de Boer, Mario Garcia Torres, should be, as far as possible, indistinguish- which the artist created 10 years ago for our Dominique Gonzalez-Foerster, David able from the ordinary activity of passers- participation in Statements at Art Basel. Lamelas and Tino Sehgal participate in dif- by. With minimal means, this series aims to The work can be described as a scripted ferent events at Art Basel this year. lead the viewers to scrutinize each element situation for two competing gallerists who of the reality around them as something try to sell his work to visitors of an art fair. On Wednesday the 18th of June at 10 pm, a potentially fictional. Bismuth’s contribution In 2003 Sehgal won for this work the special screening program at Stadtkino is a proposal of Bugada & Cargnel (Paris). Bâloise Art Prize. In this year’s version our Basel is dedicated to the work of Manon de Mario Garcia Torres will present for the gallery will compete with Jörg Johnen Boer and will include the première of first time in Europe his most recent film The (Berlin) and (New York, Sequenza, co-authored with composer Schlieren Plot, a lyrical essay which re- Paris). George van Dam. De Boer will discuss her imagines the works that artist Robert work in a conversation with Marc Gloede, Smithson planned, but left undone in the Finally at our booth in Art Galleries (Hall curator of the fair’s film program. state of Texas between 1967 and 1973. 2.1, booth H10) we will present recent and Through a montage of moving images, older works by Pierre Bismuth, Rineke Earlier that same evening, Art Parcours will sound, music and a voice over, the film Dijkstra, Mario Garcia Torres, Joachim open. Art Parcours is the section which claims that the Texas’ climate, history and Koester, David Lamelas, Philippe Thomas engages Basel’s historical quarters with site subjectivities actually realize the works and and Ian Wilson. specific works and projects and is curated makes them exist, possibly as testimonies by Florence Derieux. Participants in this of a deliberate forward thinking by Smith- section are Pierre Bismuth and Mario Gar- son. Garcia Torres’ participation in Art Par- y mind that Mario Garcia Torres will pres- cia Torres. For Art Parcours 2014, Bismuth cours is a shared project with Proyectos ent for the first time in Europe his most will specifically realise for several public Monclova (Mexico City). recent film The Schlieren Plot, a lyrical spaces in Basel a new set of in-situ perfor- essay which re-imagines the works that art- mances, based on an ongoing series initiat- In Art Unlimited, another section of the fair, ist Robert Smithson ed in 1999. For the duration of the art fair, David Lamelas will present 28 Plaques Eric Hoffer said: “In a time of drastic 3 Newspaper Jan Mot Tris Vonna-Michell 150 – 151

(advertisement) is own thoughts. The function of art and the cription of a performance of Barry’s which artist is to make us aware, to cause us to I attended recently (1978). It was held at expand our comprehension of life. “Are you MOCA, the Museum of Conceptual Art, in trying to convey some kind of information San Francisco. There is a large gallery area to people?” Robin White asked Barry. upstairs and an old and comfortable bar downstairs. Announcements had been sent “Yes,” he replied. “But I’m not trying to out, and the bar was crowded. Barry was teach them anything”. When I read that present, sitting in the bar drinking and talk- 150 reply, something came into my mind that ing with people. Two other artists of the gal- Eric Hoffer said: “In a time of drastic lery participate in 14 Rooms, an exhibition Exhibition Opening change, it is the learners who will inherit in Hall 3 of Messe Basel and co-curated by 12/6 – 19/7 11/6 6 – 9 pm the earth. The learned will find themselves Klaus Biesenbach and Hans Ulrich Obrist: well-equipped for the world of the past.” We Dominique Gonzalez-Foerster will present can learn from Barry’s work without his a new and yet undisclosed work and Tino teaching us so long as we don’t think of our- Sehgal will restage his work This is compe- selves as learned, so loe learners who will tition which the artist created 10 years ago David Lamelas inherit the earth. The learned will find for our participation in Statements at Art themselves well-equipped fo Two other art- Basel. The work can be described as a ists of the gallery participate in 14 Rooms, scripted situation for two competing galler- an exhibition in Hall 3 of Messe Basel and ists who try to sell his work to visitors of an Mon Amour co-curated by Klaus Biesenbach and Hans art fair. In 2003 Sehgal won for this work Ulrich Obrist: Dominique Gonzalez-Foer- the Bâloise Art Prize. In this year’s version Reading Films ster will present a new and yet undisclosed our gallery will compete with Jörg Johnen work and Tino Sehgal will restage his work (Berlin) and Marian Goodman (New York, This is competition which the artist created Paris).

