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Boris Lurie in NO!art Boris Lurie and NO!art

Boris Lurie in NO!art Boris Lurie and NO!art Kazalo

4 Boris Lurie Andreja Hribernik 24 Uvod Introduction Ivonna Veiherte 26 Skrivna sestavina umetnosti – pogum 40 The Secret Component of Great Art – Courage Stanley Fisher (1960) 56 Izjava ob Vulgarni razstavi Vulgar Show Statement Boris Lurie (1961) 58 Izjava ob Vključujoči razstavi 59 Involvement Show Statement Stanley Fisher (1961) 62 Izjava ob razstavi Pogube Doom Show Statement Boris Lurie (1964) 66 Spremna beseda k razstavi kipov NO! Sama Goodmana 68 Introduction to Sam Goodman ‘NO-’ Thomas B. Hess (1964) 70 Spremna beseda k razstavi kipov NO! 71 Introduction to the NO-sculptures show Tom Wolfe (1964) 73 Kiparstvo (Galerija Gertrude Stein) 74 (Gallery Gertrude Stein) Dore Ashton (1988) 76 Merde, Alors! 78 Merde, Alors! Harold Rosenberg (1974) 80 Bika za 81 Bull by the Horns Contents

84 Boris Lurie 107 Sam Goodman 122 Stanley Fisher 128 132 John Fischer 134 Dorothy Gillespie 138 Allan D’Arcangelo 142 Erró 148 Harriet Wood (Suzanne Long) 152 Isser Aronovici 154 Yayoi Kusama 158 Jean-Jacques Lebel 164 Rocco Armento 166 172 Michelle Stuart Marko Košan 176 Pričevanje podobe (Lurie, Mušič, Borčić) 184 The Testimony of an Image (Lurie, Mušič, Borčić) 190 Seznam razstavljenih del List of exhibited works BORIS LURIE Portret moje matere pred ustrelitvijo / Portrait of My Mother Before Shooting, 1947, olje na platnu / Oil on canvas, 92,7 x 64,8 cm © Boris Lurie Art Foundation

BORIS LURIE Tovorni vagon, asemblaž 1945 Adolfa Hitlerja / Flatcar. Assemblage, 1945 by Adolf Hitler, ok./circa 1962, 40,6 x 61 cm © Boris Lurie Art Foundation BORIS LURIE Železniški kolaž (Železniška proga do Amerike) / Railroad Collage (Railroad to America), ok./circa 1963, papirni kolaž na platnu / Paper collage on canvas, 36,8 x 54 cm © Boris Lurie Art Foundation BORIS LURIE BORIS LURIE Imigrantova NE! škatla / Nasičena slika (Buchenwald) / Immigrant‘s NO!box, Saturation (Buchenwald), 1963, 1960–1964, akril, papirni kolaž na lesenem zaboju / fotografije in papir na platnu / Acrylic, paper collage on wood trunk, Photos and paper on canvas, 63,5 x 61 x 102 cm 91,4 x 91,4 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation

BORIS LURIE BORIS LURIE Za mojo Sheino Gitl – Brez naslova / mojo valentino / Untitled, To my Sheina Gitl – 1960–1974, My Valentine, asemblaž: oljna barva, 1981, papirna masa, kovinska mrežica / barva, papirni kolaž, Assemblage: oil paint, papirni trak / paper plaster, wire mesh, Paint, paper 40,6 x 35,6 cm collage, tape on paper, © Boris Lurie Art Foundation 97 x 75 cm © Boris Lurie Art Foundation

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BORIS LURIE BORIS LURIE BORIS LURIE Lolita / Lumumba je mrtev NO slika na rdečem in črnem / Lolita, (Zbogom Amerika) / NO Painting with Red and Black, 1962–1963, papirni kolaž Lumumba is Dead (Adieu Amerique), 1963, na platnu / 1959–1961, olje, papir, kolaž, igralne karte, akril na plastiki / Paper collage fotografije, odpadni papir na platnu / Acrylic on plastic, on canvas, Oil, paper, collage, playing cards, photos, 55,9 x 89 cm 142,2 x 102,9 cm wastepaper on canvas, © Boris Lurie Art Foundation © Boris Lurie Art Foundation 181,6 x 197 cm © Boris Lurie Art Foundation

BORIS LURIE BORIS LURIE NE s počeno glavo / Brez naslova NO with Split Head, (NE s sprejem) / 1963, Untitled (NO sprayed), barva, prenos, ofsetni tisk na odpadni 1963, papir na platnu / sprej na lesonitu / Paint, transfer, offset print on Spray paint on masonite, wastepaper on canvas, 61 x 76,2 cm 65 x 52 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation

BORIS LURIE BORIS LURIE Pisave: PISS / Sram! / Hard Writings: PISS, Shame!, ok./circa 1972–1973 1963, © Boris Lurie Art Foundation Olje in fotografija na platnu / Oil paint and photo on canvas 81 x 57 cm © Boris Lurie Art Foundation BORIS LURIE Sram! / Shame!, 1963, Olje in fotografija na platnu / Oil paint and photo on canvas 81 x 57 cm © Boris Lurie Art Foundation

BORIS LURIE Galerija Gertrude Stein: plakat razstave NO show / Gallery Gertrude Stein: NO show poster, 1963 © Boris Lurie Art Foundation Andreja Hribernik 24 Direktorica Koroške galerije likovnih umetnosti Director of Museum of Modern and Contemporary Art Koroška

Uvod Introduction

Koroška galerija likovnih umetnosti, muzej za sodobno In 2017, Museum of Modern and Contemporary umetnost, je leta 2017 z veliko mednarodno razstavo z Art Koroška celebrated its 60th anniversary by a major naslovom Vojna praznovala 60-letnico obstoja. Njena international exhibition War. The museum was established ustanovitev ob koncu petdesetih let preteklega stoletja at the end of the 1950s during a period of new hope in the je povezana z dobo nekega novega upanja, ki se je wake of the Second World War and manifested in ideas prebujalo po 2. svetovni vojni in se manifestiralo v idejah, spread by the United Nations Organisation and the Non- ki sta jih širila Organizacija združenih narodov in Gibanje Aligned movement with the former Yugoslavia as an active neuvrščenih, katerega aktivna članica je bila tudi nekdanja member. A series of international exhibitions at the Museum Jugoslavija. Vrsta mednarodnih razstav v Koroški galeriji of Modern and Contemporary Art Koroška devoted to the likovnih umetnosti s tematiko, posvečeno promociji kulture promotion of the culture of peace and values of solidarity, miru in vrednot solidarnosti, humanizma in razumevanja, je humanism and understanding opened space for artistic and takrat ponudila prostor za umetniški in politični diskurz o political discourse about the role of art and art’s potentials vlogi umetnosti v družbi in o možnosti, da lahko umetnost to change the world. spremeni svet. The Museum of Modern and Contemporary Art Koroška Tem programskim zasnovam sledi Koroška galerija has followed these programmatic concepts to the present likovnih umetnosti še danes. Zavedamo se nujnosti day. We are aware of the necessity of comparing exhibition primerjave razstavnih projektov z radikalnim kritičnim projects with a radical critical charge like by Boris Lurie nabojem, med katere sodi tudi pregledna razstava z deli and other NO!artists from more than 50 years ago, with Borisa Lurieja in drugih umetnikov gibanja NO!art izpred the situation that we witness in contemporary times. The več kot 50 let, s situacijo, ki smo ji priča v sodobnem času. topicality of the exhibition’s subjects is evident upon a Aktualnost tematik, ki jo odpira pričujoča razstava, se nam casual glance at the growing intolerance, ethnic and racial predoči že ob bežnem pogledu na vse večjo nestrpnost, discrimination and resulting armed conflicts, economic etnično in diskriminacijo ter posledične oborožene inequality and shameless exploitation of the weak in bouyant spopade, ekonomsko neenakost in brezsramno izkoriščanje capitalism. The messages conveyed by this exhibition are šibkejših v razbohotenem kapitalizmu. Sporočilnost te important not only because they recall utopian ideas of the razstave je pomembna, ne le ker spominja na utopične ideje past or address the ideals of the then society but because preteklosti ali govori o idealih takratne družbe, temveč ker je their content remains a vehicle of this utopian potential until njena vsebina nosilka tega utopičnega potenciala še danes. today.

Razstavo je omogočila Fundacija Borisa Lurieja (BLAF: The exhibition was made possible by the Boris Lurie Art Boris Lurie Art Foundation), zato gre v prvi vrsti zahvala Foundation, so we owe our biggest thanks to the Foundation, njim, direktorici Gertrude Stein in predsedniku Anthonyju its President Gertrude Stein and its Chairman Anthony Williamsu. Posebej se za pomoč zahvaljujemo tudi Rafaelu Williams. Particular thanks go to Rafael Vostell, Chris Shultz, Vostellu, Chrisu Shultzu in Jessici Wallen. Zahvala tudi and Jessica Wallen for the help and support offered in the muzeju RIGAS BIRŽA, kustosinji Viti Birzaka ter kustosinji preparation of the exhibition. We would also like to thank razstave Ivonni Veiherte. Razstavo je podprlo Ministrstvo za the BOURSE , curator Vita Birzaka and kulturo Republike Slovenije. exhibition curator Ivonna Veiherte. The exhibition was also supported by the Ministry of Culture of the Republic of Slovenia.

Ivonna Veiherte 26

Skrivna sestavina velike umetnosti – pogum

NO!art je bil koncept, ki ga je v 50. in 60. letih 20. stoletja udejanjala radikalna umetniška skupina v New Yorku. Glavni predstavnik je bil Boris Lurie, judovski umetnik, rojen v Rusiji, ki je deloval z dvema sodelavcema, Samom Goodmanom in Stanleyjem Fisherjem. Ta koncept pa lahko vidimo tudi kot gibanje ali skupino, ki so se ji priključili drugi umetniki, ki so takrat živeli ali se zadrževali v New Yorku.

Razstava osvetljuje obdobje od leta 1959 do 1964, čas začetkov dejavnosti NO!arta, ko so jih izvajali njihovi najpomembnejši predstavniki in ko so imele največjo moč. Ideja NO!arta se je nadaljevala tudi pozneje, vendar pa so se posamezniki, ki so pri njej sodelovali, lotili samostojnih karier, nehali delovati ali umrli. Koncept NO!arta je po svetu dosledno promoviral in se z njim identificiral zlasti Boris Lurie.

Lurie je bil na umetnostnem prizorišču v svojem času splošno znan. Bil je dejavna in pomembna osebnost v Skupina umetnikov z 10. ulice v skupnostnem gibanju umetnikov na 10. ulici, ki so središče ateljeju slikarja Miltona Resnicka. New Yorka preobrazili v povojno žarišče alternativne kulture. The 10th Street artists group at mu je v svojem času ponudil priložnost in primerno artist Milton Resnick‘s studio. prizorišče za umetniško izražanje. © Foto: James Burke/The LIFE Picture Collection/Getty Images Dejavnosti NO!arta so bile v času Luriejevega življenja dokumentirane v nekaj knjigah, razstavah in spremnem gradivu. Ustanovljena je bila Fundacija Borisa Lurieja, ki je zbirala in skrbela za njegovo delo, rokopise in arhive gradiv NO!arta, pa tudi organizirala razstave Borisa Lurieja in NO!arta v mednarodnih muzejih.

Ta razstava obravnava newyorški umetniški svet 50. in 60. let skozi alternativno umetnost in NO!art, pa tudi skozi zgodovinske resnice, povezane z Judi in holokavstom.

Čeprav o skupini NO!art v zgodovini umetnosti 20. stoletja ne razpravljajo veliko, so o njej v času Luriejevega življenja pisali recenzenti in kritiki, umetnostni zgodovinarji pa so se s to temo začeli ukvarjati v Luriejevih poznejših letih in po njegovi smrti. Nekatere teh zapisov objavljamo v razstavnem katalogu. Lurie je svoje cilje, prizadevanja in stališča na široko razlagal v izjavah, intervjujih in različnih besedilih. Poleg tega je zaradi fascinantne inteligence svoje pisanje bogato in zelo grafično formuliral. Zato smo vključili Luriejeve zapise o lastnih dejavnostih in dejavnostih NO!arta.

Fundacija Borisa Lurieja se trenutno ukvarja s presojanjem korpusa Luriejevega gradiva. Na mnoga vprašanja bo treba poiskati odgovore v prihodnosti. Podobno lahko tudi ta razstava ponudi le omejen pregled NO!arta. Posebno 27 razstavo, posvečeno delu Borisa Lurieja, aprila letos kako bi lahko izrazili to izkušnjo, tudi če bi jo hoteli razložiti načrtujejo v Rothkovem centru v Daugavpilsu v Latviji. To bo in predstaviti? Vseeno pa so jeza, izzivalnost in ogorčenje priložnost za prikaz umetnikovih najpomembnejših in hkrati v Luriejevem delu iz leta v leto naraščali. Znova in znova je najbolj provokativnih del, ki niso na voljo za to razstavo, podoživljal travmatične izkušnje. Lurie je na slikah in kolažih saj so trenutno na ogled v Muzeju sodobne umetnosti demonstrativno uporabljal rumeno Davidovo zvezdo, v Krakovu. Da bi ustvarili vtis o njegovem delu kot celoti, svastike in dokumentarne fotografije žrtev v kombinaciji s več teh potujočih del reproduciramo v posebnem razdelku pornografskimi slikami, vse pa je seveda prežemala izjava: kataloga. NE! V 70. letih se je to preoblikovalo v lakoničen koncept – nož, zaboden v beton. V fundaciji so tudi dela drugih umetnikov, ki so pripadali gibanju NO!art, vendar pa vsa dela iz tega obdobja niso V ameriški povojni umetnosti je zlasti Boris Lurie v ohranjena; nekatera so bila nedostopna, izgubljena v času, ospredje postavljal temo judovstva in holokavsta, pa tudi uničena ali nepreverjena. Zato so spremne fotografije etična vprašanja. Ogromno število Judov je v želji, da bi se namenjene spodbujanju domišljije. Bistvene informacije o rešili pred trpljenjem v Evropi, prišlo v Ameriko. Bežali so umetnikih, ki so tu navedeni, lahko najdemo v priloženih pred nevarnostjo, in ker jih je Evropa pustila na cedilu, je življenjepisih, ki jih je posebej za to razstavo pripravil BLAF. v New Yorku nastala največja judovska diaspora na svetu. Ta kontingent dobro izobraženih priseljencev je spodbujal Razstava »Boris Lurie in NO!art« je za Latvijo pomembna, znanost, kulturo in hitri gospodarski razvoj New Yorka. ker je Lurie posebej povezan s to državo. Od prvega do sedemnajstega leta je namreč živel v Rigi, obiskoval Poleg tega sta v 50. in 60. letih 20. stoletja grožnja hladne tamkajšnjo nemško gimnazijo in govoril latvijsko. vojne in atomske bombe izoblikovali ozadje, ki so se mu družbeno aktivni, ustvarjalni posamezniki postavljali po robu Rigo je nato obiskal leta 1975 in vse svoje spomine, s pomočjo številnih dejavnosti. srečanja in občutja popisal v še neobjavljenih spominih z naslovom »V Rigi«, ki jih je pisal več let po obisku Latvije. Boris Lurie se je povezal z boemi in bitniki, disidentskimi kršilci družbenih norm 50. let, katerih stališče je obsojalo Da bi lahko ustrezno cenili skupino NO!art in temo vse večjo usmerjenost Amerike k materialnim vrednotam in razstave, moramo poznati Luriejev življenjepis in okvir, v zavzemalo pacifistično držo do sodelovanja ZDA v korejski in katerem so nastajala njegova dela in dela drugih umetnikov. pozneje vietnamski vojni. Ti umetniki so spadali v generacijo, ki je izkusila grozote 2. svetovne vojne. Leta 1924 se je rodil v Leningradu v judovski družini, ki se je čez leto dni preselila v Rigo, saj je po Leninovi smrti Po vojni se je središče umetniškega sveta preselilo iz podobno kot mnogi drugi poslovneži in intelektualci upala, Pariza v New York, zlasti v Greenwich Village, ki je postal meka da se bo izognila Stalinovemu preganjanju. umetnikov, ustvarjalnih posameznikov, eksperimentatorjev in nekonvencionalnih avanturistov z vsega sveta; to so bili Ko je v Rigo vdrla nemška vojska, so družino Lurie preselili ljudje, ki so oblikovali umetniško življenje New Yorka. v geto, njegovo mamo, babico in sestro pa so pozneje ustrelili v gozdovih Rumbula. Boris Lurie je bil takrat star sedemnajst V drugi polovici 50. in 60. let se je 10. ulica v newyorški let; skupaj z očetom Iljo so ga do konca vojne premeščali četrti East Village, kjer so bile najemnine ugodnejše, iz enega koncentracijskega taborišča v drugega, dokler ni razvila v neformalno srečevališče boemskih umetnikov in pristal v najgrozljivejšem – Buchenwaldu oziroma njegovem nekonformistov, saj je bilo več razstavnih prostorov v lasti satelitskem taborišču v Magdeburgu. Izkušnja holokavsta je in upravljanju samih umetnikov, ki se zato niso pokoravali Borisu Lurieju odtlej oblikovala življenjsko pot, narekovala splošnemu prefinjenemu okusu in pravilom drugih galerij. ves smisel in motivacijo ter način življenja. Med različnimi galerijami, ki so jih ustanovili sami Po osvoboditvi se je Boris Lurie z očetom preselil v ZDA. umetniki, so bile med najbolj dejavnimi in najbolj znanimi Pristala sta v New Yorku, kjer sta zaživela na novo. Oče je galerije March, Tanager, Hans, Brat in Reuben. Mnoge od hitro pograbil nove priložnosti in uspel v newyorškem svetu njih so upravljali po zadružnem načelu: umetniki so si razdelili nepremičnin. Borisa je zanimala umetnost, zato je na kratko stroške delovanja in se skupaj odločali o urniku razstav. študiral na šoli Art Student League, kjer je izkušnje iz taborišč smrti upodabljal na risbah in slikah. Tako so ustvarili okolje za najrazličnejše eksperimentalne pojave, na primer performanse in instalacije. Tudi Boris Lurie je bil premlad, da bi si od izkušnje taborišč je leta 1953 prišla v New York in do leta 1960 najemala smrti opomogel tako hitro, kot si je očitno njegov oče. Takoj prostor na ulici Chambers 112, kjer je predstavljala svojo po vojni je bilo tiste, ki so preživeli holokavst, sram govoriti umetnost performansa. o tem; počutili so se celo krive, ker so ostali živi. In res – le 28

materiali, vključno s predmeti, ki so odslužili običajnemu namenu (na primer predmeti, najdenimi v smetnjakih), tj. »najdenimi predmeti«. Nastajala je še ena nova oblika umetnosti – asemblaž.

Neo-dadaizem, ki se je pojavil na umetniškem prizorišču v 50. letih, je ukinjal meje ned umetnostjo in življenjem, kulturo in nekulturo. Pomemben je bil tudi vpliv Marcela Duchampa: od leta 1958 se je redno pojavljal med umetniki na 10. ulici, kjer je gibanje, podobno zgodnejšemu dadaističnemu, z drznostjo in absurdnimi jukstapozicijami preraščalo v pomemben trend, nekaj, kar lahko za nazaj vidimo kot spodbudo in začetno različico poparta.

Tega duha lahko opazimo tudi na pričujoči razstavi NO!arta, saj so umetniki NO!arta resnično sodelovali pri vseh teh trendih in jih oblikovali. Bolj radikalnemu gibanju NO!art sicer manjka lahkotne ironije in humorja, vendar pa je način izražanja podoben.

Umetniška scena se je med letoma 1952 in 1960 tako razmahnila, da jo je bilo nemogoče spraviti v že obstoječo galerijsko strukturo. Zato so alternativo ponudile nove Lokal na vogalu 4. avenije in 10. ulice, zbirališče umetnikov, kritikov in drugih zainteresiranih, skupnostne galerije na 10. ulici, ki so jih podpirali in vodili 24. januarja 1959. / sami umetniki. Tu so se lahko izražali, kakor so hoteli, in The Club at 4th Ave & 10th St., a gathering place for v teh majhnih prostorih, od katerih so se mnogi nahajali v artists, critics, and interested others of all kinds. kleteh, so se odvijali najrazličnejši novi eksperimenti. Vodilno January 24, 1959. vlogo je dobil sam proces, s tem pa se je začelo obdobje © Foto: Fred W. McDarrah/ performansov in hepeningov v New Yorku. Getty Images Galerija March, ki jo je Boris Lurie soustanovil leta 1957, je bila v kleti na vzhodni 10. ulici. Postala je zbirališče politično in družbeno usmerjenih oseb. Kolektivna galerija je imela več kot 20 članov, od katerih je mesečno vsak plačeval dva dolarja in pol.

Neprizanesljivo sporočilo Luriejevega dela, ki je V Greenwich Villageu je bilo tudi več pomembnih razkrinkavalo ves svet, je nagovarjalo prostor in čas. Prišel je shajališč, kjer so se umetniki različnih pripadnosti družili s iz sveta, podložnega abstraktnemu ekspresionizmu. »Častili kolegi: The Club, Waldorf Cafeteria in Cedar Tavern poleg smo abstraktne ekspresioniste. Vplivali so na nas,« je Lurie Univerze v New Yorku. priznal leta 1999.

Tam se je v 50. letih začelo razvijati posebno vzdušje, Boris Lurie je spoznal podobno mislečega umetnika ki je privabljalo pustolovce, pa tudi najbolj ustvarjalne in Sama Goodmana, prav tako Juda, ki mu je očeta v Kanadi nadarjene posameznike več generacij in etničnih skupin. ubil antisemit. Goodman je bil povezan s kolektivom Amerika je v umetnosti postajala samozadostna in evropska galerije Camino, ko pa je spoznal Lurieja, se je pridružil umetnost ni več pomenila nekakšnega vrhunca, ki ga je galeriji March. Med vojno je Goodman delal kot fotograf pri treba doseči. kanadskem filmskem odboru in nekatere grozote v Nemčiji videl na lastne oči. Na začetku njunega prijateljstva je dal V 50. letih se je v New Yorku pojavilo več novih Lurieju svojo zbirko dokumentarnih fotografij taborišč in mu avantgardnih gibanj. Eno od teh je bilo čustveno abstraktno- dovolil ter ga spodbujal, naj jih uporabi pri svojem delu. ekspresionistično slikarstvo, ki je sprva prevzelo vse, tudi Borisa Lurieja. To gibanje so ustvarili priseljenci iz Evrope, Lurie in Goodman sta spoznala pisatelja in umetnika 1 ne pa sami Američani, kot je pozneje veljalo za popart. S Stanleyja Fisherja, ki je v vojni sodeloval kot zdravnik v invaziji kolažem so se v umetniških delih začeli pojavljati neumetniški na Normandijo. Vsi trije so bili judovskega rodu, družila pa sta jih tudi nedavna travmatična preteklost in dejstvo, da so, 1 Intervju z Gertrude Stein. “NO!” Berlin, NGBK, 1995, str. 113. 29

čeprav v različni meri, vsi neposredno izkusili vojno in se niso napisal Stanley Fisher, skupnim sporočilom svetu skupine mogli otresti njenega vpliva. Kot piše Peter Weibel v članku, March, odtlej znane kot skupina NO!art. ki bo v času razstave objavljen v reviji Likovne besede, je treba vso povojno umetnost gledati kot nekaj, kar prikazuje »Umetnosti je konec. Svet in bivanje sta se zrušila,« v posledice vojne travme.2 letaku trdi Fisher.

Vsi trije so čutili temeljno nezadovoljstvo zaradi Vulgarna razstava […] je bila skupinska manifestacija, za naraščajoče »komercializacije«, ki je vplivala na umetnostne katero so naslov in cilj izbrali kolektivno; dela so ustvarili galerije v obliki različnih kupcev – celo na 10. ulici – in posebej za razstavo, vključili pa so tudi obstoječa dela, gojili globok odpor do sodobnikov, ki so postali znani če so bila uglašena s temo. Razstava je rasla spontano, kot predstavniki poparta – Warhola, Wesselmanna in tako kot mnoge poznejše. Sodelujoči so do samega Liechtensteina – in so po njihovem mnenju ponujali »kulturo konca razstave postavljali na ogled nova dela, ko so bila iz supermarketa«.

Lurie pripoveduje o srečanju z Goodmanom in Fisherjem ter o njihovih skupnih načrtih:

Z razstavo Adieu Amerique [leta 1960], ki je zajemala delo iz prejšnjih dveh let, sem izražal zavračanje: New York sem želel za vedno zapustiti, in to slovo sem naslikal, ko se je vse vsulo iz mene. Paradoksalno pa je, da se je to zavračanje in zanikanje spremenilo v upanja polno organizirano dejavnost skupine umetnikov, Sama Goodmana, Stanleyja Fisherja, Johna Fischerja in mene, ki smo na 10. ulici ustanovili galerijo March, skupina pa si je pozneje prislužila vzdevek NO!artists. Neposrednost, pogum bitniških pesnikov, Castrov upor in naš lastni obup so se združili, da bi nam vlili poguma vpričo takrat na videz nepremagljivega, vsemogočnega umetniškega sveta, da bi odrezali vezi, ki so nas pritrjevale nanj, v odprtem in javnem uporu; hkrati z našimi razstavami smo objavili izjave, ki naj bi nam onemogočile vrnitev pod njeno okrilje, če bi se pojavila skušnjava, če bi se naša uporniška moč omajala. Nasprotovali smo nememu, neučinkovitemu trkanju po prsih abstraktnih ekspresionistov, mistifikacijam njihove estetike, zavračanju odprtosti in konkretnosti, direktnega poimenovanja, zakrivanju močnih občutij z estetskimi sofizmi – strahu, da bi se soočili z resnico v njeni totalnosti.

Sledila je moja razstava Les Lions v skupini March, naši skupnostni kletni utrdbi. Čas: alžirska kolonialna in državljanska vojna, kolaži-slike, ki odražajo osebne situacije, ki si vztrajno prizadevajo za psihološko razrešitev skozi umetnost-dejanje. Politična, družbena vprašanja, Skupina umetnikov z 10. ulice s svojimi deli na ulici pred ateljejem slikarja Miltona Resnicka. ki sem si jih zastavil in se z njimi ukvarjal, odgovori, do 3 The 10th Street artists group, displaying some of their katerih sem se dokopal s pomočjo samega procesa dela. works on street outside artist Milton Resnick‘s studio. © Foto: James Burke/The LIFE Picture Collection/ Novembra 1960 so Lurie, Fisher in Goodman poleg Getty Images Johna Fischerja prvič skupaj razstavljali na Vulgarni razstavi v galeriji March. Odprli so jo z izjavo, ki jo je za to razstavo

2 Boris Lurie. Anti-Pop. Neues Museum Nürnberg. 2017, str. 139. 3 Boris Lurie »Shit NO!« 1970. Prvič objavljeno v: Lurie, Boris; Krim, Seymour: NO!art, Köln 1988. 30

pripravljena, tako da sta bila razstava oziroma okolje v povezan z drugo alternativno galerijo, vsi pa so bili vabljeni, začetni fazi bistveno drugačna kot proti koncu. Dejansko da podprejo dejavnosti skupine March in sodelujejo na tej pa konca nikoli ni bilo, saj se je obstoječa razstava razstavi. naravno prelila v naslednjo, ki jo je sprožil nov razvoj misli, ko smo delali pred očmi javnosti. Sodelovali smo Sam Povezovalna tema je bila, da naj delo govori o »resničnosti« Goodman, Stanley Fisher, John Fischer in jaz. Nameravali (kar pomeni absurdnosti tega sveta). smo prikazati, poudariti, izpostaviti vulgarnost v nas, pa tudi vulgarnost okrog nas, sprejeti tako vulgarnost, jo Tovrstne ideje in dejavnosti so bile takrat pomembne tudi 4 absorbirati, se je zavedati, jo izganjati. za umetnico Michelle Stuart. Sodelovala je z NO!artom in o njem pisala v članku, objavljenem leta 1963 v reviji Artforum: Čeprav je ostalo le malo dokumentacije o delu, prikazanem na Vulgarni razstavi, je štiri umetnike združevala ena tema: Skupina iz galerije March je še en primer nenehne potrebe vulgarnost sveta, ki jih obdaja, pa tudi vulgarnost v umetnikih umetnika po prevrednotenju in redefiniciji njegovega samih. Sodeč po fotografiji je Sam Goodman prikazal Moški sveta, pri čemer uporablja vsa predstavljiva sredstva, fetiš s karikaturo Hitlerja, natisnjeno na straniščno desko. da ohrani vitalnost. Ker je ekstatičnost, ki nam jo skozi John Fischer (prav tako begunec iz Evrope, ki je pozneje umetnost daje življenje, pogojena z vsem, tudi z njegovo zaslovel zaradi kipov in asemblažev iz kruha) je prispeval grozljivostjo, je cilj umetnosti v končni fazi ta, da iz nas slike pod vplivom nadrealizma. Boris Lurie je razstavil slike izvabi privolitev življenju.7 iz serije »Razkosane ženske«. Dr. Eckhart Gillen je poudaril: K vragu z akademskimi tabuji, starimi ali novimi! [...] »Razkosane ženske« so nastale kmalu po Luriejevem Delovanje z bogato prstjo, krvjo, blatom in seksom prihodu v New York, med letoma 1947 in [ok.] 1957. Serijo človeštva, ki se poblaznelo širi, je vse preveč pereče, da zaznamujeta dve slogovni težnji, saj se močno figurativna bi mu lahko ubežali. Soočimo se z njim!8 dela mešajo z abstraktnejšimi slikami. Na vseh so ženski liki, ki izražajo Luriejev ambivalenten pogled na ženske, pa Kot lahko sodimo po opisih in arhivskih slikah, je bil kletni 5 tudi njegove izkušnje iz 2. svetovne vojne. razstavni prostor poln del najrazličnejših slogov, od risb s tušem do instalacij. Čeprav je bila skupna tema politična, z Ta razstava je zaznamovala pojav jedra skupine March, referencami na nacistične zločine, so bila razstavljena dela kot so jo poznali, v kateri je Lurie na splošno veljal za vodjo, po značaju nadvse različna. Goodman pa za teoretika.6 Vendar pa je vsak podajal lastno sporočilo. Utemeljitve, koncepte in razlage, kar je Pozneje, leta 1970, je Lurie sklenil: predstavljalo pomemben del razstav, je pisal zlasti Stanley Fisher. ... Vključujoča razstava je bila preuranjena! Ideja o vključevanju, prelomu z izolacijo, je bila sama po sebi Poleg Lurieja, Goodmana in Fisherja so na Vključujoči pravilna. Vendar pa je naša ideja vključevanja segla dlje razstavi (Involvement Show) aprila 1961 sodelovali Allan in postala preuranjen poskus, da bi zajeli vso družbo, Kaprow, Michelle Stuart, Jean-Jacques Lebel, Erró/Ferró, vključno z našimi sovražniki, da bi velikodušno zajeli vse Yayoi Kusama, Isser Aronovici, Rocco Armento, Allan tokove, zavrgli opozicijsko držo, se odrekli jezi. Izhajala je D’Arcangelo, Herb Brown, John Fischer, Esther Gilman, iz nezrelega, imaginarnega in upanja polnega prepričanja, Augustus Goertz, Gloria Graves, Dorothy Gillespie, Ted da – ker smo se sami v svojem evforičnem stanju očitno Jones, Bob Logan, Lora, Suzanne Long, Mihail Mishorit, spremenili s pomočjo dejavnosti uporniške umetnosti, se Jerome Rothenberg, Richard Tyler, Ray Wisniewski in Lee očitno očistili, ko smo šli skozi ta ogenj – se je (v naši Zack. pobožni fantaziji) isto najbrž zgodilo tudi zunanjemu svetu; da smo zdaj pripravljeni zaobseči druge, dajati in Sodelovanje na razstavi je bilo brez omejitev; v sprejemati ljubezen. Kako zmotno smo ocenili resničnost! demokratičnem duhu so bili vabljeni vsi, ki so imeli enaka Zunaj se namreč ni spremenilo nič, naša dejanja, če so jih prepričanja kot Lurie, Goodman in Stanley Fisher. Vključeni sploh opazili, pa so požela smrtno tišino. Na zunanji svet so bili tisti, ki so se odzvali – kategorično politično in – ne miniaturni umetniški svet – pa naša kulturna dejanja družbeno zavedni umetniki. Vsak sodelujoči je bil lahko niso niti najmanj vplivala. Čez nekaj let so otroci ljubezni

7 Michelle Stuart. NO is an Involvement. Artforum. 1963 (sept), 4 Boris Lurie »Shit NO!« 1970. str. 36–37. 5 Boris Lurie. Anti-Pop. Neues Museum Nürnberg, 2017, str. 31. 8 Augustus Goertz. Izjava ob Vključujoči razstavi. 1961. Boris 6 Melissa Rachleff. Inventing Downtown. NY. Grey Gallery, New Lurie, Seymour Krim. NO!art. Pin-ups Excrements Protest Jew- York University, str. 164. Art. Berlin/Köln, 1988, str. 38–39. 31

množično razvili podobna stališča, njihovo instinktivno z odprtimi rokami.10 prizadevanje pa je bilo v stvarnem smislu zapisano propadu. Čas za projiciranje občutij pobožne fantazije, Naslednji kolektivni podvig skupine March je prinesla za srečevanje družbe v tako krščanskem pomenu, žal ni Razstava pogube (Doom Show), ki so jo odprli novembra nikoli prišel. Vseeno pa se nam je takrat zdelo, da smo 1961, nanjo pa so vplivale hladna vojna, atomska grožnja s svetom petdesetih opravili, da je pokopan, da sta se in kubanska kriza. Sodelovali so Boris Lurie, Stanley Fisher, molk in prikrivanje tega obdobja nepopravljivo končala, Sam Goodman in Jean-Jacques Lebel. da je Eichmannovo sojenje silovito oživilo zatrto snov, ki bi jo večina raje pozabila, prelomilo pa tudi tišino in Umetniki so kot opozorilo »močnim« in tistim, ki so jih strah ter konformizem hladne vojne in povojnega obdobja »kupili«, predstavili svoje interpretacije na temo konca sveta zatiranja. Ker so nas enako dajali v nič takratni avantgardni v času, ko sta tako ZDA kot SZ ustvarjali paniko, ko so gradili abstraktni ekspresionisti in konservativni umetniki, ker bunkerje in berlinski zid. so nas kritizirali vsi esteti, češ da delamo slabo – kar je običajna taktika za razoroževanje umetnikov, ki izberejo Obiskovalce je na kletnih vratih pozdravilo simbolično novo pot – smo se morali popolnoma zanesti nase. delo Sama Goodmana: napol zgorela lutka s plastičnimi Popartistična reakcija – kontrarevolucija se takrat še ni rožami. Podobno depresivna, tragična in grda so bila tudi sprožila, saj so bili bodoči člani tega gibanja še zaposleni druga razstavljena dela, na primer kolaž Stanleyja Fisherja, z vpijanjem idej (v veliki meri z naših razstav), umetnostni na katerem je bila napisana beseda DOOM, prikazuje pa tisk pa je bil za nas praktično zaprt (celo Village Voice, dele ženskega telesa, razmetane kot po eksploziji. Nekatera takrat skoraj alternativen medij, ni hotel pisati o naših so bila manj nazorna, na videz »okusnejša« (na primer dejavnostih, saj mi je urednik razložil, da je naša drža Lebelova). Delo Sama Goodmana je bilo naivno grozljivo in v preveč radikalna), zato smo morali sami promovirati svoje slogu plakatov; bil je najbolj nepotrpežljiv med temi umetniki 9 akcije, postati lasten informativni medij. in je za to, da bi kar najhitreje sestavil in sporočil svojo idejo,

Kot se spominjajo sodobniki, so se umetnicam vrata v 10 Boris Lurie »Shit NO!« 1970. New Yorku v 50. in 60. letih le stežka odpirala. Vendar pa so dobile priložnost v Greenwich Villageu. Tudi galerija March je bila odskočna deska za umetnici, ki sta pozneje postali zelo pomembni, namreč Stuartovo in Yayoi Kusama, ki je v Ameriko v 50. letih prišla z Japonske. Po razstavi v Seattlu in galeriji Brata v New Yorku je sodelovala na razstavah skupine NO!art in imela samostojne razstave v gornjem delu mesta v Galeriji Gertrude Stein.

Kljub temu pa so v skupini prevladovali moški, a ne zaradi moškosti, moške večvrednosti ali tako imenovanega moškega šovinizma, ampak ker so bili najbolj dejavni in neustrašni. Pripadnice gibanja NO!art so se ukvarjale predvsem s strahom: ženskim, hladnim, odmaknjenim, zamrznjenim, kot na mavčnih obrazih žensk Michelle Stuart v izoliranih črnih škatlah, pokritih s temnim, komajda prosojnim steklom, kot v strašljivih ženskih sporih z vero Esther Gilman, kot v obsesivnem strahu rastočih, množečih se, grozečih polj, polnih penisov Yayoi Kusama, v manjši meri pa v asemblažih in krhkih konstrukcijah Glorie Graves. Odločne umetnice smo toplo sprejeli – Delo Sama Goodmana na razstavi zdelo se nam je, da je naš krog brez njih nepopoln – in bile »Doom Show« v galeriji March leta 1961. Death and Ressurection by Sam Goodman in so prav tako odločne kot kateri koli moški. Položaj ženske Doom Show at the March Gallery, 1961. je bil položaj mnogih subjektov, ne enega samega, stanje Foto: Sam Goodman ženske eno mnogih stanj. Med spoloma ni bilo razrednega © Boris Lurie Art Foundation boja, le obstoječa refleksija perverzije tekmovalne družbe – nobenega oboževanja brezspolnega uniseksa. Moški pripadniki NO!arta so ženske v svojem uporu sprejemali

9 Boris Lurie »Shit NO!« 1970. 32 vzel kak predmet tudi iz smetnjaka, ga preoblikoval ali iz ponorel nad fotografijami del NO!arta, ki sem mu jih njega naredil umetnino. pokazal. Kmalu je prišel v New York in se še bolj navdušil, ko si je ogledal Razstavo pogube v galeriji March. Zdelo Razstava pogube je bila neposredni napad na nevarnost se mu je, da naše delo ustreza njegovim napovedim o atomske vojne v času spora med Hruščovom in Kennedyjem razvoju umetnosti. […] Razstava v Milanu in zlasti takoj zaradi Kube leta 1961, ko so gradili kletna zaklonišča nato v Rimu je bila fantastičen uspeh v resnično ljudskem za zaščito prebivalcev pred atomskim napadom, ko je smislu, saj si jo je ogledalo 10.000 ljudi, kar je bila državo preplavila histerija, ko je drastični, popolni obrat najbolj obiskana razstava mladih umetnikov v Rimu vseh proti totalni umetnosti političnih tem z eno samo potezo časov. Policija je po dolgotrajnih pogajanjih z gospodom ukinil vse subjektivne introspektivne vrednote, ki so veljale Liveranijem, lastnikom galerije La Salita, prepovedala dotlej. Film Raya Wisniewskega o razstavi je v ta politični vstop mladoletnikom, namesto da bi vsa dela zaplenila, angažma vnesel vzdušje hepeninga, saj je prikazoval kot je prvotno zagrozila. nenaštudirana spontana dejanja na rokovske melodije ob rastočem in spreminjajočem se okolju Razstave pogube. Nove možnosti je ponudila Gertrude Stein, mlada Ta radikalni obrat v totalna objektivna politična vprašanja umetnica in zbirateljica, ki je obiskovala alternativne galerije je bil poskus utemeljevanja resnične množične umetnosti na 10. ulici in se še zlasti navdušila nad skupino March. zgolj na ljudskih gibanjih – razmišljanje in dejavnost Sama Borisa je povabila k skupnemu odprtju nove galerije, ki je Goodmana o tem sta bila še posebej pomembna. Namen nato postala središče in podporna baza teh umetnikov. umetnosti ni bil več sebično služenje umetnikom in samim Galerija Gertrude Stein se je odprla aprila 1963, a ne v sebi ali pa majhni skupini kulturno posvečenih: podžgati spodnjem, temveč v zgornjem delu mesta na Manhattnu – v bi morala vse ljudi – s tem, da bi bila zares ljudska. kleti Vzhodne 81. ulice 24, z razstavo Borisa Lurieja, ki jo je Verjeli smo, da lahko umetnost to funkcijo opravlja, če je Gertrude Stein predstavila sama: povezana z močno ljudsko politično osnovo, in da je taka demokratična estetika najvišje povzdigovanje umetnosti.11 Delo Borisa Lurieja je močno. Meni, da slonokoščeni stolp ne more nadomestiti resnične navzočnosti v Vse to je naredilo vtis in kot poudarja Simon Taylor, bilo življenju; umetnost je instrument vplivanja in spodbujanja. pozitivno sprejeto celo v publikacijah, kot je Art News (60, Noče spreobračati, ampak glasno vpije, tako da vsi 1962, str. 12). je razstavo pohvalila in jo razumejo. Kot simbol vzame »dekliško« sliko, domačo primerjala z dadaizmom: ameriško zvrst pornografije. Ker zavrača konvencionalne navade, gledalca pretrese; za vsako ceno si prizadeva, Ko vstopiš v to majhno galerijo, te preplavijo časopisni da bi priznavali svojo resničnost, zato nam vsiljuje bridko naslovi o usmrtitvah in jedrskih poskusih, groteskna pin- vizijo kruto smehljajočega se, brezsrčno oglaševalskega up dekleta, odvratne nalepljene zbirke znanih obrazov – pin-up dekleta. Njena slika visi v garderobah; draži obilje humorja in groze, ki sta med seboj zamenljiva in »utrujenega poslovneža«, ki skrivaj vtakne Playboy v gnusna.12 aktovko; filmske zvezde postajajo blago, ki se ga meri v centimetrih, v sanjah Amerike. Naše okolje je onesnaženo Leta 1961 so poleg Tompkins Squara v East Villageu z bolestno erotičnostjo in brezčutno brezbrižnostjo. Na priredili ulično parado Car Event, kjer sta Sam Goodman v Luriejevih slikah se pojavi »Ne«: Ne! Ne! Ne! sprejetemu, maski Hruščova in D'Arcangelo v maski Kennedyja izražala krutosti, obupu in brezupu, ki prevladuje, konformizmu stališče skupine NO!art do ameriške zunanje politike, delno in materializmu. To je močan »NE« v poplavi množično v obliki protesta in delno v obliki performansa. ustvarjenih »DA«. Zato pin-up dekleta raztrga; vrže jih na platno, pa naj padejo, kamor hočejo. Dal je svojo osupljivo 13 Leta 1962 je pisec in podpornik dadaizma Arturo izjavo. Schwarz v svoji galeriji (ki je delovala od leta 1954 do 1975) priredil razstavo Luriejevih in Goodmanovih del z naslovom Po selitvi v gornji del mesta se je spremenilo tudi naše Razstava pogube, ki je nato gostovala v galeriji La Salita v občinstvo. Na 10. ulici so bili večinoma umetniki, mladi Rimu. ljudje. V gornjem delu mesta pa smo se spraševali, kdo je v resnici naše občinstvo: obdani smo bili z množico Arturo Schwarz, […] avantgardni promotor, radikalec in ljudi srednjih let, ki so bili videti kot nevrotični premožneži poslovnež, ki sem ga spoznal v Milanu, je popolnoma na lovu za užitki, množico, ki jo je bilo težko definirati, amorfno, brezoblično gmoto. Takrat so mladi t. i. modsi 11 Boris Lurie »Shit NO!« 1970. noreli za popartom in campom, medtem ko so resnejši 12 Elaine de Kooning: Doom Belongs to Dada. Village Scene. Št. 1. 1962, navedek iz: Simon Taylor. The NO!art Movement in 13 Letak za razstavo Borisa Lurieja v Galeriji Gertrude Stein, New New York. 1960–1964. York, 1963. 33

intelektualni študentje in boemi zapuščali umetniško prizorišče in se podajali v zanimivejše dejavnosti: aktivizem za državljanske pravice, ponovno presojo družbe na praktični družbeni način namesto skozi umetnost, in rok glasbo kot družbeni izraz. Bleščeče galerije v gornjem delu mesta zagotovo niso bile kraji, kjer bi se zbirali. V modi sta bila Karl Marx in Stepni volk, na umetniški cirkus pa so gledali s prezirom: prepuščali so ga negovanim in gladko obritim popartističnim genijem v belih srajcah in kravatah, ki so jih takrat promovirali kot standardne nosilce mladinske revolucije.14

Isto jesen, od 8. oktobra do 2. novembra 1963, so organizirali skupinsko razstavo skupine March (zdaj NO!art). (na sredini, s svetlimi lasmi) se pogovarja s pisateljem Noelom Poleg Borisa Lurieja, Stanleyja Fisherja in Sama Cladom in njegovo ženo v soseščini galerije Goodmana so na njej sodelovali Rocco Armento, Yayoi Tanager na 10. ulici, New York, 5. aprila 1959. Kusama, , Jean-Jacques Lebel, Michelle Willem de Kooning (center, with light hair) Stuart, Esther Gilman, Gloria Graves in Richard Tyler. speaks with author Noel Clad and his wife next door to the Tanager Gallery on 10th Street, New York, April 5, 1959. © Photo: Fred W. McDarrah/Getty Images 14 Boris Lurie »Shit NO!« 1970. 34

