DOCSLIB.ORG

Nj>Ktn La RMOW

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nj>Ktn La RMOW Nj>kTN lA R M O W John M Armleder Egal was LIONEL BOVIER und Jeder Künstler schafft mit seinem Werk auch eine von wem diesem eigene Ökonomie. Tatsächlich gehört zu je­ der künstlerischen Tätigkeit jeweils eine geeignete - strukturell bedingte - Produktionsweise. Von John Armleder könnte man sagen, dass er Konsolidierungs­ prozesse generell verabscheut, hingegen das Prinzip ley, Jeff Koons oder Richard Prince, nicht zu einem des Wieder-ins-Spiel-Bringens liebt. Entsprechend ge­ kritischen Diskurs. Die aus ihrem historischen und staltete er im Sommer 1994 seine Retrospektive im semantischen Zusammenhang gerissenen Formen Le Capitou in Fréjus; statt seine Entwicklung wäh­ verweigern jede ein für allemal fixierte Bedeutung. rend nahezu dreissig Jahren feierlich auszubreiten, Mein Anliegen, erklärt Armleder, ist nicht die Kritik oder entwarf er geradezu eine Strategie der Störung dieses Analyse der Geschichte der modernen Kunst, und auch Konzepts.11 Wo man erwartet hatte, dass die Werke nicht die Pflege eines bestimmten Genres oder die Entwick­ sich in einer wie auch immer gearteten Ordnung lung eines Stils. Meine Entscheidungsgrundlage ergibt sich präsentieren würden, und wäre es nur eine zeitliche, aus dem natürlichen Vorrat meiner Kenntnisse, die ich als sah man sich getäuscht, denn ihr Nebeneinander solche anwende} 1 Und kürzlich fügte er hinzu: D ie Tat­ unterstrich nur noch das Flüchtige der Zeichen und sache, dass es beim Zitieren eigentlich überflüssig ist, sich das Unbeständige ihrer Bedeutung. Durch die Ver­ bewusst zu sein, dass man zitiert, wen man zitiert und in wendung des Kreises etwa fühlte man sich abwech­ welchem Kontext, aus welcher Geisteshaltung etwas ent­ selnd an Rodchenko, Picabia, Baldessari, an die standen ist und zu welchem Zweck es ursprünglich geäus- Opart oder die Systematik des abstrakten Konstrukti­ sert wurde, verweist auf eine Befreiung von einem Moral­ vismus erinnert oder daran, dass Referenzen an frü­ kodex, der bis anhin unumgänglich war. Der Grund ist, JOHN M ARMLEDER, here avantgardistische Strömungen auch dazu die­ dass inzwischen sehr viel Zeit verstrichen ist fl exhibition views at Art & Public, Geneva, nen konnten, Zufallselemente eines Papierbogens Die Ausstellung in der Galerie Art & Public in 1996/97, including: LIBERTY DOME (Flecken, Risse) mit einzubeziehen oder ein umge­ Genf, einige Monate vor der Retrospektive in Fréjus, (FURNITURE SCULPTURE), 1 996, reflecting kipptes Möbelstück wieder ins Gleichgewicht zu brin­ führte bereits einige die Rezeption störende Mo­ Perspex installation; UNTITLED, 1996, gen. Natürlich ist dies eine Reaktion des Künstlers mente ein. Dem Werkpaar PEINTURE/FURNITURE red Perspex sculpture, 467/s x 38% ”; auf die Auflösung der Moderne in einer undifferen­ SCULPTURE (G em älde/M öbelskulptur), das in den UNTITLED, 1996, painted wall with acrylic zierten Kulturmasse, in die einfach alles eingeht: vergangenen zehn Jahren wesentlich dazu beigetra­ paintings on canvas / Mondrian und Vasarely, Matthieu und Pollock, die Kubi­ gen hatte, ein bestimmtes Bild seiner Arbeit entste­ Ausstellung bei Art àf Public, Genf 1996/97, sten und die Kinetiker und wer immer, Frank Lloyd Wright, hen zu lassen und es einer bestimmten kritischen u. a. mit: FREIHEITSKUPPEL Spirou, Picasso und Carzou.. fl Aber auch wenn diese Kategorie zuzuordnen (Neo Geo, Tendenz zum Ap­ (FURNITURE SCULPTURE), spiegelnde Haltung in Zitaten und Appropriationen zum Aus­ propriationismus), wurden zum Beispiel einige ein­ Perspex-Installation; OHNE TITEL, rote druck kommt, so führt sie, anders als bei Peter Hal- zelne Skulpturen beigefügt. Eine Materialansamm­ Perspex-Skulplur, 119 