Jan Mot Rue de la Régence / Regentschapsstraat 67 1000 Brussels, Belgium

Addendum

In the previous issue of our gallery’s newspa- per the last part of the text by Kathan Brown (page 3) was not reproduced due to our fail- ure. We apologise for this to the author. Please find below the complete last para- graph and the bibliographic reference.

It has been seven years since I first encoun- tered Barry’s work in Rome. It seems so simple, now, so elegant and so compelling that I can hardly believe that I thought then that I couldn’t understand it. It has been more than a decade that Barry has been • Tris Vonna-Michell, Postscript II (Berlin), 2013, installation view at the gallery, 2013. working with language, and his works has affected artists greatly. The time cannot be LONDON, 7 May – Tris Vonna-Michell is ephemera, Vonna-Michell’s works are char- very distant when it will be known and nominated for the Turner Prize 2014 for his acterised by fragments of information, cared for by a much wider audience. solo exhibition Postscript II (Berlin) in our detours and repetitions designed to confuse gallery which opened in November last and enlighten in equal measure.” Together Excerpt from Kathan Brown, John Cage, Tom year. Tate Britain wrote in their press with the other shortlisted artists, Duncan Marioni, Robert Barry and Joan Jonas. Their release that “through fast paced spoken Campbell, Ciara Phillips and James Rich- Art In the Context of the ‘70’s, in: Music. word live performances and recordings, ards, Vonna-Michell will present a new Sound. Language. Theater. John Cage. Tom Vonna-Michell creates circuitous, multilay- work in an exhibition at Tate Britain open- Marioni. Robert Barry. Joan Jonas, Crown ered narratives. Accompanied by installa- ing on the 30th of September. The winner Point Press, Point Publications, Oakland, CA tions providing a visual script in the form of will be announced at an awards ceremony 1980 . With thanks to Kathan Brown. slide projections, photocopies and other on the 1st of December. 4 Newspaper Jan Mot Philippe Thomas 150 – 151

AB: A first glance

BRUSSELS, 12 MAY – Shortly after the ing (no longer between letters but between including its “accidents” (interacting with retrospective exhibition of Philippe Thomas the strips of surgical tape), opening a new the viewer). Henceforth, AB is indifferent at the MAMCO in Geneva, another show and fundamental dimension for the works to its allotted place and to the nature of the with works by the French artist (1951-1995) that follow, a dimension which reunites the space around it, for what matters is its sole opened at mfc-michèle didier in Paris object with the space it is presented in. presence. This new direction is confirmed (26/4-31/5). The latter one focused on AB, a These two types of work thus question by the other exhibitions that follow, espe- very early and multifaceted body of work (among other things) their connection to cially at Onze rue Clavel, where AB and included a reconstruction of the first the surface in which they are inscribed and appears also on paper. presentation from 1978 during the Mixage tend to break away from such a link. Evolv- International in Caen (FR). AB is made up ing amidst many artists’ groups from 1977 AB defines itself as a display composed of of the letters A and B materialised in black to 1980, Philippe Thomas decides, in heterogenous elements, multiplying both vinyl letraset identical to the letters March 1985, to go his own way and leaves the surfaces from which it tends to overflow inscribed on the invitation which was also the IFP group he had founded with Domi- and its various appearances: letraset, paint- part of the exhibition. Other elements in the nique Pasqualini and Jean François Brun. ing, photography, typewritten texts, etc. In show were the typescript AB, consisting of He then elaborates his body of work, in line allowing the play of interaction between the 41 sheets of A4 sized paper and a selection with his early researches and examining letters to show, it also incorporates various of unreleased documents mostly from the issues which are fundamental to twentieth- spatiotemporal data. Such elements serve Fonds Philippe Thomas conserved at the century art, to be crystallised as he creates the purpose of questioning the space sur- Kandinsky Library (Pompidou Centre, the agency readymades belong to every- rounding a piece of art, a place for