Masters of the 13th, 14th and 15th century

Stoning of Saint Stephen (Initial E [t enim] sederunt) Last quarter of the 13th century 484 × 340 mm

Master Olivetano Illuminator from (Lombardy) Florence Initial cut out from a choir book Initial cut out from a gradual with with Communion of the Apostles Stoning of Saint Stephen (Initial C) (initial Cibavit eos) Late 15th century 1439 365 × 318 mm

Master of the Decretals of Lucques, Bologna Illuminated fragment of a judicial codex with Elevation of the Host 1270-1275 103 × 80 mm

Illuminator from Abruzzo Initial cut out from an antiphonal with Christ in Majesty with Saints and Prophets (Initial Aspiciens a longe) Master of Seneca, Late 13th century Bologna 287 × 368 mm Choir sheet with Christ and Virgins (Initial Veni sponsa Christi) Early 14th century 603 × 417 mm

Nerio, Bologna Initial from a gradual with Resurrection of Christ (Initial Resurrexi) Early 14th century 280 × 183 mm Maestro of the Lattanzio Riccardiano, Florence Initial cut out from a gradual with Resurrection of Christ Anonymous illuminator (Initial Resurrexi) from Central Italy 1460-1465 Page from a gradual with 265 × 232 mm

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the 11th to 16th century. They are Mexico City, where she had previously a testament to various schools of produced random intersections #6 for illumination, styles, and geographic a show in 2011, and came across a origins. These fragments derive from new, especially conspicuous one, which the transformation of the function of she reproduced for this exhibition and illuminated manuscripts that resulted titled #14; it is the only braided version from the suppression of the monastic presented here. random intersections #4 orders by Napoleon in 1810, following an was modeled after a bridle found in Italian campaign that left a trail of looting Portugal. The remaining two on view are and depredation. replicated after two other western-style Rendered useless, antiphonals, graduals, bridles, which the artist speculates are of and psalters were dismantled, as were French, Spanish, or Portuguese origin. the convent and monasteries’ libraries in Without any horses to maintain their which they were stored. Some, such as form, the bridles remain faint outlines the library of the Vatican, in 1798 were of absent bodies. They are hung together plundered (and in the case of the Vatican, vertically, such that their respective weight the spoils were subsequently sold at and materials determines their form Christie’s in 1825). The illustrated parts, and increases their degree of abstraction. either images or initials, were often cut out and assembled by “collage” on pages random intersections #4 put up for sale. Separated from the text, 2009-2012 they acquired a new aesthetic value. Random Intersections #12 However, other factors give these 2015 fragments their “figurative dignity.” Random Intersections #13 Art historian Ada Labriola revealed that 2015 in the 18th century the taste for printed Random Intersections #14 books and ruins as well as the revival of 2015 historiography inspired the collection Dimensions variable of British art historian William Young Leather Ottley, who set the trend that made Courtesy Leonor Antunes cut-outs so fashionable in the Anglo- and Air de Paris Saxon culture. These custom-made cut-outs were recomposed according Leonor Antunes began this series of works to the tastes of collectors. in 2007, when she was working The majority of the pieces of the Giorgio on an exhibition titled dwelling place Cini Foundation collection were acquired for the project space at Barriera from the Swiss collector and merchant Association in Turin. While planning that Ulrico Hoepli (1847-1935), who based exhibition, Antunes researched the work his publishing house and Libreria of architect Carlo Mollino, who renovated Illuminator from Antiquaria in Milan from 1870 onwards. the entire interior of Turin’s famous the studio of the In 1939 and 1940, Count Vittorio Cini Teatro Regio. According to the artist, she choirmaster of San acquired large groups of miniatures from discovered that Mollino had been invited Lorenzo, Perugia this institution and later donated them to to undertake this project not only because Cut-outs from the register of the Foundation. of his skill (which was not recognized a corporation of Perugia with sufficiently at the time) but because Gate of Saint Michael the Archangel, another project, his Torino Horse Riding Gate of Saint Susanna, Club, had been recently demolished. and Gate of the Sun Looking through documentation of Second quarter of the 14th century the riding club, Antunes found collages 89 × 72 mm produced by Mollino depicting horses 87 × 51 mm in full bridles galloping into the school. 86 × 69 mm Antunes was inspired specifically by the horses’ bridles, and she set to replicate Fondazione Giorgio Cini, Istituto various found versions—without any di Storia dell’Arte, Venice metal and not necessarily in one to one scale. Since 2007, she has collected bridles These sheets and initials, cut out from from several different countries and choir books and legal manuscripts, produced replicas, each unique yet part date from a period spanning from of the same series. Recently, she was in