x 98 cm; OHNE TITEL, lung aus dem Jahr 1994 (SANS TITRE, TM NOT JUST Wandmalerei und Acrylbilder auf Leinwand. LIONEL BOVIER ist freier Kunstkritiker und Kurator. Er ANOTHER CUTE FURRY FACE/Ohne Titel, Ich bin (PHOTOS: ART & PUBLIC) lebt in Genf. nicht einfach noch ein hübsches Pelzgesicht) geriet 4 9 PARKETT 50/51 1997 John M Armlede John M Armleder JOHN M ARMLEDER, UNTITLED Dan Flavins HOMMAGE AN TATLIN. W eitere Licht­ (FURNITURE SCULPTURE), 1994, quellen waren einige an den Enden der Stahlrohre iron and mortar, dimensions variable / befestigte Weihnachtskerzen und zwei rotierende OHNE TITEL (FURNITURE SCULPTURE), Spiegelkugeln über der oberen und unter der unte­ Eisen und Mörtel, Grösse variabel, ren Plattform. Einige Plexiglasplatten waren so ver­ Installation bei Art àf Public, Genf. teilt, dass sich ein komplexes Spiel von Lichtreflexen (PHOTO: I. KALKKINEN) ergab. Zwei Filme des Künstlers wurden ebenfalls auf das Gerüst projiziert, einer auf eine Treppenstufe, der andere auf die Rückseite eines Bildes. Schliesslich wurden auf sechs Fernsehbildschirmen alte B-Strei- fen gezeigt (hauptsächlich Horror- und Science-fic- tion-Filme aus den späten 50er und 60er Jahren), und mehrere Kassettengeräte spielten ein Band von The Mamas & The Papas, und zwar mit leichter zeit­ licher Verzögerung, so dass ein richtiger Tonsalat entstand. Der ganze Ausstellungsprozess demon­ strierte so die Verwendung eines Programms, um ein ganz anderes zu präsentieren, das wiederum ganz andere Systeme unterstützte. Eigentlich handelte es sich wie in den B-Filmen darum, das Dekor aus einer anderen Geschichte zu verwenden, einfach aus dem Zwang zur Produktion heraus und ohne sich um das dem Dekor zugrundeliegende ursprüngliche Szena­ rio zu kümmern. In Tremezzo sah das ähnlich aus, aber in der Villa Carlotta wurde die Idee des entliehenen Dekors JOHN M ARMLEDER, LABYRINTH, 1995, Perspex sculpture, ca. 157% x 157% x 118%" / noch stärker sichtbar. Es handelt sich bei der Villa 400 x 400 x 300 cm; POUR PAINTINGS, 1995, mixed media, 98% x 78% ” each / je 250 x 200 cm. Massimo de Carlo, M ilano, 1995. Carlotta um ein ehemaliges Privathaus, das zu einem Museum umfunktioniert wurde, welches man eher so in Widerspruch zum scheinbaren Formalismus sätze häufig auftauchen. Diese Werke lieferten nun und dabei verschiedene Werke entdecken sollte. Für nebenbei aufsucht, da der Garten die touristische der neuen FURNITURE SCULPTURES. Eine andere, für das allgemeine Verständnis von Armleders Arbeit die Ausstellung in Dijon erhielten die mit der Rea­ Hauptattraktion ist. Der Aufbau des Gerüstes wurde speziell für diese Ausstellung entstandene Arbeit ohne wichtige Anregungen zu möglichen neuen - weder lisation beauftragten Angestellten der Stadt Tatlins hier durch die enorme Grösse des Festsaales be­ Titel bestand aus mehreren, an Deckenbalken befe­ wichtigeren noch definitiven - Lesarten.5> Pläne und Armleders Projektskizze, um so das Turm­ stimmt, in dem die Ausstellung stattfand, und be­ stigten Schaukelstangen, an denen noch Erd- und 1996 hat John Armleder in drei Ausstellungen - gerüst aus Stahlrohren zu erstellen. Das Programm rücksichtigte Symmetrie und wesentliche Elemente Zementbrocken hingen; auch sie erinnerte nur noch im Consortium Dijon, in der Villa Carlotta in Tre- wurde so zu einer realen Skulptur mit übertragener der bestehenden Architektur. Eine zentrale, leicht vage an die geometrische Eleganz seiner Werke der mezzo und in der Galerie Art & Public in Genf-jeweils Bedeutung, einem Gestell zur Präsentation von Wer­ erhöhte Plattform führte links und rechts auf zwei 80er Jahre, eine Erinnerung, die zusätzlich erschwert eine Variante eines unausgesprochenen Programms ken und einem die Wahrnehmung des Betrachters zweistufige