DOCSLIB.ORG

D'art Ambition D'art Alighiero Boetti, Daniel Buren, Jordi Colomer, Tony

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
D'art Ambition D'art Alighiero Boetti, Daniel Buren, Jordi Colomer, Tony Ambition d’art AmbitionAlighiero Boetti, Daniel Buren, Jordi Colomer, Tony Cragg, Luciano Fabro, Yona Friedman, Anish Kapoor, On Kawara, Martha Rosler, Jeff Wall, Lawrence Weiner d’art16 May – 21 September 2008 The Institut d’art contemporain aspect (an anniversary) and the is celebrating its 30th anniversary setting – the inauguration of an in 2008 and on this occasion exhibition in the artistico-political has invited its founder, context of the 2000s – it is aimed Jean Louis Maubant, to design at shedding light on what the an exhibition, accompanied by an ‘ambition’ of art and its ‘world’ important publication. might be. The exhibition Ambition d’art, held in partnership with the The retrospective dimension Rhône-Alpes Regional Council of the event is presented above and the town of Villeurbanne, is a all in the two volumes (Alphabet strong and exceptional event for and Archive) of the publication to the Institute: beyond the anecdotal which it has given rise. Institut d’art contemporain, Villeurbanne www.i-art-c.org Any feedback in the exhibition is Yona Friedman, Jordi Colomer) or less to commemorate past history because they have hardly ever been than to give present and future shown (Martha Rosler, Alighiero history more density. In fact, many Boetti, Jeff Wall). Other works have of the works shown here have already been shown at the Institut never been seen before. and now gain fresh visibility as a result of their positioning in space and their artistic company (Luciano Fabro, Daniel Buren, Martha Rosler, Ambition d’art Tony Cragg, On Kawara). For the exhibition Ambition d’art, At the two ends of the generation Jean Louis Maubant has chosen chain, invitations have been eleven artists for the eleven rooms extended to both Jordi Colomer of the Institut d’art contemporain. (who had a solo show at the Most of them have made a strong Institute in 2004) and to Yona mark on the history of the Institut Friedman (an exception that proves and its programme of exhibitions: the rule as this is the first time Daniel Buren was first shown in that he has shown work at 1979, Tony Cragg in 1981, Anish the Institute). This is an affirmation Kapoor in 1983, Alighiero Boetti of the primacy of the artist’s vision in 1986, On Kawara in 1996… (of certain artists, whatever without forgetting Lawrence their age) as capacity to change the Weiner who, invited several times world – starting by representing by the Nouveau Musée, has made it – and the permanence of Utopia an original contribution to the as momentum. openly contemporary trend in the Villeurbanne area (exhibitions, a The exhibition shows Jean Louis public commission, a catalogue Maubant’s artistic predilections raisonné and artist’s book, an and convictions throughout: lively ‘artist’s lesson’ for the public, etc.). interest in the Italian art scene in the 1970s, in the new sculpture Ambition d’art makes it possible of the 1980s, for Conceptual and to show certain works for the first ‘contextual’ art, for the relation time in France, whether created between art and architecture for the occasion (Lawrence Weiner, and more generally for politically committed art that accepts In 1978, Jean Louis Maubant founded its social and political dimension. ‘Le Nouveau Musée’, a different kind of The spatial layout of the exhibition setting. A museum without walls and with no collection, semi-private and totally also reflects the choice of dedicated to the plastic creation that was hinging the rooms so each is a happening. It was in a way an American- monographic space, allowing both style museum (like Marcia Tucker’s New Museum in New York). a synchronic journey through the In 1982, this art centre was installed in creative exuberance of the recent a former Jules Ferry type school made decades and a salutary focusing available by the mayor of Villeurbanne at the time. The importance of the private on the originality of each artist partners who were involved in the and his or her universe. adventure from the start, with the aim of civil society representation, led to the awarding of an Oscar du Mécénat (Oscar The title Ambition d’art indicates for Patronage) in 1982. the determination to avoid In 1984, it gained the name Centre International d’Art Contemporain euphemisms or jargon, false during the cultural effervescence of the modesty or showmanship. decentralisation of the plastic arts by the Although the exhibition Ambition Ministry of Culture, when Jack Lang was minister. This was also when collections d’art is not prospective with regard of contemporary art took shape in the to the artistic choices made, regions, in particular with the setting-up it intends to be so with regard of Fonds Régionaux d’Art Contemporain (Regional Collections of