V besedilu na razstavnem plakatu, ki je služil tudi kot v celoti prekrivajo stene od tal do stropa, je bila naslednja obvestilo za javnost, jih je Seymour Krim, pisec in urednik razstava, njena izkušnja nezaželene plodnosti-energije, revije The Beats, opisal kot »tolpo posiljevalcev« in navedel: ki brezciljno lebdi na neobstoječem oceanu ... ženska, ki ji grozi vsa ta neuravnovešena spolna moč, je najbrž Verjamem, da je to samo po sebi razlog za pristno pobegnila pred napadom, utonila v tleh galerije. Vse spoštovanje, tudi če se ob preračunljivem ekstremizmu preveč moško agresivna samurajka je pozneje poniknila v nekaterih del zdrznete ali ujezite. Zakaj? Ker mora resna obupanih ekshibicionističnih prizadevanjih.16 umetnost v precej strahopetni množični družbi, kakršna je naša, javnosti nenehno zagotavljati, da jo motivira Leta 1964 so v Galeriji Gertrude Stein priredili tudi razstavi drugačen namen od zgolj dekorativnega ali preprosto Errója in Herba Browna. umetelnega dela, ki ga človek množičnih medijev lahko pogoltne brez prebavnih motenj. Današnja Amerika Sledili so na novo poslikani veliki plakati s podzemne ni kraj za lepoto, ki spoštuje samo sebe in ne ogroža železnice, ki jih je ustvaril Herb Brown, s čimer so samozadovoljstva. Na vsakem kompromitiranem področju arkade podzemne železnice postale umetniško okolje, našega življenja je preveč bolezenskega, da bi potrebovali predhodnik grafitov, ki so zdaj vseprisotni v podhodih – umetnost, ki pomirja. Čudoviti francoski mojstri trenutno z vendar s pomenom, ki izraža gnus, obrambo posameznika nami niso uglašeni. Potrebujemo umetnost, ki kriči, rjove, pred plazom nezaželenega oglaševanja. bruha, besni, nori, ubija, posiljuje, zagreši vsa krvava in obscena dejanja, ki jih lahko, da izrazi zgolj kanček Leta 1964 sta Sam Goodman in Dorothy Gillespie v človeških čustev, zaprtih pod toaletnimi ploščicami v galeriji Salle de Champagne, ki je bila del nočnega kluba utopiji oglaševalcev. v lasti Dorothy Gillespie in njenega moža, ustvarila tudi instalacijo »Ameriški način smrti«. Delo Alana Kaprowa vidim kot izjemo: je hladno, preračunano in učinkovito v nadzorovanem in zamejenem Po Luriejevih spominih je bil prostor urejen kot: pomenu. Ima klasičen okus, njegovo stališče pa je preveč bojazljivo, da bi predstavljalo to, kar boste videli. ... realistično okolje pogrebnega zavoda s krstami, načrti Polomljeni Kristus Esther Gilman kaže na razočaranje grobov, pogrebnimi pripomočki, vse je bilo zvesto, zasebne verske izkušnje, morda jo natančneje opišem kot realistično reproducirano, s skrbno izdelanimi plačilnimi bridko deziluzijo, in brez dvoma uspeva le na sorazmerno načrti, cenami in privlačnimi opisi – predhodnik sedanje blagi ugaslega upanja. Sadomazohistični portreti sociološke umetnosti. Na ogled so bile tudi krste s Michelle Stuart in sadovnjak penisov Yayoi Kusama se pokojniki: Sam Goodman je bil pri tem grozljivo preroški, zdijo bliže natančni točki slikarstva in fantazije, izpeljane to je bila njegova predzadnja razstava – že čez nekaj let v okviru ženske senzibilnosti – tako drugačne od moje, je umrl tudi sam. Na spominski razstavi leta 1967 pri da sem neobčutljiv prevajalec jezika vseh treh dam in Gertrude Stein smo poleg enega naših kipov dreka znova vam svetujem, da se na njihove strte melodije odzovete z razstavili isto krsto.17 lastnimi čutili.15 Na začetku leta 1964 (od 14. 1. do 8. 2.) je Boris Lurie Gertrude Stein je za promocijo NO!arta storila vse, kar priredil razstavo »Plakati NO!arta« v tehniki sitotiska, ki jih je je lahko. Priložnost za samostojne razstave je ponudila ponujal po 25 dolarjev. V spremni besedi k razstavi trdi, da je tudi drugim umetnikom v skupini, vključno z novinci: Yayoi zamisel odkrito usmerjena proti napihnjenim tržnim cenam Kusama je leta 1963 na primer omogočila prvo samostojno poparta. kiparsko razstavo »Aggregation: One Thousand Boats«. Pri razstavi »Plakati NO!arta« sem se naslonil na idejo, Yayoi Kusama je postavila čoln, prekrit z neštetimi penisi zasnovano leta 1962: odpadni listi, ki jih uporabljajo za iz belega blaga, naravnost v sredino galerije, skupaj z 999 čiščenje preš, polni nasprotujočih si oglasnih sporočil litografijami samega dela, ki jih je kot tapete nalepila po zaradi plasti, natisnjenih drugo čez drugo, naključna prostoru. Ko je to razstavo videl Andy Warhol, je opazil, umetnina stroja, ki tako popolno predstavlja potrošništvo. kakšno moč ima podvajanje, in začel tudi sam izdelovati Na teh grafikah v velikosti plakatov so bili natisnjeni srebrn serije grafik. slogan NO, ogromno pin-up dekle, ki kleči, in zbirka sadomazohističnih slik, na katerih so ljudje ponižani, Tisoč čolnov Yayoi Kusama – en sam čoln, prekrit z belimi zvezani in zamašenih ust. To gradivo je iz knjižnice mojih penisi, in vesli na tleh galerije, fotografije istega čolna, ki

15 Seymour Krim. Spremna beseda. Razstava NO Show v Galeriji 16 Boris Lurie »Shit NO!« 1970. Gertrude Stein. 1963). 17 Boris Lurie »Shit NO!« 1970. 35

simbolov izbral Sam Goodman, saj avtor ni smel zavestno presenečenje – pa so začeli prihajati zbiralci poparta, posegati v rezultat (ne pa tudi v koncept). Namen je bil špekulanti, ki so trdili, da jim je razstava všeč, da bi dela ustvariti protestni plakat, ki ga povsem naključno izdelajo radi kupili in jih promovirali. Verjamem, da je bil ta občutek uboge zlorabljene tiskarske preše: NE-oglaševalske v okviru njihovega razmišljanja dokaj iskren, čeprav so plakate, NE-tajniške plakate, NE-potovalne plakate, NE- vsebino in namen razumeli popolnoma napačno. To je industrijske plakate, NE-motelske plakate, NE-plakate za bila za nas zastrašujoča izkušnja; domnevali smo, da smo igrače. Izdaja je bila potencialno neomejena, a je bil kljub se morda zmotili, da nam je v naših namerah spodletelo, temu vsak malce drugačen – unikat –, prodajna cena pa da so odskakovale na način, ki ni bil predviden, bali smo minimalna. Resnične ljudske protestne grafike, narejene se, da so naši novi častilci – in sovražniki – na nekako strojno, proti dragim ročno narejenim zbirateljskim izkrivljen, a resničen način razumeli pravo vsebino dela sitotiskom poparta v omejenih izdajah, ki so se izdajali za bolje, kot smo jo po našem mnenju sami: vendar so se ljudsko umetnost. Da bi svoj namen jasno pokazali, smo nam dvomi razblinili, ko so nam povedali, da bo njihova pod vsak plakat s šablono napisali Anti-Pop. promocija vključevala paketno ponudbo, da bomo sledili njihovi estetski usmeritvi in da mora naša galerija postati Leta 1964 sta Boris Lurie in Sam Goodman v Galeriji satelit skupine pop galerij; poskušali so omajati naše Gertrude Stein priredila še eno konceptualno razstavo, skupno stališče, tako da bi ponudili plačilo in koristi samo imenovano Razstava kipov NO, a znano pod bolj škandaloznim nekaterim, drugim pa ne. Sam Goodman se je dolgo imenom: »Razstava dreka«. Šlo je za razstavo kipov – in burno prepiral in razpravljal z ljudmi iz poparta, med iztrebkov –, od katerih so vsakega pripisali znanemu trgovcu katerimi je bil tudi gospod Kraushaar, ki pa je bil med z umetninami ali kustosu: Castellijev drek, Sonnabendov ognjevitim pričkanjem ves čas tiho. Ko mu je Kraushaar drek itd. Razstava je seveda požela vsesplošno pozornost. osebno čestital, je Sam nepričakovano odvrnil: »Tudi Te provokacije pripadnikov NO!arta niso mogli spregledati na vas se poserjem!« Kraushaar, majhen, poln zadrege, niti najuglednejši newyorški umetnostni kritiki, tako med agresiven in defenziven, je pozelenel in odkorakal.18 samo razstavo kot pozneje (čeprav so bili predhodniki ideje »prodajanja lastnega dreka«). Ni res, da sta Lurieja, Goodmana in Fisherja združevala zgolj temeljna sovražnost ali nasprotovanje, usmerjena proti Tema razstave kipov NO (Razstava dreka) so bili iztrebki, vsem in vsakomur. Dejansko s svojim NE! ponujajo opomin, narejeni iz mavčnih odlitkov in pobarvani; bili so različnih slutnjo; trkajo na vrata vesti in duševnega zdravja. Izmaličene velikosti, od majhnih do gromozanskih, in razstavljeni maske, prostitutke in iztrebki delujejo kot opomini in svarila. neposredno na tleh galerije. S prikazovanjem vojne, nasilja, suženjstva, hinavščine ali korupcije so prikazovali človeška dejanja in zla dejanja, Potem ko sva jih s Samom Goodmanom noč in dan preventivno, kot nekakšno cepivo proti tej norosti. Kritične mrzlično izdelovala v kleti galerije March na 10. ulici, sva bolezni zahtevajo kritična zdravila. Ljudje pa imajo kratek jih razstavila v Galeriji Gertrude Stein. Kipi so se množili spomin. in polnili majhno klet na 10. ulici, kjer sva začela skupno akcijo; medtem ko je Sam Goodman vlival in stiskal Trije ustanovitelji in teoretiki NO!arta so vojno doživeli mavec iz plastičnih črev, sem na prtljažni polici svojega veliko bolj neposredno kot njihovi kolegi. Lurie, ki je v njej majcenega austin-sprita dovažal nove vreče mavca, najhuje trpel, bi moral »po pravici« najglasneje kričati in oblikoval strukture iz žične mreže in vrečevine ter barval rohneti. Ker pa je prihajal iz drugačnega sveta, iz izobražene končane iztrebke. V tem tempu sva delala več tednov, družine z določenimi vrednotami, in ker je od časa do časa praktično dan in noč, ter drug drugega neusmiljeno vpijal pariški duh, morda ni mogel, niti ko je predstavljal priganjala, da bi naredila vse več in bolje. Počutil sem se najbolj šokantna dela, opustiti spoštovanja, značilnega za kot vojaški vodja, odgovoren za pomemben, odločilen staro kulturo – spoštovanja do tega, čemur bi lahko rekli zračni napad. Vedela sva, da so vsi, prav vsi mostovi umetniško delo oziroma »profesionalni odnos« do izbranih dokončno požgani; če ta ofenziva spodleti, bova padla medijev. V njegovih slikah in kolažih je skrajna le tematika, tudi midva. Dokončno revolucijo na to temo lahko najdete hkrati pa je barva uravnovešena (Lumumba is Dead, 1960), v Galeriji Gertrude Stein ... v teh skupinah črevesne in v njegovih najpomembnejših, najučinkovitejših delih je kaligrafije je veliko formalnih odlik za vsakogar, ki jihje ideja predstavljena jasno in čitljivo kot na plakatu (Love zaradi puristične vzgoje prisiljen opaziti. Vendar pa se Series: Bound on Red, 1963). Če je ideja lakonična, bo tudi tema norčuje iz tistih, ki v njej najdejo formalne vrednote. samo dalo zlahka razumljivo. Kadar je najpomembnejša Tisti, ki jih ne, so prisiljeni zanikati legitimnost vrednot, ki jukstapozicija, ji izrazna sredstva zgolj služijo. Tudi kadar so jih doslej vbijali v glavo več generacijam študentov. Lurie poudari provokativni element, na primer svastiko ali (Brian O’Doherty, New York Times, decembra 1963) Davidovo zvezdo, to stori natančno in prepričljivo. Nikoli ni Paradoksalno – na naše veliko začudenje in grozovito 18 Boris Lurie »Shit NO!« 1970. 36 opustil tega, kar poznamo pod imenom formalne vrednote, Lurie in njegovi kolegi preživeli, so bili najbrž užaljeni tudi saj so bila dela premišljena, vsaj intuitivno, in slogovno zaradi lahkotnosti, ironičnosti in uglajenosti drugih. Med brezhibna. »preganjanjem« pripadnikov poparta je Lurie pozneje obtožil dadaizem – čeprav ga je spoštoval in cenil zaradi izzivanja Morda od teh umetnikov dejansko nihče ni pričakoval buržoazije – kot sokrivega za utemeljevanje poparta (ki ga je umetniških vrednot, vendar pa je na videz kaotična videl odetega v ameriški šovinizem).21 kompozicija organizirana, tudi če se sprva zdi le kot barvna zmešnjava. Jasno je, da ima umetnik talent in občutek za Leta 1970 je v isti izjavi za razstavo »Umetnost in politika« barvo. Čeprav bi sam to najraje zanikal, pa slika, kolaž ali v Kunstverein Karlsruhe še naprej utemeljeval svoj boj, ki prostorski predmet delujejo inteligentno izvedeni, tudi kadar ni bil uperjen le zoper popart, ampak tudi zoper slikarstvo je tema provokativna in v mnogih primerih sadomazohistična. barvnega polja v okviru abstraktnega ekspresionizma Zaradi Luriejevega brezhibnega občutka za slog vse delo (predstavlja ga na primer Rothko) in minimalizem; vse postane gledljivo, tudi če v njem ni mogoče uživati. To velja to je imel za »drogo, ki ljudi uspava«, čeprav je nato tudi, kadar zanemari vse etične in na videz tudi estetske med razpravo o NO!art priznal: »Častili smo abstraktne norme.19 ekspresioniste. Vplivali so na nas.« (Alan Murdock. Intervju z Borisom Luriejem. Časnik The Daily Iowan, 4. 3. 1999) Estetika se ohrani, čeprav to seveda niso estetizirana (Zdi se, da Lurie pod izrazom abstraktni ekspresionizem dela. Estetika NO!arta je povsem drugačna: agresivna in razume le njegovo splošno smer čustvenega akcijskega zvedena na družbenopolitični komentar ali sporočilo. slikarstva.)

Sam Lurie razloži: Vendar pa NO!arta zaradi globokega, neironičnega črnega humorja ne moremo poistovetiti z dadaizmom; ukinjanje Izražali smo idejo, da je treba odpreti meje umetnosti. meja glede na uporabljeno snov še ne pomeni zbliževanja. Estetska umetnost se omejuje na področja, ki jih je Tako kot dadaizem in neodadaizem tudi pripadniki NO!arta treba preoblikovati, in druga področja, ki se jih ne sme pri svojih delih vdihnejo narejenim predmetom metaforični dotikati. Temu smo nasprotovali in hoteli vključiti vse pomen, nasproten temu, ki ga pri njih navadno opazimo. po vrsti, vse do blata na pločniku. [...] Kar smo delali, Vendar pa se NO!art ne poigrava z neprimerno ikonografijo, ni nujno neestetsko. V naši skupini je bilo veliko dobrih simboliko ali izkušnjami z vsakdanjimi predmeti, tako kot se umetnikov in ti so izdelovali estetska dela. Tisto, čemur so je dadaizem. Pri NO!art gre za odraslo igro življenja in smrti. rekli neestetsko, je bila vsebina, ki je nastala, saj si lahko V pričevanje o uničenju so vključene celo otroške igrače v abstraktnem ekspresionizmu privoščite neposrednost.20 (Death and Resurrection), prenosni oltar pa dobi nov pomen, ko nosi portret množičnega morilca (Eichmann Triptych). Neprizanesljivo sporočilo Luriejevega dela, ki je Ali pa seznam klobas (pobitih Judov), vstavljen v ovitek razkrinkavalo ves svet, je bilo predstavljeno v okviru jedilnega lista (Menu/Blood Wurst). Glavni zagovornik te radikalnega gibanja, primernega za tisti prostor in čas. Čeprav težnje je Sam Goodman. Tukaj omenjena dela so pravzaprav so dela Lurieja in nekaterih drugih pripadnikov NO!arta očitno njegova. Imel je najbolj nore ideje in domišljijo (Lurieja je naperjena zoper aktualno dogajanje v ameriški umetnosti spodbujal, naj uporabi fotografije žrtev koncentracijskih tistega časa, namreč popart, pa ne bi mogla nastati zunaj taborišč) in ustvarjal najbolj agresivna dela. Zažgane lutke, svojega časa; še več, slogovno se ne razlikujejo od del predmeti, ki so bili pri roki ali najdeni v smeteh, polomljene poparta (na primer D'Arcangelo). Vsebujejo tudi elemente deske. Vsakdanjim predmetom je vdihnil simbolno in abstraktnega ekspresionizma ter neodadaizma, skupaj s ikonografsko vrednost. Kot bi moledoval, da njegovi »kipi« popularno kulturo, v tem smislu, da vidimo namerno rabo ne bi bili obravnavani kot umetnine. fotografij, že ustvarjenih podob in klišejev. Čeprav jebil NO!art na videz usmerjen zoper abstraktni ekspresionizem Goodman ni nikoli postal bogat in slaven; v tridesetih in popart, pa so ti elementi navzoči v delih pripadnikov letih, ki jih je preživel v newyorškem umetniškem svetu, se NO!arta. Morda njihovo nasprotovanje res ni bilo toliko ni priljubil pripadnikom tega okolja, ki so bili karieristični usmerjeno proti samim umetniškim gibanjem kot proti in netalentirani, vseeno pa je ta po mnenju mnogih neposrednemu tržnemu uspehu njihovih pripadnikov in proti komolčarski Judek odločilno vplival na premik umetnosti špekulacijam velikih umetnostnih galerij. Po vsem, kar so z dobro naoljenih tirnic, tako da nikoli več ni bila povsem enaka. Na vrhuncu vneme in navdiha je tudi sam začel čudno spominjati na smeti, saj so ga neustavljivo privlačili 19 Tudi roman House of Anita, napisan v 70. letih, je nemoralen in odvraten, a slogovno kljub temu brezhiben. 20 Alan Murdock. Intervju z Borisom Luriejem. Časnik The Daily 21 Max Liljefors “Boris Lurie and NO!art” www.heterogenesis.com, Iowan, 4. 3. 1999. 2003, št. 4. 37

ulični zabojniki za odpadke, v katerih je iskal sestavine za umetniška dela, in pri tem pozabil na vse, ki so hodili ob njem.22

Stanley Fisher se je s svojimi demoni boril na podoben način, tako da jih je materializiral. Obnašal se je kot vandal, spreminjal in dopolnjeval je prepoznavne ljudi in simbole, s tem pa preoblikoval njihov pomen. Njegove kolažne slike so kot žgoče parodije na vse aktualne teme NO!arta. Blatne, umazane barve, maske, besede smrti in uničenja ter grafite je uporabljal za ustvarjanje »umazanije«, ki je v nasprotju s prefinjenostjo poparta in stripovskim prikazovanjem »dobrega življenja«. Seymour Krim v spremni besedi k razstavi NO!arta leta 1963 v Galeriji Gertrude Stein piše o Fisherjevem delu, ki si ga je obesil nad domači kamin:

Sovražim ga, ker je tako surovo, vulgarno, razmazano, vreščavo, komaj ga lahko ločim od vročičnih ulic, ki so ga navdihnile. Vseeno pa ga obožujem, ker je tako resnično. Ker nisem slikar, se mi zdi nekaj izrednega, da je resničnost, s katero se moram skupaj s tisočimi iz svoje generacije spopadati vsak dan, nekdo pograbil in jo preklinjajoč vrgel v umetnost.

Ima NO!art kaj povedati? Delo Lurieja, Goodmana in Fisherja gre v napad z bojnim krikom na ustih. To je vsebina Gertrude Stein, 1978 del teh treh pripadnikov NO!arta. Omeniti je treba, da se v © Boris Lurie Art Foundation tem pogledu trije ustanovitelji in ideologi skupine razlikujejo od ostalih, ki niso izrazili tako velike bolečine in ki so si dovolili več koketiranja, nekateri od njih (Lebel, Kusama in Erró) pa so si v Ameriki dejansko ustvarili kariero.

Lurie svoj NE! pokaže zelo neposredno – vpiše ga neposredno na slike.

Pozneje, leta 1970, je Lurie ponudil razlago tega NE!: »NO!art je anti tržno-naložbena umetnost: (tržno-naložbena umetnost je enako kulturna manipulacija). NO!art je proti 'kliničnim', 'znanstvenim' esteticizmom (taki esteticizmi niso umetnost).« 23 V bistvu gre tudi za NE kompromisom, tihi podpori. Lurie je imel za svojo človeško dolžnost, da govori le o negativnem, da ljudi svari in straši. Te tri osebnosti kot osrednja skupina NO!art delujejo kot ljudje, ki so jih osebne izkušnje vojne privedle do točke, ko več nimajo česa izgubiti. Poleg tega trojico druži judovska bolečina, ki mora biti pravzaprav bolečina vsega človeštva, in to je tudi tema njihovega dela.

Frankfurtska filozofska šola je skupaj z izjavami Theodorja Adorna v smislu, da je »pisanje poezije po Auschwitzu

22 Boris Lurie »Shit NO!«. 23 Izjava za razstavo »Art and politics« v Karlsruhe Kunstverein, Nemčija, 1970. Objavljena v: Lurie, Boris; Krim, Seymour: NO!art, Köln 1988. 38 barbarsko« (Theodor W. Adorno, Študije v sodobni nemški vrednotami. Tako kot otroci s svojim obnašanjem učijo starše družbeni misli, 1949), pozneje v 70. letih postala bolj in jim kažejo potrebo po mejah, tudi NO!art z agresivnimi priljubljena kot v formativnih letih NO!arta, vendar pa so ti deli izziva in kaže jezik, da opozori, da je s svetom nekaj umetniki ustvarili dela, ki so se že odzivala na ta koncept – narobe. Maksimalizem, idealizem in upor niso le pravica zelo nespodobno je analizirati umetnost, potem ko smo prestopili mladih ljudi. S svojo kljubovalnostjo bi se radi identificirali in vse meje človečnosti. potrjevali.

Temo holokavsta (šoe) je Boris Lurie razvijal še naprej. Destrukcija v delih pripadnikov NO!arta vsekakor ne Kot žrtev v najbolj neposrednem smislu je bil edini, ki je imel pomeni, da niso imeli želje po harmoniji, čeprav so bili etično pravico do šokantnega izraza, da je bil Hitler največji večinoma navajeni shajati brez nje. V resnici so pozitivno umetnik vseh časov, saj projektov in instalacij, v katere so naravnani, zagovarjajo svet brez zla, brez vojne, brez bili vključeni ljudje, še nihče pred njim ni izvedel v takem nečlovečnosti. Gre za upor mladih proti nečlovečnosti, ki so obsegu. ji bili že izpostavljeni.

Naj nekdo spomni te preklete pohlepne manipulatorje z Lurie, Goodman in Fisher so privlačili druge, ki so se umetnostjo in kulturo, te trgovce s krvjo umetnikov, na prav tako želeli realizirati skozi popolno »zanikanje« in začeti mladega bitniškega umetnika. Ni še tako dolgo, kar je z njim. Kaj jih je torej združevalo? Miselnost? Depresija? živel. Ime mu je bilo Adolf Hitler. Njegova kariera bi bila Trpljenje? Bes? Nakopičena agresivnost? Nasprotovanje? lahko drugačna. Če bi ... druga klika v drugih časih ... Nezadovoljneži so se zbirali okrog Borisa Lurieja. Yayoi mu ne bi bilo treba po vsej površini Evrope sejati svojih Kusama je v New Yorku hitro začela uspešno kariero; Erró mojstrovin iz resničnega življenja.24 se je spoprijateljil s popartisti in sprejel njihov slog.

Več Luriejevih del ne bo nikoli nehalo vzbujati Leto 1964 je pomenilo prelomnico v NO!artu, ker je nerazumevanja in jeze, na primer dokumentarne podobe, skupina podala izjavo in razglasila manifest. In ali bi »Razstavi ki druge poleg druge postavljajo slike ljudi, pobitih v dreka« sploh lahko sledilo še kaj bolj šokantnega in norega? koncentracijskih taboriščih, in fotografije pin-up deklet. Ni Lurie in Goodman sta vzdražila tiste, ki niso bili politično in treba imeti veliko domišljije, da bi razumeli travmatični učinek družbeno brezbrižni. Čas je šel naprej, potrebo po skupinskih na najstnika, ki je prvič videl golo žensko na kupu trupel. razstavah so presegli in vsak umetnik je začel razvijati lastno Lurie je bil premlad, da bi to predelal v svoji psihi. Zato je kariero (kot lahko vidimo iz priloženih življenjepisov). Pri prikazoval razgaljene ženske zgolj kot predmete, namenjene nekaterih je bilo to edino obdobje v umetniški karieri, ko uporabi, kot je veljalo v koncentracijskih taboriščih. Lurie v so bili znani (Gloria Graves), drugi so si iz življenjepisov delih na temo holokavsta prikazuje sadizem, ki ga je doživel, zavestno prizadevali izbrisati mladostne dejavnosti v New predstavljen mazohistično in cinično, kot da sam ne bi bil Yorku (Kusama), medtem ko so se jih tretji spominjali z žrtev. navdušenjem, kot pomembnega dela svojega ustvarjanja (Lebel). Takrat pa so bili to mladi, dejavni, radikalni ljudje z Psihološko trpljenje in osebna travma, ki jo umetniki nenavadnim okusom, za katere sta galerija March in Galerija še naprej obdelujejo v svojih delih, sta dodatna dejavnika Gertrude Stein predstavljali odskočno desko. Združevala sta motivacije za združevanje v skupnem nasprotovanju. jih tudi duh časa in priložnost za samoizražanje, ne vedno s Prizadevajo si preseči duševne brazgotine in travme, tako skupnim glasom. da si ližejo rane, potem pa jih tu in tam spet odprejo in jih postavijo na ogled kot umetniške podobe. Leta 1964 se je začela usodna veriga tragičnih dogodkov. Zdi se mi, čeprav bi to težko utemeljil, da je vse skupaj Pomemben predmet antagonizma NO!arta je bila sprožila moja skulptura Smrt, pri kateri so bile v plastične komercializacija na splošno, vključno s komercializacijo opeke vkapsulirane kurje glave ... Goodman pa je to z umetnosti, najbolj neposredno pa »establišmenta«, ki Ameriškim načinom smrti le še pospešil. Leto 1964 je je stal za tem. V skrajni obliki se je to seveda pokazalo v prineslo smrt gibanja NO!art kot kolektivne sile, čeprav Goodmanovi in Luriejevi »Razstavi dreka« leta 1964. Delo so mnogi pripadniki še naprej samostojno delovali in razstave, ki jih je ustvarila ta trojica, so predstavljali in razstavljali. Umrl mi je oče, kar me je prizadelo tako splošno serijo protestov proti sleherni hinavščini. Protestniki močno, kot bi me povozil tank, leta 1967 pa je umrl še NO!arta so preprosto vizualizirali, na platnu in v asemblažih Sam Goodman, ki je počasi izgubil bitko z rakom. Čeprav upodabljali to, kar se je dogajalo in se dogaja s človeškimi nas pri poigravanju z dinamitom obhajajo zle slutnje, pa nas vseeno vleče k temu, moramo se poigravati še naprej. 24 Boris Lurie, 1975(1), Spremna beseda h Curse Works, 1972–73. Boris Lurie in Seymour Krim, NO!art. Berlin in Köln: Edition Hundertmark, 1988, 94. Po smrti očeta je Lurie leta 1964 prejel dediščino in 39 prevzel skrb za fundacijo Schaine in Josephine Lurie, ki jo je krave (Damien Hirst). Če poznamo NO!art, lahko na primer oče ustanovil za pomoč preživelim v holokavstu, zato se je razumemo, kar govori Jean-Michel Basquiat. Jasno začel ukvarjati z borznim trgovanjem in drugimi družbenimi lahko vidimo, da so temelje sodobnim performansom in dejavnostmi. hepeningom v kleteh in uličnih gledališčih položili Allan Kaprow, Sam Goodman, Allan D’Arcangelo in drugi. Čeprav Čez čas se je znova vrnil k umetnosti in spet iskal so drek in provokacije postali skoraj nujni za sodobno podobno misleče ljudi. Dobrega prijatelja in sorodno dušo je občutje, pa so vzgibi zanje drugačni kot pri NO!artu. že našel v judovskem umetniku Wolfu Vostellu iz Zahodnega Berlina, katerega delo so v New Yorku leta 1963 prikazali NO!art je pojav, ki ga je treba še naprej raziskovati, na razstavi 6 TV-dé-coll/agen v galeriji Smolin. Z Luriejem njegove pomembnosti pa še nismo v celoti ovrednotili. Vsi sta si bila zares blizu. Ideje gibanja , ki mu je pripadal umetniki, ki so sestavljali to skupino, z izjavami, idejami in Vostell, so bile za umetnika Luriejevega kova privlačne. Allan deli predstavljajo del povojne družbene akcije. Z glasnim, Kaprow, prav tako povezan z NO!artom, jih je širil na univerzi demonstrativnim NE! so si prizadevali za vidnost in slišnost. Rutgers, kjer je bil takrat zaposlen. Vostell in Lurie sta redno Čeprav so bili sposobni zagovarjati in utemeljevati svoje izmenjavala ideje in bila tesna prijatelja, kot je povedal proteste, pa povojna zgodovina kaže, da umetnik, ki Vostellov sin Rafael, svetovalec pri Umetniški fundaciji opozarja na nevarnost, na splošno ne predstavlja kaj več od Borisa Lurieja in organizator razstav NO!arta. V 70. letih je ganljivega Don Kihota. Vostell povabil Lurieja v Nemčijo in ga predstavil galeristom, ki so tam organizirali razstave njegovih del. To so bili Inge Bäcker, Rene Block, Helmut Rywelski in Armin Hundertmark.

Ime NO!art je leta 1964 prvi uporabil Edward Kelly v pomladni številki revije The Art Journal v članku »Neo-dada: A critique of Pop«. Izraz se je pojavil kot oznaka za skupino March po razstavi NO v Galeriji Gertrude Stein, temeljil pa je na povezanosti z neodadaizmom. Kelly v članku pripadnike NO!arta primerja s popartisti in pojasnjuje, da je ikonografija NO!arta bolj brezsramna, bolj nasilna in bolj satirična. Meni tudi, da je popart kot tak morda navdihnil poskus, da bi NO!art spremenili v prebavljiv predmet za javnost, ki si želi vlagati v satirične igre.25 Odnos med umetnostjo in dokumentarno fotografijo, paradoks boleče umetnosti (PPA), estetika grdega itd. so teme, ki jih obširno obravnavajo mnogi postmoderni, povojni filozofi, umetnostni teoretiki in psihoanalitiki, večina teh zapisov pa se nanaša na NO!art.

Je še kaj podobnosti s sočasnimi umetniškimi gibanji in drugimi podobno mislečimi umetniki? Poleg Fluxusa so bili seveda najbolj izzivalni dunajski akcionisti, ki jih v umetnostni zgodovini povezujejo s posledicami vojne (simbolično očiščenje avstrijskega občutka krivde zaradi podpiranja fašizma). Medtem ko lahko v Zahodni Evropi in Ameriki vidimo tovrstne pojave, namenjene razburjanju umirjenega življenja pridnih državljanov, pa so lahko nekonformistični umetniki v Vzhodni Evropi, na primer v baltskih državah, sovraštvo do političnih sistemov in bolečino zaradi smrti ljubljenih izražali le za kuhinjsko mizo, dela pa pokazali le najbližjim prijateljem.

In če danes poznamo pripadnike NO!arta in Skulpture smrti Borisa Lurieja iz leta 1964, je zanimiva ugotovitev, da se je ta ideja, takrat predstavljena na dokaj skromen način, odtlej manifestirala v obliki morskega psa in razkosane

25 KZ-Kampf-Kunst. “Boris Lurie: NO!art”, NY, 2014, str. 227–228. Ivonna Veiherte 40

assessing this corpus of Lurie’s material. Many questions The Secret Component of Great Art remain for future answers. Likewise, this exhibition can only – Courage offer a limited view of NO!art. A separate exhibition devoted specifically to the work of Boris Lurie is planned atthe Rothko Centre in Daugavpils in April of this year. This will be NO!art was a concept realized through the activities of a an opportunity to show the artist’s most important and at the radical art group in 1950s–60s New York. The leading figure same time most provocative work, which is not available for was Russian-born Jewish artist Boris Lurie, collaborating the present exhibition, since it is currently on display at the with two associates, Sam Goodman and Stanley Fisher. Museum of Contemporary Art Krakow. In order to give an But this concept can also be seen as a movement or group, impression of his work as a whole, several of these traveling joined by other artists living or staying in New York at the works are reproduced in a separate section of this catalogue. time. The foundation also has work by other NO! artists, but not This exhibition highlights the period 1959–1964, the time all of the work from the period is preserved; other work was when NO!art activities began, when they were carried out unavailable, lost to time, dismantled, or unaccounted for. by the major figures, and were at their most potent. The Accordingly, the accompanying photographs are provided NO!art idea continued later as well, but various people to stimulate the imagination. The essential information involved in it subsequently embarked on individual careers, about the artists featured here may be found in the attached ceased working or died. It was Boris Lurie in particular, who biographies, prepared specifically for this exhibition by the consistently promoted the concept of NO!art worldwide and BLAF. is identified with it. The exhibition “Boris Lurie and NO!art” is important for Lurie was widely known in art scene of his time. He Latvia, because the country has a special link with Lurie. was an active and significant figure in the 10th street artist Namely, he lived in Riga from the ages of one until the age of cooperative movement, who transformed downtown New seventeen, attended a German grammar school in Riga and York into a post-war center of alternative culture. The New spoke Latvian. York of his era gave him the opportunity and the appropriate setting for his artistic expressions. He subsequently visited Riga in 1975, and has described all his recollections, encounters, and emotions in hitherto NO!art activities were documented during Lurie’s lifetime unpublished memoirs entitled “In Riga”, which he wrote over in a few books , exhibitions, and accompanying. The Boris the course of several years following his visit to Latvia. Lurie Art Foundation was set up to gather and care for his work, manuscripts, and archive of NO!art materials, as In order to appreciate the NO!art group and the subject well as to organize exhibitions on Boris Lurie and NO!art in of the exhibition, some knowledge is required about Lurie’s international museums. biography, and about the context in which his work and that of the other artists came into being. This exhibition looks at the New York art world of the 1950s-60s through underground art and NO!art, as well He was born in Leningrad in 1924 into a Jewish family as through historical truths relating to the Jews and the which moved a year later to Riga, because, like many other Holocaust. businesspeople and intellectuals, following the death of Lenin, they hoped to escape persecution under Stalin. Though not widely discussed in the history of 20th Century art, the NO!art group was written about by reviewers When the German army entered Riga the Lurie family and critics during Lurie’s lifetime, and art historians began to was relocated to the ghetto; subsequently his mother, take up the subject in Lurie’s later years and after his death. grandmother and sister were shot in the Rumbula woods. Some of this writing appears in this exhibition catalogue. Boris Lurie was seventeen at the time: together with his Lurie himself communicated his aims, his struggles, and father Ilja, he was transferred from one concentration camp his views extensively in statements, interviews and various to another until the end of the war, eventually ending up in texts. Moreover, his captivating intelligence allowed him to the grimmest of them all – Buchenwald, in one of its satellite formulate his writing richly and very graphically. Accordingly, camps, Magdeburg. Boris Lurie’s experience as a Holocaust we have included Lurie’s own accounts of his activities and survivor set the course of his life thereafter, determining its those of NO!art. whole significance and motivation, and the way he lived.

The Boris Lurie Art Foundation is currently engaged in After liberation Boris Lurie and his father moved to the 41

Umetniki, povezani z newyorško umetniško sceno, ki je uprizarjala happeninge, pozirajo pred Judson Hallom na Zahodni 57. ulici št. 167: s čelom, , James Tenney in . Artists associated wuth the downtown New York art scene pose outside Judson Hall at 167 West 57th St.: Charlotte Moorman with cello, Dick Higgins, James Tenney and Nam June Paik. © Foto: Steve Shapiro/Corbis via Getty Images

USA and ended up in New York, where life resumed. His would re-live his traumatic experiences over and over again. father quickly made use of all the new opportunities and In his and collages, Lurie would demonstratively became successful in real estate in New York. Boris was use the yellow Star of David, swastikas, and documentary interested in art and briefly took up studies in the Art Student photographs of the victims in combination with pornographic League, depicting his experiences in the death camps in his images. And all of this was, of course, pervaded by the drawings and paintings. statement: NO! In the 1970s it was all transformed into a laconic concept – a knife stabbed into concrete. Boris Lurie was too young to recover from his experience of the death camps as quickly as his father seemingly had. It was Boris Lurie in particular who brought Jewish and Immediately after the war, the survivors of Holocaust themes as well as ethical issues to the forefront were ashamed even to speak of what they had been through, the, in American post-war art. Seeking to save themselves and they even felt guilty for remaining alive. And indeed, from peril in Europe, large numbers of Jews had arrived even if you wished to relate and present this experience, in America. They were fleeing danger, and since Europe how could it be conveyed? Nevertheless, from year to year, had abandoned them, the world’s largest Jewish diaspora indignation, provocation and anger grew in Lurie’s work. He emerged in New York. This contingent of well-educated 42 immigrants stimulated science, culture, and rapid economic development in New York.

Moreover, in the 1950s and 60s, the combined threat of the Cold War and the Atomic Bomb provided a backdrop against which socially active, creative individuals would pit themselves against through a range of activities.

Boris Lurie was aligned with the bohemians and the Beats, dissident transgressors of 1950s social norms. This viewpoint condemned America’s growing orientation towards material values and adopted a pacifist stance towards US involvement in the Korean and, later, Vietnam Wars. These artists belonged to a generation that had experienced the horrors of World War II.

After the war the center of the art world moved from Paris to New York, particularly to the Greenwich Village, which became a Mecca for artists, creative individuals, experimenters, and offbeat venturers from across the world; these were the people shaping the New York art life.

In the second half of the 1950s, 10th Street in New York’s East Village, where rents were more affordable, developed into an informal gathering place for bohemian artists and nonconformists, with several exhibition spaces owned and managed by the artists themselves, which consequently did not ascribe to the general refined style and rules of the other galleries.

Among the different galleries established by artists themselves, the most active and best-known included, for Člani umetniške skupine z 10. ulice plešejo example, the March, Tanager, Hansa, Brata and Reuben na zabavi v ateljeju Miltona Resnicka. galleries. Several of these were cooperatively run: the artists Members of the 10th Street artists group, would divide the operating costs among themselves and dancing during a party at artist Milton Resnick’s studio. jointly decide on the exhibition schedule. © Foto: James Burke/The LIFE Picture Collection/ Getty Images In this way, a milieu was created for a great variety of experimental phenomena, such as performances and installations. Yoko Ono, too, arrived in New York in 1953, and by 1960 she had rented a room at 112 Chambers Street, where she presented her performance art. In the 1950s, several new avant-garde movements Greenwich Village also had several important artists’ appeared in New York. One of these was the emotional haunts, bringing together a diverse range of artists of Abstract-Expressionist painting, which initially captivated different standing, along with their associates: The Club, everyone, including Boris Lurie. But this movement had the Waldorf Cafeteria and the Cedar Tavern by New York been created by emigrants from Europe, rather than being University. conceived by the Americans themselves, as would later be.1 Beginning with collage, non-art materials began to appear in artworks, including items at the end of their A special kind of atmosphere had begun to emerge here in the ordinary use (such as objects retrieved from rubbish bins), late 1950s that attracted adventurers as well as the most creative i.e. “found objects”. One more new form of art was emerging, and talented individuals of multiple generations and ethnic groups, that of assemblage. America was becoming self-reliant in art, and European art no longer represented a kind of summit to be reached. 1 Interview mit Gertrude Stein. “NO!” Berlin, NGBK, 1995, S. 113 43

Neo-Dada made its appearance on the art scene in the Lurie and Goodman became acquainted with writer and 1950s, breaking down boundaries between art and life, artist Stanley Fisher, who witnessed the war as a medic culture and non-culture. The influence of Marcel Duchamp when he participated in the Normandy invasion. All three was also significant; beginning in 1958 he was a regular were united by their Jewishness, their recent traumatic past presence on the 10th Street scene, where something and the fact that, albeit to varying degrees, they had directly resembling the earlier Dada movement, with its audacity and experienced the war and could not shake its influence. As its absurd juxtapositions, was growing into a major trend, Peter Weibel writes in an article, in time of this exhibition re- something which can be seen in hindsight as the impetus published in the art magazine Likovne besede, all the post- and initial version of Pop Art. war art is to be seen as representing the consequences of wartime trauma.3 This spirit can be seen in the present NO!art exhibition, because the NO! artists truly participated in and shaped The three of them shared a fundamental discontent all of these trends. Absent from the more radical NO!art with the growing “commercialization” that was affecting art movement is the light irony and humor of Neo-Dada, but the galleries in the form of collaboration with various buyers – mode of expression is similar. even on 10th Street – and would develop a profound antipathy for their contemporaries who would become known as Pop The art scene between 1952 and 1960 exploded at a rate Artists – Warhol, Wesselmann and Lichtenstein – whom they that was impossible to fit into the pre-existing commercial regarded as offering “supermarket culture”. gallery structure. Accordingly, the new 10th Street coop galleries, supported and managed by artists themselves, Lurie tells of his meeting with Goodman and Fisher, and provided an alternative. Here the artists could express their joint plans: themselves however they pleased, and a great variety of new experimentation took place in these small spaces, My show Adieu Amerique in [1960], encompassing work many of them located in basements. The process became done in the preceding couple of years, was a statement paramount, and inaugurated the age of performances and happenings in New York. 3 Boris Lurie. Anti-pop. Neues Museum Nurnberg. 2017, p. 139

The March Gallery, which Boris Lurie co-founded in 1957, was located in a basement on East 10th Street. It became a gathering place for politically and socially oriented figures. This collective gallery had more than 20 members, each of whom paid a monthly fee of $2.50.

The uncompromising message of Lurie’s work, unmasking the whole world, spoke to the place and time. He had come out of the world in thrall to Abstract-Expressionism. “We worshipped the Abstract-Expressionists. These were our influences”, admitted Lurie in 1999.2

Boris Lurie met a like-minded artist named Sam Goodman, also Jewish, whose father was killed in Canada by an anti-Semite. Goodman was connected with the collective Camino Gallery, but when he met Lurie he joined the March Gallery. Goodman served as a photographer for the Canadian film board during the war, and had seen some of the atrocities in Germany firsthand. Sometime early in their friendship he gave Lurie a collection of documentary photos of the camps that he had collected, and provided Lurie with the stimulus and permission to utilize them in his work. Galerija March March Gallery © Foto: James Burke/The LIFE Picture Collection/ Getty Images 2 Alan Murdock. Interview with Boris Lurie. The Daily Iowan newspaper, 1999 44

of rejection: I was about to leave New York for good and I participated. We meant to show, draw attention to, and I painted this farewell as it all came pouring out. underline the vulgarity within us quite as much as the Paradoxically this rejection and negation turned into vulgarity around us, to accept such vulgarity, to absorb it, a hopeful organized activity by a group of artists, Sam to become conscious of it, to exorcise it.5 Goodman, Stanley Fisher, John Fischer and I, who organized the March group gallery on Tenth Street, a Little documentation of the work displayed in the group later to be nick-named NO! artists. The directness, Vulgar Show remains, but the four artists were unified by a courage of the Beat poets, Castro’s insurrection, our own particular theme: the vulgarity of the surrounding world as desperation combined to give us courage, in the face well as the vulgarity within the artists themselves. Judging of the then to us seemingly insurmountably powerful from a photograph, Sam Goodman presented a Male Fetish omnipotent art world, to cut the cords attaching us to with a portrait caricature of Hitler impressed on a toilet it in open and public rebellion; we published statements seat. John Fischer (also a refugee from Europe who would concurrent with our shows intended to make it impossible later be known for his sculptures and assemblages made for us to return to its fold should temptation arise, our out of bread) contributed surrealist-influenced paintings. strength of rebellion falter. We opposed the mute, Boris Lurie showed paintings from his series “Dismembered inefficient chest-beating of the Abstract-Expressionists, Women”. As pointed out by Dr Eckhart Gillen: the mystifications of their aesthetic, their refusal tobe open and concrete, to name names, the covering of their The “Dismembered Women” paintings were made strong emotions in effect with aesthetic sophistries –a shortly after Lurie’s arrival in New York, between 1947 fear to confront truth in its totality. and [c. 1957]. The series is characterized by the two stylistic tendencies, as strongly figurative works mix with My exhibition Les Lions followed next at the March group, more abstract pictures. They all feature female figures, our coop underground basement strong hold. The time: expressing both Lurie’s ambivalent view of woman and Algerian colonial-civil war; the collage-paintings reflect his experiences in World War II.6 personal situations insistently attempting psychological resolution through art-action. Political, social questions This exhibition marked the emergence of a core questioned and worked through, answers arrived at March group, as they were known, with Lurie being 4 through the work-process itself. widely acknowledged as the leader and Goodman as the theoretician.7 However, they each put across their own In November 1960, Lurie, Fisher and Goodman first message. The justifications, concepts and explanations, showed their work together, alongside John Fischer, in constituting an important part of the exhibitions, were mainly the Vulgar Show at the March Gallery. Starting with the written by Stanley Fisher. statement written for this exhibition by Stanley Fisher, a the joint message to the world by the March Group, henceforth In addition to Lurie, Goodman, and Fisher, the participants known as the NO!art group. of the Involvement Show in April 1961 included Allan Kaprow, Michelle Stuart, Jean-Jacques Lebel, Erró/Ferró, Yayoi “Art has ended. The world and being collapsed”, Fisher Kusama, Isser Aronovici, Rocco Armento, Allan D’Arcangelo, asserts in the flyer. Herb Brown, John Fischer, Esther Gilman, Augustus Goertz, Gloria Graves, Dorothy Gillespie, Ted Jones, Bob Logan, The Vulgar Show […] was a group manifestation, Lora, Suzanne Long, Mihail Mishorit, Jerome Rothenberg, title and objective chosen collectively; works were Richard Tyler, Ray Wisniewski and Lee Zack. produced specifically towards the show or existing works included, providing they were in tune with the theme. A No restrictions were placed on participation in the show; in spontaneously growing show, as many later exhibitions a democratic spirit, all who shared the views of Lurie, Goodman were to be, where everyone set up works as they became and Stanley Fisher were invited to take part. It included those ready, up to the very ending of the showing, so that the who responded – categorically politically and socially aware exhibition or environment in its beginning stages was artists. Any participant of the exhibition could be connected utterly different from what it became towards its end. But with another alternative gallery, but all were invited to support there actually never was an end, since the existing show the activities of the March group and to join these exhibitions. naturally flowed into the next exhibit, called forth by new development of thought as we worked along within full 5 Boris Lurie “Shit NO!” 1970 public view. Sam Goodman, Stanley Fisher, John Fischer, 6 Boris Lurie. Anti- Pop.- Neues Museum Nurnberg, 2017, p. 31 4 Boris Lurie “Shit NO!” 1970. First published in: Lurie, Boris; 7 Melissa Rachleff. Inventing Downtown. NY. Grey gallery, New Krim, Seymour: NO!art, Cologne 1988 York University, p. 164 45

Unifying for this show was the theme that the work should attitudes along mass lines: and their instinctual striving talk about “reality” (it means the absurdities of this world). lead in concrete terms to failure. The time for projecting sentiments of wishful fantasy, of meeting society on These kind of ideas and activities were also important to such Christian terms unfortunately never did arrive. Yet the artist Michelle Stuart at this time. She participated with at the time it seemed to us that the world of the fifties NO!art and wrote about it in a piece published in Artforum had been done with, buried, the silence and cover-ups in 1963: of that period irrevocably terminated, the Eichmann trial powerfully reviving suppressed material preferred to be The March Gallery group is one more example of the forgotten by most, had also ruptured the death of silence continuing need of the artist to re-evaluate and re- and fear and conformity of the Cold War and post-war define his world, using all conceivable means to remain period of suppression. Equally maligned by then avant- vital. Since the rapture we get through art out of life is garde Abstract-Expressionists as by conservative artists, conditioned by everything including its horror, the aim of having been put down by all the aesthetes for making art is, in the final analysis, to wring from us our consent bad art – a customary tactic to disarm all artists taking of life.”8 a new road – we had to shift absolutely on our own. The pop-art reaction-counterrevolution had not been To hell with academic taboos, old or new! [...]Involvement brought about as yet, their future members busy at the with the rich loam, the blood and merde and sex of time absorbing ideas – to a large extent from our shows exploding mankind is too much of a hot sea to escape – the art press being in effect closed to us (even the then from. Let’s face it!”9 almost underground Village Voice refused to cover our activities, the editor explaining to me that our stand was As we may judge from the descriptions and archival too radical), we were obliged to promote our actions 10 images, the basement exhibition space was filled with works ourselves, to become our own information medium. in the widest variety of styles, from Indian ink drawings to installations. Even though the common theme was political, As recalled by contemporaries, the door was not so readily with references to Nazi crimes, the works exhibited were opened to women artists in New York in the 1950s and 60s. extremely diverse in character. However, Greenwich Village did give them opportunities. The March Gallery, too, was a springboard for two artists Later, in 1970, Lurie concluded that: who would subsequently become very significant, namely Stuart and Yayoi Kusama, who came to America from Japan in the 1950s. Following exhibitions in Seattle and at the ...the next Involvement Show was premature! The idea Brata Gallery in New York, she participated in the shows of of involvement, the breaking of isolation, that by itself the NO!art group, and had solo shows uptown at the Gallery: was all right. Yet our idea of involvement went farther Gertrude Stein. into a premature attempt to embrace all society including our enemies, to embrace all culture currents liberally, to dispense with an opposition attitude, to give up anger. Still, the people dominating the group were males, not It stemmed from an immature, imaginary hopeful belief because of their maleness, or male superiority or so-called that, since we in our euphoric state seemed to have male chauvinism, but simply because they were the most changed ourselves through the throes of rebellion-art active, fearless. Women NO! artists were overpoweringly action, seemed to have purified ourselves by moving concerned with fear: the female, cold, detached, frozen, through these fires – that the world outside must have as in Michelle Stuart’s plaster faces of women in isolated then, in our wishful fantasy, done the same; that we black boxes covered with dark hardly transparent glass, were now ready to embrace, to give love and to receive as in Esther Gilman’s fearful feminine conflicts with love. How wrong our assessment of reality had been! religion, as with Yayoi Kusama’s obsession-fears of For outside nothing had changed at all and our acts, if growing, multiplying, threatening fields full of penises, noticed at all, were rewarded with deathly silence. As and to a lesser extent in Gloria Graves’ assemblages and to the outside world – not the minuscule art world – it delicate constructions. Determined women artists were was not affected in the slightest with our cultural doings. warmly welcomed – we felt our circle incomplete without Several years later the Love Children developed similar them – but women artists as determined as any male. The feminine situation was one of many subjects, not the 8 Michelle Stuart. NO is an Involvement. Artforum.1963 (Sept), p. sole subject, women’s condition one of many conditions. 36–37 There was no class-warfare between the sexes, only the 9 Augustus Goertz . Involvement show statement. 1961. Boris existing reflection of perversion of competitive society – Lurie, Seymour Krim. NO!art. Pin-ups Excrements Protest Jew- Art. Berlin/Koln, 1988, p. 38–39 10 Boris Lurie “Shit NO!” 1970 46

no adoration of sexless unisex. Male NO! artists embraced woman artists in rebellion.11

The next joint venture by the March Group was the Doom Show, which opened in November 1961, influenced by the Cold War, the atomic threat and the Cuban Missle Crisis. Boris Lurie, Stanley Fisher, Sam Goodman and Jean- Jacques Lebel were the participants.