and by Paris). The exhibition, entitled Philippe one® in 1987, in New York. which the artwork is created. In the same Thomas: AB (1978 – 1980), was curated by way AB is not simply an installation on the Émeline Jaret. Jaret, a PhD student who is Some of these themes already underly the wall but interacts with the surrounding writing a monographic thesis on Thomas, AB display. Placed on the threshold space, each component of AB and the ties has worked as an assistant to Claire Burrus between being seen and being read, it is a between them have to be taken into consid- for the inheritance proceedings of the artist display that stems from the early works by eration as a whole. Then, Philippe Thomas’ and undertook the necessary steps for the Philippe Thomas, a multifaceted and creative context emerges in these question- Fonds Philippe Thomas to enter the Kan- evolving artwork which claims as many ings and AB is a witness to the artist’s dinsky Library. She has written for an issue different appearances as the number of sur- maturing habit of identifying himself with of the magazine Retour d’y voir dedicated faces on which it is inscribed. Six exhibi- “models” in order to find his place in a cer- to the artist in 2012. The text below is an tions between December 1978 and June tain art scene. Philippe Thomas is as influ- excerpt of her article to be published in 1980 give consistency to the project: Mix- enced, at that time, by sources such as the Marges, nr 20, Saint-Denis, Presses univer- age International 1 (Caen) in December writings of Derrida, Heidegger, Blanchot, sitaires de Vincennes, Spring 2015. 1978, at Ghislain Mollet-Viéville’s (Paris) Russell or Goodman, as by the works of fel- in March 1979 and in June 1980, at the low artists (the likes of Niele Toroni, Peter By bookshop-gallery Artalect (Paris) in May Downsborough, Claude Rutault, as well as Émeline Jaret 1979, at Onze rue Clavel 2 (Paris) in Daniel Buren and Joseph Kosuth) and dis- December 1979 and at 12, rue Waffelaerts cussions he has with them. The years from 1977 to 1980 were of the (Bruxelles) in January and February 1980. experimental kind for Philippe Thomas Each one of them adds a new element to AB is a pivotal work through which Philippe who, coming from a literary background, help AB evolve. During the first exhibition, Thomas breaks free of his previous work, experiments with various artistic practices, AB is presented as a set of letrasets (letters and through which he casts a new light all edging towards the same issue. In the in adhesive vinyl) and corresponds to a upon the transitional value that the ques- first years of his career, his work can be geometrical convention which, on drop- tions he deals with have in the development roughly divided into two groups. Working ping the strips of surgical tape linking the of his body of work. The Texte Théorique with paper and typewriting, Philippe Thom- letters A and B, takes on a linguistic (1980-1981) which comes before the as focused on the material aspect of signs dimension. The display is deconstructed as manuscrit trouvé (1981), was originally an from which he experiments with the rela- layers of paint illustrate the interactions attempt to write a introductory text for AB. tionship between the surface (of the page) between different appearances of AB dur- AB finds thus its lineage in the manuscrit and its inherent constraints. The works also ing the second exhibition which takes trouvé, typescript of seven pages, which take part in redefining the act of reading, place outdoors three months later. From as establish, through their content and manner since the absence of punctuation and syn- soon as the third AB exhibition on, the let- of presentation, the theoretical foundation tactical chaos helps generate new meaning ter B is given the possibility to move of the artist’s project. For this, AB is the through differently combined letters. These around, breaking from the former geomet- missing link for understanding the chrono- early works include the use of objects some- rical convention of a straight line between logical coherence of Philippe Thomas’ where in between sculpture and painting, A and B. AB is no longer limited to a spe- work. made using large strips of surgical tape. cific spot but is seen all over the place, These pieces also tackle the notion of spac- embracing the entire exhibition space Émeline Jaret 3 5 Newspaper Jan Mot AB 150 – 151