Contemporary Art, to the fate of the art on show. It FRAC). addresses once again the question Sensitivity to educational questions of the role of art in society, developed little by little, whether in the showing of new forms of art to publics who stressing its critical issues one more were novices in the field or with regard time. to the need for research in aesthetics, correlated with that for archiving. Jean Louis Maubant defended the idea that ‘you study art, you work on it’, and this led logically to the place acquiring the name of ‘Institute’. In 1992, a partnership agreement was concluded between FRAC Rhône-Alpes and the Nouveau Musée/Institut and the two bodies merged fully in 1997. The Institut d’art contemporain has since managed and enriched the Rhône-Alpes Collection, that now stands at 1,557 works by 711 artists, while conserving its initial function of accompanying creation. More than 140 exhibitions have been held in 30 years. Lawrence Weiner [room 1] making of the piece are equivalent and, in addition, the building of the work depends Born in 1942 in New York, Lawrence intrinsically on its reception, and hence its Weiner lives and works in New York and context. Amsterdam. From the 1970s onwards, Lawrence Weiner’s work has consisted essentially of the making Lawrence Weiner is one of the major of mural installations, or more precisely figures of Conceptual art, a movement words painted on walls and describing that started in the United States and potential sculptures. His Statements were developed there and in England from 1966 in a neutral tone that became a noticeable to 1972. Conceptual art uses language as a trait in the style of his work: characteristic plastic form and autoreference for critical typography (sans-serif capitals) laid out questioning of the ends and means of the in blocks with arbitrary line-breaks and a works themselves. As the artist’s intention systematic exploration of colour, translation is the main material in a conceptual piece, and parentheses (brackets, dashes and slashes). the latter can remain at the project stage He subsequently called his pieces Works to and exist only through its description. affirm their status as sculptures. Lawrence Weiner showed his work for the first time in 1964 at the Seth Siegelaub Gallery A Handful of Chalk (Une poignée de craie) in New York, which became the following (1988), made by Lawrence Weiner for the year one of the hotspots of Conceptual exhibition Ambition d’art on the glassed Art, with the artists Robert Barry, Douglas entry to the Institut d’art contemporain, Huebler, Joseph Kosuth. is characteristic of the artist’s plastic vocabulary. It welcomes the visitor with Weiner’s work took a decisive turn in 1968: the statement ‘A HANDFUL OF CHALK at an exhibition at the Siegelaub Gallery / (WITH) SOME SAWDUST / (&) CHIPS in that year he decided to show only OF ROCK / ON A SHINGLE’ The syntactic Statements, a book containing a series of construction that segments and juxtaposes sculpture projects to be made mentally. All noun groups (noun and complement) is an Lawrence Weiner’s subsequent statements image of the process and gestures evoked: are based on the artist’s ‘Declaration of fractioning, reassembly and distribution. Intent’, published in 1969: ‘The artist may While objectively indicating the materials construct the piece. / The piece may be and their possible use, Weiner’s work has fabricated. / The piece need not be built. an allegorical dimension and this evocation / Each being equal and consistent with of the cycle of transformation of matter the intent of the artist the decision as to into aggregates of elements forms a very condition rests with the receiver upon poetic reflection of the cycle of time. the occasion of receivership’. Weiner thus declares that the three possibilities of the Daniel Buren [room 2] plastic sign – stripes – that he called a ‘visual tool’. This always consists of a chromatic Born in 1938 in Boulogne-Billancourt, alternance of white and coloured stripes, Daniel Buren lives and works in situ. whose width had been set at 8.7 cm in 1967. The artist works without a studio as he Daniel Buren’s career has been closely linked makes his works in situ, that is to say in the with the history of the Nouveau Musée, actual places for which they are destined. which invited him as early as 1979. It was The role of Buren’s visual tool is to reveal, also at the invitation of the Nouveau Musée by its positioning, the characteristics of that Buren exhibited in public spaces in Lyon the places that he occupies. As a result, and Villeurbanne in 1980 with the project the in situ work also tends to change the Ponctuations, statue / sculpture addressing place in which it is sited. all the statuary in the two towns. Peinture/Sculpture (1971) is one of the first In the early 1960s, Daniel Buren painted large in situ works designed by Buren for on coloured bed sheets or hessian after the Solomon R.