As a warning to the “powerful” and those who had been “bought off”, these artists presented their interpretations on the theme of the end of the world, at a time when panic was being created both in the USA and in the USSR, bunkers were being built, and the Berlin Wall was being erected.

Greeting visitors at the basement door was a symbolic work by Sam Goodman: a half-burnt doll with plastic flowers. Other exhibited works were similarly depressive, fatal and ugly, like a collage by Stanley Fisher inscribed with the word DOOM, in which a woman’s body parts are strewn as if after an explosion. Some were less graphic, seemingly “more tasteful” (Lebel, for instance). Sam Goodman’s work is naïvely terrifying and poster-style; he is the most impatient Otvoritev skupinske razstave v galeriji Tanager na of the artists, who, in order to put together and convey his newyorški Vzhodni 10. ulici št. 90, v božičnem času ob koncu 50-ih ali v začetku 60-ih let. idea as quickly as possible, would take an object from the An opening around Christmas time for a group show at bin, making or transforming it into a work of art. the Tanager Gallery, 90 East 10th Street, New York, late 1950s or early 1960s. © Foto: John Cohen/Getty Images 11 Boris Lurie “Shit NO!” 1970 47

The Doom Show was a direct attack on atomic war conformed to his own prognostications on development danger at the time of Khrushchev-Kennedy confrontation of art. […] The show in Milan and particularly right over Cuba in 1961, when basement air raid shelters were afterwards in Rome was a fantastic success in the real to protect the population from atomic attack, hysteria popular sense with thousands attending – about 10,000 – swept the country, a drastic full circle turn towards total the most widely attended show by young artists in Rome art of political issues cancelling with a single stroke all ever. Police barred entrance to minors, after lengthy subjective introspective values heretofore still practiced. negotiations with Signor Liverani, owner of the gallery The Doom Show film by Ray Wisniewski introduced La Salita, instead of confiscating all works as they had into this political commitment a atmosphere, threatened.14 unrehearsed spontaneous actions to rock music strains to the growing and changing Doom Show environment. This New opportunities were offered by Gertrude Stein, a radical turn into total objective political social issues was young artist and collector, who frequented the alternative an attempt to base a true mass art on popular movements galleries of the 10th Street and was particularly thrilled by entirely – Sam Goodman’s thinking and action thereon the March Group. She invited Boris to open a new gallery was of particular importance. Art was not to serve artists together, which henceforth became a centre and base of and itself alone any longer selfishly, or serve a small group support for these artists. Gallery: Gertrude Stein opened of the culturally initiated – it should turn all people on, in April 1963, located not downtown but uptown – in a through truly popular art. We believed art can perform basement at 24 East 81st Street, with a show by Boris Lurie, such a function if wed to a strong popular political base which she herself introduced: and that such a democratic aesthetic was the highest 12 elevation of art ever. The work of Boris Lurie is powerful stuff. He feels that the ivory tower cannot substitute for real involvement in All of this did leave an impression, and as Simon Taylor life; art is an instrument of influence and stimulation. He points out, there was positive reception even in places like does not want to converse, he shouts out loud, so that Art News (60, 1962, p. 12). Elaine de Kooning praised the everyone understands. He takes as his symbol the “girly” exhibition, likening it to Dada: picture, America’s home-grown brand of pornography. Repudiating conventional manners, he shakes up the When you enter this small gallery, you are overwhelmed viewer; at any cost he strives to make us take heed of our with newspaper headlines of executions and nuclear tests, reality, Lurie forces upon us the bitter vision of the cruelly grotesque pin-up girls, hideous, pasted amalgamations smiling, heartless advertising pin-up girl. Her picture of public faces – a profusion of humour and horror, hangs in the locker rooms; it teases the “tired business interchangeable and sickening.13 man” who surreptitiously stuffs a copy of Playboy into his attaché case; movie stars become commodities 1961 saw the street parade Car Event near Tompkins to be measured in inches, the dreams of America. Our Square in the East Village, where Sam Goodman, in a environment is polluted with sick eroticism and callous Khrushchev mask, and D’Arcangelo, in a Kennedy mask, indifference, “No” appears in Lurie’s paintings: No! No! No! expressed the attitude of the NO!art group towards to the accepted, the cruelty, the desperation and despair America’s foreign policy, partially as protest and partially as which pre­vails, to conformism and the materialistic. It is performance. a strong “NO” in a flood of mass-produced “YESSES”. And so: he tears the pin-ups; he tosses them down on In 1962, the writer and Dada supporter Arturo Schwarz his canvas to fall where they may. His stunning statement 15 had a show of Lurie and Goodman’s work entitled the Doom has been made. Show at his gallery (active 1954–1975), which then traveled to the Galeria La Salita in Rome. After the move uptown our audience had changed as well. On Tenth Street they were mainly artists, young people. Arturo Schwartz, […] avant-garde promoter, radical, and Uptown we wondered who our audience really was: businessman who I had met in Milan, Italy, was absolutely around us was a middle-aged crowd of what appeared wild about photos of NO!art works I showed him. He soon pleasure seeking neurotic well-off types, a crowd hard came to New York, became even more enthusiastic when to define, amorphous, jelly-like. At the time young he visited the Doom show at the March. He felt our work uptown Mods were going wild with pop-art and camp – while the more seriously inclined intellectual students, 12 Boris Lurie “Shit NO!” 1970 13 Elaine de Kooning: Doom Belongs to Dada. Village Scene. Vol. 14 Boris Lurie “Shit NO!” 1970 1. 1962, quoted after: Simon Taylor. The NO!art Movement in 15 leaflet for the Boris Lurie show at Gallery: Gertrude Stein, New New York. 1960–1964 York, 1963 48

and bohemians were quitting the art scene altogether, Yajoi Kusama, Driving Image Show (plakat), Galerija disappearing into more interesting pursuits: getting into Gertrude Stein, 31. marec–25. april 1964. civil rights activism, reappraisal of society in a practical Yajoi Kusama, Driving Image Show (Poster), 31 March – 25 April, 1964, Gallery: Gertrude Stein social way, not through art, and into rock music as social © Boris Lurie Art Foundation expression. The swank uptown galleries certainly were no place for them to congregate. Karl Marx and Steppenwolf were in, the art racket was disdainfully looked down upon: left to the well-groomed clean-shaven tie-and-white- shirt youthful pop-art geniuses then being promoted as standard bearers of the Youth Revolution.16

A joint exhibition of the March Group (now NO!art) was held that same autumn, from 8 October to 2 November 1963.

Along with Boris Lurie, Stanley Fisher and Sam Goodman, it included Rocco Armento, Yayoi Kusama, Allan Kaprow, Jean-Jacques Lebel, Michelle Stuart, Esther Gilman, Gloria Graves and Richard Tyler.

In a text on an exhibition poster, also serving as a press

16 Boris Lurie “Shit NO!” 1970 49 release, Seymour Krim, writer and editor of The Beats, energy floating aimlessly on a non-existing ocean... describes them as a “band of rapists”, stating: the woman threatened by all this out-of-kilter sexual power must have escaped the assault, drowned in the This in itself is reason for genuine respect, I believe, even gallery floor. The all too male-aggressive female Samurai if you recoil or are angered by the calculated extremism vanished later into desperate exhibitionistic pursuits.18 of some of the work. Why? Because serious art in a rather cowardly mass society such as ours must constantly In 1964, exhibitions by Erró and Herb Brown were also assert to the public that it is motivated by a different held at the Gallery: Gertrude Stein. purpose than the decorative or simply artful work which is gobbled up by mass-media man without Indigestion. Overpainted large subway posters by Herb Brown America today is no place for self-respecting beauty came next, bringing the subway arcades into an art which doesn’t threaten complacency. We have too much environment, a precursor of the graffiti craze now rampant sickness in every compromised area of our lives to need in the subways – but with meaning, expressing disgust, art that soothes. Marvellous French masters are not in the individual’s defense against the avalanche assault of tune with us right now. We need art that screams, roars, unwanted publicity.19 vomits, rages, goes mad, murders, rapes, commits every bloody and obscene act it can to express only a shred of Also in 1964 Sam Goodman and Dorothy Gillespie the human emotions that lie prisoner beneath the sanitary created the installation “American Way of Death” at the Salle tiles here in adman’s utopia. de Champagne Gallery, which was part of a nightclub owned by Dorothy Gillespie and her husband. Allan Kaprow’s piece is an exception to my eye: it is cool, calculated and effective in a controlled and delimited As Lurie recalls, the space was arranged as a: sense. He has classic taste, but the point of view is too cautious to be representative of what you will see. Esther ...realistic environment of a funeral parlor with coffins, Gilman’s broken Christ shows the disenchantment of a burial-lot plans, burial accessories, all faithfully, realistically private religious experience, perhaps bitter disillusionment reproduced, scrupulously marked out with payment is the closer description, and it no doubt succeeds but on plans, prices and attractive sales descriptions – precursor a comparatively gentle level of wan hope. Michelle Stuart’s of the present sociological art. Coffins with the deceased sadomasochistic portraits and Yayoi Kusama’s orchard on display as well: Sam Goodman horribly prophetic here, of penises seem closer to the precise point of paint and this was next to his last show – a few years later only he fantasy, all done within terms of the female sensibility – so died himself in anger to the lost. At his Memorial show different from my own that I am an insensitive translator of at Gertrude Stein’s in 1967 we exhibited the very same all three ladies’ language and advise you to react to their coffin again next to one of our Shit-sculptures.20 broken melodies with your own sensory equipment.17 At the beginning of 1964 (14 Jan. – 8 Feb.) Boris Lurie held Gertrude Stein did all she could to promote NO!art. an exhibition of screen-printed “NO Posters”, which were She provided the opportunity for solo showings of work advertised at $25 each. In the introduction to the exhibition by other artists in the group as well, including new arrivals. he states that the idea was openly directed against the For example, giving Kusama her first solo sculpture show, inflated market prices of Pop Art.21 Aggregation: One Thousand Boats” in 1963. My “No-Posters” show followed, an idea conceived in Kusama placed a boat covered in countless white cloth 1962: waste-sheets, used to clean printing presses full penises directly in the middle of the gallery, along with 999 of contradictory advertising messages due to layers of lithographs of the work itself, pasted like wallpaper around overprinting, the accidental artwork of the machine so the space. Andy Warhol, viewing this particular exhibition, fully representing consumerism. These poster-size prints perceived the potential of duplication and commenced his were uniformly overprinted in silver with the slogan NO, series of prints. a large pinup girl kneeling, a group of sadomasochistic bound and gagged humiliation photos. Selection of this Yayoi Kusama’s One Thousand Boat Show – but one white penis-covered boat with ors on the gallery floor, photos of 18 Boris Lurie “Shit NO!” 1970 that same boat covering walls entirely from floor to ceiling, 19 Boris Lurie “Shit NO!” 1970 was the next show, her experience of unwanted fertility- 20 Boris Lurie “Shit NO!” 1970 17 Seymour Krim. Introduction. NO Show at Gertrude Stein 21 NO-posters/ANTI-POP posters. Boris Lurie, Seymour Krim Gallery. 1963) “NO!art”, Cologne, 1988, p. 86 50

material from the library of my symbols was done by forces them to perceive them. But the subject matter Sam Goodman since the result (but not the concept) puts the joke on those who find formal values in it. Those was to be left of any conscious artistic interference by who do not are forced to deny the legitimacy of values the author. The purpose was creation of a protest poster, that by now have been inculcated into several college entirely accidentally composed by the poor misused generations. (Brian O’Doherty, New York Times, Dec. printing presses themselves, NO-advertising posters, 1963) Paradoxically though – to our great amazement NO-secretary posters, NO-travel posters, NO-industrial and frightening surprise – the pop collectors, speculators posters, NO-motel posters, NO-toy posters. Their edition began to show up, professing to like the show, claiming potentially unlimited, yet almost each slightly different – to want to buy and promote it. I believe their feeling was a unique piece – their sales price minimal. True popular quite sincere in the context of their thought, though they protest prints, machine-made, versus pop-art hand- totally misunderstood content and intent. This was a crafted expensive silk-screens for collectors in limited frightening experience to us, we suspected we possibly editions masquerading as popular art. To make sure had gone wrong, that our intentions had misfired, of clarity and understanding of intent, stenciled and ricocheted in a way not anticipated, feared our newly exhibited under each poster were the words Anti-Pop.22 found appreciators – and enemies – in some twisted yet true way had understood the true content of the work In 1964, Sam Goodman and Boris Lurie held another better than we thought we did ourselves: but our doubts conceptual exhibition at Gallery: Gertrude Stein called were dissipated when they told us their promotion would the NO Sculptures Show, but known more scandalously include a package deal, that we were to follow their as the “Shit Show”. It was an installation of sculptures – aesthetic direction and our gallery had to become a pieces of excrement – that were each attributed to a major satellite of the pop galleries grouping; an attempt was establishment art dealer or curator: Shit of Castelli, Shit of made to drive a wedge into our united stand by holding Sonnabend, etc. The exhibition naturally attracted general out remuneration and gain to some, but not to others. attention. This provocation by the NO! artists could not be After lengthy violent argument and discussion with the ignored even by New York’s most respectable art reviewers pop people, of which Mr. Kraushaar was one, quite and critics, either during the time of the exhibition or later unexpectedly – for he had kept silent all along during (even though there were precedents for the idea of “selling the fiery exchanges – after Kraushaar congratulated him your own shit”). personally, Sam Goodman retorted unexpectedly: “I shit on you, too!” A short, self-conscious, aggressive and 23 The No-Sculpture Show (Shit-show) was an exhibition of defensive man, Kraushaar turned green and walked out. sculptures whose subject was excrement made of hard cast plaster and painted; it varied in size from small to It is not the case that Lurie, Goodman and Fisher were mammoth displayed directly on the gallery floors. united solely by fundamental hostility or confrontation directed against everything and everyone. In truth, with their Produced in around-the-clock hectic work in the old March NO!, they offer a reminder, a prevision they knock on the gallery basement on Tenth Street by Sam Goodman and doors of conscience and of sanity. The disfigured masks, me, it was then displayed at the Gertrude Stein Gallery. prostitutes, and excrement serve the functions of reminders The sculptures multiplied, filling the small basement on and warnings. By presenting war, violence, slavery, Tenth Street, where we had started our collective action; hypocrisy, or corruption, they were presenting human deeds while Sam Goodman was pouring, extruding plaster out and misdeeds, preventively, as if a vaccine against all such of plastic guts, I kept on bringing in more bags of plaster madness. Desperate diseases require desperate remedies. on the luggage rack of my tiny Austin-Sprite, arranging the And people have short memories. chicken wire arid burlap structures, painting the finished excrement. We worked in this tempo for several weeks The three founders and theoreticians of NO!art practically day and night, driving each other mercilessly experienced the war much more immediately than their to produce more and more and better. I personally felt associates. Having suffered most gravely in the war, Lurie myself in command of an important decisive raid quite as should have “by rights” been shouting and ranting the loudest. a military leader. We knew that now all but all the bridges But perhaps because he had come from a different world, had been burned definitively, if this offensive failed we from an educated family with certain values, and since he would fall with it. The ultimate revolution of the subject himself would from time to time simply soak up the Parisian matter is to be found at the Gertrude Stein Gallery ... spirit, even when presenting his most shocking work, Boris these aggregations of colonic calligraphy contain many Lurie could not abandon the respect characteristic of the formal excellencies for anyone whose purist education old culture towards what might be referred to as a work of

22 Boris Lurie “Shit NO!” 1970 23 Boris Lurie “Shit NO!” 1970 51 art, or what we might call a “professional attitude” towards NO! artists could not have been created outside of their the chosen media. In his paintings and collages only the time; moreover, they are not stylistically different from work subject is extreme; at the same time, the color is balanced like Pop (D’Arcangelo, for example). There are elements of (Lumumba is Dead, 1960), and in his major, most-effective Abstract-Expressionism as well as Neo-Dada, along with works the idea is presented clearly and legibly as in a poster popular culture, in the sense that we see deliberate use (Love Series: Bound on Red, 1963). If the idea is laconic then of photographs, ready images and clichés. NO!art was the work itself will likewise be readily comprehensible. Where ostensibly directed against Abstract-Expressionism and juxtaposition is paramount, all the means of expression are Pop Art; nevertheless, these elements are present in the NO! made to serve it. Even when Lurie highlights a provocative artists’ work. Possibly, their antagonism was directed not element, such as a swastika or Star of David, he does it so much against the art movements themselves as against precisely and convincingly. He never abandoned what are the immediate art market success of the artists belonging known as formal values, because the works were thought to these movements and against speculation on the part of out, at least in an intuitive way, and stylistically faultless. the major art galleries. After what they had been through, Lurie and his associates would probably also have been It may be that no-one actually expected any artistic values affronted by the lightness, irony and suaveness of others. from these artists, but the seemingly chaotic composition is In “hounding” the Pop Artists, Lurie later identified Dada, organized, even if it initially appears as just a jumble of color. which he respected and valued for provoking the bourgeois, It is clear that the artist has talent and a sense for color. as also being guilty of justifying Pop Art (which he saw Even though he himself would prefer to deny it, the painting, clothed in US chauvinism).26 collage or spatial object actually appears intelligently executed, even when the subject matter is provocative and In this same statement for the “Art and Politics” exhibition in many cases sadomasochistic. It is all rendered viewable, at the Kunstverein Karlsruhe in 1970 he continues to even if not enjoyable, by Lurie’s impeccable sense of style. formulate his campaign not only against Pop Art but also Moreover, this is the case even while ignoring all ethical and, against color field painting within Abstract-Expressionism seemingly, all aesthetic norms.24 (represented by Rothko, for example) and minimalism, all of which he regarded as “a drug for sending people to sleep” Aesthetics are retained, even though these are, of , even though subsequently, discussing NO!art, he would course, not aestheticized works. The aesthetics of NO!art admit: “We worshipped the Abstract-Expressionists. are altogether different: aggressive and subsumed to a These were our influences”. (Alan Murdock. Interview socio-political commentary or message. with Boris Lurie. The Daily Iowan newspaper, 4 March, 1999). (It seems, with the term Abstract-Expressionism, Lurie himself explains: Lurie means only its general direction of emotional ). The idea we expressed was to open up limitations of art. Aesthetic art limits itself to areas that should be reworked However, because of its deep, unironic, black humor, and other areas that should not be touched. We were NO!art cannot be identified with Dada; the breaking down against it and wanted to incorporate all things, even down of restrictions in terms of the material used does not yet to the dirt on the sidewalk. [...] What we did does not mean rapprochement. As with Dada and Neo-Dada, the have to be un-aesthetic. There were many good artists work of the NO! artists imbues readymade objects with (in our group) and they were making aesthetic work. a metaphorical significance opposite to that which is What people called un-aesthetic was the content that generally perceived in them. However, unsmiling NO!art came out, because you can have immediacy in Abstract- is not engaged in playing with inappropriate iconography, Expressionism.25 symbolism, or experiences with everyday objects, like Dada was. Thus, NO!art is a matter of grown-up boys’ games of The uncompromising subject matter of Lurie’s work, life and death. Even children’s toys are employed in telling aimed at unmasking the whole world, was presented in the of destruction (Death and Resurrection) and a portable altar context of a radical art movement, appropriate to the place obtains a new meaning when it features the portrait of a and time. Moreover, although they are seemingly directed mass murderer (Eichmann Triptych). Or the list of sausages against the topical development in American art of the (annihilated Jews) placed within the bars of a diner menu time, namely Pop Art, the work of Lurie and certain other (Menu/Blood Wurst). The prime exponent of this tendency is Sam Goodman. The works mentioned here are actually his. 24 Likewise, the novel House of Anita, written later in the 1970s, is He is the one with the craziest ideas and imagination (he who amoral and disgusting, but nevertheless stylistically impeccable 25 Alan Murdock. Interview with Boris Lurie. The Daily Iowan 26 Max Liljefors “Boris Lurie and NO!art” www.heterogenesis. newspaper, 4 March, 1999 com, 2003, no. 4 52 encouraged Lurie to utilize photographs of concentration Later, in 1970, Lurie offered an explanation of NO!: camp victims), and the most aggressive work. Burned dolls, “NO!art is anti worldmarket-investment art: (artworldmarket- objects at hand or discovered in rubbish, broken boards. He investment art equals cultural manipulation). NO!art is against imbued everyday objects with symbolic and iconographic “clinical”, “scientific” aestheticisms: (such aestheticisms are significance. He seems to be begging for his “sculptures” to not art).” 28 Essentially, this is also a NO to compromise, to not be seen as works of art. tacit support. Lurie took it as his human duty to speak only of the negative, to warn and scare people. These three figures, Goodman never did become rich and famous, and his as the core group of NO!art, work as people who have thirty years in the New York art world did not make him through their personal experiences of the war been brought popular with its career-minded talent-less members, yet to the point where there is nothing more to lose. Moreover, he had been a decisive influence, this pushy little Jew, this threesome shares the common Jewish sorrow, which as many saw him, to shove art decisively out of its well- must actually be a sorrow of all humanity, and this is the oiled tracks, so it will never be quite the same again. At theme of their work. the height of his heat and inspiration he strangely began looking like garbage himself, magnetically attracted to The Frankfurt School of philosophy, along with refuse cans on the streets, searching for the components statements by Theodor Adorno to the effect that “to write of his art and forgetting the presence of anyone strolling poetry after Auschwitz is barbaric.” (Theodor W. Adorno, alongside of him.27 Cultural Criticism and Society (1949) later, in 1970s became more popular as in NO!art was formatting years, but thees Stanley Fisher struggled with his demons in a similar artists created the works , which responded already to this way, by materializing them. He would act like a vandal, concept- is indecent to analyze art after all limits of humanity altering and supplementing recognizable individuals and have been violated. symbols, and thus transforming their meaning. His collage paintings are like virulent parodies on all the topical NO!art The theme of the Holocaust (Shoah) is further developed themes. Muddy, dirtied colors, masks, words of death and by Boris Lurie himself. As a victim in the most immediate destruction, and graffiti are used to create “filth” contrasting sense, he was the only one who had the ethical right to come with the refinement of Pop Art and comic-strip representation up with the shocking expression that Hitler was the greatest of the “good life”. Seymour Krim writes in his introduction for artist of all time, since projects and installations involving the 1963 NO Show exhibition at the Gallery: Gertrude Stein people had never been realized on such a scale before. about a work by Fisher that he had hung at home above the fireplace: Someone remind these cursed greedy art culture manipulators artist blood dealers of a young beatnik artist. I resent it because it is so raw, vulgar, smeared, screechy, Not so long ago. Named Adolf Hitler. Whose career might hardly separate from the fevered streets that inspired it. have been different. If…another clique, at another time… And yet I love it because of its reality. Not being a painter, He would not then have to sow all over the landscape of it seems to me extraordinary that the reality which I and Europe. His real-life art-masterpieces.29 thousands of my generation must cope with every day has been seized and thrown cursing into art. Several of Lurie’s works will never cease to arouse incomprehension and provoke indignation, for example Do the NO!art works have anything to say? The work of those juxtaposing documentary images of people killed in the Lurie, Goodman, and Fisher goes on the attack, screaming concentration camps with photographs of pin-up girls. One a battle cry. This is what constituted the content of the work does not need a great deal of imagination to understand the by these three NO! artists. It must be noted that in this traumatic effect on a teenager whose first sight of a naked regard the three founders and ideologues of the group do woman was a dead one on a pile of corpses. Lurie was too differ from the rest, who did not express such great pain, young to process it in his psyche. This is why he would show and who permitted themselves a greater degree of coquetry, women in his pin-up works only as objects to be used, just and some of whom (Lebel, Kusama and Erró) did actually as it was in the concentration camp. In his works on the carve out a career for themselves in America. theme of the Holocaust, Lurie depicts the sadism he had

Lurie presents his NO! in a very direct way – inscribing it 28 Statement for the exhibition “Art and politics” at Karlsruhe directly on his paintings. Kunstverein, Germany, 1970. Published in: Lurie, Boris; Krim, Seymour: NO!art, Cologne 1988 29 Boris Lurie, 1975(1) Introduction to Curse Works, 1972–73. Boris Lurie and Seymour Krim, NO!art. Berlin and Cologne: 27 Boris Lurie “Shit NO!” Edition Hundertmark, 1988, 94 53 experienced, presented masochistically and cynically, as if it with delight as a significant part of their activity (Lebel). he himself had not been a victim. At the time, these were young, active, radical people with unusual tastes, for whom the March Gallery and the Gallery: The psychological suffering and personal trauma that Gertrude Stein provided a springboard. They were also the artists continue to rework in their art is a further factor brought together by the spirit of the age and the opportunity motivating them to unite in common protest. They are for self-expression, not always with a common voice. seeking to live through their mental scars and traumas by licking their wounds, then tearing them open again from time A fatal chain of tragic events unfolded for us beginning to time and placing them on view as artistic images. 1964. I have an idea hard to justify or defend that my Death sculpture, an encapsulation in plastic brick of A significant object of NO!art’s antagonism was several chicken-heads might have started it all … and commercialization in general, including the commercialization Goodman with his American Way of Death contributed to of art, and most directly the “establishment” behind it. In it further, for 1964 was the death of the NO!art movement its extreme form, this is, of course, visualized in Goodman as a collective force, though many of its artists continued and Lurie’s “Shit Show” of 1964. The work and exhibitions working and showing individually. My father died, a death created by the threesome represented a general series of that descending upon me, squashed me like a tank and in protests against all hypocrisy. The NO!art protesters were 1967 Sam Goodman died after having slowly succumbed simply visualizing, depicting on canvas and in assemblages, to his cancer. We get premonitions about tinkering that which had happened and is happening to human with dynamite and still we are drawn to, must continue values. Like children teach their parents by their behavior tinkering.30 and show the necessity for limits, so too NO!art, through its aggressive works, taunts by sticking out its tongue to After the death of Lurie’s father in 1964, he received his indicate that something is wrong in the world. Maximalism, inheritance and assumed responsibility for the Schaina and idealism, uprising, is not a prerogative of very young people. Josephina Lurje foundation his father had established to Their defiance is intended to identify and attest. help Holocaust survivors, which led him to engage in stock market trading and other social activities. The destruction in the work of the NO! artists certainly does not mean that they had no desire for harmony, even if In time, Lurie recommenced his artistic activities, and most of them were used to doing without it. In reality, they are continued to seek out like-minded individuals. He had positively oriented, advocating a world without evil, without already found a close friend and kindred spirit in Jewish artist war, without inhumanity. It is resistance by young people to Wolf Vostell from West Berlin, whose work had been shown the inhumanity to which they had already been exposed. in New York in 1963, in the exhibition 6 TV-dé-coll/agen at the Smolin Gallery. He was a true kindred soul to Lurie. The Lurie, Goodman and Fisher attracted others who also ideas of the Fluxus movement that Vostell belonged to would wished to realize themselves through and likewise begin have been attractive for an artist like Lurie. Allan Kaprow, with absolute “negation”. So, what brought them together? also connected with NO!art, spread these ideas at Rutgers Their mentality? Depression? Suffering? Indignation? University, where he was employed at the time. Vostell and Accumulated aggression? Protest? The malcontents Lurie regularly exchanged ideas, and the two artists had a gathered around Boris Lurie. Kusama rapidly embarked on close friendship, as related by Vostell’s son Rafael, an advisor a successful career in New York; Erró became friendly with to the Boris Lurie Art Foundation and organiser of NO!art the Pop Artists and adapted their style. exhibitions. In the 1970s Vostell invited Lurie to Germany and introduced him to gallerists who organized shows of his 1964 marked a watershed in NO!art, because the group work there: Inge Bäcker, Rene Block, Helmut Rywelski und had made its statement and manifested itself. And could Armin Hundertmark. anything more shocking and crazy follow after the “Shit Show”? Lurie and Goodman had aroused the others who The actual name NO!art was used for the first time in an were not politically and socially indifferent. Time was moving article by Edward Kelly in the spring 1964 issue of The Art on, the need for joint exhibitions had been overcome, and Journal, in the article “Neo-dada: A critique of Pop”. The each artist began to develop their individual career (as can phrase appeared as a label for the March Group after the be seen from the attached biographies). For some, this NO Show at the Gallery: Gertrude Stein, based on the link would be the only period in their biographies as artists with Neo-Dada. In his article, Kelly compares the NO! artists where their names were known (Gloria Graves), some would with Pop Artists, explaining that the iconography of NO! is consciously seek to erase their youthful activities in New York from their biography (Kusama), and some would remember 30 Boris Lurie “Shit NO!” 1970 54 more shameless, more violent, and more satirical. He also suggests that Pop Art as such may have been inspired by an attempt to turn NO!art into a palatable object for a public wishing to invest in satirical games.31 The relationship between art and documentary photography, the paradox of painful Art (PPA), the aesthetics of the ugly, etc., are themes treated extensively in the work of many postmodern, post- war philosophers, art theoreticians and psychoanalysts, and much of this writing relates to NO!art.

Are there any further resemblances with art movements of the time, and with other like-minded figures? Apart from Fluxus, of course, we have the wildest provocations in Viennese Actionism, which are related in art history to the consequences of the war (to symbolically cleanse oneself of the Austrian feeling of guilt for supporting fascism). While one may see rebellious phenomena of this kind emerging in Western Europe and in America, aimed at upsetting the good citizen’s stolid life, elsewhere, in Eastern Europe for example, in the Baltic, nonconformist artists could only express their hatred of political systems and their sorrow at the extermination of loved-ones at the kitchen table, and could only show their work to their closest friends.

And if nowadays we are aware of the existence of the NO! artists and Boris Lurie’s 1964 Death Sculptures, it is interesting to observe that the idea, presented back then in a rather modest way, has since been manifested in the form of a shark and a bisected cow (Damien Hirst). If we are aware of NO!art, then we can comprehend, for example, what Jean- Michel Basquiat is saying. We can clearly see that the foundations for contemporary performances and happenings were laid in the basements and street theatres by Allan Kaprow, Sam Goodman, Allan D’Arcangelo and others. Shit and provocation, have become almost essential for contemporary feeling, but the motivations for creating them are different than they were in NO!art.

NO!art is a phenomenon that requires further research, and its significance is still to be fully evaluated. Through their statements, ideas, and works, all of the artists comprising this group form part of post-war social action. Through their loud, demonstrative NO!, they strove to be seen and heard. Although they were capable of arguing for and justifying their protests, the course of post-war history demonstrates that, in the big game, an artist warning of danger represents no more than a rather touching Don Quixote.

31 KZ-Kampf-Kunst. “Boris Lurie: NO!art”, NY, 2014, p. 227–228 55 Stanley Fisher (1960) 56

Izjava ob Vulgarni razstavi Vulgar Show Statement objavljena v: Lurie, Boris; Krim, Seymour: NO!art, Köln 1988 published in: Lurie, Boris; Krim, Seymour: NO!art, Cologne 1988 Ena izmed tisočih nepotrebnih, neutemeljenih izjav This one statement by the MARCH GROUP among a SKUPINE MARCH o temah, o katerih ne ve ničesar, na thousand countless uncalled for, unfounded statements primer o umetnosti. that it makes on subjects like art it knows nothing about.

Potovalna Slabost Motion Sickness

Umetnosti je konec. Svet in bivanje sta se zrušila. Kdo Art has ended. The world and being collapsed. Who are si? V tej vrzeli je nevidnost najpomembnejša. Pij praznino. you? In this void, invisibility is seminal. Drink emptiness. Drink Pij robove. Lokaj sežnje. Kdo smo? Zemlja je enosmeren let brinks. Swill on fathoms. Who are we? The earth is a line v klavnico. Kako ta hrbtenica atomskih bomb, razkrečena drive single to the slaughterhouse. How that spinal column med poštnimi nabiralniki in okončinami, radostí notranje oko, of A-bombs sprawled among letter boxes and limbs delights poneverja potne liste v raj. Pregreha. Vulgarno? To je začetek the indoor eye, swindles passports into paradise. Vice. novega smrtnega rožljanja v odprtih zaprtih perverznih Vulgar? This is the beginning of the new death rattle in overt tonalitetah. Pričakujete, da bo poroka poroka, razpoka pa covert pervert keys. Do you expect marriage to be marriage, razpoka? Pomislite na nevidnost. Pijte rotacije. Podaljšajte carriage to be carriage? Think invisibility. Drink rotations. se proti nebu. Umetnost je dosegla hitrost, pri kateri lahko Lengthen skyward. Art has reached escape velocity from the ubeži sama sebi, strmoglavlja v spalnice, budoarje, bordele, self, it plummets into bedrooms, boudoirs, brothels, banks, banke, umobolnice in atomske bombe. Kam še? V taksije, bedlams, and A-bombs. Where else. Into taxis, taxidermists, taksone, tabernaklje, tarantele, tube in telefone. tabernacles, tarantulas, tubas and telephones.

Nekoč se je človek soočil s svetlobno hitrostjo in ljudje At one time man confronted speeds of light, and people so se nacejali nad strehami, gradili so piramide in megalite, swilled above their house-tops, pyramids were formed and Noetove barke. Zdaj je inercija v plamenih. Se lahko znova megaliths, Noah’s arcs. Now inertia is in flames. Can we soočimo s hitrostjo smrti v eksplozijah vodikovih bomb confront again the speed of death in H-bomb blasts and in ohranimo naše truplo iz ilovice, ali pa moramo gledati retain our corpse of clay or must we watch the kaleidoscope kalejdoskop barve, ujete v potovalno slabost tistega of paint immured in motion sickness of that final day? poslednjega dne? 57

Vulgarna razstava v Galeriji March / Vulgar Show at the March Gallery, 1960–61, neznani fotograf / unknown photographer © Boris Lurie Art Foundation Boris Lurie (1961) 58

Izjava ob Vključujoči razstavi

Dobrodošli na to razstavo. Če vam oči in um dobro Eichmann živ ... Eichmann mrtev ... koga briga Eichmann? služijo, boste videli nekaj novega. Ko si boste ogledovali Zdaj nam govorijo vse o koncentracijskih taboriščih. Bergen- razstavo, se prosim izogibajte estetskim nalepkam; ne Belsen so spremenili v krasen park. Tudi po osvoboditvi jih je govorite nam realisti, neodadaisti, nadrealisti. Te nalepke na tisoče stradalo. v današnjem kontekstu niso niti resnične niti pomembne. Formalistične razlike tukaj ne veljajo. Estetiko na splošno Je bilo prav, da so ugrabili Eichmanna? Mednarodno vidimo kot nekaj fiksnega, trdnega: nanjo gledamo kot na pravo? Kdo je izpeljal ugrabitev? En človek? odsev spreminjajoče se resničnosti. Slonokoščeni stolp ne Poglejte dol. Kaj vidite? Preštejte mrtve! Preštejte žive? Kaj more nadomestiti vključevanja v življenje. V časih vojne in slišite? Tišino. Kako jih lahko preštejemo? uničevanja vaje v estetiki in dekorativni vzorci niso dovolj. Publiciteta, vredna milijone. Nismo samo »abstraktni«, »nepredmetni«, »reprezentativni« – prej smo vse to: uporabiti hočemo Popolnoma ničesar nimamo prodati! Nekaterim postane vse iznajdbe, pretekle in sedanje, ne da bi jih razlikovali v kletkah zelo neudobno – nič se ne zdi tako verodostojno po »slogih«. Totalnost vidimo kot skupek vseh vidikov: kot prej (duhovi so začeli paradirati po New Yorku). Celo mrtvi omejujoče, puristične, puritanske pristope zavračamo. so se tako dolgo skrivali, oropani pravice do samoizražanja. Nismo igrivi! Umetnost hočemo graditi, ne pa uničevati, Zdaj, ko so se nanje spomnili v časopisih, so toliko bolj govorimo pa natanko to, kar mislimo – za ceno lepih navad. Tu pomirjeni. Za vse to pa je bil potreben en sam odločen ne boste našli nobenih skrivnih jezikov, nobenih domišljijskih človek. pobegov, nobenih pritajenih, utišanih tišin, nobenih sporočil, ki jih predvajamo ekskluzivnemu občinstvu. Umetnost je Zakopane, zakrite, bolne, plesnive zavesti: odprite se! orodje vplivanja in spodbujanja. Radi bi govorili, vpili, tako Človek je morda nemočen, vera pa premika gore. Svež zrak da lahko razumejo vsi. Naš edini gospodar je resnica. piha skozi te razpadajoče kanjone?! Plehkosti in sofizmi.

Nove meje ... stare meje. Je res, da je bil le en človek Prevara, napuh, laži. dovolj, da se je svet prebudil?

Angažirana razstava v galeriji March / Involvement Show at the March Gallery, 1961 © Boris Lurie Art Foundation 59 Boris Lurie (1961)

Involvement Show Statement

Welcome to this exhibition. If your eyes and mind serve you well, you will see something new. When viewing this show, please avoid applying aesthetic labels; do not call us realists, neo-dadaists, surrealists. These labels are neither true nor important in today’s context. Formalist distinctions do not apply here. Aesthetics are generally viewed as a fixed, solid entity: we look upon it as the reflection of changing reality. The ivory tower is no substitute for Involvement in life. In a time of wars and extermination, aesthetic exercises and decorative patterns are not enough.

We are not ‘abstract’, ‘non-objective’, ‘representational’, alone – rather, we are all of it: we want to use all inventions, past or present, without discrimination as to ‘styles’. Totality is seen as a composite of all aspects: limiting, purist, puritanical approaches are rejected. We are not playful! We want to build art and not destroy it, but we say exactly what we mean – at the expense of good manners. You will find no secret languages here, no fancy escapes, no hushed, muted silences, no messages beamed at exclusive audiences. Art is a tool of influence and urging. We want to talk, to shout, so that everybody can understand. Our only master is truth.

New frontiers...old frontiers. Is it true it only took one man to awaken the world?

Eichmann alive...Eichmann dead...who cares for Eichmann? Now they tell us all about the concentration Angažirana razstava v galeriji March, camps. Bergen-Belsen has been turned into a beautiful 'Moški fetiš' Sama Goodmana / park. Thousands kept on starving after the Liberation. Involvement Show at the March Gallery, Sam Goodman's Male Fetish, 1961 Was it right to kidnap Eichmann? International © Boris Lurie Art Foundation law? Who brought the capture about? One man? Look down. What do you see? Count the dead! Count the living? What do you hear? Silence. How can they be Millions worth of publicity. counted? We have absolutely nothing to sell! Some people get very uncomfortable in their cages – nothing seems as credible as before (the ghosts started their parade in New York). Even the Dead had been in hiding, so long, deprived of the right of self-expression. They are much more at peace now that the newspapers have remembered them. But it only took one determined man to accomplish all this.

Buried, covered up, sick, moldy consciences: open up! Man might be helpless, but faith has moved a mountain. Fresh air blows through these putrid canyons?! Platitudes and sophistries.

Deceit, conceit, lies. 60

Angažirana razstava v galeriji March, Angažirana razstava v galeriji March / 'Ženski fetiš' Sama Goodmana / Involvement Show at the March Gallery, Involvement Show at the March Gallery, 1961 Sam Goodman's Female Fetish, © Boris Lurie Art Foundation 1961 © Boris Lurie Art Foundation 61 Stanley Fisher (1961) 62

Izjava ob razstavi Pogube Doom Show Statement

Objavljeno v: Lurie, Boris; Krim, Seymour: NO!art, Köln 1988 Published in: Lurie, Boris; Krim, Seymour: NO!art, Cologne 1988 Prišel je čas, ko bes preglasi malenkostne strahove navade The time has come when outrage overwhelms the petty in sprijaznjenosti. Bedaste in ponižujoče obstoječe sile so fears of habit and complacency. The stupid and humiliating same sebe (in vse druge) spravile v slepo ulico, ob kateri powers-that-are have forced themselves (and everyone so nacistični krematoriji sorazmerno nedolžni. Ti voditelji, else) into a cul-de-sac which makes the Nazi crematoriums trmasti v svoji neumnosti in zaničevanju, se nočejo odreči relatively innocuous. These leaders, stubborn in their stupidity moči in priznavajo svoje kriminalno obnašanje, ker je and contempt, refuse to relinquish their powers and admit posvečeno kriminalno vedenje postalo način življenja, vse their criminal behavior, for consecrated criminal behavior do trpinčenja otrok doma in v šoli, ter v zanikanju spolne has become a way of life, right down to the brutalization of svobode tistim, ki so dovolj zreli, da se spopadejo z njo ... children at home and in school, and in the denial of sexual cena te vseprisotne družbene bolezni pa so duševna freedom to those mature enough to cope with it... napihnjenost, duhovna hipokrizija in besnenje nad živim in ljubečim. Zdaj pa so posledice daljnosežne in smrtonosne ... and the price of this ubiquitous social disease has been mental flatulence, spiritual hypocrisy and rage against the Človeškega življenja ni mogoče zatreti, ne da bi ga living and the loving. But now the consequences are far popolnoma uničili, sredstva pa so postala dostopna ... reaching and deadly...

atomska bomba in njeno grozovito spremstvo! Smo se You cannot suppress human life without destroying it soočili z grožnjami našemu obstoju? Smo si dovolili začutiti completely, and the means have become available... trpinčenje občutljivosti in ljubezni, ki je zatrlo željo, da bi kričali proti takim odvratnostim, ki so ponudile stagnacijo the atom bomb and its accoutrements of horror! Have in rak kot nagradi za resignacijo? Ne: resnice niso zdramile we faced the threats to our existence? Have we allowed domišljije ljudstva, ki si želi umreti in samo sebe draži z ourselves to feel the brutalization of sensitivity and love naslado ob pohabljanju in poškodovanju drugih. Gradijo se which has suppressed the desire to shout out against atomska zaklonišča, pripravljajo se kompleti pripomočkov such abominations, but which have offered stagnation za preživetje, ljudje so otopeli ob kršenju pravice do bivanja and cancer as rewards of resignation? No: truths have not in pravice do ekscentričnosti. Zaklonišča so peči, v katerih stirred the imagination of a people who wish to die, and who se bo izvršila naša samokremacija, smrt brez smisla, smrt titillate themselves with the thrill of mutilation and injury to brez dostojanstva, samotna smrt, smrt, ki bo v nekem smislu others. Fall-out shelters are being constructed, survival kits »zaslužena«. In kje so umetniki, ki so na barikadah življenja prepared, people numbed to violation of their right to be, in kulture? Zakaj se niso zbudili iz sna, da bi se soočili z and their right to eccentricity. The fall-out shelters are the neposredno grožnjo svojim svoboščinam, ki so bistvene ovens in which our self cremations will become finalized, predvsem za umetnost in sanje? Tudi oni so postali orodja a death without meaning, a death without dignity, a lonely Ponorele avenije denarja in slikajo kašo idiotskega sveta, ki death, a death in a sense ‘deserved’. And where are the se ne more soočiti z močnimi čustvi bivanja ali življenjskimi artists who are on the barricades of life and culture? Why tveganji. Galerija March je središčna točka za tiste, ki se želijo haven’t they risen from their sleep to face the imminent upreti posvečeni bolezni sveta, ki se pripravlja na smrt, in threat to their freedoms, essential above all to the arts and kraj, ki spodbuja imobiliziranega umetnika sveta, ki želi nekaj dreams? They too have become tools of Mad. Money Ave. povedati s krikom strasti. Ta razstava, imenovana Razstava and paint the gruel of an idiotic world which cannot face pogube, je klic tistim, ki bi radi preživeli. Je umetnost za the powerful emotions of existence, or the hazards of life. preživetje. The March Gallery is a focus for those who want to strike out against the hallowed sickness of a world preparing to die, and a place offering encouragement to the immobilized artist of the world who wants to say something with a cry of passion. This show, called Doom, is a call to those who want to survive. It is Art for Survival. 63

Razstava Pogube v galeriji March / Doom Show at March Gallery, 1961 © Boris Lurie Art Foundation 64

Razstava Pogube v galeriji March, 'Bomba s kačo' Sama Goodmana / Doom Show at the March Gallery, Sam Goodman's Bomb with Snake, 1961 © Boris Lurie Art Foundation

Razstava Pogube v galeriji March / Doom Show at March Gallery, 1961 © Boris Lurie Art Foundation

Razstava Pogube v galeriji March / Doom Show at March Gallery, 1961 © Boris Lurie Art Foundation 65 Boris Lurie (1964) 66

Spremna beseda k razstavi kipov NO! SAMA GOODMANA

Razstava, ki jo je predstavil Boris Lurie v Galeriji Gertrude Stein, New York. 12.–30. maj 1964

Pred kratkim sem se ponoči, pravzaprav že zgodaj in neodvisnost, ker se ni zmenil za odzive meščanov, ki zjutraj, oglasil v studiu Sama Goodmana. Opazil sem, da so hodili mimo izložbe. S to potezo je izrazil toliko stvari se je ukvarjal s kipom, ki je zapuščen obležal v kotu studia. naenkrat, obudil toliko dejanj, za katera smo si želeli, da jih Takoj me je obšla misel, da gre za kip, ki ga je nekdo moral ne bi nikoli zatrli zaradi vljudnosti ali zaradi strahu. narediti prav v tem trenutku: umetniško gledano je bil to tiste pomladi 1964 v tem New Yorku pravi odgovor. Ta kip A taka dejanja, take poteze so tukaj zares redke. Kjer je moral narediti prav Goodman, nič podobnega še ni bilo je formulacija umetnosti v rokah izmučenih, razočaranih narejenega kdaj prej. estetskih intelektualcev in špekulantov, ki pohlepno oprezajo za kakršnokoli sprejemljivo novostjo, če je v njej Kot bi umetnik izgubil upanje ob projektu, ki je tako dovolj »prefinjenosti«, žgečkljivosti, šovinizma in tržnega zahteven, tako poln eksplozivnosti, naperjene proti avtorju potenciala, pa ima prava umetnost, vedno povezana z samemu, pa tudi svetu okrog njega, se je ideji očitno odrekel, resničnim pogumom, približno toliko možnosti kot lanska saj je spoznal, kako brezupno in nevarno bi jo bilo uresničiti moda. Namesto da bi ustvarjali pogumne umetnike, in predstaviti. Blagoslovljen sem bil z vpogledom, ki mi je ustvarjamo »pogumne« estete-intelektualce, ki v zavetju omogočil, da sem ugledal pomen tistega kipa in kiparja svojih medijskih hiš ali s fundacijami podprtih prostorov spodbujal pri uresničevanju njegove nevarne ideje. Zares se svobodno ustvarjajo nova umetniška gibanja ali nadlegujejo mi zdi, da imam srečo, ker sem v tem projektu lahko odigral in napadajo neodvisnega umetnika, uničujejo ugled drugih majhno vlogo. v popolni varnosti svojih zatočišč, in to brez strahu, da bi jih kdo udaril nazaj ali da bi bil njihov varni položaj ogrožen. Spominjam se prejšnjih Goodmanovih del, od začetka zgodovinskih razstav v uporniški galeriji March, ki so Estet-intelektualec je preštudiral veliko umetnostne bile prvi bojni klic k resnično novi družbeni umetnosti, od zgodovine, naučil pa se je zelo malo. Vseeno pa se mu zdi, da bogastva, s katerim so se hranile naslednje generacije popolnoma obvlada zakone in pravila in različne sestavine, umetnikov. Od zažganih dojenčkov, lutk najinega otroštva, ki sestavljajo množico, imenovano umetnost. Njegovo uho je iz Auschwitza in Hirošime, in lutk črnskih deklic, pobitih natančno uglašeno z zahtevami trenutnega intelektualnega tukaj v ZDA, se je podal bogatit našo zavest s podobo ozračja in dobro se zaveda ekonomskih posledic, ki urejajo nekoristnih in odvrženih ljudi, nakopičenih cunj in odvrženih promocijo in trženje umetnosti. To znanje in spretnost, plod svežnjev. S konstrukcijami na Razstavi pogube je tulil, da bi obsežnega študija in dolge navzočnosti v svetu umetnosti, izgnal jedrski holokavst, njegovi kipi NO! pa so dokončna sta zdaj uporabljena pri razglašanju 'nove' teorije. Umetniki, gesta agresivnega moškega obupa, ki nam vdre v zavest z ki v to teorijo spadajo, so vabljeni, naj se pridružijo novi natančnostjo matadorja pri smrtnem udarcu. skupini, druge pa prepričujejo, naj se uklonijo. Odpre pa se iskanje nedolžnega talenta, ki mu je nekako uspelo pridobiti Ko sem bil med vojno zaprt v nemškem koncentracijskem informacije o tem, kakšen natanko je nov trend. Z našimi taborišču, so judovski jetniki utopili drugega Juda v izdelki se bahamo na umetnostnem sejmu v Benetkah in na nakopičenih iztrebkih v latrini, ker je sodeloval s sovražnikom. svetovnem sejmu v New Yorku, kjer se kokakolasti popart Tudi v umetnosti je cena sodelovanja zadušitev v iztrebkih. zlije in poenoti z oblikovanjem in komercialno umetnostjo, ki ga obdaja. Kakšno nasprotje med kolaboracionističnim Leta 1962 je Arturo Schwarz iz Milana, edini pogumni popartom in krvavimi glavami demonstrantov za državljanske trgovec z umetninami na svetu, razstavil izbor del z razstav pravice, ki si drznejo reči ne. Lurieja in Goodmana v stari galeriji March na vzhodni 10. ulici v New Yorku. V izboru so se znašla dela z Vulgarne Goodmanovi kipi NO! ne bi mogli nastati v bolj pravem in Vključujoče razstave ter Razstave pogube, izdelana po trenutku in na bolj pravem mestu, kot je New York leta letu 1957. Osupel in presenečen sem bil, ko je Schwarz 1964. So pravi odgovor na družbeni, estetski in psihološki zmagoslavno izbral Goodmanovo konstrukcijo, v kateri ravni. Predvsem pa gre za umetnino junaštva, brez katerega so bili začetki njegovih sedanjih kipov NO!, in jo postavil v ni mogoč noben velik dosežek v umetnosti. Junaštvo izložbo svoje galerije. Spomnim se, da je bil Arturo Schwarz pomeni, da se je junak pripravljen izpostaviti tveganjem in vesel kot otrok, ker se je tega domislil, ker je pokazal pogum nevarnostim. Goodmanovi kipi NO! so izjava proti strahu, 67 izjava moči vpričo podrejanja, energije vpričo kastracije, ki sem jih v tem besedilu že omenil, rad izpostavil barve izjava posameznika, ki se noče ukloniti. Kadar tem frazam Goodmanovih kipov, ki segajo od oker in rjavih odtenkov do ne sledijo dejanja, zvenijo staro in obrabljeno, s tem pa kovinsko in popolnoma črne. Na tej razstavi ni kipov NO!, ki brezpredmetno: sveto dejanje, neustrašen nastop pa jih bi bili beli kot lilije. odreši ter jih naredi žive in resnične. Kot pa globoko v sebi vemo vsi, velika umetnost ne nastaja Na estetski ravni (če si sploh želimo srečati to psevdo- iz podrejanja, brezbrižnosti, apatičnosti in zdolgočasenosti, znanost na lastnem terenu) se Goodmanovo delo odpira ne glede na to, kaj nam morda govorijo ciniki. Skrivna drugačni obravnavi celotnega kompleksa pariških novih sestavina vse umetnosti je to, česar se je najteže naučiti – realistov in njegove ameriške šovinistične izpeljave in pogum. bastardizacije, imenovane 'popart'. Gre za zahtevo po vnovičnem preučevanju ponarejanja današnje umetnostne zgodovine, pisane pred in po izdelavi opisanih del, zahtevo po razgaljanju propagandnega aparata, ki je zaživel v tem obdobju post-abstraktnega ekspresionizma. Sam Goodman na razstavi NE skulptur Psihološko so postavljeni pod vprašaj naše brezmadežno (dreka) v galeriji Gertrude Stein / puritanstvo, naši tabuji in morda korenine vsega slikarstva Sam Goodman at NO (Shit) Sculptures Show at Gallery Gertrude Stein, 1964 in kiparstva. Na družbeni ravni bi poleg mnogih poudarkov, © Boris Lurie Art Foundation Boris Lurie (1964) 68

Introduction to SAM GOODMAN ‘NO-sculptures’ Exhibition presented by Boris Lurie at Gallery Gertrude Stein, 24 East 81 Street, New York. May 12—May 30, 1964

Late one night recently, early in the morning in fact, I beginnings of his present NO-sculptures within it, to be stopped over at Sam Goodman’s studio. I noticed he had placed in the show window of his gallery. I remember Arturo been working on a sculpture which had been discarded in Schwarz being as happy as a child to have thought of this a corner of his studio. It came upon me at once that this idea, to have asserted his courage and independence, to was the sculpture that had to be done by someone at this have disregarded the reactions of the citizenry passing by particular time: expressed in artistic terms, it was the answer, his shop window. With this one gesture he expressed so in this spring of 1964 in this City of New York. This sculpture many things all at once, he reversed so many acts we would had to be done by Goodman only, nothing like it has ever like not to have ever suppressed, out of politeness, or out been done before. of fear.