and Audio, Lamelas’ contribution to the of 1968. Other works acquired by MoMA are A Study of the Rela- tionships between Inner and Outer Space BRUSSELS, MAY 12 - Shortly after the retrospective exhibition of Philippe Thomas at the MAMCO in Geneva, another show with works by the French artist (1951-1995) opened at mfc-michèle didier in Paris (26/4-31/5). The latter one focused on AB, a very early and multifaceted body of work and included a reconstruction of the first presentation from 1978 during the Mixage International in Caen (FR). AB is made up of the letters A and B materialised in black vinyl letraset identical to the letters inscribed on the invitation which was also part of the exhibition. Other elements in the show were the typescript AB, consisting of 41 sheets of A4 sized paper and a selection of unreleased documents mostly from the Fonds Philippe Thomas conserved at the Kandinsky Library (Pompidou Centre, Par- is). The exhibition, entitled Philippe Thom- as: AB (1978-1980), was curated by Éme- line Jaret. Jaret, a PhD student who is writ- ing a monographic thesis on Thomas, has worked as an assistant to Claire Burrus for the inheritance proceedings of the artist and undertook the necessary steps for the Fonds Philippe Thomas to enter the Kandinsky

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Art fair 18 – 22/6

• Philippe Thomas, Exhibition AB at Mixage International, Caen (FR), 1978. Courtesy claire burrus Jan Mot Notes 1. Mixage International is a centre for alter- and Audio, Lamelas’ contribution to the native art founded and run by Joël Hubaut Venice Biennale of 1968. Other works in Caen, between 1978 and 1985. acquired by MoMA are A Study of the Rela- at 2. Claude Rutault, who lives at the time at tionships between Inner and Outer Space 11 rue Clavel (Paris, 19th arrondissement), BRUSSELS, MAY 12 - Shortly after the Art Basel provides a studio that the artists in his retrospective exhibition of Philippe Thomas entourage can use for various exhibitions at the MAMCO in Geneva, another show and events. with works by the French artist (1951-1995) 3. Excerpt from an article to be published: opened at mfc-michèle didier in Paris Émeline Jaret, “Les dispositifs à l’œuvre (26/4-31/5). The latter one focused on AB, a Hall 2.1, Booth H10 chez Philippe Thomas = l’exemple de AB very early and multifaceted body of work Messe Basel, Messeplatz (1978-1980)”, in Marges, n°20, Presses and included a reconstruction of the first 4058 Basel, Switzerland universitaires de Vincennes (Vincennes presentation from 1978 during the Mixage University Press), Spring 2015 International in Caen (FR). AB is made up 6 Newspaper Jan Mot Letter 150 – 151

So what happens with boredom and anger and grief and anxiety? Aesthetic discourses Letter to the editor have encouraged us to move away from all that is not beauty and sublime, all that is not elevating us and separating us from the By everyday life. What do we do with those Susana Vargas Cervantes Another aesthetic example of this entangle- “bad” emotions and affects that we are not ment of emotions, body and senses would supposed to feel, but are present constantly 11 May, 2014 – Mexico City explain something as simple as how I am like anxiety and fear in all that we don’t touched by your presence. Yes, in other know and can’t control and have no time to Dear Jan, times I could use that term to talk about do? Not aesthetics. something other than a fine piece of art- Today is again one of those days in which I work. So, how did all these sensual inter- Kant’s aesthetic judgment is based in objec- miss you. It’s Sunday, and if you were here connections end up concentrated in only tivity; a disinterested spectator who doesn’t I would have taken my bike, ridden all the one little tiny area of our lives? How do we care about an object. The spectator can way to Baja California, turned onto Alfonso now use the term aesthetics only to describe make a universal judgment about a piece of Reyes, and come straight to your home. I beauty and the sublime? artwork. And it is always nature and our would have left my bike inside your house, experience of nature that set the scenario and then we would have walked to your Ben Highmore says it is because of two for the sublime and beautiful. favorite place to have Sunday brunch. things that have been part of the aesthetic discourse since the beginning. The first one Contrary to this classic