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Mexico City, where she had previously manipulation. The plates on which the produced random intersections #6 for shapes are screwed to the metal support a show in 2011, and came across a were custom made; they function like new, especially conspicuous one, which screws and bolts. she reproduced for this exhibition and The artist monitored the whole titled #14; it is the only braided version fabrication process closely in order to presented here. random intersections #4 make sure that the organic quality of the was modeled after a bridle found in mouth would appear as a tool that “bends Portugal. The remaining two on view are space,” and that the chromed elements replicated after two other western-style would appear as a “prosthetic aid” for the bridles, which the artist speculates are of whole construction. The intention is not French, Spanish, or Portuguese origin. to make anything more beautiful—unlike Without any horses to maintain their dental braces—but rather to reveal the form, the bridles remain faint outlines “ugliness” that precedes the completed of absent bodies. They are hung together correction together with the potential and vertically, such that their respective weight imagination it conjures. and materials determines their form Retainer and increases their degree of abstraction. 2013 Cast aluminum, silicon, random intersections #4 polycarbonate, chromed metal, print, 2009-2012 painted metal, rubber Random Intersections #12 Dimensions variable 2015 Private collection Random Intersections #13 2015 Retainer was produced for a large Random Intersections #14 exhibition space at the Sculpture Center 2015 in Long Island City, New York. Dimensions variable The installation is composed of Leather 16 elements of colored silicon that are French Curve Courtesy Leonor Antunes pressed against a polycarbonate backing. 2014 and Air de Paris Each panel is mounted on a thin, Cast aluminum, epoxy resin, chromed aluminum tripod by means polystyrene, concrete, paint Leonor Antunes began this series of works of chromed plates. The tripods hold the Approx. 1700 × 550 × 56 cm in 2007, when she was working slightly pink and translucent shapes like Courtesy Galerie Bucholz, Berlin/ on an exhibition titled dwelling place an easel holds a painting. In some cases, Cologne, and kurimanzutto, for the project space at Barriera a metal rod links two or more panels. Mexico City Association in Turin. While planning that All the panels are installed side by side, exhibition, Antunes researched the work forming a curve on its convex side. A French Curve is a template made of architect Carlo Mollino, who renovated While the panels were being made, out of metal, wood, or plastic used by the entire interior of Turin’s famous the artist built a small-scale prototype in draughtsmen to draw neat curves. Teatro Regio. According to the artist, she order to conceive the installation in the The elegant line achieved with this tool discovered that Mollino had been invited exhibition space. The piece is not so much acquires thickness in this tridimensional, to undertake this project not only because meant to represent a mouth wearing horizontal, and curved piece. Its of his skill (which was not recognized dental apparatuses as much as to imagine horizontality reminds us of the original sufficiently at the time) but because the interior of a mouth as “a space,” exhibition space, the vast terrace of the another project, his Torino Horse Riding or rather spaces that vary according Chicago Art Institute with its spectacular Club, had been recently demolished. to whether the jaws are open or closed view of the city skyline, and how the Looking through documentation of and the mouth speaks or not. curve has traditionally inspired vertical the riding club, Antunes found collages After seeing the Sculpture Center, Nairy sculptures. Baghramian’s curve introduces produced by Mollino depicting horses Baghramian went back to Berlin, where a spine-like quality, and an element in full bridles galloping into the school. she lives and works, to produce these associated historically with the female Antunes was inspired specifically by shapes and their metal support. body. With this connotation, the artist the horses’ bridles, and she set to replicate The color scheme of the silicon elements introduces a foreign element to the various found versions—without any spans from light pink to murky beige. canonical narrative of Minimal Art, just metal and not necessarily in one to one The polycarbonate elements and the like herself, coming from outside of the scale. Since 2007, she has collected bridles chromed aluminum supports were United States. from several different countries and produced in a small factory and hand-cut With its low structure (more or less at produced replicas, each unique yet part according to a generative process using knee height) and its curved shape of of the same series. Recently, she was in both industrial production and manual about 55 feet long, French Curve is a