The artist, as if hopeless in the pursuit of a project so But such acts, such gestures are rare indeed here. difficult, so full of explosive matter directed against its author Where the formulation of art is in the hands of worn-out, himself, as well as the art-world around him, apparently had disillusioned aesthete-intellectuals and speculator-collectors put the idea aside, in the realization of the hopelessness and greedy to pounce upon any acceptable novelty providing dangers involved in its execution and presentation. I was there is enough ‘sophistication’, titillation, chauvinism and blessed with an insight that permitted me to fathom the a potential market for it, true art, invariably connected with importance of that sculpture and to support and encourage true courage, has about as much of a chance as last year’s the sculptor in the execution of his dangerous idea. I consider ladies fashions. Instead of producing courageous artists myself lucky indeed to have been given the opportunity of we produce ‘courageous’ aesthete-intellectuals who from playing a minor part in this project. the sanctuary of their news media or foundation-supported enclosures, are free to create new art movements or to harass I remember Goodman’s work before, from the beginning and attack the independent artist, to destroy reputations in of the historic exhibitions at the rebellious March Gallery the perfect security of their sanctuary, and without any fear that had been the first rallying call for a truly new social of being hit back or their secure positions being jeopardized. art, from the wealth of which a subsequent generation of artists nourished themselves. From burnt babies, dolls of The aesthete-intellectual has studied much art history, our childhood, of Auschwitz and Hiroshima, and dolls of the but he has learned very little. Nevertheless he feels he is little Negro girls killed here in the USA, he had gone on to in perfect command of the laws and regulations and varied enrich our consciousness with an image of the useless and ingredients that make up the quantity called art. His ear is discarded people, mounted rags and discarded bundles. His finely attuned to the demands of the intellectual climate Doom-Show constructions set up a howl to exorcise nuclear of the moment, and he is well aware of the economic holocaust, and his NO-sculptures now—an ultimate gesture implications that govern art-promoting and art-marketing. of aggressive manly despair plunged into our consciousness This knowledge and skill, the fruit of much study and a long with the exactitude of the matador in the final kill. personal presence in the art world is now put to use in the promulgation of a ‘new’ theory. Artists who might fit the theory When I was imprisoned in a German concentration camp are invited to join in the new grouping, others are persuaded during the war, Jewish prisoners drowned a fellow Jew in to comply, and a search is instituted for innocent talent the accumulated excrements of the latrine for collaboration who somehow or other had managed to obtain information with the enemy. The price of collaboration in art, too, is on the precise nature of the new trend. Our products are excremental suffocation. proudly paraded at the art world fair in Venice and at the World’s Fair in New York, where coca-cola-pop-art melts In 1962, the only courageous art dealer in the world, into and becomes identical with the design and commercial Arturo Schwarz of Milan, Italy, exhibited selections of the art around it. What contrast between collaborationist-pop Lurie-Goodman shows held at the old March Gallery on art and the bloodied heads of the civil rights demonstrators East Tenth Street in New York. The selections included work who dare say no. from the Vulgar, Involvement, and Doom Shows, executed since 1957. I was astonished and surprised when Schwarz Goodman’s NO-sculptures could not have come to jubilantly picked a Goodman construction that had the us at a better moment and in a better place, in New York, 69

in 1964. It is the answer on a social, aesthetic, and on a psychological level. But over and above, it is a masterpiece of heroism without which no great achievement in art is possible. Heroism implies a willingness on the part of the hero to expose himself to risks and dangers. Goodman’s NO-sculptures are an assertion against fear, an assertion of strength in the face of submission, of energy in the face of castration, an assertion of the individual, who refuses to bend. These phrases, when not followed by deeds, sound old and outworn, and therefore meaningless: but the Holy Deed, the Fearless Act redeems them and gives them life and truth.

On an aesthetic level (if we should wish at all to meet this pseudo-science on its own grounds) Goodman’s work opens to re-examination the whole complex of the Paris New Realists and its American chauvinistic derivation and bastardization called ‘pop-art’. It is a demand to reopen inquiry on the falsification of today’s art history, written before and during the time the works described are being created, a demand to expose the propaganda-machine that has come into being in this post abstract-expressionist period.

Psychologically, our spotless Puritanism, our taboos, and perhaps the roots of all painting and sculpture are opened up to questioning. On a social level, besides many points brought out previously in this introduction, I would like to point to the coloring of Goodman’s sculptures which range from ochres and browns to metallic blacks and deep black. There are no lily-white No-sculptures in this show.

But, as we all know deep down, it is not by submission, coolness, remoteness, apathy and boredom that great art is created, no matter what the cynics might tell us. The secret ingredient of all art is what is most difficult to learn, it is courage. Thomas B. Hess 70

Spremna beseda k razstavi kipov NO! Razstava Borisa Lurieja v Galeriji Gertrude Stein, New York. 12.–30. maj 1964

Sam Goodman in Boris Lurie sta prava socialna realista. Vsa moderna umetnost je tako ali drugače protestna. Navadno gre za protest tišine, zanikanja, Satanovega krika Ker se intenzivno ukvarjata s političnimi in socialnimi – non serviam. Včasih nanjo neposredno namiguje nevšečna vprašanji, sta se odločila, da bosta delovala kot državljana- vsebina slike ali zverinskost geste. umetnika, da bosta postala odgovorna, da bosta atelje – umetnost, življenje, reference – prestavila v ideološko areno. Goodman in Lurie ne namigujeta, ampak protestirata Svojo estetiko obračata od znotraj navzven, da razkrijeta neposredno. Sorazmerno vljudne pogovore v vagonu prvega njeno etično drobovje, kite, srce, . razreda prekinjata tako, da se na slepo obesita na zasilno zavoro. S pomočjo umetnosti, s pomočjo ogromnega nabora Lurie s sajastimi golimi pin-up dekleti (erotika za umetnostnozgodovinske in estetske misli sta našla načine, neprivilegirane) in Goodman, ki se poigrava z izmaličenimi da kričita – da izpljuneta vizualno resnico. celulojdnimi dojenčki, razumljivo podajata dušečo retoriko, ki se sprašuje, kam gremo. Ironija umetnosti seveda vedno poseže vmes. Če Goodman in Lurie ne bi bila dobra slikarja, bi bilo to, kar Kot vsi umetniki uporabljata umetniška orodja, za razliko vržeta iz sebe, navadno blebetanje. In ker sta umetnika, od tradicionalnih levičarskih socialnih realistov pa v gladko sta trčila ob lepoto tudi tam, kjer ju preveva največja groza. žolco sloga ne vtihotapita sporočil, povezanih s hladno Umetnost se vedno priplazi nazaj v atelje – tudi če se umetnik vojno. Če Guttuso ali Siqueiros ali Lorjou ali Refregier slikajo znebi njegovih sten in vrat in se preseli na ulico. Tukaj se s sprejeto akademsko uglajenostjo, da bi neki ideološki Venera dviga iz morja dreka. anekdoti nadeli ugleden videz, pa sta Goodman in Lurie uporabila najnovejše izrazje akcijskega slikarstva newyorške V tem dokončnem obratu usodnosti (nič čudnega, da sta šole. A če Rauschenberg, Kaprow ali Oldenburg uporabijo razstavo v New Yorku poimenovala Razstava pogube) tiči prevleko smeti na formalne, poetične načine, ta slikarja njuna dokončna metafora. Krik pogube pa je tudi radostno, zavračata vsak prenos in preobrazbo. Sramoto družbe podivjano pričevanje o vstajenju. komentirata z ubežno snovjo same družbe – ubežno snovjo za ubežnike pred našimi velikimi motnjami, našimi perifernimi obscenostmi, našimi smetmi, našimi odvratnimi tovarniško izdelanimi odpadki.

V revni državi na ulici ne morete najti kurje kosti. Goodman in Lurie sta ustvarila cel skatološki Versailles iz »načrtovane zastarelosti« ameriške »premožne družbe« (pravzaprav bi ta moralista lahko odvržene predmete enako dobičkonosno nabirala v Londonu, Parizu, Milanu, Münchnu ali Leningradu). 71 Thomas B. Hess

Introduction to the NO-sculptures show Exhibition presented by Boris Lurie at Gallery Gertrude Stein, New York, May 12—30, 1964

Sam Goodman and Boris Lurie are true Social Realists. is the protest of silence, negation, Satan’s cry – non serviam. Sometimes it is directly implied in difficulties of image or in Deeply involved with political and social issues, they have savagery of gesture. decided to work as citizen-artists to become Responsible, to move their studios – their art, their lives, their references – Goodman and Lurie do not imply; they protest directly. into the ideological arena. They turn the esthetic inside-out They brake up the relatively polite conversations in the parlor to discover its ethical viscera, ligaments, heart, dung. car by making a blind jump at the EMERGENCY STOP cord. With their art, with the vast human accumulations of art- Lurie with his grimed up Pin-up nudes (the erotics of the history and esthetic thought, they have found ways to shout underprivileged), Goodman tinkering with mashed celluloid – to blurt the visual truth. babies, spell out a choking rhetoric that is concerned with where we are going. The irony of art, of course, always intervenes. If Goodman and Lurie were not fine painters, their blurts would be Like all artists they use the tools of art, but unlike the gibbers. And because they are artists they have bumped traditionally Left Social-Realists, they do not sneak Cold- into beauty even where they are most horrified. Art always War messages into smooth aspics of style. Where a Guttuso sneaks back to the studio – even when the artist has gotten or a Siqueiros or a Lorjou or a Refregier paint with accepted rid of its walls and doors and has moved out into the street. academic table-manners in order to make respectable some Here Venus arises from a sea of shit. ideological anecdote, Goodman and Lurie have seized upon the latest idioms of New York School Action Painting. But In this ultimate twist of fatality (no wonder they named where Rauschenberg, Kaprow or Oldenburg use the lace of their exhibition in New York ‘Doom’) lies their ultimate garbage in formal, poetic ways, these two painters reject all metaphor. The shriek of doom also is a gay, wild testimonial transpositions and metamorphoses. They comment on the to the Resurrection. disgrace of society with the refugee material of society itself – fugitive materials for fugitives from our great disorders – our peripheral obscenities, our garbage, our repulsive factory-made waste-matter.

In a poor country, you cannot find chicken bone on the streets. Goodman and Lurie have decreed whole scatological Versailles from the ‘built-in-obsolescences’ of American ‘affluent society’ (n.b., these moralists could scavenge as profitably in London, Paris, Milan, Munich, Leningrad).

All modern art is Protest, in one way or another. Usually it 72

NE skulpture (Razstava dreka) / NE skulpture (Razstava dreka) / NE skulpture (Razstava dreka) / NO Sculptures (Shit Show), NO Sculptures (Shit Show), NO Sculptures (Shit Show), 1964 © 1964 1964 Boris Lurie Art Foundation © Boris Lurie Art Foundation © Boris Lurie Art Foundation 73 Tom Wolfe, 1964, New York Herald Tribune

Kiparstvo (Galerija Gertrude Stein)

Sam Goodman, umetnik, je majhen, zalit, kosmat, skrivnostjo oblikovanja govna, če bodo kritiki govno sprejeli razkuštran petinštiridesetletnik, ki ni nikoli prestar, da bi takó, kot ga po Borisovih besedah sprejemajo tisti, ki prihajajo živel kot uporni umetnik. S prijateljem Borisom Luriejem se v Galerijo Gertrude Stein. Ti ljudje povzročajo nejevoljo. Še zadnjih sedem let na Lower East Sidu na splošno ukvarjata s kar nočejo biti šokirani. Ti kulturniki newyorške umetnosti tem, kako bi šokirala buržoazijo in se upirala establišmentu. gledajo naravnost v kupe, ki ležijo na tleh, in govorijo o njih, Prav to pa je največja težava. Šokirati buržoazijo je vse teže. kot da so nekaj normalnega, o njihovi masi, napetosti, sili, Buržuji zdaj vzamejo vse, kar jim vržeš v imenu umetnosti, plastičnem okolju in tako naprej. zvite avtomobilske odbijače, stare ročke za tuširanje, ki štrlijo iz platna, karkoli, in to na smrt obožujejo! Boris je bil besen. »Ti ljudje so tako prestrašeni zaradi estetike moderne umetnosti in vse te estetske dvoumnosti,« Boris in Sam sta pred nekaj leti na primer uprizorila je rekel, »bojijo se na to pogledati kot na tisto, kar je, torej Vulgarno razstavo, na kateri sta prikazala zaobljene lepotice govno. Nanj hočejo gledati samo kot na kip. Pridejo sem razkrečenih nog, iztrgane iz opolzkih revij, če omenimo le in se ga dotikajo in govorijo o 'obliki'. Mislim, da so preveč eno od stvari, ki se jih da omeniti. In kaj se je zgodilo? Vsi prestrašeni, da bi izrazili svoje občutke o tako imenovanem današnji babbitti, ki so prišli, večinoma umetnostni kritiki in umetniškem delu.« drugi esteti-intelektualci, kot jim pravi Boris, so samo govorili nekaj v smislu 'to je v redu, Sam, to je v redu, Boris, kar tako Po Borisovi logiki je njuno oblikovano govno kritike naprej, podpiramo vaju v herojskem boju'. potisnilo v kot. Navdušeni so bili nad kipi iz smeti, »najdenimi« predmeti, starimi vulkaniziranimi gumami na piedestalu, Prav torej, je rekel Sam, pa poglejmo, kaj bodo rekli na slikami Campbellovih pločevink juhe in ljubezenskimi stripi. tole. Tole, njuno najnovejšo razstavo, ki se je zadnjič odprla Če so že nad vsem tako navdušeni, pa naj bodo navdušeni v Galeriji Gertrude Stein v zelo elegantni meščanski hiši na še nad govnom. vogalu 24. vzhodne in 81. ulice. In tako se je pripetilo, da je 75 let moderne umetnosti po neprekosljivi logiki končno Gospodična Stein, ki ni daljna sestrična Gertrude Stein, privedlo do Goodmana in Lurieja, ki sta sedela na tleh galerije vrhovne gurujke ameriških izseljenskih pisateljev v Parizu v tik poleg avenije Madison med 21 kipi govna sesalcev. Ki ni 20. letih, med katerimi je bil tudi Hemingway, je rekla, da bilo oblikovano tako, da bi nekako spominjalo na sesalsko kritiki, če imajo kaj občutka za zgodovino, sploh ne bi smeli govno ali mu bilo bolj ali manj podobno, ali bilo kot sesalsko imeti težav z navdušenjem nad razstavo. »Vlijmo kipe NO! v govno v abstraktnem smislu. Nista ga postavila na piedestal. bron,« je rekla, »pa bomo imeli pred sabo povzetek celotne Leži neposredno na tleh, eden od kupov pa tehta več kot zgodovine moderne umetnosti.« 200 kilogramov. Vse skupaj sta prikazala natanko tako, kot sta lahko prikazala govno sesalcev po 25 letih, preživetih Vse to govorjenje o sprejemanju in kritiškem navdušenju v tradiciji Cezanna, Picassa in Matissa. Tako je Boris začel pa je začelo skrbeti Sama Goodmana. Začel se je ozirati po delati kipe govna – pa naj poskusijo še to. 21 kupih, ležečih na tleh, in govoril: »Ja, ne vem pa, kaj bom naredil kot nadaljevanje tega. Po mojem lahko potujem v »Iztiskam ga,« je govoril Sam. »Uliti kamen uporabljam, nasprotno smer in se napotim nazaj proti maternici ali pa, veste? Iztiskam ga skozi cev ali nekaj takega. Uliti kamen je kaj pa vem, rinem naprej in uprizorim hepening, med katerim nekaj takega kot mavec. Iztiskam ga skozi cev, tako nekako, bom naredil samomor.« ne morem vam natančno povedati, kako, ker bodo potem vsi počeli enako.« Prijatelji gospoda Goodmana pritrjujejo, da je ustvarjalen mislec, in dejansko ga lahko skrbi, da bodo drugi umetniki kradli njegove ideje.

Veliko pomembnih idej ima. Pred dvema letoma sta z Borisom po Vulgarni razstavi priredila Razstavo pogube, za katero je Sam med drugim prispeval obglavljene otroške lutke, zažgane in vpete v osmojene posteljne vzmeti. In ali ni čez dva meseca ena vodilnih popartistk na razstavi prikazala zažganih otroških lutk? Točno.

Za božjo voljo, pol umetnikov v mestu se bo gnalo za Tom Wolfe, 1964, New York Herald Tribune 74

Sculpture (Gallery Gertrude Stein)

Sam Goodman, the artist, is short, plump, shaggy, For godsake, half the artists in town are likely to be after rumpled up, 45 and never too old for the life of Artist in the secret of sculpting dung if the critics embrace dung the Protest. He and his friend Boris Lurie have been working way Boris says the people who come by the Gertrude Stein for the last seven years down on the Lower East Side in Gallery do. These people are frustrating. They still won’t come the general field of shocking the bourgeoisie and revolting right out and be shocked. They, the culturati of the New York against the establishment. And that is exactly the trouble in art world, look right at the mounds lying there on the floor their lives. Shocking the bourgeoisie is getting tougher and and talk about them in terms of the usual, their mass, their tougher. They have gotten so they will take anything you tension, their thrust, their plastic ambience and so forth. throw at them in the name of Art, bent automobile fenders, old shower nozzles sticking out of canvas, anything, and just Boris was outraged. “These people are so intimidated by love it to death! the aesthetics of modern art and all this aesthetic double- talk,” he said, “they are afraid to look at it as what it is, which For example Boris and Sam put on something like their is dung. They just want to look at it as sculpture. They come Vulgar Show a few years back, featuring mango-haunched in here and touch it and talk about ‘form’. I think they’re too babes with shanks akimbo ripped out of the flesh magazines, intimidated to express what they feel about a so-called work just to mention one of the mentionable things, and what of art.” happens? All the modern-day Babbitts who come around, mainly the art critics and other aesthete-intellectuals, as According to Boris’ reasoning, their sculpted dung now has Boris calls them, just keep saying things like that’s fine, the critics backed into a corner. They have been embracing Sam, that’s fine Boris, keep it up, we are with you inthe junk sculpture, “found” objects, old vulcanized tires on a heroic struggle. pedestal, paintings of Campbell’s soup cans and love comics. So if they are so all-embracing, let them embrace dung. So all right, said Sam, let them try this one on for size. This one, their newest exhibition, which opened the other night Miss Stein, who is not a third cousin of the Gertrude Stein at the Gertrude Stein Gallery in a very elegant townhouse the grand guru of America’s expatriate writers in Paris in the at 24 E. 81st St. And so it came to pass that 75 years of 1920’s such as Hemingway, was saying how the critics, if they Modern Art led at last with invincible logic to Goodman-Lurie have an eye for history, should not find it hard to embrace seated on the floor of a gallery just off Madison Avenue amid the show at all. “Cast the NO! Sculptures in bronze” she 21 piles of sculpted mammal dung. Not designed to look was saying, “and you have the entire history of modern art vaguely like mammal dung, or more or less like mammal summed up right there”. dung, or abstractly like mammal dung. They did not put it up on a pedestal. It lies flat on the floor, including one pile All this talk about acceptance and critical acclaim was that weighs 500 pounds. They made it all look as exactly beginning to worry Sam Goodman, however. He began like mammal dung as 25 years spent in art in the tradition looking around at the 21 mounds lying flat on the floor, and he of Cezanne, Picasso and Matisse would enable them to. So was saying: “Yeah, but I don’t know what I’m going to do for Boris began sculpting dung – let them try that on for size. an encore. I figure I can either take a return trip and head back towards the womb or, I don’t know, like forge ahead and put “I extrude it”, Sam was saying. “I use, like, this cast stone. on a happening in which I commit suicide.” You know? I extrude it through like a pipe or something. Cast stone is like, I don’t know, plaster of Paris. I extrude it through a pipe or something, I can’t tell you exactly how because then they’ll be all doing it.” Mr. Goodman’s friends testify that he is a germinal thinker, and indeed has to worry about other artists stealing his ideas.

He has a lot of important ideas. A couple of years ago after the Vulgar Show, he and Boris put on a Doom Show, one of Sam’s contributions being decapitated baby dolls burned up and embedded in burned-up bed springs. A couple of months later, did one of the leading Pop-artists turn up with incinerated doll babies in her show? Exactly. 75

NE skulpture (Razstava dreka) / NO Sculptures (Shit Show), 1964 © Boris Lurie Art Foundation Dore Ashton 76

Merde, Alors!

Objavljeno v: Lurie, Boris; Krim, Seymour: NO!art, Köln 1988 Ne zdi se mi naključno, da so bila povojna leta prežeta s namestili pravo muzejsko osvetljavo in se lotili pridobivanja trpkim naslovom Sartrovega romana: Gnus. V petdeseta leta del umetnikov; v teh bogataških zavetjih je drag viski srkal so se vlekli demoni dvoma in gnusa, ki so omogočili pojave, celo Allen Ginsberg. Takrat je imel umetnik nelagodno kakršni so se odvili v galeriji March. karizmo, ki je bogataše vabila v njegov brlog in postavljala njegova prepričanja na kocko. Celo zdaj, ko na grotesknosti, prikazane (upam, da ironično) v imenu umetnosti, gledam z desetletne razdalje, Do leta 1960, ko je Boris Lurie priredil razstavo Adieu se mi to zdi vredno resne razprave. Gnus se ni polegel. Amerique in smo bili z nekaterimi prijatelji tako prestrašeni, Pojavlja se v mnogih preoblekah, ne nazadnje v tisti, ki je da smo ustanovili »komisijo za anonimne letake«, se je veliko določena kot izziv sami umetnosti. Slogani, kot so »umetnost vznemirjenje zaradi novega ameriškega slikarstva ravno je umetnik«, in nedavni modni pojavi, kot je »umetnost poleglo. Polegel pa se je tudi zimzeleni ameriški optimizem. antiforme«, izvirajo iz občutkov, kakršne so ustvarila 50. leta. Vsi smo se znašli v težavah in takrat smo večinoma že razumeli, da je naše ozemlje trajno onesnažila strupena Razmišljam o okolju 10. ulice v tistih dneh, o privlačnosti, dediščina. ki jo je imela galerija March za disidente različnih barv, o očitnih političnih pritiskih. Vsepovsod izdaje. Le kaj bi Leta 1960 sem nato videla kolaže Borisa Lurieja, ki so lahko pomenili nauki iz koncentracijskih taborišč, ko pa pogosto namigovali na koncentracijsko taborišče, v katerem grozodejstvom v korejski vojni kar ni bilo konca. In potem je nekoč bival, in odkrito obtoževali popularno ameriško v Vietnamu. In še jim ni konca. In vsak dan postajajo bolj kulturo. Videla sem tudi druge člane skupine March na običajna in vse laže jih sprejemamo. In francoska Alžirija je Vulgarni razstavi in prepoznala teme (atomske bombe, bila sedanjost. koncentracijska taborišča, okuženo mleko, linčanje na jugu, komercialni seks, poklicne množične morilce). Ni me preveč Mnogi umetniki, ki jih je zdramil politični negativizem ljudi skrbelo, ali gre za umetnost ali ne. Takrat in vse odtlej mi iz Marcha, so se dobro zavedali dogajanja drugje. Povojno je bilo jasno, da se pojavlja subkultura nesoglasja, v kateri obdobje je v 50. letih hitro postajalo obdobje trajne vojne; bodo uporabili vse razpoložljive načine za oblikovanje novih, sploh ne optimistične trajne revolucije, ki je presevala iz politiziranih vrednot. Luriejeva in Goodmanova sporočila nekaterih tedanjih Sartrovih člankov. Samo trajnega klanja. so našla tarčo v nezadovoljnih mladih, ki so se zgrinjali na njune razstave, in ta sporočila, čeprav deležna posmeha, so Umetniki, ki niso več prenašali inercije, ali posamezniki, se nazadnje pojavila tudi v etabliranem tisku. Umetnost ni ki so pod okriljem »umetnosti« videli življenjski prostor, imela s tem ničesar. kakršnega ni mogla ponuditi nobena druga dejavnost v naši družbi, so se združili v skupnem gnusu. Medtem je Boris Lurie v galeriji March obiskovalce Vključujoče razstave pozdravljal z besedami, da »v časih Najbrž je pomenljivo, da galerija March ni bila v pritličju, vojne in uničevanja vaje v estetiki in dekorativni vzorci niso ampak v nekakšni kleti, v katero so vodile štiri stopnice. dovolj«. In zlovešče: »Pomnite, da ste Eichmann tudi vi!« Kolikor se spomnim, se je začela kot še ena zadruga, s Naslednje leto se je vrnil z Razstavo pogube, ki jo je pripravil heterogeno in spreminjajočo se sestavo sodelujočih. Po s Samom Goodmanom, Stanleyjem Fisherjem in drugimi malem je postala osrednja točka za vse mogoče družbene ter nas znova opomnil, da z umetniškim establišmentom disidente, od katerih so mnogi opazovali politično dogajanje ni vse v redu. Ta razstava je bila prava zmeda. Dobro se v 50. letih z vse večjim malodušjem. Vrstila se je izdaja je spominjam. Še enkrat pa moram poudariti, da čeprav za izdajo in to, kar so nekoč zavzeto zagovarjali – da je načini, na katere so ti ustvarjalci kolažev in stvari narekovali umetnost nenehna revolucija – se jim je glede na Korejo, sporočila, niso bili duhoviti, briljantni ali celo ogorčeni v veliki Alžirijo, McCarthyja in boje na jugu zdela ničvredna ideja. tradiciji politične umetnosti, pa so bili edini, na katere je vse Iz tega vse prodornejšega gnusa je zrasla skupina March, več disidentov videlo svoj težavni položaj! Gnusno do dna ki je bila takrat povezana z idejo družbenega protesta in duše. političnega ogorčenja. Za cilj si niso vzeli le same umetnosti, ampak družbo, ki lahko o njej mirno razmišlja, medtem ko Nisem si mogla kaj, da me razstava NO! leta 1963 ne bi se vsak dan izvajajo zločini neizrekljivih razsežnosti. Takrat je pritegnila. Takrat sem bila zaradi Vietnama in razvoja tega, šala o aveniji Park res nekaj pomenila. Mnogi »zbiratelji« so v kar je Eisenhower nesmrtno poimenoval vojaško-industrijski stanovanjih na tej aveniji (ki so še danes popolnoma enaka) kompleks, z vsem srcem za »NE!«, ne glede na to, kaj je 77

pomenil. To zagotovo ni bila umetnostna razstava v pravem pomenu besede, je pa razglašala čudovito možnost, da rečemo NE!

Sklepna izjava skupine March je bilo po mojem mnenju sodelovanje Sama Goodmana z Borisom Luriejem v Galeriji Gertrude Stein, kjer so nastopali edino iztrebki, oblikovani kot kipi. To je bila izjava nihilističnih, anarhičnih vrednot, ki jih je že dolgo ustvarjala subkultura. Kot vedno velja za moralno ogorčene, je močno verjetna patetičnost, pa tudi izničenje. Mnogi so se sredi 60. let združili v paktu vzajemnega gnusa, in prav ta vzajemnost se je izčrpala, kot se je nekoč izčrpal dadaizem, in odprla pot spremenjenim vrednotam. Merde alors! Dokončna, neizpodbitna izjava, ki ustavi vsako nadaljnjo razpravo.

Zaradi vsega tega sta gnus in nemir, ki sta poganjala dogajanje v galeriji March, že tradicija, na kateri lahko gradi subkultura. Razpršen, a zgovoren ropot med urbanimi umetniki opozarja na stalno vrednost »NE!« kot ustvarjalne sile. Karkoli bi že lahko rekli o kakovosti misli, ki je nedavno povzročila ustanovitev Koalicije umetniških delavcev, NE skulpture (Razstava dreka) / ostaja dejstvo, da je resnična kriza zavesti uničila večje NO Sculptures (Shit Show), segmente sveta umetnosti. Pomembnih vprašanj, kot je 1964 © Boris Lurie Art Foundation vloga »čistega« umetnika v socialni revoluciji, niso tako goreče načenjali že od sredine 30. let, ko je Ljudska fronta pred sodobnega umetnika postavila velik izziv. Nihilizem, ki je bil temelj NO!arta, je tu spremenjen. Depresijo, ki je mlade tlačila konec 50. in na začetku 60. let, spreminja spodbudno delovanje, ki kaže na možnost temeljnih sprememb. Politična kriza v Združenih državah ni spremenila le stališč mlajših umetnikov, temveč tudi način njihovega pristopa k delom, zaradi katerega so si po pravici rekli umetniki – in prav ta sprememba je omogočila prvo noto optimizma v mnogih letih (vsaj po mnenju tistih umetnikov, ki so se odrekli slikarstvu in kiparstvu v prid akcijam, dogodkom in efemernosti).

Proto-teorije skupine March so bile izpopolnjene, postale so izvedljive, vendar pa izvorni viri ostajajo: divje nezadovoljstvo, razočaranje in skromnost duhovnega življenjskega prostora. Pod okriljem »umetnosti« lahko mnogi Američani izvajajo določene dejavnosti in najdejo življenjski prostor, ki ga ne more ponuditi nobena druga kategorija ameriškega življenja. Dejavnosti umetnikov iz gibanja antiforme imajo pravzaprav malo opraviti z umetnostjo, ki ostaja nedostopna preprostim smrtnikom, so pa – vse od zgodnjih dni na 10. ulici – vedno bolj pomembne za družbo, ki več ne pozna etike in je večno lačna. Dore Ashton 78

Merde, Alors! Published in: Lurie, Boris; Krim, Seymour: NO!art, Cologne 1988 It seems to me that it was not by accident that the post- This was a time when to joke about Park Avenue really meant war years were hung over with the sulphureous title of Sartre’s something. It was a time when many “collectors” had installed fiction: Nausea. Creeping into the fifties were the demons real museum lighting in their Park Avenue apartments (which of doubt and disgust that fostered such phenomena that to this day look exactly alike) and had proceeded to acquire occurred at the March Gallery. artists. It was a time when even Alien Ginsberg could be found swilling fine Scotch in those uptown havens. It was a Even now, with ten years’ perspective on the grotesqueries time when the artist had uncomfortable charisma which drew presented (ironically I hope) in the name of art, it seems to me the rich to his lair, and placed his convictions into jeopardy. worthy of serious discussion. The nausea has not subsided. It appears in many guises, not the least of which is the By 1960, when Boris Lurie had his one-man show, “Adieu determined route of challenge to art itself. Such slogans as Amerique” and when some friends and I were sufficiently “art is the artist”, and such recent vogues as “anti-form” arts alarmed to form the “Night Letter Committee”, the great have their sources in the kind of feelings generated in the excitement about the new American painting was just over. 1950s. Also, just about over was the perennial American habit of optimism. We were all in trouble, and by that time most of us I think of the environment of Tenth Street in those days; had understood that the poisonous legacy had permanently the attraction the March Gallery had for social dissidents of contaminated our territory. varying stripes; the obvious political pressures. Betrayals everywhere. What could the lessons of a concentration camp In 1960, then, I saw Boris Lurie’s collages, with their have meant, really, when atrocities in the Korean War went on frequent allusions to the concentration camp he had once and on. And on and on to Vietnam. And haven’t stopped yet. inhabited, and their open indictment of popular American And become more common and more easily accepted every culture. I also saw other members of the March group in the day. And Algerie Francaise was present. “Vulgar Show” and recognized the themes (atom bombs, concentration camps, contaminated milk, lynchings in the Many of the artists alerted to the political negativism South, commercial sex, professional mass-killers). I wasn’t of the March people were well aware of events elsewhere. much worried about whether they were art or not. At that time, The postwar period was adding up quickly in the 1950s to and since, I had recognized that a sub-culture of dissent was a perpetual war period, not even the optimistic perpetual emerging in which every mode available would be used to revolution that peered through in some of Sartre’s articles formulate the new, politicized values. Lurie’s and Goodman’s then. Just perpetual carnage. messages found their marks in the disaffected youth that flocked to see them, and eventually those messages, even Artists who could no longer tolerate inertia, or individuals though scorned, even appeared in the uptown press. Art had who saw in the umbrella-shade of “art” a living space no other nothing to do with it. activity in this society could provide, converged in mutual disgust. Meanwhile, at the March Gallery, Boris Lurie was welcoming people to the Involvement Show by telling that Significantly perhaps, the March Gallery was not at street “in times of war and extermination, aesthetic exercise level, but four steps down into a kind of cellar. As I recall, and decorative patterns are not enough”. And ominously: it began as just another cooperative, with a heterogeneous “Remember, Eichmann is you, too!” The next year he was shifting population of participants. Little by little, it became the back with the “Doom Show”, together with Sam Goodman focal point for all manner of social dissidents, many of whom and Stanley Fisher and others, reminding us again that all had watched the political events of the 1950s with increasing was not well with the art establishment. It was a mess, that discouragement. One betrayal had followed another, and what show. I remember it well. But I must reiterate that while the had once been zestfully suggested – that art was a perpetual terms in which these makers of collages and things dictated revolution – seemed to them a paltry idea in the face of Korea, their messages were not witty, brilliant, or even scathing in Algeria, McCarthy and the struggle in the South. Out of this the great tradition of political art, they were the only terms ever more penetrating nausea grew the March group which in which an increasing number of dissidents could see their was associated, in those days, with the idea of social protest predicament! Nauseating to the seat of the soul. and political indignation. Its target was not only art itself, but the society which could calmly contemplate it while crimes I couldn’t help but be attracted by the 1963 NO!show. By of unspeakable dimensions were being executed every day. that time, what with Vietnam and the coming-of-age of what 79

Eisenhower immortally called the military-industrial complex, I was all for “NO!”, no matter what it meant. It was certainly not a show as art shows go, but it did broadcast the marvelous possibility of saying NO!

The final statement of the March group, it seems to me, was Sam Goodman’s collaboration with Boris Lurie shown at the Gertrude Stein Gallery, in which excrement was the sole agent, modeled to look like sculpture. This was a statement of the nihilistic, anarchic values that the subculture had long been generating. As is always the case with the morally indignant, the potential for pathos is strong, and so is the potential for annulment. Many converged in a pact of mutual disgust in the mid-1960s, and it was this mutuality that exhausted itself, as once dada had exhausted itself, making way for revised values. Merde alors! A final, incontrovertible statement which cuts off any further discourse.

For all that, the nausea and restlessness that motivated March Gallery events is already a tradition which the sub- culture can build upon. A diffuse but voluble clamor amongst urban artists points to the abiding value of “NO!” as a creative force. Whatever might be said about the quality of thought that brought about the foundation of the Art Workers’ Coalition not long ago, the fact remains that a genuine crise de conscience has assailed larger segments in the art world. Important questions such as the role of the “pure” artist in social revolution have not been raised so fervently since the mid 1930s when the Popular Front posed the great challenge to the modern artist. The nihilism which underlay NO!art is altered here. The depression that assailed the young in the late 1950s and early 1960s is modified by the bracing action which suggests the possibility of vital change. The political crisis in the altered not only the attitudes of younger artists, but also the way in which they approached the works which justified their calling themselves artists, and it is in this alteration that the first note of optimism in many years is made possible (at least in the view of those artists who renounced easel painting and sculpture in favor of actions, events and ephemera).

The proto-theories of the March group have been refined, made viable, but the original sources remain: frantic disaffection, dismay and the paucity of spiritual lebensraum. Under the shelter of “art”, many Americans can pursue certain activities and find a living space that no other category of American life can provide. The value forging activities of the anti-form artists finally have little to do with art which remains impervious to mere mortals, but are –ever since those early 10th Street days – increasingly important to a society which knows no ethic any more and which is perpetually hungry. Harold Rosenberg (1974) 80

Bika za roge Objavljeno v: Lurie, Boris; Krim, Seymour: NO!art, Köln 1988 Ljudje se naveličamo »radikalnih« umetnikov, ki v sitotisku angela zadušili pod smetiščem medijskih podob, ki spadajo izdelujejo nedolžne kolaže časopisnih izrezkov – strašljivih v kategoriji nasilja in spolnih fantazij. Documento V so naslovov, električnih stolov, trupel – in mislijo, da zadajajo napovedali deset let vnaprej – nič čudnega, da NO!art dobro udarec družbi. Sporočajo samo, da berejo časopise, še kotira v deželi Josepha Beuysa in mednarodnih razstav pod najraje tabloide, in da so ugotovili, kako jih lahko izkoristijo sloganom »umetnost je odveč«. Lurie je v eni od izjav rekel, za umetnost. Ni ravno preveč radikalno, če veš, da sta v da si množično distribuiranih slik velikih jošk in izbočenih atentatu umrla dva Kennedyja in da je imela Marilyn Monroe zadnjic deklet ni mogel izbiti iz glave, dokler jih ni izpraznil privlačna usta. Morda se taka umetnost zdi junaška, ker se je v kolaže. Organske poslastice, ki so slučajno zapakirane v podvrgla tako nizkim informacijam, namesto da bi razmišljala človeško samico, so držale na vrelišču njegovo sovražnost o kontinuiteti slikovne ploskve in otožni ugotovitvi, da ima do družbe, ki se je naučila zadovoljevati potrebe množičnega barva različne odtenke. trga po vsem, razen po pristni riti – na državni ravni lahko priskrbi le nadomestek (pin-up dekleta), dejansko razgaljanje Pristno zaznavanje družbene resničnosti in mračni prsi in božanje za določeno ceno pa prepušča nadzoru občutki, ki ga spremljajo, pri kritikih, kustosih in zbiralcih lokalnih odlokov. Ni treba biti lačen jošk, da ti je všeč Levy's niso dobro zapisani, saj ti iščejo predvsem mirno uživanje in da ceniš to, kar je bolelo Goodmana in Lurieja. v umetniških zakladih – s tem pa »nepretrgano kontinuiteto« ne le slikovne ploskve, ampak umetniškega trga in današnjih Prednost pripadnikov NO!arta je bilo sovraštvo, ki je del z umetninami preteklosti. Kaj pa je svet sodobne napajalo samo sebe. Naslednje vprašanje je, kako dobro so umetnosti, če ne skrivni dogovor njegovih udeležencev, izbirali tarče. Mislim, da v prvi vrsti niso ciljali na družbo, da iz umetnosti delajo razvedrilo za konec tedna, ki ga ne ampak na svet umetnosti. Svet umetnosti pa gre lahko vznemirjajo tedenske novice? k vragu le, ko gre k vragu družba. Del NO!arta so pin-up dekleta, umetnost tiste vrste, ki po Luriejevem pričevanju Merilo avantgardne umetnosti je lahko postane obsedenost. NO!art se od pin-up deklet 1. stopnja razburjenja, ki jo sproži s kritiko družbe in kulture; pomakne k iztrebkom, razstavljenim kot napoved kipov 2. osrednji položaj tarče, na katero kritika leti. gibanja antiforme.

Mislim, da gre NO!artu dobro od rok 1, nekoliko manj pa Kje je radikalna kritičnost? V samih eksponatih, 2. (Mimogrede: menim, da je NO!art slabo ime, saj daje vtis, mislim, ne v spremnih manifestih? Gola dekleta so doma da pomeni »brez umetnosti«, bolje pa bi bilo reči, da gre za na stenah umetnostnih galerij, in če jih razstavljamo kot zanikujočo ali negativno umetnost.) Glede na to, kako vneto nekaj škandaloznega, s podvezicami ali brez, v izrezkih iz so se pripadniki NO!arta odzivali na sodobno Ameriko, so pornografskih revij, hočemo s tem povedati, da jih je treba bili legitimni nasledniki dadaizma, čeprav brez njegovega odreči revnim in neizobraženim. silovitega burkaštva. Kakorkoli že, kazali so naravno sovražnost do samozavestnega, blagega popartističnega in Tudi drek ni radikalen pojav – Rabelais mu je napisal post-dadaističnega Rauschenberga, Lichtensteina in drugih hvalnico kot dejavniku v humanistični revoluciji. Sporočilo udomačenih muckov. NO!arta se torej skrči na izjavo, da pornografije in dreka, čeprav sta življenjski dejstvi, dotlej v umetnostnih galerijah Nenehna negativnost za umetnika ni lahka. Navsezadnje še ni bilo. V galerijah pa prevladujejo še veliko hujše stvari, nekdo postane umetnik zaradi izbruha občudovanja ki jih imamo za ugledne. Trgovanje z umetninami, kot bi umetnine. Da rečeš ne umetnosti skozi umetnost, moraš bile z diamanti posut drek, je kulturno bolj uničujoče kot najprej reči ne tisti izkušnji, ki te spremeni. Govorim o uboju razstavljanje dreka, kot bi bil z diamanti posuta umetnina. boga – ali angela, božjega sla. Če gre pri NO!art za kaj manj, je to preprosto ne-umetnost, moderna družba pa je tega NO!art odraža mešanico dreka in kriminala, s katero polna. množični mediji preplavljajo um današnjega časa. To mešanico napada tako, da jo reproducira v koncentriranih Po drugi strani pa, razen če je NE! je absoluten – načelen podobah. Gre za pop z dodanim strupom. Mislim, da in nepopustljiv kot verska ali politična prisega – avtomatično je njegova največja vrednost v tem, da umetnostni svet postane sredstvo za vtihotapljanje nekega sloga slikanja s opominja na obstoj stvari, ki morajo povzročati nelagodje, pomočjo propagande o družbenih stališčih. medtem ko se je pop prilizoval aveniji Madison, kot bi iskal sredstva za kampanjo. Glede na to, da ljudje bežijo Lurie, Goodman, Fisher in drugi so svojega estetskega pred neprijetnimi opomniki, sploh kadar nikakor ne morejo 81 Harold Rosenberg (1974)

Bull by the Horns Published in: Lurie, Boris; Krim, Seymour: NO!art, Cologne 1988 spremeniti situacije, lahko umetnost odvrne le: kar naj. One gets sick of “radical” artists who produce innocuous Naloga umetnosti ni nečesa narediti, ampak obdržati collages of silk-screened newspaper clippings—scare resničnost na dnevnem redu. Umetnost je od vojne naprej headlines, electric chairs, corpses—and imagine they are apolitizirana, a ne zato, ker bi se umetniki odločili izogibati striking a blow at society. All that they are saying is that they politiki, ampak ker so ugotovili, da lahko pravi umetnik naredi read the papers, tabloids by preference, and have found le to, kar lahko, ne pa, kar misli, da je treba storiti. ways of making use of them for art. It’s not really very radical to be aware that two Kennedys were assassinated and that Poleg tega je sama politika opustila vsako upanje na Marilyn Monroe had an appealing mouth. Perhaps this art boljši svet. Posamezniki lahko vreščijo, nihče pa ne ve, kaj feels heroic because it has subjected itself to such low- storiti. Umetnost sama po sebi ne more nič, da bi spremenila grade information instead of meditating on the continuity splošne pogoje življenja. In če umetnost zgolj vrešči, jo of the picture plane and the plangent discovery that paint obtožijo, da se odreka umetnosti zaradi slabe politike. Je comes in colors. NO!art to počel? Je spraševal, čemu v današnjem svetu služi dobra umetnost? Kaki »Swiss Investment Group?« Genuine perception of social reality and accompanying Kaki »Japanese-American Group—highest prices paid?« grim feelings don’t go down well with critics, curators and collectors, who seek, above all, peaceful enjoyment of art NO!art se je zasidral v resničnosti, ki jo je opredeljevala treasures—and thus the “unbroken continuity” not only of samouničevalna nova levica v zgodnjih šestdesetih. Od the picture plane but of the art market and of works of today nje je sprejel sklop stvari, ki jih je treba napadati: tiranijo, with the masterpieces of the past. What is the contemporary umazanijo in estetsko hipokrizijo, ni pa mogel ničesar art world but the collusion among its parts to turn art into a prispevati k novi politični zavesti ali uporniški senzibilnosti. Sunday Section of life untroubled by the news of the week? Galerija March je lahko zgolj zganjala hrup, da bi odgnala zle duhove. In da bi zgrabila bika za roge, pa čeprav bi jo zato The measure of vanguard art is morda vlačili po blatu. 1. the degree of heat it registers in its criticism of society Za dodatek nekaj vprašanj: and culture; 2. the centrality of the target to which this criticism is 1. Si bo NO!art prisvojila umetnostna zgodovina? applied.