Load more

Recommended publications
  • November 23Rd, 2010 Gene Beery
    Gene Beery at Algus Greenspon Within Gene Beery’s conceptual language-based paintings, there always seems to be some kind of joke—and not always one that the viewer is in on. Among the pieces included in the artist’s 50-year retrospective was Note (1970), in which the words “NOTE: MAKE A PAINTING OF A NOTE AS A PAINTING” are rendered in puffy, candy-colored letters on a pale background with a black framelike border. In another, the words “life without a sound sense of tra can seem like an incomprehensible nup” (1994) are written in black capital letters on white; the canvas is divided by a thick black line, which cuts through the lines of text so that the reversed words “art” and “pun” are separated from the rest. Gene Beery, Note, 1970, acrylic on canvas, 34 x 42 inches. The exhibition began with works from the late 1950s, when Beery, then employed as a guard at the Museum of Modern Art, was “discovered” by James Rosenquist and Sol LeWitt. An “artist’s artist,” he was championed by artists who were, and would remain, better known than he. After a 1963 show at Alexander Iolas Gallery in New York, Beery moved to the Sierra Nevada mountains, where he still lives. While other artists using text and numbers who emerged in the 1960s—Lawrence Weiner, Joseph Kosuth, On Kawara, for example—produced mostly cerebral works lacking evidence of the artist’s hand, Beery seemingly poked fun at the high Conceptualism of the day. He continued to make his uniquely homespun and humorously irreverent canvases, the rawness of their execution a throwback to the Abstract Expressionists.
    [Show full text]
  • Download Transcript (PDF)
    KAWARA: EXHIBITION OVERVIEW Jeffrey Weiss: On Kawara was a key figure in the art of the 1960s in particular. He began working in Japan and continued work in many other cities, finally settling in New York in the mid-’60s, where he was part of the community of Conceptual art during that period of time. He knew a lot of artists that we associate with Conceptualism including Sol LeWitt and Hanne Darboven, Joseph Kosuth and Dan Graham. It’s easy to associate his work, then, with the rise of Conceptualism, although Kawara’s work, when you examine it closely, stands well apart. This exhibition was organized in cooperation with the artist. And I really wanted to show every category of Kawara’s production since around 1964. We don’t call it a retrospective because Kawara’s work is based on time, on the passage of time. So the idea of the retrospective actually doesn’t apply in the conventional sense. Anne Wheeler: We heard from a number of his friends and colleagues from even years ago that it had always been his dream to have a show at the Guggenheim because of the cyclical nature of time and the way that the building represents that in the way that you can move throughout the chronology of his work. In organizing the show we are moving more or less chronologically through the series of his works, starting in the High Gallery with works from 1963 to ’65. Jeffrey Weiss: We’re also showing Paris–New York Drawings, which he produced in Paris and New York, where he was living—both places.