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metaphor, a “tool” that shows the gaps lack of verticality. They are not self- two fragments of the same painting within the Minimalist lineage. supporting, they need the sides of the that had been conserved as such in the French Curve is composed of numerous glass windows, they could not stand Contarini collection in Venice and later segments placed next to each other. The without them,” she explained. “With the moved to the Accademia museum. artist first built the elements in her studio vitrine I give them a relaxing break.” Furthermore, the elements of on a one to one scale. These were then Her flaccid sculptures have a failing iconography—such as the white robe used to produce the aluminum castings verticality that attest implicitly to the of Christ, the expression of his face, the that compose the shell, in which she issues of power at play in sculpture shoots on the tree—led Cantalamessa poured polystyrene concrete, a typical seen as the power to “erect.” To build to identify the fragments as parts of a filling material. the elements of Slip of the Tongue, Transfiguration (where the Christ presents Depending on whether one is looking Baghramian used the polystyrene concrete himself as lux mundi, light of the world). at the convex or concave side of the curve, she carved out of French Curve, and added He suggested to frame the two fragments, the surfaces show distinct materials and cast silicon as skin. the back and the front panels, together in materialities: cast aluminum on one side a box-shaped structure. This was done in and on the other, epoxy resin, which 1902 and still remains. produce opposite feelings as in a “relation between bone and marrow.” On the resin surface, the layer of concrete has been carved out as if the bone marrow had been removed. The shining and pallid material that covers the sculpture on its convex side emphasizes the intimate nature of our relation with anything that Head of Christ and resembles the internal. scroll. Fragments On the contrary, the concave curve of a Transfiguration oriented towards the city shows a matte 15th century (1500-1505) grey aluminum skin. Oil on panel 33 × 22 cm (head of Christ), and 31 × 22 cm (tree and signature) Gallerie dell’Accademia, Venice

There are three known paintings of the Transfiguration of Christ by Giovanni Bellini but for one of them, only two fragments remain. One depicts the head of Christ and the other the signature of the artist in a trompe-l’oeil cartouche: IOANNES BELLI/NUS MEPINXIT. Slip of the Tongue The combination of the two fragments 2014 and the identification of the subject Rubber, epoxy resin, polystyrene, matter and of the author of the painting concrete, paint required a number of operations that are Dimensions variable recorded in a written document: a letter Courtesy Galerie Bucholz, Berlin/ from the Director of the Accademia, Cologne, and kurimanzutto, Giulio Cantalamessa, to the Minister Mexico City of Cultural Affairs, dated 15 September 1899. He explained that when a painting While French Curve was displayed on of Christ the Redeemer, damaged and the terrace of the Chicago Art Institute, repaired a number of times over the the elements of Slip of the Tongue were centuries and attributed to “the School of displayed inside the museum restaurant, Giovanni Bellini,” was removed from the situated indoors and connected to the wall, he noticed on the back “a drawing terrace. In the restaurant, there was a of a tiny panel hanging from a leafless display case with glass objects from the tree” and bearing the signature of the museum’s decorative arts collection. artist. He also noticed that the painting Baghramian asked whether she could was composed of two wooden panels of borrow it. “In the vitrines, the works similar thickness that had been glued composing Slip of the Tongue show their together. For Cantalamessa, these were