Estraden.6) Das Gerüst bot Zugang zum wurde durch den bedrohlichen Aspekt des Werkes in die Tat umgesetzt; dieses scheint den Betrach­ konditionierenden Apparat. Von Tatlin war nur die Deckengewölbe und seinen Fresken im pompejani- (der Betrachter musste ständig fürchten, sich an der ter zugleich aufzufordern, Altbekanntes wieder neu Schräglage und der seitliche Eingang geblieben so­ schen Stil, zu drei kugelförmigen Leuchtern, die den verwirrenden Konstruktion den Kopf zu stossen). ins Spiel zu bringen und sich mit der Vorstellung wie die sich nach oben verjüngende Dreistöckigkeit. Saal erhellten und von den Spiegelkugeln unter der Die Arbeit schien dafür die angesprochene Entwur­ des Werks als Dekor auseinanderzusetzen. Ursprüng­ Von ganz oben, etwa aus vier Meter Höhe, sah der Estrade ebenso reflektiert wurden wie von den bei­ zelung zu thematisieren. In Wirklichkeit stehen die­ lich entstand dieses Programm für eine Ausstellung Betrachter auf ein Bild aus der Serie POUR PAINTINGS den Fensterfronten zum Garten und zum Comersee. se «anderen» Skulpturen in engem Zusammenhang in der Galerie Massimo De Carlo in Mailand; es war (Schüttbilder) hinunter. Ähnliche Bilder befanden Hier oben sah sich der Betrachter auf zwei Seiten je mit einem weniger bekannten Ausschnitt aus John von Tatlins MONUMENT FÜR DIE DRITTE INTERNA­ sich auch beidseitig entlang den Geländern des Ge­ drei Bildschirmen gegenüber, zwei davon zeigten die Armleders Schaffen, jenem der Ecart-Gruppe, in de­ TIONALE inspiriert und sollte aus einem Turmgerüst rüstes. Nur ein paar Neonröhren störten die gerad­ bereits erwähnten B-Filme, der dritte einmal einen ren Arbeiten solche «anti-formalistischen» Grund­ bestehen, durch das der Betrachter sich bewegen linige Ausrichtung des Ganzen, eine Reminiszenz an Werbefilm eines regionalen Bootsbauers und auf der 5 0 5 1 John M Armleder John M Armleder anderen Seite ein Video des Künstlers, der offenbar nung, des Erfolges und der Zielsetzung vorüber­ mit einer Autofokuskamera in der Hand im Garten gehend und machen Platz für das Bild der magma­ herumspaziert war. Diese Filme verwiesen auf die tischen Masse, des «Puddings», wie
Load more

Recommended publications
  • Inside a Book a House of Gold – Artists' Editions for Parkett
    INSIDE A BOOK A HOUSE OF GOLD – ARTISTS’ EDITIONS FOR PARKETT February 25 2012，Beijing, China UCCA is proud to present a major exhibition in collaboration with Parkett, opening on February 25th. Installed across three of four exhibition spaces at UCCA, “Inside a Book a House of Gold” takes its title from a poetic Editorial Contact: prescription by the most artistic of Chinese emperors, Song Zhenzong(968- 1022 CE). Inside this “house,” 212 edited works by 192 artists, produced in Sybella Chow collaboration with Parkett since the journal’s founded in Zurich in 1984, are +86 10 5780 0253 presented for the first time to a Chinese audience. +86 186 1115 7030 The works, which collectively offer a portrait of the situation and evolution of [email protected] contemporary art at the turn of the twenty-first century, are classified and exhibited according to the logic of domestic space, with a “Playroom,” a “Studio,” a “City,” and a “Wardrobe” framing a central “Garden.” The works Media/UCCA Members/VIP Preview: cover every possible medium including painting, photography, drawing, print, sculpture, video, and sound. Some distill the essence of a given th February 25 artist’s work; others reveal an unexpected dimension. Each of these rooms takes on a special feel and character, aided by walls of consciously different colors. Exhibition dates: February 26th – April 8th, The works on view are all part of Parkett’s ongoing collaboration projects, 2012 which to date also feature three or four in-depth texts on each artist, a total of 89 Parkett volumes and 1400 texts.