idea, Chris Gutiér- After a coffee, I would have asked you this: is the qualifying of experiences; choosing rez suggests that it is precisely anxiety that do you know that the term “aesthetics” beauty over boredom. Everyone would is at the core of aesthetic judgment. Anxiety emerged during the mid-eighteenth century agree on this, of course, because we are has the function to push you to make a deci- as a field of sensate perception and not as a constructed to think beauty is morally bet- sion about an art piece, it moves you into a specialized narrative to only describe the ter. Meanwhile, only boring people get “straight-line to judgment (rather then get fine arts? Alexander Baumgarten coined bored. The second is how difficult it is to mired in uncertainty and overwhelmed by the term aesthetics to describe the ‘whole of write about experiential life except through the possibilities)”. This is to say, for exam- our sensate life together’. That’s examples (as I just demonstrated above). ple, that my anxious movement pushes me everything. to understand aesthetics as sublime and So it is art that can exemplify perfectly an beautiful, i.e. a video piece by Mario García Aesthetics emerged as a field to talk about experience and makes aesthetics, says Torres, instead of what may or may not all passions, affects and emotions. From Highmore, a “synonym with art theory”. make my personal taste, i.e. Beyonce. fear and grief, to humiliation, shame, anxi- Something that is aesthetic means it is bet- ety and love. And how these emotions and ter in all ways, as we perceive it and feel it. But what to do with aesthetic entangle- passions are attuned to different forms of Our ideas of beauty are always going back ments of anxiety outside the art world? perception and sensation and attention and and forth between artwork and actuality, Ngai’s Ugly feelings questions why are we distractions. And how these perceptions of according to Kant. Aesthetic discourse then compelled to separate ourselves from the emotions are attached to the world of senses only gives us satisfaction if we experience feeling the object emits. For her, the observ- that is touching, hearing, smelling and tast- what we have come to know as beauty, and er of an art piece is to move to objectivity ing. And how these senses, which arise that is only when is completed, morally bet- through affect and emotion. That is, the from the perception of a particular emotion, ter or almost unachievable. It is only possi- desire for detachment is a direct conse- are further attached to the body. How we ble when it makes you feel good, if only for quence of the interest our feeling about the move as a whole and in pieces. a second, because that painting, installation, object has fostered. And this process is performance or cinema was, that is, felt what constitutes the object as an aesthetic So yes, the term aesthetics, if we were in the sublime. object. In other words, the affective engage- mid-eighteenth century would be used to ment towards the object is what creates a describe how I cannot make sense (literally Don’t you think it sounds similar to the dis- distance and constitutes that same object as or metaphorically) of potato chips not tast- course of happiness? How happiness is an aesthetic one. ing the same if they don’t break and make a achieved only when that second of experi- cracking sound when I bite into them (even encing the sublime is achieved, when all is Ngai’s offers the possibility to work with with the right amount of chili and lime in place and completed. Even the brief and and through anxiety in and out the art shooting through my salivary glands, and fleeting achievement of happiness is only world. If anxiety introduces an affective making my jaw shrink). Or how aesthetics possible through the pursuit of joy, which, engagement, say towards clothes, when I is the inevitable course of action that hap- to our well-trained eyes, looks beautiful. have to decide on an item to wear because it pens when I hear the sound of seventies The moments that bring well-being and belongs to my mother, then it is anxiety that disco: I lose track of what I am doing, and comfort to your whole body and make you distances me from this affective relation- my body, particularly my feet, do a tiny feel warm are not associated with boredom ship, making that piece of clothing an aes- move and I probably get a smile on my face, or fear or grief or loss or anxiety, although thetic object as well. because I feel happy. No matter if I were these emotions are most common in our really concentrated at work or already a bit everyday experiences. Feeling anxiety even So, anxiety contributes to elevate our idea distracted watching a TV series, a fraction brings up more anxiety because I’m not of aesthetic to the sublime and the beautiful of a second would be immersed in this aes- happy when I am supposed to feel happy. by denying it, hierarchizing the entangle- thetic experience. ments of affects, emotions, body and sens- 7 Newspaper Jan Mot In Brief, Agenda 150 – 151