    [Show full text]
  • Press Release
    For Immediate Release. Tony Cragg February 1 – March 10, 2012 Opening reception: Wednesday, February 1st, 6-8 pm. Marian Goodman Gallery is delighted to present an exhibition of new sculpture by Tony Cragg opening on Wednesday, February 1st, and continuing through Saturday, March 10th. The exhibition will feature recent sculptures in bronze, corten steel, wood, cast iron, and stone. Concurrently, and accompanying the gallery presentation, a group of large scale works will be exhibited at The Sculpture Garden at 590 Madison Avenue (entrance at 56th Street). The Sculpture Garden is open to the public daily from 8 am to 10 pm. Tony Cragg is one of the most distinguished contemporary sculptors working today. During the past year, there have been several important solo exhibitions of his work worldwide: Seeing Things at The Nasher Sculpture Center, Dallas; Figure In/ Figure Out at The Louvre, Paris; Museum Küppersmühle für Moderne Kunst, Duisburg, Germany; Tony Cragg in 4 D from Flux to Stability at The International Gallery of Modern Art, Venice; It is, Isn’t It at the Church of San Cristoforo, Lucca, Italy; and Tony Cragg: Sculptures and Drawings at The Scottish National Gallery of Modern Art, Edinburgh. Cragg’s work developed within the context of diverse influences including early experiences in a scientific laboratory; English landscape and time-based art, a precursor to the presenting of found objects and fragments that characterized early performative work; and Minimalist sculpture, an antecedent to the stack, additive and accumulation works of the mid- seventies. Cragg has widened the boundaries of sculpture with a dynamic and investigative approach to materials, to images, and objects in the physical world, and an early use of found industrial objects and fragments.
    [Show full text]
  • Alison Wilding
    !"#$%&n '(h)b&#% Alison Wilding Born 1948 in Blackburn, United Kingdom Currently lives and works in London Education 1970–73 Royal College of Art, London 1967–70 Ravensbourne College of Art and Design, Bromley, Kent 1966–67 Nottingham College of Art, Nottingham !" L#xin$%on &%'##% London ()* +,-, ./ %#l +!! (+).+0+ //0!112! 1++.3++0 f24x +!! (+).+0+ //0!112! 1+.)3+0) info342'5%#564'7%#n5678h79b#'%.68om www.42'5%#64'7%#n5678h79b#'%.68om !"#$%&n '(h)b&#% Selected solo exhibitions 2013 Alison Wilding, Tate Britain, London, UK Alison Wilding: Deep Water, Whitworth Art Gallery, Manchester, UK 2012 Alison Wilding: Drawing, ‘Drone 1–10’, Karsten Schubert, London, UK 2011 Alison Wilding: How the Land Lies, New Art Centre, Roche Court Sculpture Park, Salisbury, UK Alison Wilding: Art School Drawings from the 1960s and 1970s, Karsten Schubert, London, UK 2010 Alison Wilding: All Cats Are Grey…, Karsten Schubert, London, UK 2008 Alison Wilding: Tracking, Karsten Schubert, London, UK 2006 Alison Wilding, North House Gallery, Manningtree, UK Alison Wilding: Interruptions, Rupert Wace Ancient Art, London, UK 2005 Alison Wilding: New Drawings, The Drawing Gallery, London, UK Alison Wilding: Sculpture, Betty Cuningham Gallery, New York, NY, US Alison Wilding: Vanish and Detail, Fred, London, UK 2003 Alison Wilding: Migrant, Peter Pears Gallery and Snape Maltings, Aldeburgh, UK 2002 Alison Wilding: Template Drawings, Karsten Schubert, London, UK 2000 Alison Wilding: Contract, The Henry Moore Foundation Studio, Halifax, UK Alison Wilding: New Work, New
    [Show full text]
  • ART in AMERICA November, 1999 Shirazeh Houshiary at Lehmann
    ART IN AMERICA November, 1999 Shirazeh Houshiary at Lehmann Maupin By Edward Leffingwell In her first New York solo exhibition, the London-based Iranian painter and sculptor Shirazeh Houshiary presented a series of monochromatic paintings that invited the viewer to peer closely into their graphite-inflected surfaces to discern the minute grids and vortices of calligraphy that are central to the artist's mystic contemplation. Houshiary achieves these dense matte surfaces of either white or black with an even application of Aquacryl, a concentrated, viscous suspension of rich pigment that dries to a uniformly flat finish with a barely perceptible incidence of randomly distributed pores. She then painstakingly inscribes the delicate patterns of Sufi incantations in graphite across the black surfaces, and across the white ones in graphite, silverpoint and occasionally pencil, on canvases ranging from 11 inches to nearly 75 inches square. For Houshiary, the labor-intensive paintings of this impressive show express Sufi doctrine in both their making and viewing. They involve a search for the reconciliation of opposing forces, unification with the world and the achievement of transcendence. As a kind of prayer, these complex paintings are at once contemplative and celebratory, bearing evidence of the concentration and discipline necessary to their making, and requiring quiet study or contemplation on the part of the viewer to be perceived on any meaningful level. The fine graphite calligraphy that makes up the central element in the large black field of Unknowable (1999) appears to begin at an unseen central point and spirals out in moirélike patterns, the text repeating, gracefully opening out and becoming less dense then disappearing.