    [Show full text]
  • Bios for Web Site
    Bios: 2014 CHAUTAUQUA FACULTY/VISITING ARTISTS IN RESIDENCE Resident faculty (rf) teach from 1 to 7 weeks during the summer at Chautauqua. Visiting lecturers and faculty (vl, vf) are at Chautauqua for periods ranging from 1 to 5 days. LISA CORINNE DAVIS: Faculty, Hunter College "Lisa Corinne Davis' paintings occupy a point somewhere between cartooning and cartography, abstraction and figuration. Her carefully articulated images are oddly familiar but essentially ephemeral, visually resonant but also deliberately enigmatic. Davis’ subject has always been the exploration of racial, social, and psychological identity. She has developed her own vocabulary for rendering the world, a lexicon that expresses her personal experience as an African-American woman in the 21st Century, and, by extension, that of an individual in modern society. While subtly avoiding the clichés of special identity politics—if anything, challenging them—Davis provides the viewer with an evocative visual code for deciphering his own environment." (P. Hoban) Davis received her Master of Fine Arts degree from Hunter College and her Bachelor of Fine Arts from Pratt Institute. Her work has been exhibited nationally including exhibitions at June Kelly Gallery, Marlborough Gallery, Spanierman Modern, the Bronx Museum, and Von Lintel Gallery. She is currently represented by Gerald Peters Gallery New York, NY Galerie Gris in Hudson, NY and The Mayor Gallery, London. Her work is included in many collections, including that of The Museum of Modern Art in New York, the J. Paul Getty Museum in Los Angeles, The National Museum of Women in the Arts in Washington, D.C., The Fine Arts Museum of San Francisco, and the Victoria and Albert Museum in London.
    [Show full text]
  • When the Personal Is Made Political: Left Political Art Timeline, 1980-1989
    _______________________________________________________ _______________________________________________________ When the Personal Is Made Political: Left Political Art Timeline, 1980-1989 Posted: 04/16/2012 4:32 pm G. Roger Denson Cultural critic, essayist, novelist and screenwriter published with Parkett This is Part 4 of the Timeline of Left Political Art, 1980-1989. See Part 1, 1900-1944, Part 2, 1945-1966, and Part 3, 1967-1979, on Huffington Post. It may have been in the 1960s and the 1970s that the American Left enjoyed a tempestuous love affair with the mainstream media, what with its widespread support of Civil Rights, its dissent against the wars in Southeast Asia, and its vibrant counterculture. But it was in the 1980s and 1990s that the Left made deeper and more permanent changes in the fabric of society with regard to gaining substantial ground in terms of the social liberties and political balance gained legislatively, economically and institutionally in the expansion of the racial, gender and sexual emancipation movements. The Left also developed deeper and more nuanced theoretical and cultural productions both in the institutions of higher education and in the arts almost without the notice of the media. It was, after all, the period in which the West saw the Liberal policies and funding of the social and educational programs implemented in the 1960s and 1970s come to fruition in the generation that grew up watching and admiring the activists and counterculture of the 1960s and 1970s. For visual artists in their twenties and thirties, this meant that the 1980s afforded them networks of publicly funded publications and alternative exhibition and screening spaces throughout North America and Western Europe for the exchange of ideas from a Left perspective.