2. Si prizadeva za prisvojitev? I think NO!art does well with 1, less well with 2. (Incidentally, I think NO!art is a bad title, because it gives 3. Bodo razstave dreka priredili tudi v galerijah Marlboro, the impression of meaning “without art”, whereas its better Pace in Castelli, da počastijo to epizodo umetnostne meaning is nay-saying or negative art.) In the temperature of zgodovine? their reaction against contemporary America, the NO! Artists were the legitimate heirs of Dada, though without the old 4. Bosta retrospektivno razstavo dreka podprla Državni boys’ slapstick ferocity. At any rate, they showed a natural sklad za umetnost in Svet za umetnost države New York? enmity to cool, slick Pop and post-Dada Rauschenberg, Lichtenstein and other housetrained kittens. 5. Če ne, je to ponarejanje umetnostne zgodovine? It is not easy for an artist to be constantly negative. After 6. Kaj pa drugi umetniki, ki so obstajali, a so jih iz all, one becomes an artist through a burst of admiration for umetnostne zgodovine izpustili? a work of art. To say No to art through art requires, first of all, that one say No to that transforming experience. I am talking about slaying a god—or an angel, god’s messenger. If anything less is involved in NO!art, it is simply non-art, and modern society is full of that.

On the other hand, unless the NO! is absolute—principled and non-compromising as a religious or political oath—it becomes automatically a device for smuggling in a style of painting through propaganda about social attitudes. 82

Lurie, Goodman, Fisher et al smothered their aesthetic reality on the agenda. Art has been apoliticized since the war angel under a garbage heap of media images belonging to not because artists chose to shun politics but because they the categories of violence and sex fantasy. They anticipated found a genuine artist can only do what he can do, not what Documenta V by ten years—it is no wonder NO!art is doing he thinks ought to be done. well in the land of an international exhibition conducted under the slogan “art is superfluous” and of Joseph Beuys. Besides, politics itself has abandoned all hope for a better Lurie said in one of his statements that he couldn’t get mass- world. Individuals can shriek, but no one knows what to do. distributed pictures of big tits and behinds of bent-over girls Art by itself can do nothing to change the general conditions out of his head until he emptied them into his collages. The of life. And if art merely shrieks it is accused of abandoning organic goodies that happen to be packaged in the human art for bad politics. Did NO!art do that? Did it ask what is good female kept at fever heat his hostility to society that has art for in the world today? A “Swiss Investment Group?” A learned to satisfy mass market demands for anything but “Japanese-American Group—highest prices paid?” genuine ass—it can, on a national basis, supply only ersatz (the Pin-ups), leaving actual toplessness and price-fixed NO!art fixed itself in the reality defined by the self- fondling to be controlled by local ordinances. You don’t destructive New Left of the early sixties. It accepted the have to be tit-hungry to like Levy’s, and to appreciate why latter’s package of things to attack: tyranny, filth and aesthetic Goodman and Lurie were sore. hypocrisy, but it could not offer any contributions toward a new political consciousness or a rebellious sensibility. All the The NO!artists had the advantage of a self-fueled March Gallery could do was to make noise to drive away evil loathing. The next question is, how good was their choice spirits. And to take the bull by the horns, at the risk of getting of targets? Primarily, I think, their target turns out to be not dragged in the dirt. society but the art world. And the art world can only go down the drain when society does. NO!art features pinups, a kind Some Questions as Appendix: of art, according to Lurie’s testimony, capable of becoming an obsession. From pinups NO!art advances to excrement, 1. Will NO!art be co-opted by art history? exhibited in anticipation of anti-form sculpture. 2. Does it seek co-option? Where’s the radical criticism? In the exhibits themselves, I mean, not in the accompanying manifestos? Naked girls 3. Will shit multiples be produced by Marlboro, Pace and are at home on the walls of art galleries, and to exhibit them Castelli to commemorate this episode of art history? as scandalous, with or without garter belts, in cut-outs from porno magazines is to imply that they ought to be denied to 4. Will a retrospective shit show be sponsored by the the poor and uneducated. National Endowment for the Arts and the New York State Council for the Arts? Shit is not a radical phenomenon either—Rabelais wrote a poem in praise of it as a factor in the humanist revolution. 5. If not, is the omission a falsification of art history? So the NO! message boils down to the assertion that while pornography and shit are facts of life they have not hitherto 6. What about other artists who have existed but have been found in art galleries. But a lot worse things are been omitted from art history? prevalent in galleries and are considered highly respectable. To deal in masterpieces as if they were diamond-studded shit is more culturally destructive than to exhibit shit as If it were a diamond-studded masterpiece.

NO!art reflects the mixture of crap and crime with which the mass media floods the mind of our time. It attacks this mixture through reproducing it in concentrated images. It is Pop with venom added. I think its greatest value is to remind the art world that there are things to be uncomfortable about, whereas Pop glad-handed Madison Avenue as if it were looking for campaign funds. Granted that people flee unpleasant reminders, especially when there’s nothing they can do to change the situation, art can only answer, let them. It’s not the business of art to get things done but to keep 83 Boris Lurie (1924–2008) 84

1924 Rojen 18. julija v Leningradu materi Schaini in očetu March, skupaj z Gambinijem razstavlja v galeriji Roland de Iliji Lurje. Mati je radikalna pripadnica socialističnega sioni- Aenlle, sam nato še v galeriji Marino. 1959 Prične izdelo- stičnega gibanja, oče uspešen poslovnež. Ima dve starejši vati NO!art kolaže. Spozna Stanleyja Fisherja, ki pripravlja sestri, Asjo in Josephino (Jeanne). 1925 Po Leninovi smrti izdajo beatniške lireature z naslovom Beat Coast East, eno zasežejo očetovo tovarno. Sovjetsko Zvezo najprej zapusti izmed najzgodnejših antologij, posvečenih »beatnikom«, v Schaina z otroki, nato se jim v Rigi v Latviji (ki jo je Boris kateri nastopa tudi Lurie. 1960 S Samom Goodmanom in kasneje imenoval »meščanska republika Latvija«) pridruži Stanleyjem Fisherjem od Elaine de Kooning prevzame vo- tudi oče. Boris obiskuje nemško gimnazijo, kjer se nauči tudi denje galerije March. V Parizu se udeleži otvoritve velike angleščine, predvsem pa je zelo razposajen. Materin bra- protestne razstave Anti-procès v podporo pravic Alžircev, tranec, komercialni umetnik, opazi njegovo likovno nadar- ki jo s podporo šestdesetih umetnikov organizira Jean-Ja- jenost. 1937 Naslika prvo likovno mojstrovino (kot je dejal cques Lebel; ob njem spozna tudi Errója. V New Yorku pos- sam), podobo akta. 1940 Sovjetska zveza priključi Latvijo, tavi nekaj samostojnih razstav: Dance Hall Series v D‘Arcy kar Borisovo družino vrne pod Stalinovo oblast. V letu teror- Galleries, Adieu Amérique v galeriji Roland de Aenlle in Les ja, ki je sledilo, so Sovjeti v vojaških akcijah in pomorih po- Lions v galeriji March. Sodeluje na skupinski razstavi “Tenth bili 300.000 Latvijcev. 1941 22. junija vstopijo na latvijska tla Street New York Cooperative” v Muzeju umetnosti v Housto- nacistične enote. Luriejevo družino preženejo iz njihove vile nu. V galeriji March je na ogled »Vulgar Show«, prva izmed Mežaparks; nastanijo se v stanovanjski hiši na ulici Stabu, v kanonskih razstav gibanja NO!art. S Samom Goodmanom kateri živi tudi družina Borisove sošolke Ljube Treskunove, razstavljata tudi v galeriji Marino. 1961 Samostojna razstava s katero zaljubljen preživlja vse trenutke dneva. Nacisti 25. »Pinup Multiplications« v D‘Arcy Galleries. V galeriji March oktobra preselijo vse Jude iz mesta in okolice v Veliki geto. sta na ogled razstavi »Involvement« in »DOOM«. 1962 Potu- 29. novembra iz geta evakuirajo ženske, otroke in starejše. je v Italijo, kjer nadzoruje postavitev dveh razstav »Doom« (s Naslednjega dne, 30. oktobra, jih okoli 13.000 v mrazu na- Samom Goodmanom) v galeriji Schwarz v Milanu in galeriji ženejo na marš v deset kilometrov oddaljeni gozd Rumbula, La Salita v Rimu. Med ostalimi sreča Enrica Baja. Po pov- kjer se morajo sleči do golega, nato pa jih v izkopanih ja- ratku spozna Gertrude Stein, s katero postaneta ljubimca, mah postrelijo. 8. decembra enaka usoda doleti še 12.000 partnerja in prijatelja za vse življenje. Samostojna razstava ljudi, med njimi so Borisova babica, mama Schaina Lurje, »Multiplications« v D‘Arcy Galleries. 1963 Borisove »Mul- sestra Josephina Lurje in Ljuba Treskunova. 1941–1945 tiplications« so prva razstava v novi galeriji Gallery: Gertrude Boris in Ilija Lurie preživita geto v Rigi, nato Arbeitslager v Stein. Boris sodeluje pri programu galerije, vključno z razsta- Lenti ter koncentracijska taborišča v Salaspilsu, Stutthofu vo »NO Show«. 1964 Razstava »NO Posters: ANTI-POP; s in Buchenwald-Magdeburgu. 1945 18. aprila je osvobojen Samom Goodmanom postavita razvpito »NO Sculptures Magdeburg. Borisa in očeta Ilijo najde sestrin mož Dino Ru- Show«/ »Shit Show«/, obe v galeriji Gertrude Stein. 9. junija ssi. Sodeluje s protiobveščevalnim oddelkom. 1946 Boris umre oče Ilija Lurje. 1970 Skupinski razstavi »Aspekti rasiz- in oče 18. junija prispeta z ladjo v New York. Boris prične ma« (Aspects du Racisme) v Parizu in »Umetnost in politika« risati in slikati podobe iz spominov na vojno. 1947 Nastaja- (Art and Politics) v Kunstverein Karlsruhe. 1973 Samostojni ti začne slikarska serija Dismembered Women (Razkosane razstavi v galeriji Rene Block v Berlinu in galeriji Giancarlo ženske). 1948 Obiskuje Art Students‘ League, kjer študira Bocchi v Milanu. Skupinska razstava v MOMA New York. pod vodstvom Reginalda Marsha in Georga Grosza. 1950 1974 Samostojni razstavi v galeriji Inge Baecker v Bochumu Spozna Béatrice Lecornu (Hamilton), s katero prične deset in v Galerie und Edition Hundertmark v Kölnu. Skupaj z Wol- let trajajoče razmerje. Prva samostojna razstava v Creative fom Vostellom razstavlja v galeriji Rewelsky v Kölnu in s Sa- Gallery in v galerijah Barbizon Plaza hotela v New Yorku. mom Goodmanom v muzeju Ein-Hod v Izraelu. Skupinska 1951 Prvič se vrne v Evropo. V Parizu sreča umetnike Ara- razstava v MOMA New York. 1975 Skupinska razstava v Iz- gona, Francisa Sallesa, Wolsa in Pierra Soulagesa. 1952 Iz- raelskem muzeju v Jeruzalemu. Prvič po letu 1941 se vrne v dela velike stenske podobe z motivi Dismembered Women, Rigo. Začne pisati spomine z naslovom V Rigi (In Riga), s ka- razstavi jih v Barbizon Plaza hotelu, v umetniški galeriji Ma- terimi se ukvarja naslednjih trideset let, prav tako z romanom rino. 1954–1955 Veliko časa preživi v Parizu. Atelje si deli Anitina hiša (House of Anita). 1978 Razstava skupaj z Erróm s slikarjem Edom Clarkom, spozna Sama Francisa, Beau- in Jean-Jacquesom Lebelom v American Information Servi- forda Delaneyja in Chesterja Himesa. Prvič obišče Izrael. ce v Parizu. 1988 Samostojna razstava v galeriji Hundertma- V New Yorku najde občasno komercialno delo kot modni rk v Kölnu, ki pospremi skoraj dvajsetletno prizadevanje za ilustrator. 1956 v Cedar Tavern spozna Sama Goodmana. natis publikacije NO!art: Pin-ups, Excrement, Protest, Jew- Sodeluje na skupinski razstavi v MOMA New York. 1957 S -art, prve antologije gibanja NO!art, ki izide pri založbi Editi- prijateljem Roccom Armentom, Williamom Gambinijem in on Hundertmark. 1989 Skupinska razstava v Nassauischer enaindvajsetimi drugimi umetniki ustanovi galerijo March, Kunstverein v Wiesbadnu. 1993–1994 Razstavlja v galeriji eno izmed številnih kooperativnih galerij na 10. ulici. 1958 Clayton v New Yorku. 1995 Pod njegovim vodstvom posta- Samostojna razstava »Črne figure« (Black Figures) v galeriji vijo razstavo »NO!art« v nGbK: neue Gesellschaft für bilden- 85 de Kunst v Berlinu. Samostojni razstavi še v berlinskih Haus am Kleist park in galeriji ‚endart‘. Sodeluje na razstavi »Ho- lokavst v Latviji« v Judovskem kulturnem centru v Rigi. 1998 Skupinska razstava v galeriji Janios Gat v New Yorku. 1999 Samostojna razstava v Spominskem muzeju Buchenwald v Weimarju ter v Muzeju umetnosti na University of Iowa v Iowa Cityju. 2001–2002 Sodeluje na razstavi NO!art and the Aesthetics of Doom v Mary and Leigh Block Museum of Art v Evanstonu, Illinois in v Muzeju umetnosti na Univerzi Iowa Boris Lurie v svojem ateljeju / Boris Lurie in his studio, v Iowa Cityju. 2004-2005 Razstavlja v New Yorku in v Haus 1962 am Kleistpark v Berlinu. 2008 7. januarja umre v New Yorku. (foto: Betty Holiday) © Boris Lurie Art Foundation Boris Lurie (1924–2008) 86

1924 born July 18, in Leningrad, Russia to Schaina and Ilja Lurje. His mother is a radical socialist Zionist and a dentist; his father is a successful businessman. He has two older sisters, Assya and Josephina (Jeanne). 1925 after the death of Lenin, his father’s plant is seized. First Schaina and the children, then Ilja flee the USSR for Riga in what Boris would later call “the bourgeois republic of Latvia.” Boris attends a German-speaking gymnasium, where he learns English and causes mischief. His artistic abilities are noticed by his mother’s cousin, a commercial artist. 1937 Boris produces his first self-described masterpiece, a nude. 1940 Latvia is annexed to the , putting the Luries back under the jurisdiction of Stalin. During this Year of Terror almost 300,000 Latvian citizens are killed by the Soviets in military actions and executions. 1941 the Nazis enter Latvia on June 22. The Luries occupy an apartment in a building on Stabu Street, as does the family of Boris’s schoolmate, Ljuba Treskunova, forced from their Mežaparks villa. They spend every day together, in love. On October 25 the Nazis relocate all Jews from Riga and the environs to the newly designated Large Ghetto. On November 29 the women, children, and elderly are evacuated from the ghetto. On November 30 Boris Lurie v svojem ateljeju / approximately 13,000 people are marched 10 km in the cold Boris Lurie in his studio, to the Rumbula forest, where they are forced to strip naked, ok. / circa 1961 and are marched into the murder pits, where they are shot. (foto: Sam Goodman) On December 8, another 12,000 people are marched to their © Boris Lurie Art Foundation deaths in Rumbula, among them Boris’s grandmother, his mother, Schaina Lurje, his sister, Josephina Lurje, and Ljuba Treskunova. 1941–1945 Boris and Ilja Lurie survive the Riga William Gambini, and 21 others. 1958 has a solo show, Ghetto, then the Lenta Arbeitslager, and then the Salaspils, “Black Figures”, at the March Gallery, a two-man show Stutthof, and Buchenwald-Magdeburg concentration with Gambini at the Roland de Aenlle Gallery, as well as a camps. 1945 on April 18, Magdeburg is officially liberated. show at Marino Gallery. During these years participates in Boris and his father are discovered by Dino Russi, the 20 group shows. 1959 begins to make the NO!art collage husband of his sister gets work with the Counter Intelligence and transfer works. Meets Stanley Fisher while Fisher is Corps. 1946 on June 18, Boris and Ilja arrive in New York compiling his anthology of Beat literature, entitled Beat by boat. Boris begins drawing and painting images from Coast East, one of the earliest anthologies devoted to the his memories of the war. 1947 begins painting works in his Beats, in which Lurie appears. 1960 with Sam Goodman Dismembered Women series. 1948 attends the Art Students’ and Stanley Fisher, takes over the leadership of the March League, studying with Reginald Marsh and . Gallery from Elaine De Kooning. In Paris attends the opening 1950 meets Béatrice Lecornu (Hamilton) and begins a ten- of the large-scale protest exhibition Anti-procès in support year relationship. Has his first solo show at Creative Gallery of Algerian rights, with 60 total artists, organized by Jean- and the Galleries of the Barbizon Plaza Hotel, New York. Jacques Lebel, whom he meets with Erró. Mounts the solo 1951 returns to Europe for the first time. In Paris meets the shows in New York, “Dance Hall Series” at D’Arcy Galleries, artists Aragon, Francis Salles, Wols, and Pierre Soulages. Adieu Amérique at Roland de Aenlle Gallery, and Les Lions 1952 begins his large Dismembered Women murals, shows at the March Gallery. Participates in the group show, “Tenth them at the Barbizon Plaza Hotel and at Marino Art Gallery. Street New York Cooperative”, at the Museum of Fine Arts, 1954–1955 spends much of his time in Paris. Shares a Houston. The March group mount the first of the shows of studio with artist Ed Clark, meets Sam Francis, Beauford canonical NO!art, the “Vulgar Show”. Two-man show with Delaney, and Chester Himes. Visits for the first time. Sam Goodman at Marino Gallery. 1961 has the solo show In New York he finds occasional commercial work in fashion “Pinup Multiplications” at D’Arcy Galleries. “Involvement” illustration. 1956 meets Sam Goodman at the Cedar Tavern. and “DOOM” shows at the March Gallery. 1962 travels Participates in a group show at the , to Italy to oversee the mounting of the two-man “Doom th New York. 1957 founds the March Gallery, one of the 10 Shows” (with Sam Goodman) at Galleria Schwarz in Milan Street cooperative galleries, with his friend Rocco Armento, and Galleria La Salita in Rome. Meets Enrico Baj, among 87 others. Returns home to meet Gertrude Stein, the two would become lovers, partners, and friends for the rest of his life. Has solo “Multiplications” exhibition at D’Arcy Galleries. 1963 Gallery: Gertrude Stein opens with a show of Boris’s Multiplications. Boris oversees much of the programming, including the “NO Show”. 1964 Has “NO Posters: ANTI-POP” show, and with Sam Goodman mounts the infamous “NO Sculpture Show” [“Shit Show”], both at Gallery: Gertrude Stein. Ilja Lurje dies on June 9. 1970 group shows, “Aspects du Racisme” in Paris, and “Art and Politics” at the Kunstverein Karlsruhe. 1973 solo shows at Galerie Rene Block, Berlin, and Gallerie Giancarlo Bocchi, Milan. Group show at Museum of Modern Art, New York. 1974 solo shows at Inge Baecker Galerie, Bochum, Galerie and Edition Hundertmark, Cologne. Two-man shows with Wolf Vostell at Galerie Rewelsky, Cologne, and with Sam Goodman at the Ein-Hod Museum, Israel. Group show at Museum of Modern Art, New York. 1975 group show at the Israel Museum, Jerusalem. Returns to Riga for the first time since 1941. He begins writing a memoir, In Riga, which he will work on for the next thirty years, as well as a novel, House of Anita. 1978 show with Erró and Jean-Jacques Lebel at the American Information Service, Paris. 1988 solo show at Galerie Hundertmark, Cologne to accompany the 20-year struggle to publish NO!art: Pin-ups, Excrement, Protest, Jew-art, the first anthology of the NO!art movement, published by Edition Hundertmark. 1989 group show at the Nassauischer Kunstverein, Wiesbaden. 1993–1994 shows at Clayton Gallery, New York. 1995 oversees and participates in the exhibition “NO!art” at the nGbK: neue Gesellschaft für bildende Kunst in Berlin. Solo shows at Haus am Kleistpark and endart Gallery, Berlin. Participates in the “Holocaust in Latvia” show at the Jewish Culture House, Riga. 1998 group shows at Janos Gat Gallery, New York. 1999 solo show at the Buchenwald Memorial, Weimar, and at the University of Iowa Museum of Art in Iowa City, IA. 2001–2002 participates in “NO!art and the Aesthetics of Doom” at the Mary and Leigh Block Museum of Art in Evanston, Illinois and at the University of Iowa Museum of Art in Iowa City, Iowa. 2004– 2005 shows in New York and at Haus am Kleistpark, Berlin. 2008 dies on January 7 in New York.

BORIS LURIE BORIS LURIE Miss Universe, Prekrojeni mož (Cabot Lodge) / 1961, Altered Man (Cabot Lodge), akril na platnu / 1963, Acrylic on canvas, barva, papirni kolaž na platnu / 161,3 x 101 cm Paint, paper collage on canvas, © Boris Lurie Art Foundation 76,2 x 61 cm © Boris Lurie Art Foundation

BORIS LURIE BORIS LURIE Prekrojeni mož (Cabot Lodge) / Prekrojeni mož (Cabot Lodge) / Altered Man (Cabot Lodge), Altered Man (Cabot Lodge), 1963, 1963, barva, papirni kolaž na platnu / barva, papirni kolaž na platnu / Paint, paper collage on canvas, Paint, paper collage on canvas, 76,2 x 61 cm 76,2 x 61 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation

BORIS LURIE BORIS LURIE Prekrojeni mož (Cabot Lodge) / NO! plakati na platnu / Altered Man (Cabot Lodge), NO! Posters Mounted, 1963, 1963, barva, papirni kolaž na platnu / ofsetni tisk na odpadnem papirju na platnu / Paint, paper collage on canvas, Offset printing on wastepaper mounted on canvas, 76,2 x 61 cm 221 x 172,7 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation BORIS LURIE BORIS LURIE NO! s striptizeto / Anita, NO! with Stripper, 1962, ok. / circa 1958–1962, akril na platnu / barva, mavec na platnu / Acrylic on canvas Paint, plaster on canvas, © Boris Lurie Art Foundation 85,1 x 69,9 cm © Boris Lurie Art Foundation

BORIS LURIE BORIS LURIE Cikel Ljubezen: Ženske se pretepajo / Cikel Ljubezen; Zvezana in začepljena / Love Series: Fighting Females, Love Series: Bound and Gagged, ok. / circa 1963, ok. / circa 1963, fotografska emulzija, akril na platnu/ fotografska emulzija, akril na platnu / Photo emulsion, acrylic on canvas, Photo emulsion, acrylic on canvas, 49 x 32 cm 58,4 x 39,4 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation

BORIS LURIE Cikel Ljubezen: Zvezana na rdečem / Love Series: Bound on Red, ok. / circa 1963, fotografska emulzija, akril na platnu / Photo emulsion, acrylic on canvas, 195,6 x 138,4 cm © Boris Lurie Art Foundation BORIS LURIE Anti-pop šablona / Anti-Pop Stencil, 1964, olje na papir in platnu / Oil on paper and canvas, 53,3 x 61 cm © Boris Lurie Art Foundation BORIS LURIE Več zavarovanja / More Insurance, 1963, papirni kolaž, barva na kartonu / Paper collage, paint on cardboard, 50,8 x 40,6 cm © Boris Lurie Art Foundation

BORIS LURIE BORIS LURIE Peresa / Feathers, Brez naslova (Zbogom ljubezen) / 1962, Untitled (Adieu Love), barva, kolaž na platnu / ok. / circa 1960, Paint, collage on canvas, olje, akril, papir, fotografije, sponke na kartonu / 184,2 x 116,8 cm Oil, acrylic, paper, photos, staples on cardboard © Boris Lurie Art Foundation © Boris Lurie Art Foundation BORIS LURIE BORIS LURIE Zbogom Amerika / Oswald, Adieu Amerique, 1963, 1959–1960, papirni kolaž, akril na kartonu / olje, fotografije na platnu / Paper collage, acrylic on cardboard, Oil, photo transfer on canvas, 58,4 x 38,1 cm 141 x 130,8 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation

BORIS LURIE Brez naslova (Čudovite ženske) / Untitled (Fabulous Femmes), 1961, papirni kolaž, plastika, barva na kartonu / Paper collage, plastic, paint on cardboard, 114,3 x 77,5 cm © Boris Lurie Art Foundation BORIS LURIE Brez naslova (Raztrgane pin-up lepotice) / Untitled (Torn Pinups), ok. / circa 1962–1963, barva, papirni kolaž, linolej na lesu / Paint, paper collage, linoleum on playwood, 1 62,6 x 165,1 cm © Boris Lurie Art Foundation BORIS LURIE Prekrojene fotografije: Pin-up lepotica (Telo) / Altered Photos: Pinup (body), ok. / circa 1963, fotografska emulzija, akril na platno / Photo emulsion, acrylic on canvas, 127 x 116,8 cm © Boris Lurie Art Foundation 107 Sam Goodman (1919–1967)

1919 Rojen v zelo revni delavski družini v Torontu v Ka- razstavi The Vulgar Show v galeriji March ter na skupinski nadi: oče, tovarniški delavec, je umrl v nepojasnjeni delovni razstavi v galeriji Duo v New Yorku, z Borisom Luriejem pa nesreči v tovarni. Sam Goodman je verjel, da ga je iz antise- še v newyorški galeriji Champagne. V besu prečka cesto ter mitskih nagibov ubil eden izmed sodelavcev. 1937 Ustano- glasno ozmerja Clementa Greenberga, ker mu je onemogo- vi in vodi eksperimentalno umetniško skupino. 1940–1945 čil razstavljanje v galeriji French. S tem so se skupini umetni- Vojni fotograf za Canadian Film Board. 1945–1947 V nočnih kov okrog galerije March zaprla vrata etablirane umetniške klubih v Buffalu in Miamiju dela kot karikaturist.1947 Preseli scene, ki je odslej njihovo umetnost dosledno odklanjala. se v New York. Prične slikati v stilu abstraktnega ekspresi- 1961 Sodeluje na razstavah Involvement Show in Doom onizma. V tem obdobju iznajde metodo »dolgega zamaha«, Show v galeriji March ter skupaj z Allanom d‘Arcangellom ko čopič pritrdi na ročaj metle, na palico za golf ali hokejsko na Car Event, protestnem uličnem dogodku na newyorškem palico. 1956 Ustanovi galerijo Camino, eno izmed koope- Lower East Side. 1962 Z Borisom Luriejem pripravi razstavo rativnih galerij na 10. ulici v New Yorku. Med njenimi člani Doom Show v Galleria Schwarz v Milanu in Galleria La Salita so Alice Neel, Nicholas Krushenik in Elaine de Kooning. Is- v Rimu v Italiji. 1963 Razstava NO Show v galeriji Gertrude tega leta v krčmi Cedar Tavern sreča Borisa Lurieja. V teh Stein v New Yorku. 1964 V galeriji Champagne v New Yorku zgodnjih letih njunega prijateljevanja Lurieju podari zbirko v sodelovanju z Dorothy Gillespie postavi instalacijo »Ame- reprodukcij dokumentarnih fotografij koncentracijskih tabo- rican Way of Death« (Ameriški način umiranja). Z Borisom rišč. 1957 Samostojna razstava v galeriji Camino. 1959 So- Luriejem postavi razvpito NO Sculpture Show (Shit Show) deluje na skupinski razstavi na univerzi Columbia, začetek v galeriji Gertrude Stein. 1967 Umre za rakom na grlu. Boris razstavljanja na skupinskih razstavah v galeriji March. Sku- Lurie pripravi spominsko razstavo v galeriji Gertrude Stein. paj z Borisom Luriejem in Stanleyjem Fisherjem od Elaine de Kooning prevzame vodenje galerije March. 1960 Sodeluje v

Sam Goodman v galeriji March / Sam Goodman at the March Gallery, ok. / circa 1961 (foto: Boris Lurie) © Boris Lurie Art Foundation Sam Goodman (1919–1967) 108

1919 born in Toronto, Canada into a very poor working class family. His father, a factory worker, is killed in an accident at his plant, which Goodman always believed had been the result of an anti-Semitic action by one of his co-workers. 1937 founds and organizes the Experimental Art Group. 1940–1945 serves as a photographer with the Canadian Film Board during the war. 1945–1947 works as a caricaturist in night clubs in Buffalo and Miami. 1947 moves to , begins working in the Abstract Expressionist style. In this period he invents the “long- stroke” method by attaching his brush to a broom handle, golf club, or hockey stick. 1956 founds the Camino Gallery, one of the cooperative 10th street galleries in New York. Its members include Alice Neel, Nicholas Krushenik, and Elaine de Kooning. This same year he meets Boris Lurie at the Cedar Tavern. At some point in the early years of their friendship, he gives Lurie a collection of reproductions of documentary photos from concentration camps. 1957 has a solo show at the Camino Gallery. 1959 shows in a group show at Columbia University, and begins showing in group shows at the March Gallery. With Boris Lurie and Stanley Fisher, takes over leadership of March Gallery from Elaine de Kooning. 1960 participates in the Vulgar Show at the March Gallery, in a group show at the Duo Gallery, New York, and with Boris Lurie at the Champagne Gallery, New York. Crosses the street in a fury in order to scream at Clement Greenberg for having undermined an opportunity for him to show at French Gallery. This helps cement the New York art world’s dislike of the March Group and their work. 1961 participates in the Involvement and Doom shows at the March Gallery, New York, as well as the Car Event, a protest performance with Allan D’Arcangelo on the streets of the Lower East Side. 1962 shows with Boris Lurie in the Doom Shows at Galleria Schwarz in Milan and Galleria La Salita in Rome, Italy. 1963 the NO Show at Gallery: Gertrude Stein, New York. 1964 creates the American Way of Death installation with Dorothy Gillespie at the Champagne Gallery. With Boris Lurie mounts the infamous NO Sculpture Show [Shit Show] at Gallery: Gertrude Stein. 1967 dies of throat cancer. Boris Lurie arranges a memorial exhibition at Gallery: Gertrude Stein.

SAM GOODMAN Spomin na Marilyn / Remember Marilyn, ok. / circa 1959–1960, papirni kolaž, barva na lesenem ohišju ure / Paint on wooden clock, 106,7 x 73,7 cm © Boris Lurie Art Foundation

SAM GOODMAN TV, 1962, asemblaž iz najdenih predmetov / Found objects assemblage, 101,6 x 81,3 x 43,2 cm © Boris Lurie Art Foundation SAM GOODMAN Eichmannovo obeležje (Triptih Eichmann) / Eichmann Remember (Eichmann Triptych), ok. / circa 1961, kolaž predmeti na leseni konstrukciji / Collage, objects on wooden construction, 99,1 x 91,4 x 20,3 cm © Boris Lurie Art Foundation SAM GOODMAN SAM GOODMAN Pieta, Gorila / 1962, Gorilla, papir na okrasnem pokrovu 1961–1962, avtomobilskega kolesa/ papir na okrasnem pokrovu Paper on metal hubcap, avtomobilskega kolesa/ 38,1 x 38,1 cm Paper on metal hubcap, © Boris Lurie Art Foundation 35,6 x 35,6 cm © Boris Lurie Art Foundation

SAM GOODMAN SAM GOODMAN Brez naslova / Brez naslova / Untitled, Untitled, 1962, 1961–1962, plastika na okrasnem pokrovu plastika na okrasnem pokrovu avtomobilskega kolesa / avtomobilskega kolesa / Plastic on metal hubcap, Plastic on metal hubcap, 36,8 x 36,8 cm 36,8 x 36,8 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation SAM GOODMAN Jedilni list (Krvavica) / Menu (Blood Wurst), 1961, asemblaž, papir, kovina, les / Assemblage, paper, metal, wood, 29,2 x 42,6 © Boris Lurie Art Foundation SAM GOODMAN Nakupovalni voziček / Cart, 1962, kovinska košara, karton, papirni kolaž barva, asemblaž na leseni plošči / Metal basket, cardboard, paper collage, paint assemblage on wooden board, 96,5 x 64,8 x 8,9 cm © Boris Lurie Art Foundation SAM GOODMAN Duša in Nečimrnost / Psyche&Vanity, 1961, asemblaž z mavcem, barvo, najdenimi predmeti / Assemblage with plaster, paint, found objects, 165,1 x 35,6 x 61 cm © Boris Lurie Art Foundation SAM GOODMAN Smrt in vstajenje / Death and Resurrection, 1961, zažgana plastična punčka s plastičnimi rožami / Burned plastic doll with plastic flowers, 76,2 x 55,9 x 22,9 cm © Boris Lurie Art Foundation SAM GOODMAN Škatla / The Box, 1959–1964, asemblaž, najdeni predmeti v leseni škatli / Assemblage, found objects in wood box, 35,6 x 29,2 x 22,9 cm © Boris Lurie Art Foundation

SAM GOODMAN Bog 20. stoletja / 20th Century God, 1962, steklo, kovina / Glass, metal, 24,1 x 12,7 x 12,7 cm © Boris Lurie Art Foundation Lurie in/and Goodman

SAM GOODMAN, BORIS LURIE NE! skulptura (Skulptura Drek) / NO! Sculpture (Shit Sculpture), 1964, akrilna barva na mavcu / Acrylic paint on plaster, 21,6 x 34,6 x 30,5 cm © Boris Lurie Art Foundation SAM GOODMAN, BORIS LURIE, NE! skulptura (Skulptura Drek) / NO! Sculpture (Shit Sculpture), 1964, akrilna barva na mavcu / Acrylic paint on plaster, 17,8 x 40,6 x 30,5 cm © Boris Lurie Art Foundation SAM GOODMAN, BORIS LURIE SAM GOODMAN, BORIS LURIE NE! skulptura (Skulptura Drek) / NE! skulptura (Skulptura Drek) / NO! Sculpture (Shit Sculpture), NO! Sculpture (Shit Sculpture), 1964, 1964, akrilna barva na mavcu / akrilna barva na mavcu / Acrylic paint on plaster, Acrylic paint on plaster, 38,1 x 68,6 x 61 cm 43,2 x 66 x 63,5 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation

Stanley Fisher (1926–1980) 122

1926 Rojen v New Yorku. 1944–1945 Med drugo svetov- 1926 born in New York. 1944–1945 serves as a med- no vojno služi na fronti kot bolničar, sodeluje pri izkrcanju v ic during World War II and is present during the Invasion Normandiji. 1959 Poročen in z družino živi v Brooklynu, kjer of Normandy. 1959 a Brooklyn schoolteacher, family-man, poučuje in piše pesmi. Borisa Lurieja sreča v zadnji fazi ure- and poet, Fisher meets Boris Lurie during the final stages dniškega dela pri zborniku beatniške literature z naslovom of compiling his anthology of Beat literature, entitled Beat Beat Coast East, najzgodnejše antologije, posvečene bea- Coast East, one of the earliest anthologies devoted to the tniškemu gibanju, v katero je vključen tudi Lurie. Potem ko Beats. Having seen examples at the March Gallery, Fisher is vidi razstavo v galeriji March, ga pritegnejo Luriejeva dela, ki drawn to Lurie’s work, and includes examples in the antholo- jih vključi v izdajo, skupaj s svojimi in z deli Claesa Oldenbur- gy, along with work by Claes Oldenberg, Elaine De Kooning, ga, Elaine De Kooning, ob fotografijah Freda McDarraha in and himself, alongside photos by Fred McDarrah and writing literarnimi prospevki Gregoryja Corsa, Diane DiPrima, Allena by himself, Gregory Corso, Diane DiPrima, Allen Ginsberg, Ginsberga, Le Roi Jonesa, Jacka Kerouaca, Normana Mai- Le Roi Jones, Jack Kerouac, Norman Mailer, Peter Orlovsky, lerja, Petra Orlowskyja in Wavyja Gravyja. Skupaj z Luriejem and Wavy Gravy. He joins the new leadership of the March in Samom Goodmanom prevzame vodenje galerije March. Gallery with Lurie and Sam Goodman. 1960 Beat Coast East 1960 Izid kompilacije Beat Coast East ter omejene šapiro- is published, as well as a limited-edition mimeographed col- grafirane zbirke enaindvajsetih lastnih pesmi z naslovom lection of 21 of his poems, Eryngo. He is accepted by Lurie Eryngo. Lurie in Goodman v njem vidita najprej pesnika in and Goodman primarily as a poet, as Lurie puts it, “a verita- nekoga, ki je bil, kot pravi Lurie, »poslan od boga … da lahko ble godsend…the natural propagandist for our cause. Total- naravno promovira našo stvar. Popolnoma osvobojen vseh ly liberated from limitations of human modesty, he knew not omejitev človeške sramežljivosti ni poznal besede ‘strah’ ali the meaning of the words ‘fear’, or ‘shame’.” Beginning with ‘sram’«. Od razstave »Vulgar« dalje je pisal militantne izjave, the Vulgar Show, he begins to pen the combative statements ki so opredelile cilje skupine NO!art. 1961 Izdeluje kolaže, po that will come to define the NO!art group. 1961 begins the katerih je najbolj znan, sodeluje na razstavah Involvement in collages for which he is later recognized, participates in the Doom v galeriji March. 1963 Samostojna razstava v galeriji Involvement and Doom shows at the March Gallery. 1963 Stryke v New Yorku in sodeluje na razstavi NO! Show v gale- has a solo show at the Stryke Gallery, New York, and partic- riji Gertrude Stein. 1965 Samostojna razstava Sex-O-Cide v ipates in the NO! Show at Gallery: Gertrude Stein, New York. galeriji Grippi & Waddell v New Yorku. 1966 Začne pisati ma- 1965 has the solo show Sex-O-Cide at Grippi & Waddell nifeste, ustanovi »The Group«, new-ageovsko komuno svo- Gallery, New York. 1966 starts writing manifestos and be- bodne ljubezni, posvečene »idealu popolne resnicoljubnosti gins to form “The Group”, a new-age, free-love commune v medsebojnih odnosih, kakršne še ni bilo na tem planetu, dedicated to “the ideal of being absolutely truthful with one čeprav predstavlja edino rešitev človeške bede.« Kmalu za another. Absolutely truthfulness has never been tried be- tem požar v skladišču uniči skoraj Fisherjeva likovna dela. fore upon this planet and is the sole solution to the problem 1970-ta Svoja sporočila širi s pomočjo letakov in oglasov v of man’s misery”. Sometime shortly after this, a fire in his medijih, kakršen je The Village Voice. Skupina »The Group« storage warehouse destroys almost all of Fisher’s artwork. šteje okrog dvanajst članov in živi skupaj v četrti Greenwich 1970s spreads his message through pamphlets and through Village v New Yorku. 1980 Umre v New Yorku. advertisements in venues like The Village Voice. The Group numbers around twelve and lives together in the Greenwich Village in New York. 1980 dies in New York. 123 STANLEY FISHER Seks / Sex, ok. / circa 1961–1963, kolaž, papir, sprej na platnu / Collage, paper, spry paint on canvas, 128,3 x 160 cm © Boris Lurie Art Foundation STANLEY FISHER STANLEY FISHER Brez naslova (Na pomoč) / Brez naslova / Untitled (Help), Untitled, 1959–1964, ok. / circa 1961–1963, olje, papirni kolaž na platnu / olje, papirni kolaž na lesonitu / Oil, paper collage on canvas, Oil, paper collage on masonite, 81,3 x 72,4 cm 170,2 x 69,2 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation

STANLEY FISHER Brez naslova / Untitled, 1959–1964, asemblaž z oljnimi barvami, papirjem, folijo in električnim kablom / Assemblage: oil paint, paper, foil and electrical light cord on board, 71,1 x 66 cm © Boris Lurie Art Foundation STANLEY FISHER DRO bomba/ DRO Bomb, ok. / circa 1961–1963, kolaž, oljna brava in sprej na papir na platnu / Collage, oil and spray paint on paper, canvas, 165,1 x 177,8 cm © Boris Lurie Art Foundation Aldo Tambellini (1930) 128

1930 Rojen italijanski materi in italijansko-brazilskemu Brandeisu v Massachusettsu, v The Kitxchen v New Yorku, očetu v mestu Syracuse, v državi New York. 1931 Z mamo in Muzeju Whitney in MOMA v New Yorku. 1976–1984 Sode- bratom se preseli v Lucco v Italiji. 1941–1945 Obiskuje šolo lavec v Center for Advanced Visual Studies na Massachu- za umetnost. 1944 Zavezniki bombardirajo Lucco, ubitih je sets Institute of Technology (MIT), kjer vodi učne seminarje enaindvajset njegovih sosedov. Tambellinijevi se preselijo v in delavnice ter sodeluje pri interdisciplinarnih projektih, ki bližnji Guamo, ki ga zasedejo nacisti. 1945 Guamo osvobo- vključujejo umetnost, medije in tehnologijo; sodeluje tudi na di ameriška vojaška enota Buffalo, ki jo sestavljajo pretežno mednarodnih happeningih in intermedijskih dogodkih. 1980 afro-ameriški vojaki, kar pusti Tambelliniju neizbrisen pečat. Ustanovi Communicationsphere, uprizoritveno mrežo ume- 1946 Vrne se v Združene države, kjer se preživlja z nena- tnikov in inženirjev, ki jih zanima vpliv telekomunikacij na vadnimi priložnostnimi deli (pobira krompir, barva cisterne družbo. 1983 Sodeluje na bienalu v São Paulu v Braziliji, kjer za bencin). Začne poučevati slikanje v muzeju v Syracuse. nato ostane celo leto. 1984–2018 Osredotoči se na pisanje, 1950–1955 S pomočjo štipendije študira na Univerzi Syra- objave in uprizarjanje poezije v okolici Bostona. 2009–2010 cuse, kjer diplomira iz slikarstva. 1955–1956 Štipendija za Filmska retrospektiva v Anthology Film Archive v New Yorku, podiplomski študij na Univerzi Oregon. 1956–1959 Štipen- prav tako na mednarodnem intermedijskem festivalu Perfor- dija za podiplomski študij na univerzi Notre Dame v South mav Osnabrucku v Nemčiji, v Filmskem arhivu na Harvar- Bendu v Indiani, kjer študira pod vodstvom Ivana Meštrovića du v Cambridgu. Po skoraj štiridesetih letih razstavlja svoje in magistrira iz kiparstva. 1959 Preseli se v New York in se slike in skulpture. 2010 Za dosežke na področju umetnosti ustali v soseski Lower East Side. 1962 S skupino umetnikov, mu italijanska vlada podeli zlato medaljo (Združenje Lucche- ki jo sestavljajo Ron Hahne, Elsa Tambellini, Don Snyder, si Nel Mondo). 2011–2012 Razstava na kolidžu Emerson v Ben Morea, Jackie Cassen in Peter Martinez ustanovi Group Bostonu, na Univerzi Massachusetts v Amherstu, v Centru Center, ki se osredotoča na družbeno samopomoč, agitprop Georges Pompidou v Parizu. Samostojna instalacija v The ter intermedijske razstave in performanse v alternativnih pro- Tanks v Tate Modern v Londonu. 2013 Samostojna razstava storih. Izdaja šapirografiran umetniški časopis The Screw. v galeriji James Cohan v New Yorku in filmske projekcije v V muzeju Whitney, v MOMA in Guggenheimovem muzeju MOMA New York. 2015 Sodeluje v italijanskem paviljonu na uprizori performanse, s katerimi protestira proti neuvrščanju 56. bienalu v Benetkah. 2017 Velika retrospektivna razstava sodobnih umetnikov v njihove programe in sistemu pove- v ZKM v Karlsruheju v Nemčiji. 2018 Veliko število del prido- zav članov odborov teh muzejev s kapitalom. Razstavlja v bijo in razstavijo v galeriji Tate Modern v Londonu. galeriji Brata, eni iz med kooperativnih galerij na 10. ulici. Kurira prvo razstavo skulptur na prostem pred cerkvijo Saint 1930 born in Syracuse, New York to an Italian mother Mark‘s In-The-Bowery v New Yorku. 1964–1965 Organizira and an Italian-Brazilian father. 1931 moves to Lucca, Italy in sodeluje na pomembnih intermedijskih razstavah Quan- with his mother and brother. 1941–1945 attends art school. tum 1 in 2 v galerijah Noah Goldowsky in A. M. Sachs v New 1944 Lucca is bombed by the Allies, killing twenty-one of Yorku. 1965 Slika neposredno na najdene filmske trakove, ki his neighbors. Tambellini moves to nearby Guamo, which jih predvaja na različnih mestih v svoji soseski na Lower East is soon occupied by the Nazis. 1945 Guamo is liberated Sidu. Začetek sodelovanja pesniškim kolektivom UMBRA; by the African-American Buffalo Soldier unit, leaving an v sodelovanju z Calvinom Herndonom, Cecilom McBeejem, indelible mark on Tambellini. 1946 returns to the United Carlo Black, Ismaleom Reedom, Normanom Pritchardom, States and begins working odd jobs like potato picker and Beverley Schmidt, Benom Moreo in drugimi uprizori prve painting gasoline tanks. Begins teaching painting at the ‚elektromedijske‘ performanse z naslovi »Black«, »Black 2« Syracuse museum. 1950–1955 attends Syracuse University in »Moondial«. 1965–1968 Brez uporabe kamere ustvari več on a scholarship and receives a BFA in painting. 1955–1956 kot ducat filmov iz serije »Black Films Series«. 1966 Z Elso awarded a teaching fellowship at the University of Oregon. Tambellini ustanovi kino Gate, ki edini v mestu vsak dan 1956–1959 awarded a teaching fellowship at Notre Dame in predvaja eksperimentalne in neodvisne filme. 1967 Z Ottom South Bend, Indiana, where he studies with Ivan Mestrovic Pienejem nad kinom Gate odpreta prostor za multimedijske and graduates with an MFA in sculpture. 1959 moves to New performanse in instalacije Black Gate. Začetek sodelovanja York and settles on the Lower East Side. 1962 founds Group na mednarodnih festivalih eksperimentalnega filma. 1968 Center with Ron Hahne, Elsa Tambellini, Don Snyder, Ben Z Ottom Pienejem izvedeta prvi televizijski performance, ki Morea, Jackie Cassen and Peter Martinez. They focus on ga predvajajo na WDR-Köln, ter prvo umetniško televizijsko community outreach, agitprop, and intermedia exhibitions produkcijo za naslovom »Medium is the Medium« na WBGH and performances in alternative spaces. Publishes the v Bostonu, skupaj z Allanom Kaprowom, Nam June Paikom, mimeographed artist’s newspaper The Screw and holds Jamesom Seawrightom in Thomasom Tadlockom. 1968– performances at the Whitney Museum, the Museum of 1971 Razstavlja video instalacije in TV skulpture; začetek Modern Art, and the Guggenheim Museum, protesting sodelovanja z E. A. T. (Experiments in Arts and Technology) the underrepresentation of contemporary artists in their v Muzeju Brooklyn v New Yorku, v Rose muzeju umetnosti v exhibitions and the financial ties of donors and board 129 Aldo Tambellini (1930) members. Begins exhibiting at the Brata Gallery, one of the Brandeis, Massachusetts; The Kitchen, New York; the 10th Street cooperative galleries. Curates the first exhibition Whitney Museum, New York, and the Museum of Modern of outdoor sculpture at Saint Mark’s on the Bowery Church, Art, New York. 1976–1984 becomes fellow at the Center for New York. 1964–1965 curates and participates in the seminal Advanced Visual Studies at the Massachusetts Institute of intermedia exhibitions Quantum 1 and 2 at Noah Goldowsky Technology, teaching courses and workshops and working and A. M. Sachs Galleries, New York. 1965 begins painting on interdisciplinary projects with art, media, and technology directly on found film stock and projecting around his Lower and participating in international happenings and intermedia East Side neighborhood. Begins collaborating with the events. 1980 founds Communicationsphere, a performative UMBRA poetry collective, and creates his first Electromedia network of artists and engineers interested in the impact of Performances, “Black”, “Black 2”, “Black Zero”, and telecommunications on society. 1983 attends the São Paulo “Moondial”, which he performs with Calvin Herndon, Cecil Biennale in Brazil, where he stays for a year. 1984–2018 McBee, Carla Black, Ismael Reed, Norman Pritchard, concentrates on writing, publishing, and performing poetry Beverley Schmidt, Ben Morea and others. 1965–1968 in the Boston area. 2009–2010 has film retrospectives at Creates his “Black Films Series” of over a dozen abstract Anthology Film Archive, New York; Performa, International cameraless films. 1966 founds the Gate Theatre in New Media Festival, Osnabruck, Germany; and the Harvard Film York with Elsa Tambellini, which is the only theater in the city Archive, Cambridge, MA. Shows his painting and sculpture with daily screenings of experimental and independent film. for the first time in nearly 40 years. 2010 awarded a Gold 1967 with Otto Piene, opens the Black Gate performance medal from the Italian Government, Lucchesi Nel Mondo space above the Gate, to hold multimedia performances Organization, in recognition of his lifetime achievement in and installations. Begins to participate in international the Arts. 2011–2012 has exhibitions at Emerson College, experimental film festivals.1968 with Otto Piene, creates the Boston, MA; the University of Massachusetts, Amherst, MA; first artist’s broadcast for television, “Black Gate Cologne”, the Centre Georges Pompidou, Paris. Solo installation in the an electromedia performance broadcast by WDR-Koln, and Tanks at the Tate Modern, London. 2013 solo exhibition at the first broadcast by artists in the U. S., “Medium isthe James Cohan Gallery, New York, and film program at the Medium”, on WBGH, Boston, with Allan Kaprow, Nam June Museum of Modern Art, New York. 2015 participates in Paik, Otto Piene, James Seawright, and Thomas Tadlock. the Italian pavilion at the 56th annual Biennale in Venice, 1968–1971 exhibits video and TV sculptures and begins to Italy. 2017 large-scale retrospective at ZKM in Karlsruhe, participate with E.A.T. (Experiments in Arts and Technology) Germany. 2018 a number of works are acquired and put on at the , New York; the Rose Art Museum, display at the Tate Modern, London.