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two fragments of the same painting The notion of portrait fades from that had been conserved as such in the specific to something general. The Contarini collection in Venice and later catalogue of the Musée national d’art moved to the Accademia museum. moderne notes that, “What is strikingly Furthermore, the elements of different in the La muse endormie is the iconography—such as the white robe fact that since it is lying on its side, it of Christ, the expression of his face, the is resolutely horizontal and carefully shoots on the tree—led Cantalamessa balanced on the cheek. The neck to identify the fragments as parts of a has been suppressed and the hair is Transfiguration (where the Christ presents shown only through a series of parallel himself as lux mundi, light of the world). incisions. By replacing the bust with He suggested to frame the two fragments, a head lying on its side, similarly to a the back and the front panels, together in La Muse endormie mask, and by erasing the features of a box-shaped structure. This was done in Print between 1917 the face in order to concentrate on its 1902 and still remains. and 1922 ovoid shape, the sculptor ‘abstracted’ an Silver print mounted on cardboard object that still resonates as human.” Dry stamp of the photographer With each successive production, the (bottom left on the image and the face became more abstract, as shown in mounted piece) this photograph. Brancusi introduced Red ink seal “Henry Pierre Roché” slight differences between the original (at the back) version in plaster, the one in marble 32.6 × 39.8 cm (1909-1911), the one in alabaster Head of Christ and Pinault Collection (1917-1918), and the bronze copies. scroll. Fragments The dimensions, symmetry and surface of a Transfiguration The dry stamp of the Romanian-born are altered by working on the metal or 15th century (1500-1505) sculptor Constantin Brancusi appears on on the plaster proofs made from the Oil on panel the bottom left corner of the photograph. bronze copies. Almost imperceptibly, 33 × 22 cm On the back, there is a red ink stamp the La muse endormie gradually (head of Christ), and 31 × 22 cm made by French writer Henri-Pierre becomes the La muse endormie II. (tree and signature) Roché. As a collector, he acted together In the catalogue Le portrait ? La Gallerie dell’Accademia, Venice with the artist Marcel Duchamp as série et l’œuvre unique (Paris, Centre Brancusi’s “agent” in the United States. Pompidou, 2002), American art There are three known paintings of the The photograph was later acquired by historian Ann Temkin lists all the Transfiguration of Christ by Giovanni Zabriskie Gallery in Paris. versions of the La muse endormie for Bellini but for one of them, only two The sleeping muse that played itself out which the Brancusi Studio (Atelier fragments remain. One depicts the head in the numerous versions of Brancusi’s Brancusi) at the Centre Pompidou of Christ and the other the signature of sculpture, which were multiplied through keeps copies in plaster (the artist the artist in a trompe-l’oeil cartouche: photographs that were each printed used to make such copies each time IOANNES BELLI/NUS MEPINXIT. in several copies, gives insight into the he’d sell or give away an original), as The combination of the two fragments working method of a modern sculptor well as photographic archives (560 and the identification of the subject in the early 20th century. Brancusi used original negatives and 1250 printed matter and of the author of the painting to take photographs to keep track of the copies). According to Temkin, the required a number of operations that are different phases of the work in progress gelatin silver glass plate negative of the recorded in a written document: a letter and to visualize it under different lights. La muse endormie, alabaster version of from the Director of the Accademia, Brancusi also used photography to present 1917-1918, was used to make seven Giulio Cantalamessa, to the Minister his work to collectors, to promote it in silver prints, including the one shown of Cultural Affairs, dated 15 September magazines, and as an exchange “currency” here. Since then, an eighth print was 1899. He explained that when a painting or simply as gifts. found, not mounted, but signed and of Christ the Redeemer, damaged and Baroness Renée Irana Frachon modeled with a handwritten note in ink at the repaired a number of times over the for Brancusi between 1908 and 1910. bottom right corner of the image: centuries and attributed to “the School of Brancusi made a series of studies of her “To Mrs. Lebherz. A fond memory of Giovanni Bellini,” was removed from the for the La muse endormie that are now Good Friday.” The lady in question wall, he noticed on the back “a drawing lost. He replaced the traditional way of was Marthe Lebherz, Brancusi’s lover of a tiny panel hanging from a leafless representing a bust, in which the neck until 1928. She kept the print until her tree” and bearing the signature of the and head standing vertically, with a stand- death. artist. He also noticed that the painting alone head. The head is not attached to The fact that this print is mounted on was composed of two wooden panels of anything, there is no neck, no hair: it is cardboard signals the close relationship similar thickness that had been glued simply marked by parallel incisions in the of Brancusi with photographers who, at together. For Cantalamessa, these were material. the end of the 19th century, commonly