    [Show full text]
  • Page 1 of 3 Moma | Press | Releases | 2001 | Parkett 1/28/2009
    MoMA | Press | Releases | 2001 | Parkett Page 1 of 3 For Immediate Release March 2001 MORE THAN 150 WORKS BY CONTEMPORARY ARTISTS COMMISSIONED FOR ART JOURNAL PARKETT ON VIEW AT THE MUSEUM OF MODERN ART Artists Create Editioned Works in a Broad Range of Mediums Collaborations with Parkett: 1984 to Now April 5-June 5, 2001 Founded in Zurich in 1984, the contemporary art journal Parkett has taken an innovative approach to magazine publishing. For each volume, artists are chosen to collaborate in the publishing process: they suggest authors to write on their work, confer on layout, propose cover ideas, and create artworks unique to Parkett. Some of these works are editioned and offered separately to subscribers, some are inserts–most often in the form of sequences of pages bound into the volumes–and others are designs for the volumes' spines. In 1998, The Museum of Modern Art acquired a full set of the artworks made in conjunction with Parkett, the only complete set in an American museum. Collaborations with Parkett: 1984 to Now includes some 150 of these artworks in a broad range of inventive formats–prints, page-art projects, photographs, drawings, paintings, multiples, videos, DVDs, and sound pieces–all of which were created specifically for Parkett. On view at MoMA for the first time as a group beginning April 5, 2001, these works demonstrate the many provocative ways that artists have responded to Parkett's challenge. Organized by Deborah Wye, Chief Curator, Department of Prints and Illustrated Books, the exhibition is on view through June 5. "This exhibition provides an opportunity not only to celebrate the remarkably diverse art of our time, but also to highlight the creative forces at work in this innovative publishing venture," says Ms.
    [Show full text]
  • Hans Ulrich Obrist
    ISSUE 104 THE ART ISSUE DECEMBER 2013/JANUARY 2014 HANS ULRICH OBRIST ISSUE 104 THE ART ISSUE LIMITED-EDITION COVER DECEMBER 2013/JANUARY 2014 BY JOHN BALDESSARI HANS ULRICH OBRIST HANS ULRICH 123 HANS ULRICH OBRIST HANS ULRICH OBRIST HANS ULRICH OBRIST Each conversation Hans Ulrich Obrist has informs The Master the next, expanding an already vast, global epic. Interviewer PORTRAIT BY LEON CHEW Twenty or so years ago, when I first met Hans Rimbaud transformed his genre, upending Koolhaas to document the aging Metabolism Ulrich Obrist (whom I always think of as the conventions of its meter and rhyme; HUO architects, whose important voices would oth- HUO) in Zurich, he reminded me of Rimbaud. has reconfigured the genre of the interview, erwise have been lost. Not only because he was roughly the teenage distilling and transforming the informational People die, voices fade, but so too does the poet’s age when he and I met, but also because I mass of prose, with its disparate themes and very material—the tapes—on which those felt he was making a new form of poetry, of art. motifs—and the usual who, what, when, where, voices have found sanctuary. Tapes, such as In time, I came to see how true my feeling was. I why, and how—into artifact, a poem of idea the ones HUO used in his interviews years was amazed that this very young man, without and emotion. His interviews, like poems, focus ago and still sometimes uses, disintegrate. And funding and without institutional support or and synthesize thought into points of energy soon they will be as mute and dead as many of commissions from art publications, had set out and beauty.