    [Show full text]
  • Sol Lewitt's Wall Drawings
    Amanda Cheung CS24: Field Research Writing Assignment Figure 1 Sol LeWitt, Wall Drawing #146, September 1972 I would like to delve into a visual and conceptual analysis of conceptual artist Sol LeWitt’s Wall Drawings, drawing from the ideas of semiotics, traditional fine art, and computer rendered graphics. Sol LeWitt emerged as one of the early pioneers of a small but fascinating movement in art called Conceptual Art. Leading artists who participated in this movement, such as Joseph Kosuth, On Kawara, and Lawrence Weiner, maintained that the essence of a work of art was in the conception of a work or idea by the artist, and not in the physical products created by or representing the idea. For example, in Joseph Kosuth’s “One and Three Chairs,” the artwork is the idea of the chair, represented the word “chair,” a photograph of a chair, and the dictionary definition of chair. The work explores of the idea of the signifier, signified, and referent as studied in semiotics, and questions the role of the artist in creating a work; can he simply conceive an idea and let it be art, aside from any physical product? In Sol LeWitt’s Wall Drawings, such as the one pictured in Figure 1, the essence of the work lay in the conception of the specific lines/shapes to be drawn on a wall, and not in the final product. LeWitt’s process involved conceiving the idea for the specific wall drawing and giving instructions to workers who executed the drawings in the exhibition spaces. Thus, a single “Wall Drawing” work would appear differently in different exhibitions because it would be executed by different people and in different spaces.
    [Show full text]
  • Documenta 11
    1/21/2015 Frieze Magazine | Archive | Documenta 11 Documenta 11 About this article Documenta 11 Published on 09/09/02 By Thomas McEvilley Each of artistic director Okwui Enwezor’s six co-curators - Sarat Maharaj, Octavio Zaya, Carlos Basualdo, Ute Meta Bauer, Susanne Ghez and Mark Nash - spoke briefly, followed by Enwezor himself. Maharaj identified the point of art today as ‘knowledge production’ and the point of this exhibition as ‘thinking the other’; Nash declared that the exhibition aimed to explore ‘issues of dislocation and migration’ (‘We’re all becoming transnational subjects’, he observed); Ghez stressed the unusual fact that as many as 70% of the works in the show were made explicitly for the Back to the main site occasion; Basualdo spoke of ‘establishing a new geography, or topology, of culture’; and Bauer spoke of ‘deterritorialization’. Finally, Enwezor began his reflections by referring to Chinua Achebe’s classic novel of pre-colonial Africa Things Fall Apart (1958). He spoke of the emergence of post-colonial identity, and said that he and his colleagues had aimed at something much larger than an art exhibition: they were seeking to find out what comes after imperialism. These remarks were significant because Documenta, along with the Venice Biennale, is one of the foremost venues at which the current cultural politics of the art world is laid out. In a sense the agenda proclaimed by these curators gave one a sense of déjà vu; or rather, it seemed not exactly to usher in a new era but to set a seal on an era first announced long ago.