Danh_Vo_04_ING_esec.indd 5 02/04/15 11:48 Marcel giovanni broodthaers buonconsiglio known as il marescalco

used a similar technique. He was a is eggs. The world was born from close friend of American photographer the great yolk, the great yellow, the Edward J. Steichen, whom he had met sun. Crushed egg shells, the moon. in Rodin’s studio. Steichen lived for the Egg dust, the stars. Everything dead most part in Paris between 1900 and egg.” (M.B., “Evolution or the egg 1924. movie,” Phantomas, December 1965). He photographed many of Brancusi’s Supplies—numerous egg shells in works and also exhibited his work in egg cups, on dishes, in boxes—are 1914 at “Little Gallery” (New York), placed outside and inside the kitchen which later became 291 Gallery, and cabinet, which contains also a number which he managed together with Alfred of elements of La Tour Visuelle (1966), Stieglitz. glass jars, each containing the identical Around 1921, Brancusi asked another image of an eye. photographer, Man Ray, to help him find photographic material and give him some advice. Together, they bought a camera and a tripod. The sculptor built a dark room in a corner of his studio, as he was keen to develop his Saints Benedict, own photographs. The prints found in Thecla, and Damian his studio after his death were produced 1497 from the negatives in at least two copies Oil on panel each, and as many as twenty. 82 × 68 cm Armoire de cuisine Gallerie dell’Accademia, Venice 1966-68 Painted wood cabinet filled with Born in Vicenza, Giovanni various objects; painted iron basket Buonconsiglio, also known as filled with egg shells Il Marescalco—a nickname inherited 232.8 × 119.9 × 49.8 cm from his father, a blacksmith—lived Pinault Collection in Venice from 1494 to 1495 (and later from 1513 to his death, dated This kitchen cabinet appears as a between 1530 and 1537). He was “cabinet of curiosities” in the same commissioned to produce an altarpiece vein as the 16th and 17th century for the chapel situated on the left hand characteristic pieces of furniture that side of the main altar of the church were designed (or represented in of Santi Cosma e Damiano, on the paintings) according to the collectors’ island of La Giudecca in Venice, and wishes. Inside, they displayed financed by Gabriele Morosini dalla arrangements of exotic plants or Sbarra, the father of a nun, Cecilia, animals, creatures of nature, scientific who had entered this convent in 1495. instruments and artifacts, as a series of Buonconsiglio delivered it in 1497. keys, lists, and places opening up and In 1648, the painter and biographer into different modalities of knowledge. Carlo Ridolfi gave a detailed Indeed, as a collector’s artifact, this description of the altarpiece as a cabinet contains things that would “singular painting with the Virgin sat seem odd as typical cuisine or in a in an elevated position holding the kitchen. Except that this is an artist’s child Jesus in her arms, under a vault cuisine and that as such, it is linked to decorated with beautiful engravings; his manufacturing secrets. on the sides, Saint Cosimo and Saint Eggs, for example, are a painting Damian, the latter wearing ducal attire material (“I’m going back to matter. along with Saints Benedict, Thecla, I’m rediscovering the tradition of and Erasmus. Painting with a delicate, primitives. Egg painting. Egg painting,” youthful style…” He also notes the M.B. Invitation, Cogeime Gallery, signature of the artist under the throne 1966). Broodthaers used them a lot: of the Virgin. as shells, covering armchairs, stacked In the mid 18th century, it was in a bowl (1967), placed in five pots discovered that the altarpiece was gone. with chicks (1966), in a cage or in The church had been damaged by a fire plastic or cardboard boxes. “Everything in 1700 and it was thought that the