Aldo Tambellini ob svoji skulpturi na dvorišču cerkve sv. Marka v New Yorku, 24. oktobra 1963 / Aldo Tambelini against one of his sculptures on display in the churchyard of New York City‘s St. Mark‘s church, October 24, 1963 © Foto: Anthony Calvacca/ New York Post Archives/ NYP Holdings, Inc. Via Getty Images ALDO TAMBELLINI ALDO TAMBELLINI Iz serije Spočetje / Iz serije Spočetje / From the Conception Series, From the Conception Series, 1962, 1962, nitrolak, akril na papir / nitrolak, akril na papir / Duco, acrylic on paper, Duco, acrylic on paper, 66 x 66 cm 66 x 66 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation

John Fischer (1930–2016) 132

1930 Rojen v Antwerpnu v Belgiji. 1940 Družina pobeg- 1930 born in Antwerp, Belgium. 1940 family leaves nila po bombardiranju v drugi svetovni vojni; po hudem po- Antwerp after bombings during World War II, fleeing through manjkanju, ki so ga bili deležni pod fašizmom v vichyjskem the starvation and fascism of Vichy France across to Morocco, delu Francije so se umaknili v Maroko in po osemnajstdnev- then an eighteen-day crossing to the United States. 1943 nem potovanju prispeli v Združene države. 1943 Prihod v arrives in New York City. 1944 begins painting from nature New York. 1944 Začne slikati prizore iz narave in sanj, preiz- and dreams, begins experimenting with materials and wins a kuša različne materiale, dobi nagrado mesta. 1954 Začetek city-wide prize. 1954 begins a dramatic series of surrealistic dramatične serije nadrealističnih slik na platno, s katerimi canvases that explore the psychoanalytic content of family raziskuje psihoanalitično ozadje težav v družini, zaznamo- troubles and of the war years. 1959 begins to exhibit with vani z vojno. 1959 Začetek sodelovanja z galerijo Phoenix, the Phoenix Gallery, one of the 10th Street cooperative eno izmed kooperativnih galerij na 10. ulici v New Yorku. galleries in New York 1961 participates in the Involvement 1961 Sodeluje na razstavi Involvement Show v galeriji March Show at the cooperative March Gallery on 10th Street. 1962 na 10. ulici. 1962 S posledicami travm vojnih doživetij in z as an outgrowth of his war experiences and his developing razvijanjem nadrealističnega izraza ter raziskovanja objek- surrealist and object-art explorations, begins making tne umetnosti začne izdelovati skulpture iz kruha, o katerih sculptures out of bread and is praised by Marcel Duchamp zelo pohvalno govorita Marcel Duchamp in Salvador Dali, ki and Salvador Dali, who calls Fischer the “first legitimate Fischerja imenuje »prvi pravi kipar kruha«. 1964 Odmevna Bread Sculptor”. 1964 has a much-publicized exhibition razstava v Allen Stone Gallery s skulpturami iz žemljic, pol- at the Allen Stone Gallery, featuring sculptures made from nozrnatih štruc ter drugih pekovskih izdelkov, premazanih z bagels, pumpernickel loaves, and other bread products epoksi smolo. 1967–1974 Zasedba newyorškega Loeb Stu- preserved with epoxy resin. 1967–1974 invades NYU’s Loeb dent Centra, ki ga napolni z ogromnimi količinami en dan Student Center with tools and a mountain of day-old bread, starega kruha in različnim orodjem, kar je bil prvi dogodek iz inaugurating a series of dozens of participatory bread- serije petindvajsetih podobnih protestnih akcij hkratne peke baking and bread-destroying protest events that would take in uničevanja kruha, mdr. v newyorških Everson Musem, place at over 25 venues, including the Everson Museum in Syracuse in Brooklyn Museum. 1968 Ena izmed krušnih Syracuse, New York and the Brooklyn Museum, New York. skulptur je bila razstavljena na skupinski razstavi v Muzeju 1968 shows one of his bread sculptures in a group show moderne umetnosti v New Yorku. 1975–1978 Vodi podstreš- at Museum of Modern Art, New York. 1975–1978 runs the ni prostor z imenom Environ, kjer prireja likovne razstave, loft space called Environ that hosted art exhibitions as well jazz koncerte, plesne večere in različne performanse. Vodi as jazz, dance, and other performances. Leads the group skupino Interface. 1979 Odkrije računalnik, ki ga nato upo- Interface. 1979 discovers the computer, which he would rablja pri vseh svojih projektih pionirskega raziskovanja di- use for the rest of his life, creating his series of pioneering gitalne umetnosti, t. i. Electronic Paintings (elektronske sli- works in digital art, his Electronic Paintings. 1980 moves ke). 1980 Preseli se v Ženevo v Švici, nato pa dvajset let z to Geneva, Switzerland and for twenty years tours Europe likovnimi razstavami in glasbenimi koncerti na turnejah po with art exhibitions and music concerts and festivals. 1988 evropskih festivalih. 1988 Vključen v prvo antološko publi- appears in NO!art: Pin-ups, Excrement, Protest, Jew-art, the kacijo NO!art gibanja z naslovom NO!art: Pin-ups, Iztrebki, first anthology of the NO!art movement, published by Edition Protest, Judovska umetnost v založbi Edition Hundertmark. Hundertmark. 2000–2016 returns to New York, where he 2000–2016 Vrne se v New York, kjer živi do smrti. lives until his death.

JOHN FISCHER, Sekira in kruh / Axe and Bread, 1963, 33 x 45,7 x 45,7 cm © Boris Lurie Art Foundation JOHN FISCHER, Sekira in kruh / Axe and Bread, 1963, 33 x 45,7 x 45,7 cm © Boris Lurie Art Foundation Dorothy Gillespie (1920–2012) 134

1920 Rojena v mestu Roanoke v Virginiji. 1938 Študij na Muzeju umetnosti Fort Wayne v Indiani, Muzeju umetnos- univerzi Radford v Virginiji in Maryland Institute College of ti Delaware v Wilmingtonu, Muzeju umetnosti Huntsvile v Art v Baltimoru. 1943 Preseli se v New York, kjer se poveže Alabami, v Muzeju umetnosti St. John’s v Wilmingtonu v z Art Students League, sodeluje tudi z Atelier 17 Stanleyja Severni Karolini. 1988 Vključena v prvo antološko publik- Williama Hayterja. 1946 Poroči se z Bernardom Israelom, acijo NO!art gibanja z naslovom NO!art: Pin-ups, Iztrebki, s katerim ima tri otroke. V Greenwich Villagu sta odprla Protest, Judovska umetnost v založbi Edition Hundertmark. restavracijo in nočni klub. 1961 Sodeluje na razstavi Involve- 1995 Sodeluje na razstavi NO!art v neue Gesellschaft für bil- ment Show v kooperativni galeriji March na 10. ulici. 1962 dende Kunst (nGbK) v Berlinu. 2001–2002 Sodeluje na raz- Razstavlja v Muzeju Moderne umetnosti v Miamiju na Flo- stavi NO!art and the Aesthetics of Doom v Mary and Leigh ridi. 1963 Razstavlja v Muzeju za likovno umetnost v Ro- Block Museum of Art v Evanstonu, Illinois in v Muzeju umet- anoku v Virginiji. 1964 V galeriji Champagne v New Yorku nosti na Univerzi Iowa v Iowa Cityju. 2011 Sodeluje na raz- v sodelovanju s Samom Goodmanom predstavi instalacijo stavi NO!art at the Barricades v Chelsea Art Museum v New »American Way of Death« (Ameriški način umiranja). 1965 Yorku. 2012 Umre v mestu Coral Gables na Floridi; pred tem Razstava Made in the USA v galeriji Getrude Stein in galeri- ustanovi fundacijo, ki nadaljuje njeno feministično delovanje. ji Champagne v New Yorku; v galeriji Champagne pripravi tudi razstavo Light and Motion. 1966 »Flag Show« v galeriji Gertrude Stein. 1967–1973 Na radijski postaji WHBI v New Yorku gosti oddajo »The Dorothy Gillespie Show«. 1970-ta Izpostavlja feministične teme na umetniški sceni, protestira pred Whitney muzejem v New Yorku, ustanovi Women‘s In- terart Center, organizira razstave umetnic, piše kritične član- ke. 1972 Sodeluje v programu Artist in Residence v Wom- en‘s Interart Centru v New Yorku. 1973–1976 V Women‘s Interart Centru ustanovi in vodi Ženski zgodovinski arhiv. 1975 Članica izvršnega odbora Ženskega odbora za umet- nost (Women’s Caucus for Art). 1977–1983 Serija predavanj, ki jih pripravi kot direktorica Art and Community Institute na New School for Social Research v New Yorku. Med 1970 in 1990 Naročila za projekte v javnem prostoru v New Yorku, Arkansasu, Connecticutu, na Floridi, v Marylandu, Minne- soti, Severni Karolini, Virginiji in Teksasu. Razstavlja mdr. v 135 Dorothy Gillespie (1920–2012)

Dorothy Gillespie, 1965, neznani fotograf / Unknown photographer © Boris Lurie Art Foundation

1920 born in Roanoke, . 1938 studies at Radford Museum of Art, Alabama; St. John’s Museum of Art, University, Virginia, and Maryland Institute College of Art in Wilmington, North Carolina, among other institutions. 1988 , Maryland. 1943 moves to New York and studies appears in NO!art: Pin-ups, Excrement, Protest, Jew-art, at the Art Students League and at Stanley William Hayter’s the first anthology of the NO!art movement, published by Atelier 17 in New York. 1946 marries Bernard Israel and Edition Hundertmark. 1995 participates in the exhibition has three children. They open a restaurant and night club NO!art at the nGbK: neue Gesellschaft für bildende Kunst in in Greenwich Village. 1961 participates in the Involvement Berlin. 2001–2002 participates in NO!art and the Aesthetics Show at the cooperative March Gallery on 10th Street. 1962 of Doom at the Mary and Leigh Block Museum of Art in exhibits at the Miami Museum of Modern Art in . Evanston, Illinois and at the University of Iowa Museum of 1963 exhibits at the Fine Arts Museum, Roanoke, Virginia. Art in Iowa City, Iowa. 2011 participates in the exhibition 1964 creates the American Way of Death installation, with NO!art at the Barricades at the Chelsea Art Museum, New Dorothy Gillespie at the Champagne Gallery, New York. York. 2012 dies in Coral Gables, Florida and establishes a 1965 has the Made in the USA show at Gallery: Gertrude foundation to continue her feminist work. Stein, New York and Champagne Gallery as well as the Light and Motion show at Champagne Gallery. 1966 has the Flag Show at Gallery: Gertrude Stein. 1967–1973 has “The Dorothy Gillespie Show” radio show on WHBI, New York. 1970s works towards feminist goals in the art industry, picketing the Whitney Museum, New York, helps to organize the Women’s Interart Center, curates exhibitions of women’s art, and writes critical articles. 1972 is Artist in Residence, Women’s Interart Center, New York. 1973–1976 is creator and co-coordinator of the Women’s history archives at the Women’s lnterart Center. 1975 is board member, Women’s Caucus for Art. 1977–1983 lecture series as director of Art and Community Institute, New School for Social Research, New York. 1970s–1990s is commissioned to create public art projects in New York, Arkansas, Connecticut, Florida, Maryland, Minnesota, North Carolina, Virginia, and Texas. Has exhibitions at the Fort Wayne Museum of Art, Indiana; Delaware Art Museum, Wilmington, Delaware; Huntsville DOROTHY GILLESPIE MIKY, 1964, asemblaž, les, zlata folija, tkanina / Assemblage, wood, gold foil, fabric, 15,2 x 21 x 13,2 cm © Boris Lurie Art Foundation DOROTHY GILLESPIE Ljubica / Popsy, 1964, asemblaž, les, zlata folija / Assemblage, wood, gold foil, 24,1 x 55,9 x 25,4 cm © Boris Lurie Art Foundation

Allan D’Arcangelo (1930–1998) 138

1930 Rojen v italijanski imigrantski družini v Buffalu, dr- 1930 born in Buffalo, New York to Italian immigrants. žava New York. 1948–1953 Študiral na univerzi v Buffalu in 1948–1953 studies at the University of Buffalo and receives diplomiral iz zgodovine. Preseli se na , kjer se degree in history. Afterwards he moves to Manhattan to vpiše na New School of Social Research ter City University study at the New School of Social Research and City New York, City College. Spozna abstraktni ekspresionizem. University of New York, City College. Learns about abstract 1955 Sreča Borisa Lurieja, ki mu zgodnji umetniški fazi po- expressionism. 1955 meets Boris Lurie, who helps him maga razvijati ideje. 1957–1959 Študij slikarstva na kolidžu develop his ideas about art at this formative stage. 1957– v Mexico Cityju; dvakrat je razstavljal. 1959 Povratek v New 1959 studies painting at Mexico City College, shows in two York. 1961 Sodeluje na razstavi Involvement Show v gale- exhibitions. 1959 returns to New York City. 1961 participates riji March ter na Car Event, protestnem uličnem dogodku in the Involvement Show at the March Gallery, as well as the na Lower East Side. V tem času slika preproste mehanične Car Event, a protest performance on the streets of the Lower slike z ikonografskimi motivi mitske sedanjosti. 1963 Prva East Side. Begins painting unaffected, mechanical, paintings samostojna razstava v galeriji Thibaud v New Yorku. Zače- using the iconography of the mythic present. 1963 has his tek dolgoletnega sodelovanja z galerijo Fischbach v New first solo exhibition at the Thibaud Gallery in New York City. Yorku, kjer razstavlja vsako leto do 1969. Začetek pouče- He begins a long representation with the Fischbach Gallery, vanja na School of Visual Arts (do 1968), nato znova med New York and has solo shows almost yearly through 1969. 1982 in 1992. 1964 Sodeluje na razstavi Boxes v galeriji Vir- Begins teaching at the School of Visual Arts, which he does ginia Dwan v Los Angelesu, ob njem še Boris Lurie, George until 1968, then again between 1982 and 1992. 1964 shows Brecht, Joseph Cornell, Marcel Duchamp, Ed Kienholz, Tom at the Boxes exhibition at the Virginia Dwan Gallery in Los Wesselmann, James Rosenquist, Robert Rauschenberg, Angeles, alongside Boris Lurie, , Joseph Robert Morris, Andy Warhol, H. C. Westerman. 1965 Sa- Cornell, Marcel Duchamp, Ed Kienholz, Tom Wesselman, mostojne razstave v Franciji in Nemčiji (mdr. v galeriji Ileane James Rosenquist, Robert Rauschenberg, Robert Morris, Sonnabend v Parizu). 1966 Samostojna razstava v galeriji Andy Warhol, and H.C. Westermann, among others. 1965 Dwan. 1971 Naročilo Ministrstva za notranje zadeve za po- begins having solo shows in France and Germany, including slikavo jeza Grand Coulee v državi Washington. 1971–1975 at the Ileana Sonnabend Gallery, Paris. 1966 has a solo show Zastopa ga Galerija Marlborough v New Yorku, ki jo zapusti at Dwan Gallery. 1971 is commissioned by the Department po sramotnem ravnanju galerije z zapuščino Marka Rothka. of the Interior to paint the Grand Coulee Dam in Washington. 1973–1992 Poučuje na kolidžu v Brooklynu. Opus iz 70-ih 1971–1975 is represented by Marlborough Gallery, New York, do 90-ih let je pokazal na samostojnih in skupinskih razsta- which he quits because of their shameful dealing with Mark vah v Whitney Museum of American Art, New York, v Mu- Rothko’s estate. 1973–1992 teaches at Brooklyn College. zeju Guggenheim v New Yorku, Muzeju moderne umetno- 1970s–1990s is shown in solo and group exhibitions at the sti v New Yorku, Baltimore Museum of Art v Baltimoru, v Whitney Museum of American Art, New York; Guggenheim Muzeju umetnosti Everson v Syracusu v državi New York, v Museum of Art, New York; Museum of Modern Art, New Judovskem muzeju v New Yorku, v Museum of Fine Arts v York; Baltimore Museum of Art, Baltimore; Everson Museum Bostonu, v Državnem muzeju moderne umetnosti v Tokiju; of Art, Syracuse, New York; Jewish Museum, New York; v Württembergischer Kunstverein v Stuttgartu v Nemčiji, v Museum of Fine Arts, Boston; National Museum of Modern Kunsthalle Bern v Švici, v Detroit Institute of Arts v Michi- Art, ; Württembergischer Kunstverein, Stuttgart, ganu, na Bienalu v São Paulu v Braziliji, v Walker Art Center Germany, 1966–1967; Kunsthalle, Bern, Switzerland, v Minneapolisu v Minnesoti, Rose Art Museum v Walthamu Museum of Modern Art, New York; Detroit Institute of Arts, v državi Massachusetts, v Muzeju Hirshhorn v Washingto- Michigan; Bienal de São Paulo, Brazil; Walker Art Center, nu, v Galeriji Corcoran v Washingtonu, v Muzeju sodobne Minneapolis, Minnesota; Rose Art Museum, Waltham, umetnosti v Houstonu, v Muzeju Queens v New Yorku, Grey Massachusetts; Hirshhorn Museum, Washington, D.C.; Art Gallery v New Yorku, v Los Angeles County Museum Corcoran Gallery of Art, Washington, D.C.; Contemporary (LACMA), v Muzeju sodobne umetnosti (LA MoCA) v Los Art Museum, Houston; Queens Museum, New York; Grey Art Angelesu, na Inštitutu za sodobno umetnost v Philadelphiji, Gallery, New York; Los Angeles County Museum (LACMA); v Albright-Knox Art Gallery v Buffalu, Muzeju za sodobno Museum of Contemporary Art (LA MoCA), Los Angeles; umetnost v Chicagu, na Institute of Contemporary Art v Lon- Institute of Contemporary Art, Philadelphia; Albright-Knox don, itd. 1988 Vključen v prvo antološko publikacijo NO!art Art Gallery, Buffalo; Museum of Contemporary Art, Chicago; gibanja z naslovom NO!art: Pin-ups, Iztrebki, Protest, Judo- Institute of Contemporary Art, London, among many others. vska umetnost v založbi Edition Hundertmark. 1995 Sodelu- 1988 appears in NO!art: Pin-ups, Excrement, Protest, Jew- je na razstavi NO!art v neue Gesellschaft für bildende Kunst art, the first anthology of the NO!art movement, published (nGbK) v Berlinu. 1998 Umre zaradi komplikacij z levkemijo. by Edition Hundertmark. 1995 participates in the exhibition NO!art at the nGbK: neue Gesellschaft für bildende Kunst in Berlin. 1998 dies from complications with leukemia. ALLAN D’ARCANGELO Made in USA, 1962, jedkanica / Etching on paper, 25,4 x 19,1 cm © Boris Lurie Art Foundation ALLAN D’ARCANGELO, Brez naslova / Untitled, 1962, olje na platnu / Oil on canvas, 81,3 x 185,4 cm © Boris Lurie Art Foundation

Erró (1932) 142

1932 Rojen kot Gudmundur Gudmundsson v Olafsviku 1932 born as Guðmundur Guðmundsson in Ólafsvík, na Islandiji. 1949 Končal Šolo za umetnost v Reykyaviku. Iceland. 1949 graduates from Fine Arts School of Reykjavik, 1952 Diplomiral na akademiji v Oslu na Norveškem. 1955 Iceland. 1952 graduates from the Academy of Olso, Norway. Diploma na Akademiji likovnih umetnosti v Firencah v Ita- 1955 graduates from the Academy of Fine Arts, Florence. liji. 1956 Kot Ferró prvič samostojno razstavljal v Milanu in 1956 first solo exhibitions in Milan and Rome as Ferró 1958 Rimu. 1958 Samostojne razstave v muzeju Bezalel v Jeruza- solo exhibitions at the Bezalel Museum, Jerusalem, the lemu, Muzeju umetnosti v Tel Avivu in Umetnostnem muzeju Tel Aviv Museum of Art, and the Haifa Museum in Israel. v Haifi v Izraelu. Preseli se v Pariz, kjer se priključi evropski Moves to Paris and immerses himself in the European umetniški avantgardi. 1961 Sodeluje na razstavi Involvement avant-garde. 1961 participates in the Involvement Show at Show v kooperativni galeriji March na 10. ulici v New Yorku. the cooperative March Gallery on 10th Street in New York. 1963–1964 Med obiskom New Yorka odkrije ameriško potro- 1963–1964 during a trip to New York, discovers American šniško kulturo: izdeluje kolaže z izrezki iz stripov in sodobnih mass culture and begins to make collages out of comics ilustriranih tiskovin ter jih umešča v slike. 1964 Samostojni and other contemporary print imagery and turn them into razstavi v galeriji Schwarz v Milanu in galeriji Gertrude Stein paintings. 1964 solo exhibitions at Galleria Schwarz, Milan v New Yorku. 1967 Znova razstavlja v Galleria Schwarz v and at Gallery: Gertrude Stein, New York. 1967 shows again Milanu. 1968 Spremeni ime v Erró. 1968–1986 Številne sa- at Galleria Schwarz, Milan. 1968 changes his name from mostojne razstave v muzejih in galerijah širom Evrope. 1975 Ferró to Erró. 1968–1986 holds multiple solo exhibitions at Samostojna razstava v centru Georges Pompidou v Pari- museums and galleries all over Europe. 1975 solo exhibition zu. 1986 Predstavnik Islandije na Beneškem bienalu. 1988 at Centre Georges Pompidou, Paris. 1986 represents Iceland Vključen v prvo antološko publikacijo NO!art gibanja z nas- at the Venice Bienale. 1988 appears in NO!art: Pin-ups, lovom NO!art: Pin-ups, Iztrebki, Protest, Judovska umetnost Excrement, Protest, Jew-art, the first anthology of the NO!art v založbi Edition Hundertmark. 1989 Veliko zbirko svojih del movement, published by Edition Hundertmark. 1989 donates pokloni Muzeju umetnosti v Reykyaviku na Islandiji, kjer je a large collection of his work to Reykjavik Art Museum in stalno na ogled. 1989–2017 Velike pregledne in retrospektiv- Iceland, where it goes on permanent display. 1989–2017 ne razstave v pomembnih muzejih umetnosti, mdr. v Muzeju holds large scale shows and retrospective exhibitions at umetnosti v Reykyaviku, Narodni galeriji Tajske v Bangkoku, international museums, including the Reykjavik Art Museum, Elements MoCA v Pekingu, Museo Nacional de Bellas Artes Iceland; the National Gallery of Thailand, Bangkok; Elements v Havani, Grey Art Gallery na New York University, Galerie MoCA, Beijing; Museo Nacional de Bellas Artes, Havana; Louis Carré v Parizu, v Kunstmuseum Bergen na Norveškem, Grey Art Gallery, New York University; Galerie Louis Carré, Musée d‘Art Moderne de la Ville de Paris, Schirn Kunsthalle Paris; Bergen Kunstmuseum, Bergen, Norway; Musée d’Art v Frankfurtu, Centru Georgesa Pompidouja v Parizu, Muze- Moderne de la ville de Paris; Schirn Kunsthalle, Frankfurt/ ju moderne in sodobne umetnostui v Saint-Etiennu v Fran- Main; Centre Georges Pompidou, Paris; Musée d’art moderne ciji. 1995 Sodeluje na razstavi NO!art v neue Gesellschaft et contemporain, Saint-Etienne, France. 1995 participates für bildende Kunst (nGbK) v Berlinu. 2001–2002 Sodeluje in the exhibition NO!art at the nGbK: neue Gesellschaft für na razstavi NO!art and the Aesthetics of Doom v Mary and bildende Kunst in Berlin. 2001–2002 participates in NO!art Leigh Block Museum of Art v Evanstonu, Illinois in v Muzeju and the Aesthetics of Doom at the Mary and Leigh Block umetnosti na Univerzi Iowa v Iowa Cityju. 2011 Sodeluje na Museum of Art in Evanston, Illinois and at the University of razstavi NO!art at the Barricades v Chelsea Art Museum v Iowa Museum of Art in Iowa City, Iowa. 2011 participates New Yorku. 2018 Sodeluje na skupinski razstavi Flashes of in the exhibition NO!art at the Barricades at the Chelsea Art the Future v Ludwig Forumu v Aachenu. Museum, New York. 2018 participates in the group exhibition Flashes of the Future at the Ludwig Forum, Aachen Erró, v Parizu, Francija, ok. 1973 / Erró in Paris, France, circa 1973 © Foto: Hervé Gloaguen/Gamma-Rapho via Getty Images ERRÓ (GUDMUNDUR GUDMUNDSSON) ERRÓ (GUDMUNDUR GUDMUNDSSON) Arroyo, Miro, Riffeto, Photos de film (Grimace), 1962, 1962–1967, preslikan plakat / ofsetni tisk / Paint on mylar, offset poster, Offset silkscreen, 53,5 x 48,3 cm 105,4 x 74,9 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation

ERRÓ (GUDMUNDUR GUDMUNDSSON) B. M. Nemenski La mere (1945), Ben Shahn Sacco and Vanzetti (1931–32), 1966, olje na platnu / Oil on canvas, 53,3 x 129,5 cm © Boris Lurie Art Foundation

Harriet Wood (Suzanne Long) (1937) 148

1937 Rojena v Jacksonvillu na Floridi. Otroštvo preživi v gornjem delu države New York. 1959 Diplomira na Goddard kolidžu na temo iz zgodovine ženske umetnosti. Preseli se v New York. Študira na Pratt Intitute, obiskuje tečaje Art Stu- dents League. V Cedar baru spozna Sama Goodmana. Za- četek sodelovanja z galerijo March na 10. ulici. Za določen čas zaposlena v MOMA, kjer sreča Lucy Lippard, pripelje jo v galerijo March. Med vožnjo v dvigalu v MOMA po naključju sliši kustosa Williama Seitza, ki med listanjem po seznamu predlogov za razstave pripomni: »Lurie in Goodman pa že ne. Absolutno ne!« 1961 Sodeluje na razstavi Involvement Show v galeriji March ter na dogodku Car Event, protestnem performansu s Samom Goodmanom in Allanom D'Arcan- gelom na cesti v soseski Lower East Side. 1960-ta Iz New Yorka se preseli v San Francisco in natov Seattle. Veliko po- tuje po Italiji, Aljaski, Mehiki in Angliji. 1970-ta Ustali se v Vermontu, kjer še danes živi, dela in redno razstavlja slike in skulpture. 1988 Vključena v prvo antološko publikacijo NO!art gibanja z naslovom NO!art: Pin-ups, Iztrebki, Protest, Judovska umetnost v založbi Edition Hundertmark. 1995 Sodeluje na razstavi NO!art v neue Gesellschaft für bildende Kunst (nGbK) v Berlinu. 2011 Sodeluje na razstavi NO!art at the Barricades v Chelsea Art Museum v New Yorku.

1937 born in Jacksonville, Florida. Grows up in Upstate New York. 1959 graduates from Goddard College with a major in the history of women’s art. Moves to New York City, studies at the Pratt Institute and the Art Students League. Meets Sam Goodman at the Cedar Bar. Begins to participate at the March Gallery on 10th Street. Has a temporary job at the Museum of Modern Art, where she meets Lucy Lippard and brings Lippard to the March Gallery. Riding in the elevator at MoMA, she overhears curator William Seitz, looking through a list of potential exhibitions, say, “Not Lurie and Goodman. Absolutely Not!” 1961 participates in the Involvement Show at the March Gallery, as well as in the Car Event, a protest performance with Sam Goodman and Allan D’Arcangelo on the streets of the Lower East Side. 1960s leaves New York for San Francisco and then Seattle. Travels extensively in Italy, Alaska, Mexico, and England. 1970s settles in Vermont, where to date she regularly exhibits painting and sculpture. 1988 appears in NO!art: Pin-ups, Excrement, Protest, Jew- art, the first anthology of the NO!art movement, published by Edition Hundertmark. 1995 participates in the exhibition NO!art at the nGbK: neue Gesellschaft für bildende Kunst in Berlin. 2011 participates in the exhibition NO!art at the Barricades at the Chelsea Art Museum, New York. SUZANNE LONG Ženske in vojna / Women and War, 1962, mavec na lesu / Plaster on wood, 68,6 x 58,4 x 7,6 cm © Boris Lurie Art Foundation

SUZANNE LONG Ne brez moških / Not without Men, 1962, olje na platnu / Oil on canvas, 156,2 x 121,9 cm © Boris Lurie Art Foundation Isser Aronovici (1932–1994) 152

Isser Aronovici zgodnja šestdeseta leta / early 1960s, neznani fotograf / Unknown photographer © Boris Lurie Art Foundation

ISSER ARONOVICI Brez naslova / Untitled, 1959–1964, gvaš / Gouache on paper, 57,2 x 71,8 cm © Boris Lurie Art Foundation

ISSER ARONOVICI Plazeča se figura / Crawling Figure, 1963, gvaš, kreda na papirju / Gouache, crayon on paper, 38,1 x 53,3 cm © Boris Lurie Art Foundation

1932 Rojen v New Yorku. 1950 Začetek študija na Visoki 1932 born in New York City. 1950 begins studies in New šoli za glasbo Cooper Union, nadaljuje na kolidžu v Phoe- York City at the High School of Music, Cooper Union, then nixu v Arizoni. 1954 Ukvarja se z Earth Art projekti v puščavi Phoenix College, Arizona. 1954 begins doing Earth Art in Apache na jugozahodu Arizone in v Velikem kanjonu (Grand Arizona in the Apache desert country in the southeast part of Canyon). 1958 Z Lenore Jaffee ustanovi galerijo Phoenix, the state and at the Grand Canyon. 1958 founds with Lenore eno izmed kooperativnih galerij na 10. ulici v New Yorku Jaffee the Phoenix Gallery, one of the 10th Street cooperative Med ustanovnimi člani sta bila Red Grooms in Ted Joans. galleries in New York. Red Grooms and Ted Joans are among 1960–1961 Razstavlja s skupino okrog galerije March (In- the original members. 1960–1961 shows with the March volvement Show). 1964–1967 Samostojne razstave v galeriji Group at the March Gallery, including in the Involvement Gertrude Stein, s posredovanjem Borisa Lurieja: upodobitve Show. 1964–1967 solo shows at Gallery Gertrude Stein, per tedanje »narkomanske scene« v »združevanju klasičnega Boris Lurie: a depiction of the “drug-scene” of the time in a slikarstva s primitivizmom«. 1966 Urednik revije Scab News, “mix of classical painting with primitivism”. 1966 becomes samostojna razstava v Elisabeth Street Gallery v New Yorku. editor of the magazine Scab News and has a solo show at 1968 Skupaj s Petrom Birnbaumom izda umetniško knjigo the Elizabeth Street Gallery in New York. 1968 publishes Marbles from Cockroach Morseleum. 1969–1970 Napiše the art book Marbles from Cockroach Morseleum with eseja »Partnershit« in »Surviving Nazi« o svojih izkušnjah Peter Birnbaum. 1969–1970 writes the essays “Partnershit” sodelovanja z gibanjem NO!art. Risbe razstavlja v galeriji and “Surviving Nazi” about his experiences in the NO!art Bieville v New Orleansu. 1971–1973 S skupino Rhino Horn movement. Shows his drawings at Gallery Bieville in New razstavlja v galerijah Odyssey House in Herbert Benevy v Orleans. 1971–1973 shows with Rhino Horn at the Odyssey New Yorku. Njegove slike se pojavijo tudi na stenah številnih House in at the Herbert Benevy Gallery in New York. Several drugih newyorških galerij (npr. Bowery Gallery) ter v atelje- of his paintings appear at numerous other New York galleries, ju in stanovanju Petra Deana. 1972 Ustanovi Happy Lands such as the Bowery Gallery, as well as on the walls of Peter Gallery of Romance and Fun in New York. 1973 Umetniški Dean’s studio and apartment. 1972 founds the Happy in plesni performans v galeriji Unaworld v New Yorku. 1988 Lands Gallery of Romance and Fun in New York. 1973 does Vključen v prvo antološko publikacijo NO!art gibanja z nas- performance and dance at Unaworld Gallery in New York. lovom NO!art: Pin-ups, Iztrebki, Protest, Judovska umetnost 1988 appears in NO!art: Pin-ups, Excrement, Protest, Jew- v založbi Edition Hundertmark. 1994 Storil samomor. art, the first anthology of the NO!art movement, published by Edition Hundertmark. 1994 commits suicide.

Yayoi Kusama (1929) 154

1929 rojena 22. marca v bogati konservativni družini v of Self-Obliteration) v New Yorku. 1969 Happening Grand mestu Matsumoto v prefekturi Nagano na Japonskem. 1939 Orgy to Awaken the Dead na vrtu skulptur Muzeja Moderne Začne risati pikčaste vzorce in mreže, ki postanejo njen za- umetnosti (MOMA) v New Yorku. Prične izdajati periodično ščitni znak. Sama je to povezala s halucinacijami, ki jih je glasilo Kusama‘s Orgy in ustvari modno blagovno znamko. imela v kaotičnem družinskem okolju, kjer je bil oče neza- 1970–1972 Uprizori niz happeningov, orgij, modnih in foto- ustavljiv ženskar (povezano z njenimi kasnejšimi faličnimi grafskih dogodkov na Japonskem, v Evropi in New Yorku. obsesijami), mati pa zelo nasilna. 1941 Med drugo svetovno 1973 Po Cornellovi smrti se vrne na Japonsko. 1975 Poišče vojno je morala delati v tovarni padal. 1948–1949 V Kyotu pomoč zaradi obsesivno kompulzivnih nevroz, hospitalizira- začne študij tradicionalnega Nihonga slikarstva. 1952 Od- na v bolnišnici Seiwa za duševno bolne v tokijski četrti Shi- makne se od tradicionalnega japonskega stila in začne sli- njuku, kjer živi in ustvarja še danes. 1977–1988 Izda romane kati v gvašu in olju. Pripravi dve samostojni razstavi, v vsaki A Book of Poems and Paintings, Manhattan Suicide Addict, je bilo na ogled več kot dvesto petdeset unikatnih del. 1955 The Hustlers Grotto of Christopher Street, The Burning of Samostojne razstave v Tokiju. Sodeluje na razstavi akvare- St Mark’s Church, Between Heaven and Earth in Woodstock lov v Brooklyn Museum v New Yorku. Začetek dopisovanja Phallus Cutter. Tudi po tem še piše romane. 1988 Vključe- z Georgio O‘Keeffe. 1957 Prva samostojna razstava v ZDA na v prvo antološko publikacijo NO!art gibanja z naslovom v galeriji Dusanne v Seattlu. Preden zapusti Japonsko uniči NO!art: Pin-ups, Iztrebki, Protest, Judovska umetnost v za- več tisoč svojih del. 1958–1959 Preseli se v New York in se ložbi Edition Hundertmark. 1993 Predstavnica japonske na vpiše v Zvezo študentov umetnosti (Art Students League). 45. bienalu v Benetkah. 1995 Sodeluje na razstavi NO!art Prične slikarski cikel Infinity Net; dela, ki jih prvič pokaže v v neue Gesellschaft für bildende Kunst (nGbK) v Berlinu. kooperativni galeriji Brata na 10. ulici pohvalijo Dore Ashton, 1996–2018 Velike razstave, mdr. v Los Angeles County Mu- Donald Judd in drugi. 1960 Sodeluje na pomembni razstavi seum of Art, Walker Art Center v Minneapolisu v Minnesoti, Monochrome Malerei v Städtisches Museum v Leverkusnu v MOMA New York, Muzeju moderne umetnosti v Tokiju, Art v Nemčiji (skupaj z Luciom Fontano, Yvesom Kleinom, Pie- Park muzeju za sodobno umetnost v Sapporu na Japon- rom Manzonijem, Markom Rothkom in Güntherjem Uecker- skem, v Narodnem muzeju sodobne umetnosti v Kyotu, v jem). 1961 Sodeluje na razstavi Involvement Show v galeriji Henie-Onstad Kunstsenter v Høvikoddenu na Norveškem, v March v New Yorku in na letni razstavi (Whitney Annual) v Moderna Museet v Stockholmu, v Art Museum na Muzeju Whitney v New Yorku. Vseli se v stavbo, kjer imata Finskem, Muzeju sodobne umetnosti v Sydneyju, Hirshhorn svoj atelje tudi Donald Judd in Eva Hesse. V bolnišnici za- muzeju in parku skulptur v Washingtonu, v Seattle Art Mu- radi izčrpanosti. 1962 Prične izdelovati svoje ‚mehke skulp- seum, v galeriji The Broad v Los Angelesu, v Art Gallery of ture‘ (Accumulation series). Prvič jih pokaže na skupinski Ontario v Torontu, v Museo Nacional Centro de Arte Reina razstavi v Green Gallery Richarda Bellamyja, skupaj z Ro- Sofía v Madridu, v Centre Georges Pompidou v Parizu, Tate bertom Morrisom, Warholom, Georgom Segalom, Jamesom Modern v Londonu in Whitney muzeju ameriške umetnosti v Rosenquistom in Claesom Oldenburgom, ki bo svojo prvo New Yorku. 2001–2002 Sodeluje na razstavi NO!art and the ‚mehko‘ skulpturo izdelal kasneje istega leta. Spozna Jo- Aesthetics of Doom v Mary and Leigh Block Museum of Art sepha Cornella, s katerem prične dolgoletno diskretno raz- v Evanstonu, Illinois in v Muzeju umetnosti na Univerzi Iowa merje. 1963 S t. i. ‚Accumulation‘ skulpturami (Stol je danes v Iowa Cityju. 2001–2006 Prejme nagrado Asahi, japonsko v zbirki Muzeja Whitney) sodeluje na razstavi NO Show v medaljo s temnomodro lento, francosko Ordre des Arts et galeriji Gertrude Stein v New Yorku. Naslednja razstava v des Lettres (Officier) in nagrado guvernerja prefekture Naga- galeriji Gertrude Stein je njena samostojna instalacija One no (za prispevek v umetnosti in kulturi), nacionalna priznanja Thousand Boat, s katero prvič uporabi celoten galerijski za življenjsko delo (Red vzhajajočega sonca z zlatimi žarki razstavni prostor. Postavitev vključuje resničen čoln za ve- in rozeto ter cesarsko nagrado za slikarstvo). 2011 Sodeluje slanje, prekrit s pobarvanimi ‚nagačenimi‘ falusi in obkrožen na razstavi NO!art at the Barricades v Chelsea Art Museum z 999 plakati s podobo čolna, ki prekrivajo stene, strop in v New Yorku. 2017 V Tokiju odprejo Muzej Yayoi Kusama. tla. 1964 Vnovična samostojna razstava v galeriji Gertrude 2018 Sodeluje na skupinski razstavi Flashes of the Future v Stein. 1965 Ustvari prvi »Neskončen zrcalni prostor« (Infinity galeriji Ludwig Forum v Aachenu. Mirror Room) in uprizori prvi performans. 1966 Dva meseca dela v ateljeju Lucia Fontane. Ustvari svojo prvo multimedij- sko instalacijo z ogledali, utripajočimi lučmi in rock glasbo. Z odmevnim ambientalnim projektom »Narcissus Garden« se predstavi na Beneškem bienalu. 1967 V eksperimentalni ki- nodvorani Black Gate Alda Tambellinija in Otta Pieneja upri- zori happening »Self-Obliteration« (Samoizbris). 1968 Filmi Obliteration, Love-In Festival in Flower Orgy. Vodi happening Homosexual Wedding v svoji ‚Cerkvi samoizbrisa‘ (Church 155 Yayoi Kusama (1929)

1929 born March 22 in Matsumoto, Nagano Prefecture, a fashion label. 1970–1972 stages happenings, orgies, Japan into a conservative, wealthy family. 1939 begins fashion and photo-shoots in Japan, Europe, and New York. painting the polka dots and nets that will define her work. 1973 returns to Japan following the death of Cornell. 1975 She attributes this to hallucinations related to her chaotic seeking treatment for her obsessive-compulsive neurosis, home environment with a philandering father – leading to she entered the Seiwa Hospital for the Mentally Ill in Tokyo’s later phallic obsessions – and a violent mother. 1941 sent Shinjuku district, where she lives and works to this day. to work in a parachute factory during World War II. 1948– 1977–1988 publishes the novels A Book of Poems and 1949 goes to study traditional Nihonga painting in Kyoto. Paintings, Manhattan Suicide Addict, The Hustlers Grotto 1952 moves away from the traditional Japanese style and of Christopher Street, The Burning of St Mark’s Church, begins to paint in gouache and oil. She holds two solo Between Heaven and Earth, and Woodstock Phallus Cutter. exhibitions, each with over 250 unique works. 1955 solo She will continue to write novels. 1988 appears in NO!art: shows in Tokyo. Participates in a watercolor exhibition at Pin-ups, Excrement, Protest, Jew-art, the first anthology of the Brooklyn Museum, New York. Begins corresponding the NO!art movement, published by Edition Hundertmark. with Georgia O’Keeffe. 1957 first solo show in the U.S. at 1993 represents Japan at the 45th Venice Biennale. 1995 Dusanne Gallery, Seattle. Before leaving Japan she destroys participates in the exhibition NO!art at the nGbK: neue thousands of her works. 1958–1959 moves to New York and Gesellschaft für bildende Kunst in Berlin. 1996–2018 has enrolls at the Art Students League. Begins her Infinity Net major exhibitions at the Los Angeles County Museum of paintings, which she shows at the cooperative Brata Gallery Art; Walker Art Center, Minneapolis, Minnesota; Museum on 10th Street to the acclaim of Dore Ashton, Donald Judd, of Modern Art, New York; Museum of Contemporary Art, and others. 1960 participates in the important Monochrome Tokyo; Art Park Museum of Contemporary Art, Sapporo; the Malerei exhibition at the Städtisches Museum in Leverkusen, National Museum of Modern Art, Kyoto; the Henie-Onstad Germany with Lucio Fontana, Yves Klein, Piero Manzoni, Kunstsenter, Høvikodden, Norway; Moderna Museet, Mark Rothko, and Günther Uecker. 1961 participates in the Stockholm; the Helsinki Art Museum, Finland; the Museum Involvement shows at the March Gallery, New York and the of Contemporary Art, Sydney; the Hirshhorn Museum and Whitney Annual at the Whitney Museum, New York, and Sculpture Garden, Washington, DC; the Seattle Art Museum, moves into a studio building with Judd and Eva Hesse. Is The Broad, Los Angeles; the Art Gallery of Ontario, Toronto; hospitalized for exhaustion. 1962 starts to make her soft Museo Nacional Centro de Arte Reina Sofía, Madrid; Centre sculptures, the Accumulation series. The first is shown at a Georges Pompidou, Paris; Tate Modern, London; and the group show at Richard Bellamy’s Green Gallery with Robert Whitney Museum of American Art, New York, among others. Morris, Warhol, George Segal, James Rosenquist, and Claes 2001–2002 participates in NO!art and the Aesthetics of Oldenburg, who would begin his own soft sculptures later Doom at the Mary and Leigh Block Museum of Art in that year. Meets Joseph Cornell and begins a discreet, Evanston, Illinois and at the University of Iowa Museum of long-term relationship with him. 1963 participates in the Art in Iowa City, Iowa. 2001–2006 receives the Asahi Prize, NO Show at Gallery: Gertrude Stein, New York, including the Medal with Dark Navy Blue Ribbon, the French Ordre the section exhibition of her accumulation sculptures, a des Arts et des Lettres (Officier), and the Nagano Governor chair now in the collection of the Whitney. The next show at Prize (for the contribution in encouragement of art and Gallery: Gertrude Stein is her One Thousand Boat Show, her culture) a National Lifetime Achievement Award, the Order of first installation to use the entire gallery space. The work is the Rising Sun, Gold Rays with Losette and The Praemium composed of a real rowboat covered with her painted stuffed Imperiale-Painting. 2011 participates in the exhibition NO!art phalluses, surrounded by 999 posters of the boat pasted at the Barricades at the Chelsea Art Museum, New York. on the ceiling, floor and walls. 1964 another solo show at 2017 the Yayoi Kusama Museum opens in Tokyo. 2018 Gallery: Gertrude Stein. 1965 creates her first “Infinity Mirror participates in the group exhibition Flashes of the Future at Room” and stages her first happenings. 1966 spends two the Ludwig Forum, Aachen. months working in Lucio Fontana’s studio. Creates her first multimedia installation with mirrors, flashing lights, and rock music. Creates “Narcissus Garden” at the Venice Biennale. 1967 stages “Self-Obliteration” happening at Aldo Tambellini and Otto Piene’s Black Gate Theatre. 1968 screens the filmsObliteration , Love-In Festival, Flower Orgy, and presides over the happening Homosexual Wedding at the Church of Self-Obliteration in New York. 1969 creates the happening Grand Orgy to Awaken the Dead in the sculpture garden of the Museum of Modern Art, New York. Begins to publish her periodical Kusama’s Orgy and creates Japonska umetnica in pisateljica Yayoi Kusama / Japanese artist and writer Yayoi Kusama, New York, 1964 © Foto: Evelyn Hofer/ Getty Images