es. In other words, anxiety stratifies the up to date the forms and procedures which aesthetic. What do we do with these emo- anticipated today’s artistic creation. Work- tions of weariness and despair, which are In Brief ing from a survey of some of the 1990s’ part of the social, of our political and every- central figures its purpose is to collect day life? How is it that anxiety is so useful objects and sources which survived and and productive, yet we are told aesthetically After the first screening ofJoachim Koes- inspired the decade, and to create new, non- to deny it? Can we incorporate the anxious ter’s new film The Place of Dead Roads at hierarchical arrangements between art, lit- aesthetic affects outside of the aesthetics of the Centre Pompidou in Paris end of Febru- erature, film, music, architecture and the art world? ary, the work will now be presented as an design.’ The exhibition design is based on installation at his solo show at the Centre an artistic project by Dominique I was aesthetically pleased to find out the d’art contemporain de Genève (23/5 – 17/8). Gonzalez-Foerster. sublime is not only fine arts, not only the meal that achieves gastronomic perfection. The gallery will close for a summer break The gallery will change its opening hours I was relieved to find that aesthetics can be on the 21st of July and reopen during the from the 11th of June on. The new opening political outside museums and galleries, as weekend of the Brussels Art Days hours will be from Wednesday till Friday it was more than two centuries ago. It gets (13 – 14/9) with a group show entitled ‘A from 2 pm till 6.30 pm and Saturday from tiring trying to pursue beauty for both spec- situation in which an argument can be dis- 12 pm till 6.30 pm. And by appointment. tators and artists, tiring to pursue the happi- cussed’ proposed by Mario Garcia Torres ness that only the sublime can bring. and including works by Robert Morris, After Asad Raza’s series of contributions to Instead of taking a Xanax and experience Philippe Thomas and Garcia Torres. The the gallery’s newspaper (nrs 87 till 91), the sublime of a work of art, I can rejoice in show is a continuation of our Oral Culture Susana Vargas is invited to write another the affective and sensorial tuning I have to programme and will take place in different series which she decided to take also the disco dancing as part of a social body locations and include public and private form of ‘Letter to the Editor’. Susana Var- attached to my everyday life. I certainly workshops and lectures. gas is Doctor in Philosophy living in Mexi- will try to experience being moved by a co City and Montréal (CAN). The title of presence that I associate with boredom. Stéphanie Moisdon curated an exhibition at her PhD (Department of Art History and What do you think? the Centre Pompidou in Metz (FR) entitled Communication Studies at McGill Univer- ‘1984 – 1999. The Decade.’ According to sity) is Alarma!: Mujercitos performing gen- the press release ‘the exhibition does not der in a pigmentocratic sociocultural system. artwork is redefined as a process beyond attempt to recreate an era nor to sanctify an More on Susana Vargas in the next issue of the concrete significance of objects. Litera- ideal and lost age, but seeks instead to bring our newspaper. ture and theatre constitute strategies for the configuration of an imaginary where physi- cal space is no more than the tip of an ice- Manon de Boer berg traced out by the viewer on both real Conversation Piece, Mu.ZEE, Oostende and fictional coordinates. Agenda (BE), 14/12 – 29/06; Sequenza, Dissonant, From her first works of the mid-eighties to Laurien, March 1996 – Laurien, September her latest creations, the artist has explored 2001 – Laurien, October 2007, Festival the notion