Danh_Vo_04_ING_esec.indd 6 02/04/15 11:48 giovanni hubert buonconsiglio duprat known as il marescalco is eggs. The world was born from altarpiece had been removed and stored the great yolk, the great yellow, the in a safe place. Two cut out fragments sun. Crushed egg shells, the moon. that were saved and sold reappear later: Egg dust, the stars. Everything dead they are mentioned in the catalogue egg.” (M.B., “Evolution or the egg of the Venice collection of Count movie,” Phantomas, December 1965). Algarotti (after 1776). One of them, Supplies—numerous egg shells in featuring “the Virgin shown from the egg cups, on dishes, in boxes—are knees up and holding the child Jesus in placed outside and inside the kitchen her arms” is now part of the collection cabinet, which contains also a number of the Banca Popolare Vicentina. The of elements of La Tour Visuelle (1966), second fragment, part of the Manfrini glass jars, each containing the identical collection, was bought by the Archduke image of an eye. Ferdinand Maximilian of Austria for the Accademia in 1856. A signature Cassé – Collé similar to that described by Ridolfi was 1991-1994 added to it. Limestone 102 × 173 × 100 cm Courtesy of the artist Saints Benedict, and Art : Concept, Paris Thecla, and Damian 1497 Jurassic moraines weighing several tons Oil on panel each, found as such and not cut out 82 × 68 cm from the rock, are lifted with a crane Gallerie dell’Accademia, Venice and carried to a quarry with a heavy lift gantry crane. Once the base is chosen Born in Vicenza, Giovanni (the side on which the rock will sit on Buonconsiglio, also known as the ground), the rock is perforated. Il Marescalco—a nickname inherited Metallic elements are inserted in the hole from his father, a blacksmith—lived in order to break the moraine in two, in Venice from 1494 to 1495 (and a process that is repeated for each of later from 1513 to his death, dated the two new parts again and again up between 1530 and 1537). He was until the stone begins to split. commissioned to produce an altarpiece This is the breaking point when for the chapel situated on the left hand the opposite operation starts, which side of the main altar of the church consists of gluing each of the parts back of Santi Cosma e Damiano, on the together, holding them against each other island of La Giudecca in Venice, and with braces. Each unit is thus broken financed by Gabriele Morosini dalla up and recomposed in a deliberately Sbarra, the father of a nun, Cecilia, imperfect manner. who had entered this convent in 1495. The background of these operations can Buonconsiglio delivered it in 1497. be found in the work of François Daleau, In 1648, the painter and biographer a mid-19th century scientist, prehistorian, Carlo Ridolfi gave a detailed palaeontologist and collector from description of the altarpiece as a the Gironde region in France. “singular painting with the Virgin sat Daleau used to reconstitute the in an elevated position holding the morphology of flints by gluing dozens child Jesus in her arms, under a vault of bits of stone around a central piece, decorated with beautiful engravings; producing a hybrid object. on the sides, Saint Cosimo and Saint Three pieces have been composed in this Damian, the latter wearing ducal attire manner. The title in French is in the past along with Saints Benedict, Thecla, participle form. and Erasmus. Painting with a delicate, youthful style…” He also notes the signature of the artist under the throne of the Virgin. In the mid 18th century, it was discovered that the altarpiece was gone. The church had been damaged by a fire in 1700 and it was thought that the

Danh_Vo_04_ING_esec.indd 7 02/04/15 11:49 created, which Duprat presented to the public for the first time in June 2012 under the title Dernière Bibliothèque (Last Library), at the Geneva HEAD LiveInYourHead exhibition center.