    [Show full text]
  • May 2016 Held an Exhibition of Tony Cragg, One of the Leading Representatives of the “New British Sculpture” Movement
    UDC 7.067 Вестник СПбГУ. Сер. 15. 2016. Вып. 3 A. O. Kotlomanov1,2 “NEW BRITISH SCULPTURE” AND THE RUSSIAN ART CONTEXT 1 Saint Petersburg Stieglitz State Academy of Art and Design, 13, Solyanoy per., St. Petersburg, 191028, Russian Federation 2 St. Petersburg State University, 7–9, Universitetskaya nab., St. Petersburg, 199034, Russian Federation The article examines the works of leading representatives of the “New British Sculpture” Tony Cragg and Antony Gormley. The relevance of the text is related to Tony Cragg’s recent retrospective at the Hermitage Museum. Also it reviews the circumstances of realizing the 2011 exhibition project of Ant- ony Gormley at the Hermitage. The problem is founded on the study of the practice of contemporary sculpture of the last thirty years. The author discusses the relationship of art and design and the role of the financial factors in contemporary art culture. The text is provided with examples of individual theoretical and self-critical statements of Tony Cragg and Antony Gormley. It makes a comparison of the Western European art context and Russian tendencies in this field as parallel trends of creative thinking. Final conclusions formulate the need to revise the criteria of art theory and art criticism from the point of recognition of new commercial art and to determine its role in the culture of our time. Refs 5. Figs 7. Keywords: Tony Cragg, Antony Gormley, New British Sculpture, Hermitage, contemporary art, contemporary sculpture. DOI: 10.21638/11701/spbu15.2016.303 «НОВАЯ БРИТАНСКАЯ СКУЛЬПТУРА» И РОССИЙСКИЙ ХУДОЖЕСТВЕННЫЙ КОНТЕКСТ А. О. Котломанов1,2 1 Санкт-Петербургская государственная художественно-промышленная академия им.
    [Show full text]
  • On Kawara Unanswered Questions Personal Structures Art Projects # 04 on Kawara
    ON KAWARA UNANSWERED QUESTIONS Personal Structures Art Projects # 04 ON KAWARA ON KAWARA UNANSWERED QUESTIONS UNANSWERED QUESTIONS This book is the documentation of Personal Structures Art Projects #04. It has been published as a limited edition. The edition comprises 250 copies of which 50 DeLuxe, numbered from 1 to 50, and 50 DeLuxe hors commerce, numbered from I to L. The 150 Standard copies are numbered from 51 to 200. Each item of this limited edition consists of a book and a CD in a case, housed together in a cassette. The DeLuxe edition additionally contains a postcard with a question for On Kawara, returned to sender. This limited edition has been divided as follows: # 1-50: DeLuxe edition: Luïscius Antiquarian Booksellers, Netherlands # 51-200: Standard edition: Luïscius Antiquarian Booksellers, Netherlands HC I-L: Not for trade © 2009-2011. Text by Karlyn De Jongh © 2007-2009. Questions by the authors All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechan- ical, photocopying, recording or otherwise, without permission of the editor. Concept by Rene Rietmeyer and Sarah Gold Design by Karlyn De Jongh Printed and bound under the direction of Andreas Krüger, Germany Production in coöperation with Christien Bakx, www.luiscius.com Published by GlobalArtAffairs Foundation, www.globalartaffairs.org KARLYN DE JONGH ON Kawara: UNANSWERED QUESTIONS Today is Saturday, 19 December 2009, and right now I am in my apart- ment in Venice, Italy. My name is Karlyn De Jongh. I am an indepen- dent curator and author from the Netherlands and I have spent two years working on the project Unanswered Questions to On Kawara.
    [Show full text]
  • Georges Perec and on Kawara: Endotic Extravagance in Literature, Art, and Dance Leslie Satin New York University ______
    Satin: Endotic Extravagance 50 Georges Perec and On Kawara: Endotic Extravagance in Literature, Art, and Dance Leslie Satin New York University _____________________________________ Abstract: This article analyzes the work of Georges Perec and On Kawara, two artists who have radically recast our understanding of space and time in literature and the visual arts, through the lens of the author’s post-modern dance practice and scholarship. Both artists, deeply affected by the chaos of World War II, began working in the mid- twentieth century: experimental author Georges Perec (1936-1983), known for his affiliation with OuLiPo (Ouvroir de Littérature Potentielle, or Workshop for Potential Literature), the organization founded in 1960 to ratchet up the possibilities for conceiving and creating utterly new, or ‘potential’, literature, and On Kawara (1932- 2014), the Conceptual artist known for his large-scale recasting of personal and historical time, and his conversion of ‘private life’ into vast archives of documentary recording. The article looks both at spatial elements in the work of these artists, and at spatialized responses to their words and objects. It investigates Perec’s and Kawara’s divergent ideas of the everyday, as articulated through their practices—particularly their commitment to compositional scores and games exemplifying the ludic, and their insistence on the importance of seeing and noticing—and the implications of those practices, and the work they produced, regarding facticity, embodiment, self-representation, transformation, and, above all, the ongoing articulation of space and, by extension, time. Informed by work in human geography; affect, literary, and performance theory; and phenomenology, and by the writer’s experience in dance as a practice and area of scholarship, the article links these practices and ideas to those of post-modern dance to explore the fluid relationships among space, movement, bodies, and objects.