of space as a revealing medium, Sven Augustijnen international d’art de Toulouse, Toulouse and of time as one of its closest allies. The Conversation Piece, Mu.ZEE, Oostende (FR), 23/05 – 22/06; one, two, many, Disso- characteristics of the Palacio de Cristal (BE), 14/12 – 29/06; Ravaged. Art and Cul- nant, Two Times 4’33”, Frac Franche-Com- offer Dominique Gonzalez-Foerster the ture in times of conflict, Museum M, Leuven té, Besancon (FR), 03/06 (screening); Atti- opportunity for a new exercise that will (BE), 20/03 – 01/09; Tim Etchells. Order ca, International Short Film Festival, Ham- attempt to revisit the 19th century context Cannot Help You Now, Argos, Brussels, burg (DE), 05/06 (screening); Art Basel in which it was built. 04/05 – 29/06; Once Documentary, Camera Film | Manon de Boer, Stadtkino Basel 1887 is the year when Ricardo Velázquez Austria, Graz (AT), 05/06 – 07/09; Spectres, (CH), 18/06 (screening); Sequenza, FID Bosco constructed the greenhouse known l’Iselp, Brussels, 28/06 (screening); Meet- International Film Festival, Marseille (FR), today as the Palacio de Cristal, or ‘Crystal ing Points 7, 21er Haus, Vienna, 03/07 01/07 – 07/07 (screening); Media City, Palace’. Its purpose was to house an exhibi- (screening); Spectres, Film Museum, Dus- Windsor, Ontario (CA), 08/07 – 12/07 tion of plants and flowers from the Philip- seldorf (DE), 08/07 (screening); National (screening); SCORE, MARCO, Museo de pines as part of the General Exposition of Gallery of Kosovo, Pristina, 09/07 – 03/09 Arte Contemporánea de Vigo, Vigo (ES), the Philippine Islands, held that year. 11/07 – 11/01; Sylvia Kristel – Paris, Reso- In the same year, Rimbaud was in Aden, Pierre Bismuth nating Surfaces, Australian Cinémathèque, Yemen, after the publication the previous In Situ Project, Kunsthalle Wien, Vienna, Brisbane (AU), 16/08 (screening) year of his Illuminations. In the first poem 19/02 – 15/09; Le Musée Imaginaire d’Henri of this compilation, Après le Déluge, he Langlois, La Cinémathèque Française, Rineke Dijkstra gives life to the Splendide Hôtel: “... Et le Paris, 09/04 – 03/08; From the Collection, I Love Holland. Dutch Post-War Art, Ste- Splendide Hôtel fut bâti dans le chaos de SMAK, Ghent (BE), 16/05 – 29/06; The delijk Museum Schiedam, Schiedam (NL), glaces et de nuit du pôle” (“... And the Part In The Story Where A Part Becomes A 21/09 – 06/09; XXS Dutch Design, Museum Splendide Hôtel was built in the chaos of Part Of Something Else, Witte de With, Rot- voor Communicatie, Den Haag (NL), ice and night of the Pole”). terdam (NL), 22/05 – 17/08; Art Basel Par- 27/11 – 29/06; Striking Resemblance: The Also inaugurated in 1887 was the Hotel cours, Basel (CH), 18/06 – 22/06; A Simple Changing Art of Portraiture, Zimmerli Art Splendide in Lugano, and the Splendide Plan, Villa T.D.R., Kruiskerke (BE), 30/08 Museum at Rutgers University, New Bruns- was furthermore the name of the hotel in – 19/09 wick (US), 25/01 – 13/07; Dries Van Noten, 8 Newspaper Jan Mot Agenda 150 – 151

Inspirations, Les Arts Décoratifs, Paris, Joachim Koester León (ES), 18/10 – 06/07; Capitol Com- 01/03 – 31/08; Post Picasso. Contemporary Sammlung Hoffmann, Berlin, until 30/06; plex, Gallery TPW, Toronto (CA), 10/05 – Artists’ Responses to His Art, Museu Picas- L’image suivante..., Musée des Arts Con- 07/06 (solo); Postscript III (Berlin), Metro so, Barcelona (ES), 06/03 – 29/06; The temporains de la Fédération Wallonie- Pictures, New York City (US), 22/05 – Krazyhouse, Corcoran Gallery of Art, Bruxelles, Hornu (BE), 23/03 – 08/06; 25/07 (solo); AGAINST THE GRAIN, La Washington DC, 29/03 – 15/06 (solo); From the Collection, SMAK, Ghent (BE), photographie à contre-courant, Centre de la Conversation Piece VI, Frans Halsmuseum, 16/05 – 29/06; The Place of Dead Roads, photographie, Geneva (CH), 06/06 – 27/07; Haarlem (NL), 28/05 – 21/09 (solo); Go Centre d’art contemporain, Geneva (CH), Society Acts – The Moderna Exhibition Betweens, Children who Cross the Borders, 23/05 – 17/08 (solo); Kill All Monsters, 2014, Moderna Museet, Malmö (SE), Mori Art Museum, Tokyo, 31/05 – 31/08; Ausstellungsraum Klingental, Basel (CH), 20/09 – 25/01; Turner Prize 2014, Tate Manifesta 10, Saint Petersburg (RU), 28/06 25/05 – 29/06; Une lettre arrive toujours Britain, London, 30/09 – 04/01 – 31/10 à destinations, La Panacée, Montpellier (FR), 11/07 – 21/09; Phantoms in the Dirt, Ian Wilson Mario Garcia Torres Museum of