YAYOI KUSAMA Razstava Tisoč čolnov / One Thousand Boat Show, 1963, litografija / Lithograph, 76,2 x 111,8 cm © Boris Lurie Art Foundation

YAYOI KUSAMA Driving Image Show, Galleria d‘Arte Milano, 1966, plakat / poster, 46 x 57 cm © Boris Lurie Art Foundation

Jean-Jacques Lebel (1936) 158

1936 Rojen v Parizu. Njegov oče je Robert Lebel, pisatelj, lena Ginsberga in Gregoryja Corsa v francoščino ter prvič umetnostni zbiratelj in zgodovinar, prijatelj nadrealistov, Ja- objavi njuno poezijo ter pesmi drugih prijateljev iz t. i. beat cquesa Lacana, Clauda Lévi-Straussa in prvi biograf Marcela generacije v La Poésie de la Beat Generation (Paris: Éditons Duchampa. 1940–1944 Z družino emigrira v New York. Živijo Denoël, 1966). 1967 Na oder postavi igro Pabla Picassa v soseski Greenwich Village, kjer se družijo z ostalimi ume- Le Désir attrapé par la queue (Ujemi poželenje za rep), s tniki-emigranti: Andréjem Bretonom, Alexandrom Calder- Taylorjem Meadom, Rito Renoir, Ultra Violet in britansko psi- jem, Leonoro Carrington, Duchampom, Georgesom Duthu- hedelično rock skupino The Soft Machine. 1968 Udeleženec itom, Maxom Ernstom, Wilfredom Lamom, Lévi-Straussom, v aktivnostih gibanja 22. marec in anarhističnih skupin Noir Andréjem Massonom, Robertom Matto, Yvesom Tanguyjem, et Rouge in Informations et Correspondances Ouvrières; Dorotheo Tanning, Isabelle in Patrickom Waldbergom. 1955 obiskuje predavanja Gillesa Deleuza na univerzi Pariz VIII – Izda prvo številko svoje umetniške, politične in literarne re- Vincennes in Saint-Denis. Pripravlja kulturne in politične od- vije Front Unique; pripravi prvo samostojno razstavo v La daje za program France Culture na radiju. 1970 Z Danielom Galleria Numero v Firencah. 1955–1959 Član francoskega Guérinom uredi izdajo Changer la vie! (Pariz: Éditions Pierre nadrealističnega gibanja. 1957 Razstavlja pri Iris Clert v Pa- Belfond), zbirko ponatisov najpomembnejših zgodovinskih rizu. 1960–1961 Organizira veliko protestno razstavo Anti- besedil mednarodnega anarhističnega gibanja. 1979 Us- -procès v podporo pravic Alžircev, na kateri sodeluje šestde- tanovi mednarodni multimedijski festival Polyphonix. 1988 set umetnikov, mdr. Lam, Henri Michaux, Matta, Jacques Vključen v prvo antološko publikacijo NO!art gibanja z nas- Prévert, César, Erró, Wolf Vostell, Robert Rauschenberg in lovom NO!art: Pin-ups, Iztrebki, Protest, Judovska umetnost Cy Twombly. Promocija razstave vključuje deklaracijo upora, v založbi Edition Hundertmark. 1995 Sodeluje na razstavi ki ima v svojem programu »zavrnitev podrejanja umetniške NO!art v neue Gesellschaft für bildende Kunst (nGbK) v Ber- kreativnosti komercialnim ali propagandnim interesom«. V linu. 1995–2018 Svoja dela razstavlja v ameriških, evropskih sodelovanju z Enricom Bajem, Robertom Crippo, Giovanni- in japonskih galerijah in muzejih, mdr. v Muzeju moderne jem Dovo, Errójem in Antoniom Recalcatijem ustvari veliko umetnosti v Saint Etiennu, v Saint-Priest-en-Jarez v Fran- tabelno sliko Grand Tableau Antifasciste Collectif, ki je cen- ciji, v MAMCO v Ženevi in v ZKM v Karlsruheju v Nemčiji. zurirana in odstranjena. Anti-procès potuje v Milano in Be- 2001–2002 Sodeluje na razstavi NO!art and the Aesthetics netke, kjer pod Lebelovim vodstvom izvedejo akcijo L’enter- of Doom v Mary and Leigh Block Museum of Art v Evansto- rement de ‘la Chose’ de Tinguely, ki obvelja za prvi evropski nu, Illinois in v Muzeju umetnosti na Univerzi Iowa v Iowa happening. 1961 Sodeluje na razstavah Involvement Show Cityju. 2011 Sodeluje na razstavi NO!art at the Barricades v in Doom Show v galeriji March v New Yorku. 1963 Sodeluje Chelsea Art Museum v New Yorku. 2018 Sodeluje na sku- na razstavi NO Show v galeriji Gertrude Stein v New Yorku. pinski razstavi Flashes of the Future v galeriji Ludwig Forum 1964–1967 Ustanovi Festival of Free Expression (Festival v Aachnu; velika retrospektivna razstava v Centre Georges svobodnega izraza), na prvi prireditvi Carolee Schneemann Pompidou v Parizu. premierno izvede svojo akcijo »Meet Joy«. 1966 Prevaja Al- 159 Jean-Jacques Lebel (1936)

1936 born in Paris. His father is Robert Lebel, author, art 1995–2018 begins publicly exhibiting his own work in U.S., collector and historian, friend of surrealists, Jacques Lacan European, and Japanese galleries and museums, including and Claude Lévi-Strauss, and first biographer of Marcel at the Saint Etienne Museum of Modern Art, Saint-Priest-en- Duchamp. 1940–1944 exiled with his family to New York. Jarez, France, MAMCO in Geneva, Switzerland, and ZKM They live in Greenwich Village and are close with fellow in Karlsruhe, Germany. 2001–2002 participates in NO!art exiles and expatriates André Breton, Alexander Calder, and the Aesthetics of Doom at the Mary and Leigh Block Leonora Carrington, Duchamp, Georges Duthuit, Max Museum of Art in Evanston, Illinois and at the University of Ernst, Wifredo Lam, Lévi-Strauss, André Masson, Roberto Iowa Museum of Art in Iowa City, Iowa. 2011 participates Matta, Yves Tanguy, Dorothea Tanning, Isabelle and Patrick in the exhibition NO!art at the Barricades at the Chelsea Art Waldberg. 1955 published the first edition of his arts, Museum, New York. 2018 participates in the group exhibition politics, and poetry magazine Front Unique, and has his Flashes of the Future at the Ludwig Forum, Aachen, and has first solo exhibition at La Galleria Numero in Florence.1955– a large-scale retrospective at the Centre Georges Pompidou 1959 member of French Surrealist movement. 1957 shows in Paris. with Iris Clert in Paris. 1960–1961 organizes the large-scale protest exhibition Anti-procès in support of Algerian rights, with a total of 60 artists, including Lam, Henri Michaux, Matta, Jacques Prévert, César, Erró, Wolf Vostell, Robert Rauschenberg, and Cy Twombly. The exhibition’s publicity included a declaration of resistance, among the planks of which was “the refusal to subordinate artistic activity to commerce or propaganda”. Creates the large Grand Tableau Antifasciste Collectif with Enrico Baj, Roberto Crippa, Gianni Dova, Erró, and Antonio Recalcati, which is censored and removed. Anti-procès traveled to Milan and Venice, where what has been identified as the first European Happening was staged by Lebel, L’enterrement de ‘la Chose’ de Tinguely. 1961 participates in the Involvement and Doom shows at the March Gallery, New York. 1963 participates in the NO Show at Gallery: Gertrude Stein, New York. 1964–1967 creates the Festival of Free Expression, at the first of which Carolee Schneemann produces “Meat Joy” for the first time. 1966 translates Allen Ginsburg and Gregory Corso into French for the first time and publishes them and other Beat poet friends in La Poésie de la Beat Generation (Paris: Éditons Denoël, 1966). 1967 stages Pablo Picasso’s play Le Désir attrapé par la queue with Taylor Mead, Rita Renoir, Ultra Violet, and The Soft Machine. 1968 takes part in the activities of the March 22nd Movement and then those of the anarchist group Noir et Rouge and in the Informations et Correspondances Ouvrières group, follows the courses of Gilles Deleuze at Vincennes and Saint-Denis. Produces programs for the France Culture radio network about numerous cultural and political topics. 1970 edits with Daniel Guérin Changer la vie! (Paris: Éditions Pierre Belfond), a collection republishing major historical texts of the international anarchist movement. 1979 creates Jean-Jacques Lebel, Barricades, Polyphonix International Festival the multimedia . 1988 naslovnica knjige / appears in NO!art: Pin-ups, Excrement, Protest, Jew-art, the book cover, first anthology of the NO!art movement, published by Edition published by Hundertmark. 1995 participates in the exhibition NO!art at Walther König, Köln, the nGbK: neue Gesellschaft für bildende Kunst in Berlin. 2015

JEAN-JACQUES LEBEL JEAN-JACQUES LEBEL Brez naslova / Brez naslova / Untitled, Untitled, 1963, 1963, barva, kreda, kolaž na papirju / tempera, kolaž na ofset plakatu / Paint, crayon, collage on paper, Tempera, collage on offset poster, 73,7 x 106,7 cm 76,9 x 61,6 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation

JEAN-JACQUES LEBEL Brez naslova / Untitled, 1961, kovina, plastika, steklo, barva, papirni kolaž na lesu / Metal, plastic, glass, paint, paper collage on wood, 119,4 x 48,3 x 12,7 cm © Boris Lurie Art Foundation

JEAN-JACQUES LEBEL Brez naslova / Untitled, 1961, oljna barva, perje, kovina, guma, najdeni predmeti na lutki iz steklenih vlaken / Oil paint, feathers, metal, rubber, other found objects on fiberglass mannequin, 182,9 x 35,6 x 38,1 cm © Boris Lurie Art Foundation Rocco Armento (1924–2011) 164

1924 Rojen na Staten Islandu v New Yorku. 1943–1945 1924 born on Staten Island, New York. 1943–1945 Med drugo svetovno vojno služil v 155. fotografskem eska- serves in the 155th Photo Reconnaissance Squadron in dronu ameriške vojske v Evropi. 1947–1954 Študiral na Art the U.S. Army in the European Theater during World War II. Students League, Mechanics Institute, National Academy of 1947–1954 studies at Art Students League, the Mechanics Design in Wagnerjevem kolidžu v New Yorku ter na Acadé- Institute, the National Academy of Design, and Wagner mie de la Grand Chaumière v Parizu. 1956–1959 Samostojna College in New York, as well as at the Grand Chaumiere razstava, sodeluje na skupinskih razstavah v kooperativnih School in Paris. 1956–1959 has one man shows and galerijah na 10. ulici v New Yorku (mdr. v galerijah Brata in participates in group exhibitions in the cooperative galleries Tanager). 1957 Eden od ustanoviteljev galerije March. 1961 of 10th Street in New York City, including at the Brata and Sodeluje na Involvement Show v galeriji March. 1961–1965 Tanager Galleries. 1957 is one of the original members Poučuje na School of Visual Arts v New Yorku. 1963 Raz- of the March Gallery cooperative. 1961 takes part in the stavlja na ‚NO Show‘ v Galeriji Gertrude Stein v New Yorku. Involvement Show at the March Gallery. 1961–1965 teaches 1988 Vključen v prvo antološko publikacijo NO!art gibanja z at the School of Visual Arts, New York. 1963 the NO Show at naslovom NO!art: Pin-ups, Iztrebki, Protest, Judovska umet- Gallery: Gertrude Stein, New York. 1988 appears in NO!art: nost v založbi Edition Hundertmark. 1995 Sodeluje na raz- Pin-ups, Excrement, Protest, Jew-art, the first anthology of stavi NO!art v neue Gesellschaft für bildende Kunst (nGbK) the NO!art movement, published by Edition Hundertmark. v Berlinu. 2001–2002 Sodeluje na razstavi NO!art in estetika 1995 participates in the exhibition NO!art at the nGbK: obsodbe v Muzeju umetnosti Mary and Leigh Block v Evan- neue Gesellschaft für bildende Kunst in Berlin. 2001–2002 stonu, Illinois in Muzeju umetnosti univerze Iowa v Iowa Ci- participates in NO!art and the Aesthetics of Doom at the tyju. 2006 Skupaj z Borisom Luriejem sodeluje pri nastanku Mary and Leigh Block Museum of Art in Evanston, Illinois t. i. Ax works (Dela s sekiro) in nastopi v dokumentarnem and at the University of Iowa Museum of Art in Iowa City, filmu Shoah and Pinups! The No!art Artist Boris Lurie. 2011 Iowa. 2006 creates Ax works with Boris Lurie and appears Umrl v Woodstocku v državi New York. in Shoa and Pinups! The NO! Artist Boris Lurie documentary. 2011 dies in Woodstock, New York. ROCCO ARMENTO Sedeča figura / Seated Figure, 1962, mavec / Plaster, 55,9 x 33 cm © Boris Lurie Art Foundation Wolf Vostell (1932–1998) 166

1932 Rojen Josephu in Regini Schäfer v Leverkusnu. distortion«. 1960 Prva pariška razstava, sreča s t. i. affichiste: Oče je železniški delavec. 1939 Vojno preživi v Chomutovu Francois Dufrene, Jacques de la Villeglé, Raymond Hains na Češkem. 1945 Po treh mesecih pešačenja se preko in Mimo Rotella, kot tudi teorika t. i. »Novega realizma« Budejovic, Prage, Chomutova, Dresdna, Gere in Kassla vrne Pierra Restanyja. Rodi se sin David. 1961 Sodeluje na se v Köln. 1950–1953 Uči se za foto-litografa. 1952 Prevzame razstavah »Anti-procès« v Parizu in Milanu, kjer nastopajo materin dekliški priimek Vostell. 1954 Obišče Pariz, kjer na tudi Jean-Jacques Lebelo, Lucio Fontana, Wilfredo Lam, prvi strani časopisa Le Figaro opazi besedo décollage v Henri Michaux, Matta, Jacques Prévert, César, Erró, Robert članku o letalski nesreči neposredno po vzletu. Izraz uporabi Rauschenberg, Cy Twombly, in drugi. V Kölnu živi skupaj s za opis natrganih plasti plakatov na zidovih v urbanem Stefanom Wewerko ter skupaj z njim ter Nam June Paikom okolju in kasneje za svoje akcije. Dé-coll/age postane in Benjaminom Pattersonom organizira spontane umetniške Vostellov ustvarjalni princip in splošen koncept njegove akcije. 1962 S Paikom in Georgom Maciunasom pripravi prvi umetnosti. Tega leta je pripravil prvi dé-coll/age happening mednarodni Fluxus festival v Kölnu. Predstavi glasbeno dé- v Wuppertalu. V Kölnu je spoznal Karlheinza Stockhausna. coll/age akcijo »Kleenex 1« in sreča Dicka Higginsa, Alison 1955–1956 Obiskuje Ècole National Supérieure des Beaux Knowles and Emmetta Williamsa. Fluxus koncerti potujejo Arts v Parizu. Študira slikarstvo, grafiko in anatomijo ter dela v Kopenhagen in Pariz. Izidejo tri številke revije dé-coll/ Hieronymusa Boscha, Goye, Bruegla in Fernanda Légerja age, v katerih predstavi svoje aktualne ideje. Sreča Josepha ter delo znamenitega oblikovalca Cassandra. 1957 Obiskuje Beuysa. Dé-coll/age happening na avtobusu v Parizu. umetnostno akademijo v Düsseldorfu; študij talmuda. 1958 1963 Prva samostojna razstava v ZDA v galeriji Smolin v Povratek v Pariz, kjer izvede drugi dé-coll/age happening New Yorku, kjer predstavi prvi TV environment z naslovom »Gledališče je na cesti«. V svoja umetniška dela kot prvi »6 TV-dé-coll/agen«. Sodeluje na Yam Fluxus festivalu. začne vgrajevati avtomobilske dele in televizorje. Ustvari Sreča Johna Caga, Allana Kaprowa, Georga Brechta, svoj prvi environment z naslovom »Schwarzes Zimmer« Roberta Wattsa, La Monte Younga, Allena Jonesa, Ala (Črna soba), v katerega je vključil dela »Nemški pogled«, Hansena, Claesa Oldenburga, Christa in Andyja Warhola. V »Treblinka« in »Žaromet iz Auschwitza« - uvrščamo jih med Wuppertalu uprizori prvi potujoči happening »9-no-dé-coll/ najzgodnejša umetniška dela, ki se ukvarjajo s holokavstom. agen« na devetih različnih lokacijah v mestu. Nastane prvi Sodeluje s C. G. Jungom. Obišče Extremaduro v Španiji, eksperimentalni film »Sun in your Head«. 1964 Srečanje z kjer v Caceresu prvič samostojno razstavlja. 1959 Poroči Borisom Luriejem, s katerim se povežeta v doživljenjsko se z Mercedes Guardado Olivenza, dolgoletno ustvarjalno prijateljstvo. Sodeluje pri pripravi prvega dogodka skupine partnerko. Nastane prvi elektronski dé-coll/age »TV Fluxus v Berlinu in happeninga v novoustanovljeni Galerie 167

Wolf Vostell v New Yorku, 1963 / Wolf Vostell in New York City, 1963 (foto: Dick Higgins) © The Wolf Vostell Estate

René Block. 1965 Izvede happening v Berlinu in Wuppertalu. skulpturo »Televizijski obelisk« za Dalijev muzej v Figuerasu. Z Jürgenom Beckerjem izda antologijo Happenings. Fluxus. V zameno podari delo za Museo Vostell Malpartida. 1979 Pop art. Nouveau réalisme. Eine Dokumentation. (Rowohlt- Organizacija prvega S.A.C.O.M. (Teden sodobne umetnosti) Verlag). Srečanje z Marcelom Duchampom v Hannovru. v Museo Vostell Malpartida. 1979 Vostell pripravi scenografijo Rojstvo drugega sina Rafaela. 1966 Izvede 14-dnevni za izvedbo predstave »Hamlet«, v kateri igralci upravljajo s happening na različnih lokacijah v New Yorku, skupaj z 120 TV sprejemniki and video kamerami. 1980 Na Institute Something Else Press Dicka Higginsa. Prva retrospektivna of Contemporary Art v Los Angelesu izvede ‘environment’ razstava v Kölnischer Kunstverein. 1967 v Kölnu izvede z naslovom Endogenous Depression s 30 TV betonskimi happening »Miss Vietnam«. 1968 S skladateljem Mauriciom skulpturami in sedmimi živimi purani. 1983 Srečanje z Kaglom ter Alfredom Feussnerjem in F. Heubachom ustanovi Jorgeom Luisom Borgesom in Jorgeom Glusbergom v Kölnu e.V. Laboratory, laboratorij za raziskavo ter organizacijo Buenos Airesu. 1992 Ob šestdesetletnici Wolfa Vostella akustičnih in vizualnih dogodkov. 1969 Razstavlja v galeriji pripravi pet muzejev (Köln, Mülheim/Ruhr, Bonn, Leverkusen Schwarz v Milanu. Ustvari prvo ‘event-skulpturo’: Opel in Mannheim) skupno najobsežnejšo retrospektivno razstavo. Kapitän, prekrit s cementom z naslovom »Ruhender Verkehr« 1993 Imenovan za člana Evropske akademije znanosti in (Mirujoči promet). 1970 Ustvari drugo skulpturo iz cikla umetnosti v Salzburgu. 1994 Museum Vostell Malpartida »Concrete Traffic« v Muzeju za sodobno umetnost v Chicagu. postane javna ustanova pod pokroviteljstvom deželne Spozna galeristko Inge Baecker v Bochumu, predstavi ji delo vlade v Extremaduri. 1996 Ustvari svojo največjo dé-coll/ Borisa Lurieja. S Haraldom Szeemannom organizira prvo age skulpturo z reaktivnim letalom with »Warum dauerte der retrospektivno razstavo happeningov and Fluxus dogodkov Prozeβ zwischen Pilatus and Jesus nur 2 Minuten?« (Zakaj v Kölnischer Kunstverein. 1971 Preseli se v Zahodni Berlin. je Pilatovo zaslišanje Jezusa trajalo samo dve minuti?) 1998 1972 V Neuer Berliner Kunstverein soustanovi prvo video 3. aprila v petinšestdesetem letu umre zaradi srčne kapi knjižnico v Nemčiji. 1973 Soustanovitelj ADA Festival Action v Berlinu. Pripravil je več kot dvesto samostojnih razstav of the Avant-Garde. 1974 V stari tovarni za predelavo volne in sodeloval na več kot sedemsto petdesetih skupinskih v zapuščeni pokrajini sredi španske Extremadure, blizu razstavah v Evropi, Amerikah in Aziji. Organiziral je 51 vasice Malpartida de Cáceres, ustanovi Muzej konceptualne happeningov ter nastopil na petih glasbenih koncertih v umetnosti druge polovice dvajsetega stoletja. 1976 Otvoritev obdobju pred Fluxusom ter na brezštevilnih koncertih v Museo Vostell Malpartida v Cáceresu v Španiji, ki je obenem okviru gibanja Fluxus. dokumentacijski in razstavni center za mednarodno gibanje Fluxus. 1978 Srečanje s Salvadorjem Dalijem, ki naroči Wolf Vostell (1932–1998) 168

1932 born to Joseph and Regina Schäfer in Leverkusen. part in Berlin’s first Fluxus event and happenings in the newly His father is a railroad worker. 1939 goes to Chomutov, founded Galerie René Block. 1965 realizes happenings in Czechoslovakia until the end of the war. 1945 returns to Berlin and in Wuppertal. With Jürgen Becker, publishes the Cologne on foot over three months via Budweis, Prague, anthology Happenings. Fluxus. Pop art. Nouveau réalisme. Chomutov, Dresden, Gera and Kassel. 1950–1953 Eine Dokumentation. (Rowohlt-Verlag). Meets Marcel apprenticeship as photo-lithographer. 1952 takes the name Duchamp in Hannover. Birth of the second son Rafael. 1966 Vostell, his mother’s maiden name. 1954 visits Paris, where realizes a 14-day happening all across New York City with he sees the word décollage on the front page of Le Figaro, Dick Higgins’s Something Else Press. Has first retrospective describing the crash of an airplane immediately upon takeoff. in the Kölnischer Kunstverein. 1967 realizes the happening He uses the term to describe the torn layers of posters on “Miss Vietnam” in Cologne. 1968 founds the e.V. Laboratory urban walls, and later the open flow of events. Dé-coll/age for researching acoustic and visual events in Cologne with the becomes Vostell’s design principle and comprehensive composer Mauricio Kagel, Alfred Feussner and F. Heubach. concept of art. Creates his first dé-coll/age happening in 1969 shows at Galleria Schwarz in Milan. Creates his first Wuppertal. Meets Karheinz Stockhausen in Cologne. 1955– event-sculpture, an Opel Kapitän covered in cement, titled 1956 attends the École National Supérieure des Beaux Arts “Ruhender Verkehr” (“Resting Traffic”).1970 creates a second in Paris. Studies painting, graphics and anatomy, Hieronymus “Concrete Traffic” at the Museum of Contemporary Artin Bosch, Goya, Bruegel and Fernand Léger, and works for the Chicago. Meet the gallery owner Inge Baecker in Bochum, famous designer Cassandre. 1957 visits the art academy in whom he will introduce to the work of Boris Lurie. With Harald Dusseldorf, studies the Talmud. 1958 returns to Paris and Szeemann, organizes the first retrospective exhibition of the does his second dé-coll/age happening “The Theater is in happenings and Fluxus at the Kölnischer Kunstverein. 1971 the Street”. Begins to integrate car parts and televisions into moves to West Berlin. 1972 co-founds the first video library in his art, the first artist to do so. Creates his first environment Germany in the Neuer Berliner Kunstverein. 1973 co-founder “Schwarzes Zimmer”, with the works “Deutscher Ausblick”, of the ADA Festival Action of the Avant-Garde. 1974 in the “Treblinka” and “Auschwitz Scheinwerfer”, some of the barren landscape of the central Spanish Extremadura, near the earliest artworks to treat the Holocaust. Works with C. village of Malpartida de Cáceres, Vostell founds the Museum G. Jung. Visits Extremadura, , and has his first solo for the Concept of Art in the 2nd Half of the 20th Century in the exhibition in Cáceres. 1959 marries Mercedes Guardado building of an old woolen mill. 1976 Opening of the Museo Olivenza, his lifelong creative partner. First electronic dé- Vostell Malpartida in Cáceres, Spain, as a documentation and coll/age TV distortion. 1960 has his first Paris exhibition and exhibition center for the international Fluxus movement. 1978 meets the Affichistes Francois Dufrene, Jacques de la Villeglé, meets Salvador Dali, who commissions a sculpture for Dali’s Raymond Hains and Mimo Rotella, as well as the theoretician museum in Figueras, “Television Obelisk”. Dali reciprocates of “Nouveau Réalisme” Pierre Restany. Son David is born. for the Museo Vostell Malpartida. 1979 organizes for the 1961 participates in the Anti-procès exhibitions in Paris and first time the S.A.C.O.M. (Week of Contemporary Art) at the Milan with Jean-Jacques Lebel, Lucio Fontana, Wilfredo Lam, Museo Vostell Malpartida. 1979 Vostell does the stage for a Henri Michaux, Matta, Jacques Prévert, César, Erró, Robert “Hamlet” performance in which the actors operate 120 TV Rauschenberg, and Cy Twombly, among others. Lives with sets and video cameras. 1980 realizes his large Environments Stefan Wewerka in Cologne and creates spontaneous actions Endogenous Depression with 30 TV concrete sculptures with with Wewerka, Nam June Paik, and Benjamin Patterson. seven live turkeys at the Institute of Contemporary Art, Los 1962 with Paik and , prepares the first Angeles. 1983 meets Jorge Luis Borges and Jorge Glusberg international Fluxus festival in Cologne. Presents the music in Buenos Aires. 1992 to mark his 60th birthday, five museums dé-coll/age-action “Kleenex 1”, and meets Dick Higgins, in Cologne, Mülheim/Ruhr, Bonn, Leverkusen and Mannheim and . The Fluxus concerts jointly organize the most comprehensive retrospective of his travel to Copenhagen and Paris. Produces three issues of work. 1993 appointed member of the European Academy the magazine dé-coll/age – bulletin of current ideas. Meets of Science and Art in Salzburg. 1994 the Museum Vostell Joseph Beuys. Dé-coll/age bus happening in Paris. 1963 first Malpartida is nationalized by the Provincial Government of solo exhibition in U. S. at the Smolin Gallery in New York, with Extremadura. 1996 creates his largest dé-coll/age sculpture the first TV environments ever in the country: “6 TV-dé-coll/ with a jet plane “Warum dauerte der Prozeβ zwischen Pilatus agen”. Participates in the Yam Fluxus Festival. Meets John and Jesus nur 2 Minuten?” (“Why did the trial between Pilate Cage, Allan Kaprow, George Brecht, Robert Watts, La Monte and Jesus take only 2 Minutes?”) 1998 dies on April 3 of heart Young, Allen Jones, , Claes Oldenburg, Christo and failure, aged 65 in Berlin. In his lifetime he has over 200 solo Andy Warhol. In Wuppertal, performs the first travel happening exhibitions and over 750 group exhibitions in Europe, America “9-no-dé-coll/agen” at 9 different locations in the city. Creates and Asia, organizes 51 happenings, and gives five pre-Fluxus his first experimental film “Sun in your Head”. 1964 meets concerts and countless Fluxus concerts. Boris Lurie, with whom he has a lifelong friendship. Takes 169

WOLF VOSTELL Čistke / Combs, 1968, sitotisk na kartonu / Silk screen on cardboard, 61 x 94,6 cm © Boris Lurie Art Foundation

WOLF VOSTELL WOLF VOSTELL Eisenhower in De Gaulle št. 6 / Sovjetska zveza št. 6 / Eisenhower and De Gaulle, No 6, Soviet Union, No 6, 1962, 1962, asemblaž, razbite žarnice, tiskarska barva / asemblaž, razbite žarnice, tiskarska barva / Assemblage, broken bulbs, magazines paint, Assemblage, broken bulbs, magazines paint, 54,6 x 39,4 cm 54,6 x 39,4 cm © Boris Lurie Art Foundation © Boris Lurie Art Foundation

Michelle Stuart (1933) 172

Michele Stuart v svojem manhattanskem ateljeju v New Yorku / Michelle Stuart in her Manhattan studio, New York, 1990 © Foto: Susan Wood/Getty Images

MICHELLE STUART Za Borisa: z ljubeznijo in poljubi / For Boris: love+kisses, 1960, gvaš / Guache on paper, 60,3 x 47 cm

1933 Rojena v Los Angelesu v Kaliforniji. V mladosti 1933 born in Los Angeles, California. In her youth spremlja očeta inženirja na raziskovalnih ekspedicijah accompanies her father on his engineering surveys po južni Kaliforniji. 1952 Diplomira na Chouinard Art throughout Southern California. 1952 graduates from Institute v Los Angelesu (danes Cal Arts) in se zaposli kot Chouinard Art Institute, Los Angeles (now Cal Arts), and works topološka risarka vodnih poti v kalifornijskih puščavah. as a topological draftswoman, again mapping waterways in 1954–1956 Študira na Instituto de Bellas Artes v Mexico California’s deserts. 1954–1956 studies at the Instituto de Cityju pri prof. Diegu Riveri; sodeluje pri izdelavi njegove Bellas Artes, Mexico City under , working with velikega stenske poslikave. 1958–1961 Študij na New him on one of his murals. 1958–1961 studies at the New School for Social Research v New Yorku. 1961 Sodeluje School for Social Research, New York. 1961 participates na razstavi Involvement v kooperativni galeriji March na 10. in the Involvement shows at the 10th Street cooperative ulici v New Yorku. 1963 Sodeluje na razstavi NO Show v March Gallery, New York. 1963 participates in the NO Show galeriji Gertrude Stein v New Yorku. Objavi esej »NO is an at Gallery: Gertrude Stein, New York. Publishes the essay Involvement« (NE pomeni biti udeležen) v Artforumu, vol. 2, “NO is an Involvement” in Artforum, vol. 2, no. 3. 1973 has št. 3. 1973 Prva samostojna razstava na univerzi Rutgers, first solo exhibition at Rutgers University, New Jersey. 1975 New Jersey. 1975 Prejme štipendijo fundacije Guggenheim. wins a Guggenheim Foundation Fellowship. 1976 helps 1976 Pomaga ustanoviti feministično revijo Heresies. 1977– found the feminist publication Heresies. 1977–1988 has solo 1988 Samostojne razstave v galeriji Janus v Los Angelesu, exhibitions at Janus Gallery, Los Angeles; the Walker Art v Walker Art Centru v Minneapolisu, v Massachusetts Center, Minneapolis; Massachusetts Institute of Technology, Institute of Technology (MIT) v Cambridgu, v The Rose Art Cambridge, MA; The Rose Art Museum, Waltham, MA; the Museum v Walthamu, v Gemeentemuseum v Den Haagu na Gemeentemuseum Den Haag, Netherlands; the Institute Nizozemskem, na Institute for Contemporary Art v Londonu, of Contemporary Arts, London; Centre d’Arts Plastique v Centre d‘Arts Plastique Contemporaines v Bordeauxu Contemporaines de Bourdeaux, France; The Arts Club v Franciji, v The Ats Club v Chicagu, v Muzeju umetnosti of Chicago; Everson Museum of Art, Syracuse, NY. 1988 Everson v Syracuse v državi New York. 1988 Vključena v appears in NO!art: Pin-ups, Excrement, Protest, Jew-art, prvo antološko publikacijo NO!art gibanja z naslovom NO!art: the first anthology of the NO!art movement, published by Pin-ups, Iztrebki, Protest, Judovska umetnost v založbi Edition Hundertmark. 1995 participates in the exhibition Edition Hundertmark. 1995 Sodeluje na razstavi NO!art v NO!art at the nGbK: neue Gesellschaft für bildende Kunst neue Gesellschaft für bildende Kunst (nGbK) v Berlinu. 2017 in Berlin. 2017 installs her work Sayreville Strata Quartet at Svoje delo z naslovom Sayreville Strata Quartet postavi v Dia:Beacon in Beacon, New York. Dia:Beacon v Beaconu, New York.

Marko Košan 176

Pričevanje podobe1

O razmerju umetnosti do pričevanja o strahotah nacističnih koncentracijskih taborišč No!art Borisa Lurieja proti dachavskim dnevnikom Zorana Mušiča in Bogdana Borčića

Travmatičen spomin na bržkone najmračnejšo epizodo zamajal temelje splošne teorije moralnosti, zato ga je domala 20. stoletja v znamenju totalitaristične nacistične države nemogoče uvrstiti v diskurzivni univerzum vede(nja), še več: in njenega uničevalnega aparata, ki ga paradigmatsko za- taborišče smrti je nepojmljivi dogodek, ki je za svoje dejanje stopajo koncentracijska taborišča, je šele od osemdese- načrtoval vnaprej pripravljen izbris in obstoj prič, dokumentov tih let dalje in do konca preteklega stoletja doživel števil- in v tem okviru tudi podobe, ter je bil, kot pravi Gérard Waj- ne analize raziskovalcev, ki delujejo na različnih področjih cman, izveden izven zgodovine4. In ravno zato, ker ta izven- družboslovnih in humanističnih ved. Pojav, ki ga cela vrsta -zgodovinskost oziroma trans-historičnost artikulira dogodek filozofskih tekstov prepoznava kot izrazito singularnega, kot neoprijemljivo zev in s svojo vsiljeno odsotnostjo onemo- izvzetega iz razvojnega zgodovinskega toka in kot takega goči reprezentacijo, pričevanje o travmatičnem dogodku pa izrazito eksemplaričnega, je sprožil teoretski diskurz, ki se je nujen etičen imperativ, mora umetnost, če se hoče vživeti v z jasnimi epistemološkimi zastavki ukvarja z reprezentativ- vlogo priče, zlomiti reprezentacijo in njeno nemoč tako, da s nimi zmožnostmi t. i. »situacije Auschwitz«2, zlasti o mož- pomočjo ustreznih, likovni umetnosti lastnih sredstev utelesi nosti in nemožnosti pričevanja. Zarisuje se v širokem polju odsotnost objekta oz. se izkaže kot odsotnost sama na sebi.5 etike oz. etične konstitucije subjekta s posebnim ozirom na Vizualna umetnost, predvsem slikarstvo, mora nastopati brez Lyotardovo teorijo mnoštva in nepredstavljivosti, Lacanovo upodobitve, ikonoklastično, saj lahko le na ta način prikliče teorijo subjekta oz. realnega, različne teoretske aplikacije opisano stanje in se tako izogne historizaciji, ki izhaja iz re- Foucaultovega pojma biopolitike oz. tudi v slovenskem oko- prezentacije. Pri tem je bistven t. i. Lyotardov paradoks, ki se lju zelo prisotne Agambenove analize genealogije koncepta glasi, da je »prava priča ‚situacije Auschwitz‘ nema priča«, s (človeškega) življenja v zahodni civilizaciji. Diskurzivna nit čimer se izpostavi kontradikcija napetosti med nemožnostjo t. i. francoske epistemologije, ki je v zadnjih tridesetih letih pričevanja na eni strani in etično dolžnostjo pričevanja na dru- dominantno prisotna tudi v slovenski humanistiki, se tako gi strani. Izhodišča teze o nekomenzurabilnosti mnoštva, ki se ukvarja z reprezentativnim dometom vizualne umetnosti kot manifestirajo skozi nezmožnost komunikacije med heteroge- spominskim orodjem pričevanja o nepredstavljivem, pri če- nimi govoricami, se za naš namen pokažejo tudi kot orodje mer se naslanja predvsem na Lyotardovo teoretsko izhodi- za analizo dveh izrazito introspektivnih umetniških opusov, ki šče, da je le abstraktno, nepredmetno, ne-formalno slikar- sta jih ustvarila pomembna slovenska modernistična slikarja stvo doraslo vlogi kvalificirane, privilegirane priče, saj njen Zoran Mušič in Bogdan Borčić. Prav tako, čeprav se zdi, da prikaz za razliko od tradicionalnega slikarstva, ki odseva re- gre za popolnoma drugačen, domala nasproten in neusmi- alnost, meri na realno in je kot takšno lahko instrument res- ljeno ter ekstrovertno neposreden, akcionističen angažma, nice (kolikor je resnico mogoče kazati, ni pa je mogoče re- ponudi možnost tudi za uvid v temeljne sporočilne vrednosti prezentirati). Holokavst oziroma projekt dokončne rešitve ju- »judovskega« likovnega opusa Borisa Lurieja, osrednje oseb- dovskega vprašanja, s katerim so nacisti prekosili vse znane nosti newyorškega gibanja NO!art. in podedovane podobe zla3, je v svoji enkratni sprevrženosti

1 Pričujoči prispevek je nastal na osnovi seminarske naloge z istim naslovom, ki jo je avtor leta 2007 pripravil pri predmetu Epistemologija v okviru doktorskega študija na programu zbirka Claritas, Študentska založba, Ljubljana, 2006, str. 233.) Zgodovinska antropologija likovnega na Institutum Studiorum 4 Poleg Lyotardove misli sta referenčni okvir tega sestavka v Humanitatis v Ljubljani. veliki meri deli francoskega teoretskega psihoanalitika Gérarda 2 Skupno ime »situacija Auschwitz« se nanaša zlasti na filozofsko Wajcmana: L‘Objet du siècle, Editions Verdier, 1998 (slov. misel paradigme krivice, kakor jo je zastavil francoski mislec prevod: Objekt stoletja, Analecta, Ljubljana, 2007) in članek François Lyotard (1924–1998). Umetnost, psihoanaliza, 20. stoletje, Problemi 3–4/2001, str. 3 Zygmunt Bauman, Modernity and the Holocaust, Cornell 53–76. University Press, 1989 (slov. prevod: Moderna in holokavst, 5 Wajcman, Umetnost, psihoanaliza, 20. stoletje, str. 67. 177

Jean-François Lyotard se v svojem znamenitem delu angažirano vlogo. Zato nas je torej zanimalo, kako se impe- Navzkrižje6, sledeč svoji tezi, da ne obstaja univerzalno pra- rativ zvestobe dogodku – kako pričati, da obstaja ne samo vilo za razsojanje med heterogenimi zvrstmi, že na samem nevidno, temveč neizrekljivo, ki je usojeno pozabi – zrcali v začetku zaustavi pri dejstvu, da se travmatičen dogodek ne likovnih opusih Zorana Mušiča in Bogdana Borčića8, dveh more verodostojno predstaviti na način, kot ga zanj denimo slovenskih slikarjev, ki sta preživela pekel koncentracijskega predpostavlja sodišče, pri čemer kot privilegirani primer na- taborišča Dachau. vede (ne)možnost pričanja o nacističnih uničevalnih tabori- ščih in plinskih celicah. Šlo je namreč za zločin, ki je zaradi Neposredna refleksija taboriščne izkušnje v znamenitem odsotnosti materialnih dokazov vso breme pričevanja naložil ciklu Nismo poslednji, s katerim se je Mušič tako silovito vpi- preživelim žrtvam, pri čemer pa je bistvo teh taborišč, plin- sal v evropsko likovno ustvarjalnost po drugi svetovni vojni ska celica, za njih ostalo nevidno. Čeprav je bilo za preživele in se umestil med velika imena sodobne figuralne umetnosti, uničevalnih taborišč pričevanje pomembno in za večino v je na slikarjevih platnih vzniknila šele v sedemdesetih letih kasnejših letih celo eksistencialni smisel življenja, se je iz- preteklega stoletja, trideset let po travmatični izkušnji, v Bor- kazalo, da je ‚situacija Auschwitz‘ kljub izjemnemu korpusu čićevem primeru pa konsistentno celo še kasneje, leta 2002, spominskih izpovedi slejkoprej dogodek brez priče, skrknjen ko je po daljšem oklevanju sprejel povabilo organizatorjev v nemožnost zadovoljive artikulacije in v onemelem kriku za razstavljanje v spominskem muzeju nekdanjega tabori- pogreznjen v molk, še več: uresničuje se šele skozi nara- šča Dachau. Oba sta prve likovne vtise s konice svinčnika vo tega molka. Molk nosi vso težo oznanjevanja bolečine, a prenašala na papir že na samem prizorišču groze, tik pred kot tak trpljenja uničevalnih taborišče ne zmore adekvatno osvoboditvijo taborišča in v prvih dneh po njej, ko sta čaka- artikulirati, simbolizirati. V samem jedru pričevanja torej leži la na vrnitev domov. Mušič je to inicialno mrzlično zarotitev navzkrižje, ki sicer onemogoča simbolizacijo doživete trav- likovnega pričevanja sam opisal takole: matične izkušnje, a obenem zavezuje, da je pričanje o krivici potrebno. S tem Lyotard spominu oziroma etiki spominjanja »Morebiti je bilo to sredstvo, s katerim sem se skušal nazadnje podeli legitimnost, vendar komemorativno spo- otresti grozot. /…/ Risal sem kot v transu. Morbidno minsko prakso, ki je v vsakdanjem življenju udejanjena zlasti sem obvisel na koščku papirja. Bil sem kot slep zaradi s sporočilno funkcijo spomenikov, pa tudi z zgodovinopis- neresnične veličine taborišča, ki je bilo polno mrtvih. Od jem, istočasno vidi kot mehanizem, ki pravzaprav ne ohranja daleč so se mi zdeli kot lise belega snega, kot srebrni spomina na krivico zločina, temveč – nasprotno – odločilno odsevi na gorah. Notranja nuja me je silila, da narišem prispeva k pozabi dogodka ali vsaj k njegovi ideološki zlo- vse, prav vse, tudi najmanjšo podrobnost.«9 rabi, s katero je podjarmljena njegova heterogena narava.7 Morda se je tega zavedal tudi Boris Lurie, ko je nemoč po- Mušičevo hlastajoče beleženje prizorov v tem prvem tre- dob travmatičnega spomina brez odvečne intelektualistič- nutku torej ni bilo v poslanstvu priče, ki se zavestno odloči, ne refleksije in v isti ravnini pogleda enostavno zoperstavil kakor denimo Primo Levi,10 da bo pričal o nepredstavljivem. sočasnim ilustracijam ameriškega sna, kakršnega so slikale Njegove risbe, ki so bile kasneje večinoma uničene oziroma televizijske ‚sit-com‘ nadaljevanke in ga skupaj s pin-up ero- izgubljene, niso nastajale kot zastavek pričevanja o travma- tiko t. i. »girlie magazines« zavrtinčile v obsceno poneumlja- tičnem dogodku, temveč so bile spontani odziv na šok ulti- jočo idolatrijo ameriškega potrošništva. mativnega soočenja s prizori groze. Takrat še ne polnoletni Bogdan Borčić, a z likovnimi izkušnjami iz predvojnega in Če naj torej spomin v resnici ohrani preteklost, nam spo- medvojnega časa11, je na drugi strani ohranil nekaj risb s roča Lyotard, potem se mora izogniti reprezentaciji znotraj svojega konteksta, saj se mora nenehno vpisovati v aktual- 8 Zoran Mušič se je rodil leta 1909 v Gorici, študiral je na Akademiji no realnost, ker bo le na ta način ostala vseskozi prisotna in za likovno umetnost v Zagrebu, po drugi svetovni vojni je živel kot taka ne bo mogla biti pozabljena. In ravno to je s svojo večinoma v Parizu in Benetkah. Umrl je leta 2005. Bogdan Borčič tehniko kolažiranja počel tudi Boris Lurie. se je rodil leta 1926 v Ljubljani. S prvo generacijo študentov po drugi svetovni vojni je študiral Akademiji za likovno umetnost v Ljubljani. Nazadnje je živel v Slovenj Gradcu, kjer je umrl leta Lyotardova etika pričevanja je zastavek za estetiko, v 2014. kateri ima umetnost kot privilegirana priča izrazito etično, 9 Zoran Mušič, Arbeiten auf Papier von 1945 bis 1992. Razstavni katalog. Grafična zbirka Albertina na Dunaju in Deželno glavno 6 Jean-François Lyotard, Le Différend, Les Éditions de mesto Celovec. Dunaj, Celovec 1992, str. 169. Minuit, 1983 (slov. prevod: Navzkrižje, Založba ZRC /zbirka 10 Primo Levi (1919–1987), italijanski judovski kemik in pisatelj, Philosophica: series moderna /, Ljubljana, 2003). preživeli holokavsta. Avtor dveh ključnih spominskih literarnih 7 O tem Lyotard še posebej v delu Heidegger et ‚les juifs‘, pričevanj o grozotah Auschwitza: Ali je to človek? (1947) ter Éditions Galilée, 1988. Odlomek z naslovom Židje v prevodu Potopljeni in rešeni (1986). Stojana Pelka je bil objavljen v reviji Problemi, let. XXVII, 1989, 11 Mladi Borčić je obiskoval privatne tečaje v ljubljanskih likovnih št. 2–3. šolah slikarja Mateja Sternena in kiparja Franceta Goršeta. 178

tušem, ki so nastale po osvoboditvi taborišča, a na prvi pog- led presenetljivo v ničemer ne evocirajo grozote taborišča, saj na videz prinašajo le premočrtne, objektivno kadrirane poglede dachauskih vedut. A v podobah, ki se izogibajo odslikavi živega življenja, saj se zaustavljajo ob upodobitvah arhitekturnih ambientov, vendarle začutimo nelagodje, neka- kšno shizmo med očesom in vedenjem12, bodisi z zastrtjem 1 pogleda kot ga razkrivajo izbrani, s premnogimi detajli pre- obloženi motivi13 (slika 1), ali pa kot kontrapunkt ploskovito zarisanih fasad, v ohlapni perspektivi nanizanih v prostorska odrivala nekakšnih paravanov, ki zakrivajo onemelo neizrek- ljivost tistega, kar je (bilo) za njimi (slika 2).

Mušič in Borčić sta po srečni vrnitvi iz Dachaua prene- hala z risanjem prizorov taboriščnega življenja, da bi šele mnogo kasneje, vzdraženi z zunanjimi dejavniki14 nezadržno privreli na dan.