    [Show full text]
  • Collaborations with Parkett : [Brochure] 1984 to Now [Deoborah Wye, Judith B
    Collaborations with Parkett : [brochure] 1984 to now [Deoborah Wye, Judith B. Hecker] Date 2001 Publisher The Museum of Modern Art, Department of Prints and Illustrated Books Exhibition URL www.moma.org/calendar/exhibitions/173 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art We u are aiming to produce a vehicle of direct confrontation with art, providing not only cover age about artists, but original contributions by 1 them/' Thus reads the stated goal in the first volume of Parkett, a journal of contemporaryart and ideas, in 1984; it has remained the editorial challengethrough volume60, in 2000.This exhibi tion focuses on those original contributions by artists resulting from Parkett's project of edi tions, inserts, and spine designs.During the past eighteenyears the editors havecollaborated with nearly 150 artists, resulting in an extraordinary array of prints, page art projects, photographs, drawings, paintings, multiples, videos, DVDs, sound pieces, and other inventive formats, all available to subscribers in editions. While most are small in scaleand imbuedwith the fascination that comes with miniaturization, others expand across the space of a billboard or require the walk-around room of a full-size sculpture. They are encompassedhere within one gallery, where a concisesurvey of contemporaryart unfolds.A full set of these works was acquired by The Museum of Modern Art in 1998, with new publications addedto the collection as they appear.This exhi bition provides an opportunity not only to cele brate the remarkably diverse art of our time, but Mariko Mori.
    [Show full text]
  • The First Survey of All Photographic Works Made by Artists for Parkett Since 1984
    PHOTO The First Survey of All Photographic Works Made by Artists for Parkett since 1984 PARKETT Space Zurich @ Limmatstrasse 268, 8005 Zurich, June 7 – August 31, 2019 / Opening June 7, 6-8pm Parkett is delighted to announce the first survey exhibition of all photographic works made by artists for Parkett in the last three decades. On view at Parkett’s Zurich Space, the show includes some ninety works spanning a rarely seen, vast and diverse range of photographic positions and ideas. To view all exhibited works online please see here . The 33 year retrospective presents seminal works including Andy Warhol’s four eerie, sewn photographs depicting skeletons—one of his last projects before his untimely death in 1987, Yang Fudong’s cinematically staged Shanghai night life photograph Ms. Huang at M Last Night (2006), Marilyn Minter’s portrait Pamela Anderson (2007), Cindy Sherman’s small, gruesome ghost image from 1991, Andreas Gursky’s early photograph documenting a Herzog/de Meuron architecture exhibition at the Centre Pompidou (1995), Robert Frank’s still life from his living room on New York’s Bowery Untitled (2007), and Richard Prince’s It’s a Free Concert from Now on, his only photograph taken at the Woodstock festival at age nineteen in 1969. The exhibition follows the evolution of photographic methods in the past three decades, with many of the earlier works on view making use of analog techniques, such as Gilbert & George’s self-portrait Gilbert & George (1987), and Jean-Luc Mylayne’s time-based studies of birds (1982, 2001, & 2007). Digital editing informs many of the more recent works, such as Ed Atkins’ stretched self-portrait print on rubber Safe Conduct Epidermal (2016), and Hito Steyerl’s Gosprom (2015), picturing constructivist fragments of what was in 1928 one of the largest single buildings in the world.
    [Show full text]
  • KEEP TAKING IT APART a Conversation with Bruce Nauman
    Bruce Na um an Bruce Na um an immediate, direct connection. And the idea and the first time is suPPosed to be comPlete­ KEEP that the words were sPoken information was ly flat, a neutral delivery. Then it’s suPPosed imPortant. to become more animated and by the fifth CD Is it direct sPeech? Does it say «you»? recitation, they were very angry and very in­ TAKING IT BN Well, it does sometimes. It says «I, we, tense, so it took her a little bit longer to do it you... .» It involves you by talking to you. «I than it took him. If you let the taPes Play, they was a good boy - you were a good boy.» It is become out of sequence, which I like; they’re APART not a conversation, you are not allowed to together but not really. After a while she’s at talk, but you are involved because someone the end and he’s at the beginning or vice- uses that form of address. In all of these neon versa. It goes through these different Possi­ A Conversation with Pieces and in «Violent Incident» as well, bilities of how they can relate to each other, you’re not asked to ParticiPate, you’re in­ which I like. volved only through the intensity of the light CD The words they are using - are they found Bruce Nauman or the sound or whatever... words? CD It is «he, she, and it»? BN I made a list and there are more things that BN Right, it’s the third Person.