Contemporary Photography, Ian Wilson, Grazer Kunstverein, Graz (AT), ATOPIA, MIGRATION, HERITAGE & Chicago (US), 25/07 – 05/10 01/02 – 31/12 (solo); There Will Never PLACELESSNESS, Museo de Arte de Be Silence: Scoring John Cage’s 4’33, Zapopan, Guadalajara (MX), 13/05 – David Lamelas , New York City 30/06; 8th Berlin Biennale, KW Institute for Extension of the Combat Zone. The Collection. (US), 12/10 – 22/06; The Distance Between Contemporary Art, Berlin, 29/05 – 03/08; 1968 – 2000, Neue Nationalgalerie, Berlin, You And Me, Haubrok Foundation, Berlin, Under The Same Sun. Art From Latin Amer- 08/11 – 31/12; Other Primary Structures, 30/04 – 11/07; 3rd Biennale of Bahia (BR), ica Today, Guggenheim UBS MAP Global The Jewish Museum, New York City (US), 29/05 – 07/09; Sapporo International Art Art Initiative, Solomon R. Guggenheim 14/03 – 03/08; Uncommon Ground. Land Art Festival 2014, Sapporo (JP), 19/07 – 28/09; Museum, New York City (US), 13/06 – in Britain 1966 – 1979, Yorkshire Sculpture Yokohama­ Triennale 2014, Yokohama 01/10; New Ways of Doing Nothing, Kunst- Park, Wakefiend (UK), 05/04 – 15/06; Mon Museum of Art/ Shinko Pier, Yokohama halle Wien, Vienna, 16/06 – 12/10; Art Amour. Reading Films, Jan Mot, Brussels, (JP), 01/08 – 03/11 Basel Parcours, Basel (CH), 18/06 – 22/06; 11/06 – 19/07 (solo); FRAC Lorraine, Metz Black House. Notes on Architecture, Muse- (FR), 13/06 – 30/08 (solo); Under The Same um of Contemporary Art of Estonia, Tallinn Sun. Art From Latin America Today, Guggen- Colophon (EE), 21/06 – 27/07; A situation in which heim UBS MAP Global Art Initiative, Solo- Publisher Jan Mot, Brussels an argument can be discussed, Jan Mot, mon R. Guggenheim Museum, New York Concept Design Maureen Mooren & Brussels, 13/09 – 26/10; Hammer Projects: City (US), 13/06 – 01/10; Genuine Concep- Daniël van der Velden Mario Garcia Torres, The Hammer Muse- tualism, Herbert Foundation, Ghent (BE), Graphic Design Maureen Mooren, um at UCLA, Los Angeles (US), 13/09 – 04/07 – 08/11; The Eden’s Edge Project, Amsterdam 04/01 (solo) MAK Center for Art and Architecture, Los Printing Cultura, Wetteren Angeles (US), 18/04 – 16/08 Dominique Gonzalez-Foerster SPLENDIDE HOTEL, Palacio de Cristal, Sharon Lockhart (advertisement) Madrid, 14/03 – 31/08 (solo); 1984 – 1999. In Context. The Portrait in Contemporary The Decade, Centre Pompidou-Metz, Metz Conceptual Photography, Wellin Museum of (FR), 24/05 – 02/03; Lucius Burckhardt and Art, Hamilton College, Clinton (US), 30/01 Jan Mot Cedric Price – A stroll through a fun palace, – 27/07; Milena/Milena, Bonniers Konsthall, Swiss Pavilion, Giardini, Venice (IT), 07/06 Stockholm, 16/04 – 29/06 (solo); M+B gal- – 23/11; 14 Rooms, Art Basel, Basel (CH), lery, Los Angeles (US), 28/06 – 31/07; Liver- Rue de la Régence / 14/06 – 22/06; Manifesta 10, Saint Peters- pool Biennial 2014, Liverpool (GB), 05/07 – Regentschapsstraat 67 burg (RU), 28/06 – 31/10 26/10; Artes Mundi 6 Biennial Exhibition 1000 Brussels, Belgium 2014, Cardiff (GB), 23/10 – 22/02 tel:+32 2 514 1010 Douglas Gordon [email protected] Fútbol: The Beautiful Game, Los Angeles Tino Sehgal County Museum of Art, Los Angeles (US), No Such Thing As History: Four Collections Wed – Fri 2 – 6.30 pm 02/02 – 20/07; Pretty much every film and and One Artist, Espace Louis Vuitton, Sat 12 – 6.30 pm video work from about 1992 until now, Munich (DE), 29/03 – 08/08; 14 Rooms, and by appointment Musée d’Art Moderne, Paris, 07/03 – 31/12 Art Basel, Basel (CH), 14/06 – 22/06 (solo); 19th Biennale of Sydney, Sydney (AU), 21/03 – 09/06; Douglas Gordon, Philippe Thomas José Maria Tornel 22 Caithness Horizons, Thurso (UK), 10/05 – “Les Immatériaux” for Instance, Kunst­ Col. San Miguel Chapultepec 11/10 (solo); Douglas Gordon, Australian verein Düsseldorf, Dusseldorf (DE), 05/04 11850 México D.F., México Centre for Contemporary Art, Melbourne – 10/08; 1984 – 1999. The Decade, Centre [email protected] (AU), 30/05 – 10/07 (solo); Pretty much Pompidou-Metz, Metz (FR), 24/05 – 02/03; every film and video work from about 1992 A situation in which an argument can be dis- By appointment only until now., GOMA, Glasgow (UK), 27/06 cussed, Jan Mot, Brussels, 13/09 – 26/10 – 28/09 (solo); GENERATION: 25 Years of Contemporary Art in Scotland, Scottish Tris Vonna-Michell www.janmot.com National Gallery of Modern Art, Edinburgh Lecture-Performance: New Artistic Formats, (UK), 28/06 – 25/01 Places, Practices and Behaviours, MUSAC,