Ob podrobnejšem ogledu likovnih zapuščin Zorana Mu- šiča in Bogdana Borčića, se evidentno razkrije, da sta s travmo tematike »Auschwitz« oziroma Dachau aficirana tako rekoč celotna njuna opusa. Prisotnost »taboriščne groze« je 2 vpisana v gosto mrežo Mušičevega raznolikega motivnega sveta, zato naslov znamenitega cikla Nismo poslednji dobi svoj polni ontološki smisel šele, ko mu v transponiranih, ne- zavednih oblikah sledimo v drugih motivih, ki bodisi napove- dujejo najbolj znani cikel, ali pa mu v izteku opusa v zadnjih letih pridušeno sledijo. Časovno se upodobitve razčlove- 1 Bogdan Borčić, 12 V odnosu do znamenitega koncepta objet petit a kot instance Dachau, (travmatičnega) drugega, kot ga je v svoji teoretski psihoanalizi 1945, razvil Jacques Lacan. 29,7 x 21 cm, 13 Idejo zastrtega pogleda, s katerim se skozi paradigmo privatna last / »rokokojske preobloženosti« skuša prikriti fantazma (zločin) kot Private collection metafora subjektove navezanosti na (travmatično) realno je v filmu Risarjeva pogodba (The Draughtman‘s Contract, 1982) 2 sijajno vizualiziral britanski režiser Peter Greenaway. Bogdan Borčić, Dachau, 14 Mušiča so prizadeli prizori strahot vietnamske vojne, Borčić, ki 1945, je sicer nekaj del s taboriščno tematiko ustvaril že v petdesetih 29,7 x 21 cm, in na začetku šestdesetih let, pa je, sprva le nerad, pripravil cikel privatna last / dachauskih del šele po letu 2002 na povabilo Darka Lesjaka, Private collection v Münchnu živečega akad. slikarja in sodelavca likovnega razstavišča v spominskem muzeju Dachau. 179

čenih trupel denimo skoraj ujemajo z Rastlinskimi motivi, dramatično serijo ožganih, preperelih dreves, ki jih je Mušič srečal na poti po Provansi (glej sliki 3 in 4), pri čemer se drevesni kadavri z antropomorfnimi formami nespregledljivo spogledujejo z duktusom strašljivo razgaljene ugasle eksis- tence ogolelih človeških trupel. Mušičeva podoba je zlasti zgovorna, ko se ji približamo v detajlu, ko začne izgubljati svojo mimetično vrednost in postane abstraktna, prisotna zgolj v svoji fizični prezenci, kakršno je Mušič ujel v ciklu podob izpraznjene pokrajine iz začetka šestdesetih let (sliki 3 5 in 6), in jo je tenkočutno strnil slovenski likovni kritik Zoran Kržišnik, ko opazi, da »v tem po vsebini krepko poudarjenem ciklu ni šlo v izgubo nič tega, kar so dali formalnih dognanj in umirjenega mojstrstva pravkar minuli, v oblikovne rešitve in notranje likovne likovne probleme zazrti cikli15«, in dalje piše:

»Rjava v raznih odtenkih, siva in predvsem zelena, /…/ z odmevom življenjske radosti ustvarja v človeškem razkroju cikla Nismo poslednji notranji kontrast, ki nas boleče prizadene prav zato, ker ne dovoljuje, da bi nam ti prividi groze, razčlovečenosti, trpljenja, do kraja zdrsnili »onstran«, da bi postali zgolj sen in himera, in jih kot z 4 žebljički pripenja v realnost vsakdanjega obstoja. /…/ Iz žgane zemlje so do podrobnosti preizkusile odtujevalni učinek peg, negotovost obrisov, ki jo ustvarja drhteča avra ob njihovih razlivajočih se robovih, optični nemir, ki ga te lise povzročijo v sodelovanju z mrežnico človeškega očesa, ko se poglabljamo vanje in začnejo bolj intenzivno izgubljati določljivo barvo, obliko, mesto – da, celo obstoj. Zdaj so ti madeži votline oči, zevajoča rana ust, drgetajoča nosnica, in vsi odpirajo pot naravnost v lobanjo – če je to sploh lobanja in ne nekakšna na silo oblikovana, nečloveška maska vesoljskega oblačila, izraz zadnjega človeškega napuha pred padcem v popolno 5 temo, v vesoljski Nič.«

3 5 Zoran Mušič, Zoran Mušič, Korenine / Dalmatinska zemlja / Roots, Dalmatian Soil, 1972, 1960, 114 x 162 cm, 50 x 65,5 cm, privatna last / Private collection privatna last / Private collection z dovoljenjem / Courtesy z dovoljenjem / Courtesy Vanda Mušič Vanda Mušič

4 6 Zoran Mušič, Zoran Mušič, Nismo poslednji / Nismo poslednji / We Are Not the Last, We Are Not the Last 1971, (detajl/detail), 114 x 145,5 cm 1970, Moderna galerija Ljubljana 114 x 146 cm, z dovoljenjem / Courtesy privatna last / Private collection Vanda Mušič z dovoljenjem / Courtesy Vanda Mušič 15 Zoran Kržišnik, Zoran Mušič, katalog razstave Umetniki eksistence, Galerija Tivoli, 1997, str. 13. 6 180

7 8

V jukstapoziciji s kupi mrličev in z nezavedno bližino for- V tem smislu je skoraj programska Mušičeva slika Atelje malnega izhodišča obeh motivov se celo grmade oziroma iz leta 1983 (slika 9), pri kateri je v dominantno središče po- kopice, značilni elementi Mušičeve dalmatinske pokrajine, dobe, med slikarja in model, ki sta stisnjena ob levi in desni nehote razpenjajo v nemem kriku neskončno otožne tragike rob, umestil velikansko prazno površino, ki je brez globine, (sliki 7 in 8). brez perspektive in kot taka ne označuje prostora, označuje le sebe, je svoj lastni referent. V klasičnem slikarskem moti- Zdi se torej, da so v uzrtju eksistenčne tragike, s katero je vu, ki ga je realist Gustave Courbet sredi 19. stoletja izkoristil, »prestreljen« celoten Mušičev opus, in tudi v uresničevanju da je vanj nakopičil reprezentativne označevalce »kulturnega pričevanjske kredibilnosti v prikazu nepredstavljivosti trav- millieuja« svoje dobe, je Mušič upodobil dominantni simbol matične izkušnje nacističnega taborišča smrti najbolj pre- »kulturnega millieuja« 20. stoletja – nič. V nemi krik spačena pričljiva dela, ki mimo podob iz niza Nismo poslednji nimajo »nečloveška« kreatura na podobah iz Nismo poslednji pa je neposrednih aluzij na taborišča, a jasno razodevajo subli- vendarle ostala edini referent Mušičeve človeške figure, ki mno občutje kot posledico aficiranosti duše, ne da bi to iz- se je v zadnjih avtoportretnih delih17 velikih formatov inkar- hajalo iz neposredne čutne zaznave. nirala v somnambulno senco, kjer se skozi predstavo lastne eksistence, ki jo požira praznina niča, morda kažeta nemoč Mušičeva umetnost je le v redkih zaključenih ciklih po- in dvom o zmožnosti pričevanja s podobo (sliki 10 in 11). dob nereprezentativna oziroma abstraktna, s čimer bi lahko zadovoljila eno izmed kondicijskih predpostavk Lyotardove 7 8 prepozicije po sublimnem, a Mušičeva nezavedna gradnja Zoran Mušič, Zoran Mušič, podobe, ki se vselej razkraja v trepetanju optičnih barvnih Dalmatinski grič / Kataster trupel / meglic vendarle ustreza formulaciji Gérarda Wajcmana, ko Dalmatian Hill, Register of Corpses, 1965, 1974, pravi, da »se zdi, da tisto, k čemur so vodilna dela umetnosti 38,3 x 56,3 cm grafična mapa / Original 20. stoletja najbolj formalno in najbolj trmoglavo uperjena, ni Narodna galerija prints, illustrated book nič drugega kot tole: vpisati manko v absolutno jedro dela; Ljubljana KGLU pokazati praznino, odsotnost; pokazati luknjo. Torej, names- z dovoljenjem / Courtesy z dovoljenjem / Courtesy to da bi nastopala kot tisto, kar to luknjo zamaši, se za ta Vanda Mušič Vanda Mušič dela zdi, da jim gre zgolj za to, da jo razgalijo, da jo celo kot tako izdolbejo.16« 17 Mušič je podobno kot veliki Rembrandt svoj opus zaključil s serijo pretresljivih avtoportretov, na katerih se v sublimnem 16 Gérard Wajcman, Objekt stoletja, str. 148. barvnem izginevanju poslavlja od lastne eksistence. 181 9 Zoran Mušič, Atelje / Studio, 1984, 65,5 x 92 cm, privatna last / Private collection z dovoljenjem / Courtesy Vanda Mušič

10 Zoran Mušič, Nismo poslednji / We Are Not the Last, 1973, 65 x 46,3 cm, privatna last / Private collection z dovoljenjem / Courtesy Vanda Mušič

11 Zoran Mušič, Portret moža s prekrižanima rokama / Portrait of a Man With Crossed Arms, 1994, 73 x 54 cm, privatna last / Private collection z dovoljenjem / Courtesy Vanda Mušič

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Obsežen slikarski opus Bogdana Borčića je le na prvi Čeprav je odtlej iz svojega podobotvorja izgnal fantom- pogled manj kot Mušičev »okužen« z dachavsko izkušnjo, a ske prikazni taboriščnikov, ki so se kot vseprisotna travma je z njo bržkone zaznamovan precej bolj, kot je to bil priprav- pojavljali v najrazličnejših motivnih kontekstih, ki so posedo- ljen priznati sam, oziroma kot so bili sposobni videti razla- vali kakršnokoli oblikovno vez s prizori iz taborišča (denimo galci njegove slikarske poetike. V dolgoletni strastni slikarski ribiške mreže na morskem obrežju), je skozi fascinantno li- avanturi, ki mu je narekovala pospešen tempo iskanja vedno kovno izkušnjo v počasnih korakih sledil logičnemu razvoju novih variantnih rešitev, se je kot zrel umetnik nenadoma za- likovne idiomatike od akademskega realizma preko abstra- ustavil in se z osupljivo avtorefleksijo ozrl na prehojeno pot. hiranja predmetnega sveta do končne radikalne abstrak- Čeprav iz lagerja ni prinesel likovnega dnevnika konkretnih tne podobe, pri kateri igra le prezenca – kot bi se zavedal zapisov, je sporadično od konca petdesetih let dalje občas- Lyotardovega imperativa po »iznajdbi« takega umetniškega no na izrazito emblematičen način upodabljal motiviko ta- dela, ki je že na sebi misel … »objekta, ki misli v vidnem«. A borišča, da bi se v začetku sedemdesetih, ko je v Münchnu tudi na delih, kjer je prisotna simbolizirana dachavska mo- prvič videl Mušičeve slike, po lastnih besedah zavestno od- tivika (slika 13), je ta v ospredju le kot instrumentalizirana ločil, da na temo Dachaua ne bo naredil nobene slike več. objektivnost in je zgolj izhodišče za vpis travmatičnega ob- čutja v vseobvladujočo črnino, ki se mimo, izza na ekran nanizanih figuralnih prizorov, perspektivično zožuje v točko niča. Nazadnje je po letu 2002 v dovršeno in v teku let iz- popolnjeno semantično strukturo likovne podobe vendarle 12 13 Bogdan Borčić, Bogdan Borčić, vtkal tudi boleče dachauske reminiscence, s katerimi je v Izza žice / Plinska celica – Dachau / čustveni meditaciji obudil spominski tok zavesti in se vrnil k Behind the Wire, Gas Chamber – Dachau, intimističnemu dialogu z ekstremno življenjsko preizkušnjo. 1959, 1972, 29 x 37 cm, 65 x 50 cm, privatna last / privatna last / Private collection Private collection

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14 15 Borisu Lurieju je ameriški eksil ponudil distanco od ru- Bogdan Borčić, Bogdan Borčić, ševin, v katerih je v prvih dveh desetletjih po koncu vojne Črna slika V / Arbeit Macht Frei, obležala Evropa, a je v New Yorku le še bolj radikalno občutil Black Painting V, 2014, »hipokrizijo intelektualcev, kapitalistično manipulacijo kultu- 1983, 39 x 49 cm, 130 x 130 cm grafična mapa re, potrošniško družbo in vse ostale ameriške molohe«, kot © KGLU In principio erat Dachau / se je izrazil sam. Zavestno se je postavil v vlogo obstran- graphic set ca in z beatniško uporniško držo, ki je svoj glasen odmev In Principio Erat Dachau, našla v znameniti, leta 1956 objavljeni pesmi Howl Allena privatna last / Ginsberga, na najbolj radikalen možen način zamajal domet Private collection normativnega razlikovanja med moralnim in amoralnim. Nje- gov NO!art je v popolni opoziciji do vsega, tudi do najbolj drznih umetniških praks, s programatskim poimenovanjem pa celo dvoumno razglaša, da to, kar je pred nami, nemara sploh ni umetnost in je s svojo »negativno estetiko« svetlob- na leta oddaljeno od pojma t. i. lepih umetnosti. Heterogeni značaj kolažiranih vizualnih izjav se izkaže predvsem s tem, da nemoralo sveta demonstrativno pokaže s sredstvi, ki so tradicionalno nemoralna ter se s tem izogne lagodni asimi- laciji v etični sistem vrednot, kjer bi imel nato vse možnosti, da se pobota s tem istim svetom. Tako v vsakem trenutku ostaja radikalno kritičen, zaznamuje pa ga vseprisotna tran- sgresivnost, zato vse do današnjih dni ni izgubil nič od svoje ostrine, še več: v času, ko ob koncu drugega desetletja 21. stoletja nikjer več ne prepoznamo izrazov avantgardistične- ga nekonformizma, se zdi enako sporočilna in eksplozivna kot ob svojem nastanku.

Razgaljeno in eksploatirano »pin-up« (žensko) telo oziro- ma eksplicitna pornografija nasploh, zapolnjujeta v našem času vse sfere javnosti, saj se zdi, da na način navidezne os- vobojenosti (telesa) delujejo vsi mehanizmi družbe: politika, gospodarski interesi, zabavna industrija, množični mediji, šport in svet mode, pa tudi komercialnim zahtevam podreje- na umetnost, od slikarske do filmske industrije, od založniš- 14 tva do glasbene industrije. Potrošništvo, ki ga je v globalno okolje sveta v 21. stoletju odtisnil ameriški način življenja, je skozi vseprisotnost pornografije kot najvišjo vrednoto ustoli- čilo udobje, s pomočjo katerega skuša iz življenja slehernika izriniti tesnobo zaradi bivanja. A nam v resnici zgolj zrcali travmo, ki je razsvetljenstvo kot temelj novejše zahodno- evropske civilizacije z zdrsom moderne v dogodek onkraj misljivega, kakršen je holokavst, za vekomaj obremenilo z madežem, potopljenim v nezavedno, kjer bi celo lahko os- tal za vekomaj skrit, če ne bi obstajala tudi temna ogleda- la, kakršna nam brezkompromisno nastavljajo Boris Lurie in protagonisti umetniškega gibanja NO!art, ki po več kot pol stoletja končno dobivajo veljavo, kakršno si zaslužijo.

15 Marko Košan 184

The Testimony of an Image1 On the Relation of Art to the testimony to the atrocities of Boris Lurie’s No!art versus the Dachau Diaries by Zoran Mušič and Bogdan Borčić

In was only from the 1980’s until the end of the 20th shook the foundations of the general theory of morality, so century that the traumatic memory of the grimmest 20th- it is almost impossible to place in the discursive universe century episode staged by the totalitarian Nazi state and of science (knowledge); moreover: a death camp is an its destructive apparatus, paradigmatically represented inconceivable event that planned the pre-arranged erasure by concentration camps, became a topic of a number of of the existence of witnesses, documents and in this context analyses of researchers active in various fields of social also images, and was, according to Gérard Wajcman, sciences and humanities. The phenomenon that a series carried out outside history4. And precisely because this of philosophical texts recognises as markedly singular, extra-historicity or trans-historicity articulates the event isolated from the development course of history and, as as an intangible gap and, by its forced absence, disables such, outstandingly exemplary, initiated the theoretical representation, while the testimony to the traumatic event discourse relying on clear epistemological concepts to deal is a necessary ethical imperative, art, if it wants to identify with representative potentials of the so-called “Auschwitz with the role of a witness, must break the representation and situation”2, especially the ability or inability to testify. It is its powerlessness by embodying the absence of the object situated in a broad field of ethics or ethical constitution or demonstrate itself as absence in itself by appropriate, of the subject with a special regard to Lyotard’s theory of intrinsic means.5 Visual art, especially painting, must act multitude and unimaginability, Lacan’s theory of the subject without depiction, iconoclastically, as this is the only way or Real, different theoretical applications of Foucault’s notion to invoke the described situation and avoid historisation of biopolitics or Agamben’s analysis of the genealogy of the deriving from representation. The essential element in this concept of (human) life in Western civilization, which is also is the so-called Lyotard’s paradox that states that “a true very present in the Slovenian environment. The discursive witness to the ‘Auschwitz situation’ is a silent witness”, which thread of the so-called French epistemology, which has also points out the contradiction between the inability to testify dominated the Slovenian humanities in the last thirty years, on the one hand and the ethical duty to testify on the other. thus deals with the representative scope of visual arts as the The foundations of the thesis on the incommensurability of memory tool of the testimony to the unimaginable, relying the multitude that manifest themselves through the inability primarily on Lyotard’s theoretical premise that only abstract, of communication between heterogeneous idioms are also non-objective, non-formal painting is capable of playing a demonstrated for our purpose as a tool for the analysis role of a qualified, privileged witness, since its representation, of two extremely introspective artistic opus made by two in contrast to the traditional painting targeting reality, targets important Slovenian modernist painters, Zoran Mušič and the real and as such can be an instrument of truth (insofar Bogdan Borčić. It also offers an opportunity for an insight as truth can be shown but cannot be represented). The into the fundamental communicative values of the “Jewish” singular perversion of the Holocaust, or the project of the artistic opus of Boris Lurie, the central figure of the New York final solution to the Jewish question, by which the Nazis movement NO! Art, although it seems completely different, have dwarfed all remembered and inherited images of evil3, almost opposite, relentless and extrovertly direct, actionist engagement. 1 The paper is based on an essay of the same title written by the author in 2007 for the Epistemology course, a part of his doctoral studies under the Historical Anthropology of the University Press, 1989, p. 151. Image programme at the Institutum Studiorum Humanitatis in 4 Besides Lyotard’s thought, the frame of reference of this paper Ljubljana. are largely the works by French theoretic psychoanalyst Gérard 2 The common name “Auschwitz situation” refers especially to the Wajcman: L’Objet du siècle, Editions Verdier, 1998, and article philosophical thought of the paradigm of injustice as conceived Umetnost, psihoanaliza, 20. stoletje (Art, Psychoanalysis, 20th by French philosopher François Lyotard (1924–1998). Century), Problemi 3-4/2001, pp. 53-76. 3 Zygmunt Bauman, Modernity and the Holocaust, Cornell 5 Wajcman, Umetnost, psihoanaliza, 20. stoletje, p. 67. 185

At the very beginning of his famous work The Differend6, as painted by television sit-coms and swirled, along with Jean-François Lyotard, following his premise about the pin-up eroticism of the so-called “girlie magazines”, into an lack of a universal rule of judgment among or between obscenely dumbing idolatry of American consumerism. heterogeneous genres, stops at the fact that a traumatic event cannot be credibly presented in the way presupposed If the memory is to preserve the past, states Lyotard, by the e.g. court, providing as a privileged example the it must avoid the representation within its own context; (in)ability to testify to Nazi extermination camps and gas instead, it should continuously inscribe in the current reality, chambers. It was, namely, a crime where a lack of material for this is the only way for it to remain continuously present evidence lay all the burden of testimony to the surviving and unable to be forgotten as such. An this is exactly what victims, to whom the essence of these camps, the gas Boris Lurie did with his collage technique. chamber, remained invisible. Although the testimony was important for survivors of the extermination camps and, Lyotard’s ethics of testimony is a basis for aesthetics for most of them even the existential meaning of life in the where the role of art as the privileged victim is prominently later years, it turned out that despite an exceptional corpus ethical, committed. We were therefore interested in how the of testimonies, the ‘Auschwitz situation’ was more or less imperative of loyalty to the event - how to testify that there an event without a witness, hardened into the impossibility is not only the invisible but the inexpressible bound to be of satisfactory articulation and immersed in silence in a forgotten - is reflected in the painting opuses of Zoran Mušič voiceless cry; moreover, it is materialised only through and Bogdan Borčić8, two Slovenian painters who survived the nature of this silence. Although silence carries the full the hell of the Dachau concentration camp. weight of declaring pain, it cannot adequately articulate or symbolise the suffering in extermination camps per se. At A direct reflection of the camp experience in the famous the very core of the testimony there is a conflict that prevents cycle We are not the Last, with which Mušič so powerfully the symbolisation of the experienced traumatic experience, entered the European artistic creativity after the Second World but at the same time imposes a commitment that the War and became one of the great names of contemporary testimony to injustice is necessary. Thus Lyotard ultimately figurative art, sprang up on the painter’s canvases only in gives legitimacy to memory or the ethics of remembrance, the 1970’s, thirty years after the traumatic experience; in but sees the commemorative memorial practice realised in Borčić’s case, it consistently appeared even later, in 2002, everyday life in particular by the communicative function of when he, after a long hesitation, accepted the invitation of monuments as well as by historiography as a mechanism the organisers for an exhibition at the Memorial Museum that in fact does not preserve the memory of the injustice of the former Dachau Camp. Both poured their first visual of crime but - quite the opposite - decisively contributes impressions from the tip of their pencils on paper at the very to forgetting the event, or at least to its ideological abuse scene of horror, just before and after the liberation of the 7 that subjugates its heterogeneous nature. Perhaps this was camp, when they waited to return home. Mušič described also recognised by Boris Lurie when he simply confronted this initial frantic enchantment of the visual testimony as the powerlessness of images of traumatic memory without follows: superfluous intellectual reflection and in the same view plane with the simultaneous illustrations of the American dream 8 Zoran Mušič was born in 1909 in Gorizia, studied at the Academy of Fine Arts in Zagreb and spent most of his life in Paris and Venice after the Second World War. He died in 2005. 6 Jean-François Lyotard, Le Différend, Les Éditions de Minuit, Bogdan Borčić was born in 1926 in Ljubljana. He was in the first 1983. generation of students enrolled in the Academy of Visual Arts in 7 Lyotard particularly addressed this in Heidegger et ‘les juifs’, Ljubljana after the Second World War. He spent the last part of Éditions Galilée, 1988. his life in Slovenj Gradec, where he died in 2014. 186

“Maybe it was an instrument by which I tried to shake A closer examination of art legacies of Zoran Mušič off the atrocities ... I drew as if in a trance. I morbidly hung and Bogdan Borčić evidently reveals that the trauma of the onto a piece of paper. I felt blind because of the unreal size “Auschwitz” or Dachau topic affects practically the whole of the camp full of dead people. From afar, they seemed of their opuses. The presence of the “camp horror” is like patches of white snow, as silver reflections on the inscribed into the dense network of Mušič’s diverse motive mountains. I felt a internal urge to draw everything, down to world; therefore, the title of the famous cycle We are not the smallest detail.”9 the Last gets its full ontological sense only when traced in transposed, unconscious forms in other motives that either Mušič’s feverish sketching of scenes at this first moment was predict the most famous cycle or follow it in a suppressed therefore not a part of the mission of a witness who consciously form in the closing part of the opus. decides to testify about the unimaginable, as Primo Levi did.10 Mušič’s drawings, later mostly destroyed or lost, were not made In the temporal sense, the depictions of dehumanised as a basis for a testimony about a traumatic event but were a bodies, for example, almost coincide with the Plant spontaneous reaction to the shock of the ultimate confrontation motifs, a dramatic series of burnt, broken trees that were with the scenes of horror. Bogdan Borčić, still underage at the encountered by Mušič on his journey across Provence (see time but with art experiences from the pre-war and war period11 images 3 and 4), the tree cadavers with anthropomorphic preserved some Indian ink drawings made after the camp’s shapes insolently flirting with a ductus of scarily exposed liberation; these drawings, however, do not evoke the atrocity extinguished existence of human bodies. Mušič’s image of the camp as they only depict straightforward, objectively is especially eloquent when we approach it in detail, when outlined views of the Dachau vistas. But the images that avoid it begins to lose its mimetic value and becomes abstract, the reflection of living life because they stop at the depictions present only in its physical presence as caught by Mušič of architectural ambiences nevertheless inspire an unease, a in the cycle of images of the emptied landscape from the kind of schism between the eye and the knowledge12, either early 1960’s (images 5 and 6); it was subtly summarised by by obscuring the view as revealed by the chosen motives Slovenian art critic Zoran Kržišnik when he noticed that “in overridden with detail13 (image 1) or as a counterpoint to the this cycle of strongly emphasised content, nothing was lost flatly drawn facades assembled in a loose perspective into of all that had been achieved by the formal knowledge and spatial orientations of fronts that conceal the speechless the tranquil mastery of the recent cycles focusing on formal inevitability of what lies (lay) behind them (image 2). solutions and internal art problems,15” and continues:

Although Mušič and Borčić stopped drawing the scenes “Brown in various shades, grey and above all green from the camp life after their safe return from Dachau, these ... creates with the echo of the joy of living in the human scenes irresistibly sprang up later, incited by external factors.14 degeneration of the cycle We are not the Last an internal contrast that affects us painfully precisely because it does not allow the phantasms of horror, dehumanisation and 9 Zoran Mušič, Arbeiten auf Papier von 1945 bis 1992. Exhibition suffering, to slip completely “beyond” in order to become catalogue. Graphic collection Albertina, Vienna and Regional only a dream and chimera, and pins them in the reality of capital Klagenfurt. Vienna, Klagenfurt 1992, p. 169 everyday existence. ... Examined in detail are the alienating 10 Primo Levi (1919–1987), Italian Jewish chemist and writer, effect of spots, the uncertainty of the contours generated Holocaust survivor. Author of two key literary testimonies on the by the quivering aura along their spilling edges, the optical atrocities of Auschwitz: If this is a Man (1947) and The Drowned and the Saved (1986). disturbance caused by these patches in cooperation with 11 Young Borčić attended private courses at Ljubljana art schools the retina of the human eye as we become absorbed in them of painter Matej Sternen and sculptor France Gorše. and they begin intensely to lose a determinable colour, shape, 12 In relation to the famous concept of objet petit a as an place - yes, even existence. Now these stains are cavities of instance of the (traumatic) other as developed in the theoretical eyes, a gaping wound of mouth, a shivering nostril, and they psychoanalysis of Jacques Lacan. all open the way straight into the skull - if it is a skull and 13 The idea of obscured view trying to conceal, through the not a kind of force-shaped, inhuman mask of a space suit, paradigm of “rococo overloading”, the phantasm (crime) as a an expression of the last human pride before falling into the metaphor of the subject’s attachment to the (traumatic) real perfect darkness, into the Nothing of the space.” was masterfully visualised by British director Peter Greenaway in The Draughtsman’s Contract, 1982. 14 Mušič was affected by horrible scenes from the Vietnam war, In juxtaposition with the mounds of the dead and with the while Borčić, who made some death camp themed works in the unconscious proximity of the formal starting point of both 1950’s and early 1960’s, somehow reluctantly produced a cycle motifs, even the piles or clusters, characteristic elements of of Dachau works only after 2002, following an invitation of Darko Lesjak, Munich-based academic painter and collaborator of the 15 Zoran Kržišnik, Zoran Mušič, catalogue of ‚Umetniki eksistence‘ visual art exhibition space at the Dachau Memorial Museum. exhibition, Galerija Tivoli, 1997, p. 13. 187

Mušič’s Dalmatian landscape, are unintentionally stretched deeper than he was willing to admit or than the interpreters out in the mute cry of the infinitely dreary tragedy (images 7 of his painting poetics were able to see. In a long-lasting and 8). passionate painting adventure that dictated an accelerated pace of search for ever new variant solutions, he suddenly It therefore seems that in the recognition of the existential stopped as a mature artist and looked at the road he had tragedy that “shoots through” the entire Mušič’s opus, travelled with astonishing auto-reflection. Even though he and also in the realisation of the credibility of testimony in did not bring an artistic log of concrete records from the the depiction of the incomprehensibility of the traumatic camp, he occasionally, from the end of the 1950’s, depicted experience of a Nazi death camp, the most convincing works, the motifs of the camp in an extremely emblematic manner; besides the images from the We are not the Last series, are in the beginning of the 1970’s, when he first saw Mušič’s those that do not directly allude to camps, but clearly reveal paintings in Munich, he consciously decided not to make the sublime feeling as a consequence of the soul’s affection, any more paintings with the Dachau topic. without it being derived from a direct sensory perception. Although he banished from his imagery the phantomic Mušič’s art is unrepresentative or abstract in only in rare spectres of camp inmates that appeared as an ubiquitous completed cycles of images, by which it could satisfy one trauma in different motivic contexts possessing any formal of the conditional assumptions of Lyotard’s proposition for link with camp scenes (e.g. fishnets on a seashore), he took the sublime, while Mušič’s unconscious construction of the slow steps through a fascinating process of examination image, which is always dissolved in the trembling of optical following the logical development of visual idiomatic from colour nebulae, still corresponds to the formulation of academic realism through abstraction of the world of objects Gérard Wajcman, when he says that “what seems to be the to the ultimate radical abstract image where presence is all most formal and most obstinate focus of the leading 20th that matters - as if aware of Lyotard’s imperative for the century works of art is nothing but this: to write the lack into “invention” of such artwork that is in itself a thought ... “an the absolute core of the work; to show emptiness, absence; object which thinks in the visible.” But also in works where to show the hole. Instead of acting as that which fixes the the symbolised Dachau motifs are present (image 13), this hole, these works seem to be only about exposing it, even is in the forefront only as an instrumentalised objectivity and digging it out as such16«. just a basis for the inscription of a traumatic feeling in the all-encompassing blackness that perspectivically narrows Almost programmatic in this sense is Mušič’s painting into the point of nothingness beyond the figural scenes Studio from 1983 (image 9), in which he placed in the assembled on the screen. After 2002, he finally wove in the dominant centre of the image, between a painter and refined and perfected semantic structure of the visual image a model squeezed along the left and right edges, a huge the painful Dachau reminiscences by which he revived the blank surface that is without depth, without perspective, memorial stream of consciousness in emotional meditation and as such does not signify space but only itself; it is its and returned to the intimistic dialogue with an extreme own referent. In the classical painting motive used by realist ordeal. Gustave Courbet in the mid-19th century to capture the representative markers of the “cultural milieu” of his era, Although the New York exile offered Boris Lurie a distance Mušič portrayed the dominant symbol of the “20th century from ruins in which Europe lay in the first two decades cultural milieu” - nothingness. The “inhuman” creature after the end of the war, his feelings for the “hypocritical distorted in a mute cry on the paintings from We are not the intelligentsia, capitalist culture manipulation, consumerism, Last, however, remained the only referent of Mušič’s human American and other Molochs,” as he said himself, were ever figure that was incarnated, in the last self-portrait17 works more radical. He consciously took a role of an outsider and of large formats, into a somnambular shadow, where the adopted a Beatnik rebel stance, which found its loudest idea of his own existence swallowed by the emptiness of echo in 1965 in the famous Howl by Allen Ginsberg, to shake nothingness may indicate powerlessness and doubt about the scope of normative distinction between the moral and the ability to witness with an image (images 10 and 11). immoral in the most radical possible way. His NO!art is in a total opposition to everything, including the most daring Although the rich painting opus of Bogdan Borčić is, art practices; its programmatic name even ambiguously at a glance, less “infected” with the Dachau experience declares that what we see may not be art at all as its “negative than that of Mušič, the mark it left on the painter is much aesthetics” places it light years away from the notion of the so-called fine arts. The heterogeneous character of 16 Gérard Wajcman, Object of the Century, p. 148. collaged visual declarations is demonstrated in the fact that 17 Mušič, like the great Rembrandt, concluded his opus with a it demonstratively exposes the immorality of the world with series of moving self-portraits, where he bids farewell to his the means that are traditionally immoral and thus avoids own existence in a sublime colour disappearance. 188 complacent assimilation into an ethical system of values, which would then give it every chance to reconcile with this same world. Thus he remains radically critical at each moment and characterised by ubiquitous transgression, which is why he has not lost any of his sharpness to the present day; moreover, if expressions of avantgardist non- conformism are not recognisable anywhere at the end of the second decade of the 21st century, the communicative power and explosive character of this art seem the same as at the moment it was made.

The exposed and exploited “pin-up” (female) body, or explicit pornography in general, fill in all the spheres of the public in our time, since all the mechanisms of society seem to act in the way of illusory liberation (of the body): politics, economic interests, entertainment industry, mass media, sports and fashion world, as well as art subordinated to commercial demands, from the painting industry to the film industry, from publishing to the music industry. Consumption, which the American way of life impressed in the global environment of the 21st century, has, through the ubiquity of pornography, enthroned comfort as the highest value, by means of which it tries to oust the anxiety of living from the lives of everyday people. But it really just reflects the trauma that forever tarnished enlightenment as the foundation of the newer Western European civilisation by the slip of the modern into an event beyond thinkable, such as Holocaust, with a stain immersed in the subconscious, where it could have remained hidden forever were it not for dark mirrors so uncompromisingly held by Boris Lurie and protagonists of the NO!art movement, who are finally gaining the well- deserved recognition after more than half a century. 189 Seznam razstavljenih del 190

Iz zbirke Gertrude Stein / Collection of Gertrude Stein

1. BORIS LURIE 8. BORIS LURIE Za mojo Sheino Gitl – mojo valentino / Prekrojeni mož (Cabot Lodge) / To my Sheina Gitl – My Valentine, 1981 Altered Man (Cabot Lodge), 1963 barva, papirni kolaž, papirni trak / Paint, barva, papirni kolaž na platnu / Paint, paper collage on canvas paper collage, tape on paper 74,3 x 61 cm 97 x 75 cm

9. BORIS LURIE 2. SAM GOODMAN Prekrojeni mož (Cabot Lodge) / Spomin na Marilyn / Remember Marilyn, ok. 1959–1960 Altered Man (Cabot Lodge), 1963 papirni kolaž, barva na lesenem ohišju barva, papirni kolaž na platnu / Paint, paper collage on canvas ure / Paint on wooden clock 74,3 x 61 cm 106,7 x 73,7 cm

10. BORIS LURIE 3. BORIS LURIE Brez naslova (Čudovite ženske) / Zbogom Amerika / Adieu Amerique, 1959–1960 Untitled (Fabulous Femmes), 1961 olje, fotografije na platnu / Oil, photo transfer on canvas papirni kolaž, plastika, barva na kartonu / Paper 141 x 130,8 cm collage, plastic, paint on cardboard 114,3 x 77,5 cm

Iz zbirke Umetniške fundacije 11. BORIS LURIE Borisa Lurieja / Anita, 1962 Collection of akril na platnu / Acrylic on canvas

Boris Lurie Art Foundation 12. BORIS LURIE NO! s striptizeto / NO! with Stripper, ok. / circa 1958–1962 4. BORIS LURIE Barva, mavec na platnu / Paint, plaster on canvas Miss Universe, 1961 85,1 x 69,9 cm akril na platnu / Acrylic on canvas

161,3 x 101 cm 13. BORIS LURIE Cikel Ljubezen: Ženske se pretepajo / 5. BORIS LURIE Love Series: Fighting Females, ok. / circa 1963 NO! plakati / NO! Posters, 1963 fotografska emulzija, akril na platnu/ Photo ofsetni tisk na odpadnem papirju na platnu / Offset emulsion, acrylic on canvas printing on wastepaper mounted on canvas 49 x 32 cm 221 x 172,7 cm

14. BORIS LURIE 6. BORIS LURIE Cikel Ljubezen: Zvezana na rdečem / Prekrojeni mož (Cabot Lodge) / Love Series: Bound on Red, ok. / circa 1963 Altered Man (Cabot Lodge), 1963 fotografska emulzija, akril na platnu / Photo barva, papirni kolaž na platnu / Paint, paper collage on canvas emulsion, acrylic on canvas 76,2 x 61 cm 195,6 x 138,4 cm

7. BORIS LURIE 15. BORIS LURIE Prekrojeni mož (Cabot Lodge) / Cikel Ljubezen; Zvezana in začepljena / Altered Man (Cabot Lodge), 1963 Love Series: Bound and Gagged, ok. / circa 1963 barva, papirni kolaž na platnu / Paint, paper collage on canvas fotografska emulzija, akril na platnu / Photo 76,2 x 61 cm emulsion, acrylic on canvas 58,4 x 39,4 cm 191 List of exhibited works

16. BORIS LURIE 24. SAM GOODMAN Oswald,1963 Eichmannovo obeležje (Triptih Eichmann) / papirni kolaž, akril na kartonu / Paper Eichmann Remember (Eichmann Triptych), ok. / circa 1961 collage, acrylic on cardboard kolaž predmeti na leseni konstrukciji / Collage, 58,4 x 38,1 cm objects on wooden construction 99,1 x 91,4 x 20,3 cm 17. BORIS LURIE Anti-pop šablona / Anti-Pop Stencil, 1964 25. SAM GOODMAN olje na papir in platnu / Oil on paper and canvas Pieta, 1962 53,3 x 61 cm papir na okrasnem pokrovu avtomobilskega kolesa/ Paper on metal hubcap 18. BORIS LURIE 38,1 x 38,1 cm Več zavarovanja / More Insurance, 1963 papirni kolaž, barva na kartonu / Paper 26. SAM GOODMAN collage, paint on cardboard Brez naslova / Untitled, 1961–1962 40,6 x 50,8 cm plastika na okrasnem pokrovu avtomobilskega kolesa / Plastic on metal hubcap 19. BORIS LURIE 36,8 x 36,8 cm Peresa / Feathers, 1962 barva, kolaž na platnu / Paint, collage on canvas 27. SAM GOODMAN 184,2 x 116,8 cm Gorila / Gorilla, 1961–1962 papir na okrasnem pokrovu avtomobilskega 20. BORIS LURIE kolesa/ Paper on metal hubcap naslova (Zbogom ljubezen) / 35,6 x 35,6 cm Untitled (Adieu Love), ok. / circa 1960 olje, akril, papir, fotografije, sponke na kartonu / Oil, 28. SAM GOODMAN acrylic, paper, photos, staples on cardboard Brez naslova / Untitled, 1962 80 x 105,4 x 5 cm plastika na okrasnem pokrovu avtomobilskega kolesa / Plastic on metal hubcap 21. BORIS LURIE 36,8 x 36,8 cm Brez naslova (Raztrgane pin-up lepotice) / Untitled (Torn Pinups), ok. / circa 1962–1963 29. SAM GOODMAN barva, papirni kolaž, linolej na lesu / Paint, Jedilni list (Krvavica) / Menu (Blood Wurst), 1961 paper collage, linoleum on playwood asemblaž, papir, kovina, les Assemblage, paper, metal, wood 162,6 x 165,1 cm / 29,2 x 42,6

22. BORIS LURIE 30. SAM GOODMAN Prekrojene fotografije: Pin-up lepotica (Telo) / Altered Photos: Pinup (body), ok./circa 1963 Nakupovalni voziček / Cart, 1962 fotografska emulzija, akril na platno / Photo kovinska košara, karton, papirni kolaž brva, asemblaž emulsion, acrylic on canvas na leseni plošči / Metal basket, cardboard, paper collage, paint assemblage on wooden board 116,8 x 127 cm 96,5 x 64,8 x 8,9 cm

23. SAM GOODMAN 31. SAM GOODMAN TV, 1962 Duša in Nečimrnost / Psyche&Vanity, 1961 asemblaž iz najdenih predmetov / asemblaž z mavcem, barvo, najdenimi predmeti / Found objects assemblage Assemblage with plaster, paint, found objects 101,6 x 81,3 x 43,2 cm 165,1 x 35,6 x 61 cm 192

32. SAM GOODMAN 40. STANLEY FISHER Smrt in vstajenje / Death and Resurrection, 1961 Brez naslova / Untitled, ok. / circa 1961–1963 zažgana plastična punčka s plastičnimi rožami olje, papirni kolaž na lesonitu / Oil, paper collage on masonite / Burned plastic doll with plastic flowers 170,2 x 69,2 cm 76,2 x 55,9 x 22,9 cm 41. STANLEY FISHER 33. SAM GOODMAN Brez naslova (Na pomoč) / Untitled (Help), 1959–1964 th Bog 20. stoletja / 20 Century God, 1962 olje, papirni kolaž na platnu / Oil, paper collage on canvas steklo, kovina / Glass, metal 81,3 x 72,4 cm 24,1 x 12,7 x 12,7 cm 42. STANLEY FISHER 34. SAM GOODMAN Brez naslova / Untitled, 1959–1964 Škatla / The Box, 1959–1964 Asemblaž z oljnimi barvami, papirjem, folijo in električnim kablom / asemblaž, najdeni predmeti v leseni škatli / Assemblage: oil paint, paper, foil and electrical light cord on board Assemblage, found objects in wood box 71,1 x 66 cm 35,6 x 29,2 x 22,9 cm 43. STANLEY FISHER 35. SAM GOODMAN, BORIS LURIE DRO bomba / DRO Bomb, ok. / circa 1961–1963 NE! skulptura (Skulptura Drek) / NO! kolaž, oljna brava in sprej na papir na platnu / Sculpture (Shit Sculpture), 1964 Collage, oil and spray paint on paper, canvas akrilna barva na mavcu / Acrylic paint on plaster 165,1 x 177,8 cm 21,6 x 34,6 x 30,5 cm 44. DOROTHY GILLESPIE 36. SAM GOODMAN, BORIS LURIE MIKY, 1964 NE! skulptura (Skulptura Drek) / NO! asemblaž, les, zlata folija, tkanina / Sculpture (Shit Sculpture), 1964 Assemblage, wood, gold foil, fabric akrilna barva na mavcu / Acrylic paint on plaster 15,2 x 21 x 13,2 cm 17,8 x 40,6 x 30,5 cm 45. DOROTHY GILLESPIE 37. SAM GOODMAN, BORIS LURIE Ljubica / Popsy, 1964 NE! skulptura (Skulptura Drek) / NO! asemblaž, les, zlata folija / Assemblage, wood, gold foil Sculpture (Shit Sculpture), 1964 24,1 x 55,9 x 25,4 cm akrilna barva na mavcu / Acrylic paint on plaster 38,1 x 68,6 x 61 cm 46. ALLAN D'ARCANGELO Brez naslova / Untitled, 1962 38. SAM GOODMAN, BORIS LURIE olje na platnu / Oil on canvas NE! skulptura (Skulptura Drek) / NO! 81,3 x 185,4 cm Sculpture (Shit Sculpture), 1964 akrilna barva na mavcu / Acrylic paint on plaster 47. ALLAN D'ARCANGELO 43,2 x 66 x 63,5 cm Made in USA, 1962 jedkanica / Etching on paper 39. STANLEY FISHER 25,4 x 19,1 cm Seks / Sex, ok. / circa 1961–1963 kolaž, papir, sprej na platnu / Collage, paper, spry paint on canvas 48. ROCCO ARMENTO 128,3 x 160 cm Sedeča figura / Seated Figure, 1962 mavec / Plaster 55,9 x 33 cm 193

49. ISSER ARONOVICI 57. ERRÓ (GUDMUNDUR GUDMUNDSSON) Brez naslova / Untitled, 1959–1964 B. M. Nemenski La mere (1945), Ben Shahn gvaš / Gouache on paper Sacco and Vanzetti (1931–32), 1966 57,2 x 71,8 cm olje na platnu / Oil on canvas 53,3 x 129,5 cm 50. ISSER ARONOVICI Plazeča se figura / Crawling Figure, 1963 58. SUZANNE LONG gvaš, kreda na papirju / Gouache, crayon on paper Ženske in vojna / Women and War, 1962 38,1 x 53,3 cm mavec na lesu / Plaster on wood 68,6 x 58,4 x 7,6 cm 51. JEAN-JACQUES LEBEL Brez naslova / Untitled, 1963 59. SUZANNE LONG barva, kreda, kolaž na papirju / Paint, crayon, collage on paper Ne brez moških / Not without Men, 1962 106,7 x 73,7 cm olje na platnu / Oil on canvas 156,2 x 121,9 cm 52. JEAN-JACQUES LEBEL Brez naslova / Untitled, 1963 60. WOLF VOSTELL tempera, kolaž na ofset plakatu / Tempera, Sovjetska zveza št. 6 / Soviet Union, No 6, 1962 collage on offset poster asemblaž, razbite žarnice, tiskarska barva / 76,9 x 61,6 cm Assemblage, broken bulbs, magazines paint 54,6 x 39,4 cm 53. JEAN-JACQUES LEBEL Brez naslova / Untitled, 1961 61. WOLF VOSTELL kovina, plastika, steklo, barva, papirni kolaž na lesu / Eisenhower in De Gaulle št. 6 / Metal, plastic, glass, paint, paper collage on wood Eisenhower and De Gaulle, No 6, 1962 119,4 x 48,3 x 12,7 cm asemblaž, razbite žarnice, tiskarska barva / Assemblage, broken bulbs, magazines paint 54,6 x 39,4 cm 54. JEAN-JACQUES LEBEL Brez naslova / Untitled, 1961 62. WOLF VOSTELL oljna barva, perje, kovina, guma, najdeni predmeti na lutki iz steklenih vlaken / Oil paint, feathers, metal, Čistke / Combs, 1968 rubber, other found objects on fiberglass mannequin sitotisk na kartonu / Silk screen on cardboard 182,9 x 35,6 x 38,1 cm 61 x 94,6 cm

55. ERRÓ (GUDMUNDUR GUDMUNDSSON) 63. MICHELLE STUART Arroyo, Miro, Riffeto,1962 Za Borisa: z ljubeznijo in poljubi / For Boris: love+kisses, 1960 preslikan plakat / Paint on mylar, offset poster gvaš / Guache on paper 53,5 x 48,3 cm 60,3 x 47 cm

56. ERRÓ (GUDMUNDUR GUDMUNDSSON) 64. YAYOI KUSAMA Foto kontaktne kopije / Photos from film, 1962–1967 Razstava Tisoč čolnov / One Thousand Boat Show, 1963 ofsetni tisk / Offset silkscreen litografija / Lithograph 105,4 x 74,9 cm 76,2 x 111,8 cm

65. ALDO TAMBELLINI Iz serije Spočetje / From the Conception Series, 1962 nitrolak, akril na papir / Duco, acrylic on paper 66 x 66 cm Katalog / Catalogue Boris Lurie in/and NO!art

Boris Lurie in/and NO!art 5. 4.–2. 6. 2019

Katalog izdala / Published by: Koroška galerija likovnih umetnosti & Boris Lurie Art Foundation

Zanju / Represented by: Andreja Hribernik, direktorica / Director KGLU Gertrude Stein, predsednica / President BLAF

Kustosi razstave / Curators of the exhibition: Ivonna Veiherte, Rafael Vostell, Marko Košan

Boris Lurie Art Foundation, New York: Gertrude Stein, predsednica / President Anthony Williams, predsednik uprave / Chairman of the Board Chris Shultz, upravljalec zbirke / Collections Manager Jessica Wallen, vodja projektov / Project Manager Rafael Vostell, svetovalec / Advisor

©Besedila / Texts: Ivonna Veiherte, Andreja Hribernik, Marko Košan

Besedila s spletnega portala borislurieart.org so objavljena z dovoljenjem Boris Lurie Art Foundation. / Texts from borislurieart.org have been used with the kind permision of the Boris Lurie Art Foundation.

©Življenjepisi umetnikov / Biographies of the artists: Boris Lurie Art Foundation (prevod / translated by Marko Košan)

©Fotografije / Photos: Boris Lurie Art Foundation, Getty Images

Prevodi / Translations: Polona Glavan

Lektoriranje / Proof-readers: Mojca Hudolin (SLO), Chris Shultz (ENG, except text by Marko Košan)

Katalog uredil / Catalogue edited by: Marko Košan

Oblikovanje / Design: Matija Kovač, Zgradbazamisli

Tisk / Printed: Dikplast, d. o. o.

Naklada / Edition 500

April 2019 195

CIP - Kataložni zapis o publikaciji Univerzitetna knjižnica Maribor

73/76:929Lurie B.(083.824)

LURIE, Boris Boris Lurie in/and NO!art : Koroška galerija likovnih umetnosti, [5. 4. - 2. 6. 2019] / [besedila Ivonna Veiherte, Andreja Hribernik, Marko Košan ; življenjepisi umetnikov Boris Lurie Art Foundation ; fotografije Boris Lurie Art Foundation, Getty Images ; prevodi Polona Glavan, Marko Košan (življenjepisi umetnikov) ; katalog uredil Marko Košan]. - Slovenj Gradec : Koroška galerija likovnih umetnosti ; New York : Boris Lurie Art Foundation, 2019

ISBN 978-961-6827-16-4 (Koroška galerija likovnih umetnosti) 1. Gl. stv. nasl. 2. Košan, Marko COBISS.SI-ID 96388609