    [Show full text]
  • SETH PRICE B. 1973 Lives and Works in New York City Solo Exhibitions
    SETH PRICE b. 1973 Lives and works in New York City Solo Exhibitions 2006 EAI/Friedrich Petzel/Reena Spaulings Fine Art, NYC Galerie Isabella Bortollozi, Berlin 2004 Seth Price, Reena Spaulings Fine Art, New York City 2003 In Light, Art Gallery of Ontario Playground, Galleria Emi Fontana, Milan (with Michael Smith) 2002 Project Room, Artists Space, New York Playground, CAN, Neuchatel (with Michael Smith) Selected Group Exhibitions 2006 Wade Guyton, Seth Price, Josh Smith, Kelley Walker, Kunsthalle Zurich Grey Flags, Sculpture Center, New York Motore Immobile, Greene Naftali, New York The Dimes of March, Reena Spaulings, New York Take it to the Net, Vilma Gold, London All Dressed Up With Nowhere to Go, Sorcha Dallas, Glasgow The Glass Bead Game, Vilma Gold, Berlin Interface in Your Face, The Swiss Institute, New York 2005 After the Act, Modern Art Stiftung Ludwig, Vienna Carol Bove, Adam McEwen, Seth Price, United Artists Unltd., Marfa, Texas Grey Flags, Friedrich Petzel, New York City New York Twice, Air de Paris, Paris Make It Now, The Sculpture Center, New York City Group Show, organized by Joan Jonas, Le Plateau, Paris Packaging, Forde, Geneva This is Not an Archive, The Center for Curatorial Studies, New York Lesser New York, Fia Backstrom Productions, New York City Greater New York, PS1, New York City 2004 Mai Thu Perret & Seth Price, Year, New York. Organized by Wade Guyton Chosen Places, curated by Erzen Shkololli, National Gallery of Arts, Tirana Continuous Project and Art & Project Bulletin, CNEAI, Paris Last One On Is A Soft
    [Show full text]
  • Murray Guy 453 West 17 Street New York NY 10011 T: 212 463 7372 F: 212 463 7319 [email protected]
    Murray Guy 453 West 17 Street New York NY 10011 T: 212 463 7372 F: 212 463 7319 [email protected] MATTHEW BUCKINGHAM Born 1963 Nevada, Iowa Lives and works in New York Education 1997 Whitney Independent Study Program, New York 1996 MFA, Bard College, Annandale-On-Hudson, NY 1988 BA, film production and film studies, The University of Iowa, Iowa City, IA 1984 The School of the Art Institute of Chicago Solo Exhibitions 2011 Where Will We Live?, Glassell School of Art, Museum of Fine Arts Houston, Houston, TX Matthew Buckingham: The Spirit and the Letter, Elizabeth A. Sackler Center for Feminist Art, The Brooklyn Museum, New York Caterina van Hemessen is Twenty Years Old, Art Unlimited, Art Basel 42, Switzerland 2010 Likeness, Murray Guy, New York Konrad Fischer Galerie, Düsseldorf Landings, Vestfossen, Norway 2009 Matthew Buckingham: Time Proxies, Museo Nacional Centro de Arte Reina Sofía, Madrid Museum of Contemporary Art, Denver, CO 2008 Will Someone Please Explain It To Me, Iʼve Just Become a Radical, Murray Guy, New York Matthew Buckingham, “From 1957 to 1969 This Building Was Empty”, The Art Institute of Chicago, Chicago Paleography, Konrad Fischer Galerie, Berlin Murray Guy, New York Index, Stockholm, Sweden Play the Story, Frac Bourgogne, Dijon, France; traveling to Des Moines Art Center, Des Moines, IA; Henry Art Gallery, Seattle, WA 2007 Half Remembered, ArtPace, San Antonio, TX Everything Has a Name, Hamburger Bahnhof - Museum fuer Gegenwart, Berlin Play the Story, Camden Arts Centre, London; travelling to DCA Dundee Contemporary Arts, Dundee 2006 Messages from the Unseen - Matthew Buckingham/Joachim Koester, Lunds Konsthall, Lund, Sweden 2005 Time Lines, Kunstverein und Kunstmuseum St.