    [Show full text]
  • Richard Deacon. Some Time
    RICHARD DEACON. EN SOME TIME 27.05 – 24.09.2017 1 The Middelheim Museum proudly presents SOME TIME, a solo show introducing work by Richard Deacon (Wales, °1949), one of Britain’s most fascinating contemporary artists. The thirty sculp- tures on display, including several recent works, are particularly 17 18 19 20 21 22 23 24 25 diverse in size, design and material. They are presented on various Braem Pavilion locations in the museum park. view plan B on p. 19 26 The exhibition has come about in close collaboration with the artist. The 28 central focus is on his sculpture Never Mind (1993), one of the Middelheim 27 29 Museum’s key works. For this show, the original wooden version has been BEUKEN refabricated in stainless steel. L A A N 55 Castle F E Deacon, master-fabricator E M DR EI H EN D EL D N I 6 L ID M 5 7 “The sculptures that I make are, in most cases, neither carved or modelled A AN 2 N LA 12 13 14 15 16 Z M HEI DEL – the two traditional means of making sculpture – but assembled from parts. MID 30 The House I am therefore a fabricator and what I make are fabrications.” BEUKEN view plan A on p.14 4 3 – Richard Deacon L A A 10 N Richard Deacon has invariably been at the forefront of the visual arts 8 11 9 scene since the 1980s. He began his training at London’s Saint Martins 1 School of Art in 1969, when the experimental vision ‘art is an attitude, not a technique’ was very much alive there.
    [Show full text]
  • PRESS 2015 Eunice Tsang, 'Interview: Antony Gormley on His
    PRESS 2015 Eunice Tsang, 'Interview: Antony Gormley on his HK sculpture installation, Event Horizon', Time Out Hong Kong, Hong Kong, China, 2nd December 2015. Enid Tsui, 'Stand and Consider', South China Morning Post, Hong Kong, China, 3rd November 2015 Stephen Short, ' Outside the Box', Tatler, Hong Kong, China, November 2015 Antony Gormley, 'New Roles for an Ancient Form', The Financial Times, London, U.K., 4th October 2015 Pia Capelli, 'Per inciampare nelle statue', Il Sole 24 Ore, Milan, Italy, 2nd August 2015 David Whetstone, 'Antony Gormley exhibition launches drawing project at Newcastle's Hatton Gallery', Evening Chronicle, Newcastle, U.K., 4th July 2015 Martin Gayford, 'Antony Gormley: Renaissance thinking was wrong', The Telegraph, London, U.K., 6th June 2015 Gregorio Botta, 'Antony Gormley: La nuova vita (estetica) del corpo umano', Rome, Italy, 14th June 2015 Hannah Ellis-Petersen, 'I am still learning how to make sculpture', The Guardian, London, U.K., 6th May 2015 Nicholas Forrest, 'Antony Gormley on His Epic "Human" Exhibition in Florence', Blouin Art Info, New York, U.S.A., 30th April 2015 Antony Gormley, 'The Man who made dumb objects speak', The Evening Standard, London, U.K., 8th April 2015 Francesca Pini, 'Qui a Firenze contesto la tirannia del Rinascimento', Corriere Della Sera Sette, Milan, Italy, 20th March 2015 Amy Verner, 'Antony Gormley's sculpture takes over Galerie Thaddaeus Ropac', Wallpaper*, London, U.K., 4th March 2015 2014 Alexander Sury, 'Das ist der Ort, in dem ich lebe', Der Bund, Berne, Switzerland,
    [Show full text]