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219210 Fulles D'obra Lawrence Weiner Some Objects of Desire, 2004 romantic tendencies in expressionist painting. Each of the works in this series had the same price, conFrming that the works had been conceived conceptually and not as individual objects. Nonetheless, the works were not accepted as ideas but as paintings. Later on, in an attempt to eliminate the impor- tance of the artist, Weiner created the Removal Paintings series, which he spray-painted, eliminating a piece of the canvas, usually in one of the corners. In this mechanical process, the person receiving the work would say what size, colour and shape he or she wanted removed from the painting. Though these paintings undermine their own authority by inviting and then incorporating the authority of the viewer, the works still had speciFc physical qualities. In 1968 Weiner took part in an open-air exhibition at Windham College in Vermont, where he created a grid made out of wooden stakes, connected with twine, spreading across MACBA Collection. Fundacion of the Museu d’Art Contemporani a grassy patch in the centre of the campus. Installed between de Barcelona. © Lawrence Weiner, vegAp, Barcelona, 2009. two dormitories, the students reclaimed the space and cut the ropes. Weiner realised that this did not matter to the piece: the idea behind the work was the work itself. His next Lawrence Weiner (Bronx, New York, United States, 1942) exhibition consisted of a book titled Statements, in which the went to the Stuyvesant High School in Manhattan. After works were only presented as texts. Since that time his work studying philosophy and literature for less than a year has dealt primarily with the use of language.1 at Hunter College in New York, in the late fifties and sixties It is through language that Weiner Fnds an instrument he travelled extensively in the United States, Mexico and to represent material relationships in an objective manner. Canada. Returning to New York, he exhibited at the gallery Language for Weiner becomes an instrument that eliminates of Seth Siegelaub. He has since shown worldwide including references to the subjectivity of the author, the artist’s hand, recent exhibitions at K21 Kunstsammlung NRW (Düsseldorf, ability or taste. In 1969 he published his declaration of intent: Germany), Irish Museum of Modern Art (Dublin, Ireland), Museum of Contemporary Art (Los Angeles, United States) 1. The artist may construct the piece. and the Whitney Museum for American Art (New York). 2. The piece may be fabricated. He divides his time between New York and his boat in 3. The piece need not be built. Amsterdam. Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership. Some Objects of Desire, with its inexact mathematical formula and ambiguous language, between descriptive and meta- The works of Weiner favour ideas over material form and phoric, aIrms the relationship between di©erent objects and have manifested themselves on postcards, books, posters, each and every one of its viewers. It seems to evoke Weiner’s movies, records, manhole covers or even sugar packets, deFnition of art as the relation between human beings and together with the walls of artistic institutions. Language has objects, and objects in relation to human beings. the properties for which Weiner is searching in his work: Since the seventies, Lawrence Weiner has been a key accessible, democratic, subjective and belonging to all those Fgure in Conceptual Art. In 1964 he started the series of that can read or write. paintings Propeller based on tv test cards. Through this image, immediately recognisable and reproducible, Weiner 1 For Weiner the display of his written works, defined by him as cancelled not only decisions in composition, but also elements sculptures, was of no importance. It was not Weiner but an early collector, Count Panza, who first had his pieces written directly such as inspiration, surprise, expression or self-deFnition, on the wall. disavowing and even parodying contemporary subjective or MUSEU Time as Matter D’ART CONTEMPORANI DE BARCELONA MACBA Collection. New Acquisitions 15 May–31 August 2009 www.macba.cat.
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