    [Show full text]
  • Murray Guy 453 West 17 Street New York NY 10011 T: 212 463 7372 F: 212 463 7319 [email protected]
    Murray Guy 453 West 17 Street New York NY 10011 T: 212 463 7372 F: 212 463 7319 [email protected] MATTHEW BUCKINGHAM Born 1963 Nevada, Iowa Lives and works in New York City Education 1997 Whitney Independent Study Program, New York, NY 1996 MFA, Bard College, Annandale-On-Hudson, NY 1988 BA, film production and film studies, The University of Iowa, Iowa City, IA 1984 The School of the Art Institute of Chicago, IL Solo Exhibitions 2011 Where Will We Live?, Glassell School of Art, Museum of Fine Arts Houston, Houston, TX Matthew Buckingham: The Spirit and the Letter, Elizabeth A. Sackler Center for Feminist Art, The Brooklyn Museum, New York, NY Caterina van Hemessen is Twenty Years Old, Art Unlimited, Art | 42 | Basel, Switzerland 2010 Likeness, Murray Guy, New York Konrad Fischer Galerie, Düsseldorf Landings, Vestfossen, Norway 2009 Matthew Buckingham: Time Proxies, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain Museum of Contemporary Art, Denver, CO 2008 Will Someone Please Explain It To Me, I’ve Just Become a Radical, Murray Guy, New York, NY Matthew Buckingham, "From 1957 to 1969 This Building Was Empty", The Art Institute of Chicago, Chicago, IL Paleography, Konrad Fischer Galerie, Berlin, Germany Murray Guy, New York, NY Index, Stockholm, Sweden Play the Story, Frac Bourgogne, Dijon, France; traveling to Des Moines Art Center, Des Moines, IA; Henry Art Gallery, Seattle, WA 2007 Half Remembered, ArtPace, San Antonio, TX Everything Has a Name, Hamburger Bahnhof - Museum fuer Gegenwart, Berlin, Germany Play the Story, Camden Arts Centre, London, UK; travelling to DCA Dundee Contemporary Arts; 2006 Messages from the Unseen - Matthew Buckingham/Joachim Koester, Lunds Konsthall, Lund, Sweden 2005 Time Lines, Kunstverein und Kunstmuseum St.
    [Show full text]
  • She Gives As Good As She Gets
    Sarah Lucas JERRY SALTZ She Gives as Good as She Gets Part I. An Eye for an Eye Sarah Lucas gives as good as she gets. She’s a code­ unremitting light on it basically by magnifying the breaker and a ball-buster, a saboteur and a spy. Ele­ power of its lens. Like in Apocalypse Now when Martin gantly in-your-face, Lucas is a smutty, salt-of-the-earth Sheen asks a rogue sniper “Do you know who’s in lout whose unequivocal work is raw and loud and charge here?”: Lucas is that sniper who, after a long, startling. It is also efficient and concise. In her art, silent, steely look—as if to say “You’re nothing”— Lucas doesn’t mince words and she doesn’t waste simply says “Yeah.” Pure Lucas, the answer is artless, them either. She gets quickly to the point—and bigger than you are, more complicated than you the point usually has to do with the ways women thought, stronger than you, and has you completely are viewed in society. In a recent interview Lucas sussed. She’s an exterminating angel, but a funny one. talked about “the continual innuendo,” the winks A wayzgoose, hootchy-kootchy carnival1' laughter and nudges she gets from men when merely buying a permeates Lucas’s work. If this were the eighties this cucumber at the market: essentially, she takes that laughter would be ironic, above-it-all, judgmental objectification to the max, pushing it back in so­ and deconstructive. But Lucas (along with a whole ciety’s—and often art history’s—face.
    [Show full text]