Corail Costa Brava Caddis worms building 1994-1998 their case Coral, bread, glue 1980-2015 25 × 25 × 25 cm Gold dust, pearls Courtesy of the artist and Art : Each cocoon is 2.5 cm long Tribulum Concept, Paris Courtesy of the artist 2013 and Art: Concept, Paris Polyurethane foam, flint Coral Costa Brava echoes the large piece Dimensions variable of red coral from the deep Mediterranean Aquatic larvae collected in the best rivers Courtesy of the artist and Sea, worn by the figure of Daphne of lower mountain ranges (Cévennes Art : Concept, Paris (1570-1575) in Wenzel Jamnitzer’s and Pyrenees) are brought to the studio jewelry piece shown at the National alive, placed in an aquarium filled with A tribulum or threshing board is Renaissance Museum in Ecouen, France. oxygenated water at a temperature of 4ºC, a rectangular wood board fitted with With its coral crown, the sculpture taken out of their original cocoon made Volos flint chips that was used in the past embodies the mythological of sand and fine gravel, and placed on a 2013 throughout the Mediterranean region metamorphosis of the nymph (Daphne, bed of gold dust and precious stones. Polished jadeite axe head, to separate grains from the straw. a beautiful young girl who was Immediately, the larvae start building block of clay wrapped in plastic A tool from the early stages of agriculture, transformed into a laurel) at the precise a new case. “In nature, the case is a 56 × 20 × 7 cm it is now a decorative object. moment of her transformation into camouflage device but here, it shines Courtesy of the artist A rectangular piece of foam—often used a plant. The silver statuette is mutating light and breaks mimicry.” In 1979, only and Art : Concept, Paris to display flowers as foam retains water— into coral, which was considered during native gold dust was used. Cabochons is used as a board. It is covered with flints the Renaissance as a strange species, of turquoise, opal, lapis lazuli, and coral Volos is an island situated in Thessaly, that are placed in such a way that from not quite plant and not quite mineral as well as rubies, sapphires, diamonds, Greece. In the local archaeology museum, a distance, the foam becomes invisible either. The coral branches are set semispherical and baroque pearls, and there is a pre-Cycladic terracotta sculpture and only the various shades of the stones with silver rings. tiny gold twigs were progressively added. representing a human chest surmounted are visible. The rhizomatic and bushy volume It is also possible, by mutilating some by a polished axe instead of a head. The flints, which are not archaeological of the Costa Brava Coral is tightly parts of the case, to trick the animal into A block of clay wrapped in plastic found pieces, were found in the rubbish subordinated to the tree-like structure repairing it by placing material precisely in the children’s play area of a museum of the workshop of an archaeology composed by the vermeil branches. on the damaged spot. and given to the artist by the curator specialist who revisits all sorts of ancient Its original irregularity has been forced; This experiment, which was successfully was similarly surmounted by a Neolithic techniques, including flint cutting. it forms a maze that is studded with rings repeated, was patented in 1983 at the axe, which the artist already had in his The blades cut with “prehistoric made of bread—a material linked to French National Institute of Industrial possession. He planted the axe in the know-how” are strictly identical but rumination—hiding the points where Property (Institut national de la block of fresh clay, only removing the contemporary, thin and radiant. the fragments have been meticulously propriété industrielle) under the number self-adhesive label and letting the plastic Because of the flimsiness of foam, glued together. 83 02 024. wrapping produce condensation, folds, the piece is rebuilt for each exhibition The title expresses the Mediterranean The artist also gathered documentation and a skin-like effect. (the order in which to place the flints is origin of the material in contrast with from Japan to Perugia, Italy, from French Considered as a “prototype,” the sculpture detailed in a technical data sheet, a previous piece by Hubert Duprat made entomologists such as Pictet, Fabre and can be made anew (with other polished with photographs and instructions). of amber and titled Nord. the British Miss E.M. Smee. As early axes and other blocks of clay), but not as 1863, she had conducted in vitro reproduced in smaller or larger variations. experiments using fresh water ecosystems, which were made available at a time when aquariums were a popular fad linked to the construction of the Crystal Palace in London. Thus the impressive and obsessional “trichopteratheque” was

Danh_Vo_04_ING_esec.indd 8 02/04/15 11:49 elmgreen & dragset

created, which Duprat presented to the a diving board whose base pierced public for the first time in June 2012 through one of the panoramic windows under the title Dernière Bibliothèque of the museum, not without references (Last Library), at the Geneva HEAD to the homoerotic “Bigger Splash” LiveInYourHead exhibition center. of British artist David Hockney’s paintings of Californian swimming pools and young men diving into them. The diving board as materialized at the Louisiana Museum also showed the way towards the water since the museum is built on a hill near the North Sea. As such, it was an invitation to dream… But in order to understand the Caddis worms building background of this work, it is useful their case to go back to the intellectual and 1980-2015 historical context of the time. As artists Gold dust, pearls interested in Institutional Critique, Each cocoon is 2.5 cm long Elmgreen & Dragset were living at the Courtesy of the artist time in the post-1989 era in Europe, and Art: Concept, Paris when the role of the welfare state was at the core of the European debate. Aquatic larvae collected in the best rivers Powerless Structures, This issue was discussed in terms of of lower mountain ranges (Cévennes Fig. 13 flexibility but also of risk and safety. and Pyrenees) are brought to the studio 1997-2014 The Powerless Structures, Fig. 13 rebuilt alive, placed in an aquarium filled with MDF, slide-proof rubber, for Punta della Dogana in Venice comes oxygenated water at a temperature of 4ºC, aluminium, glass after Elmgreen & Dragset’s spectacular taken out of their original cocoon made Volos 73.3 × 56 × 230 cm occupation of the Danish and Swedish of sand and fine gravel, and placed on a 2013 Courtesy of the artists pavilions at the 2009 Venice Biennale. bed of gold dust and precious stones. Polished jadeite axe head, Both pavilions had been transformed Immediately, the larvae start building block of clay wrapped in plastic The generic title Powerless Structures into the private properties of two a new case. “In nature, the case is a 56 × 20 × 7 cm refers to a series of “figures” collectors and neighbors: one a family camouflage device but here, it shines Courtesy of the artist by Michael Elmgreen and Ingar and the other a single man. In the light and breaks mimicry.” In 1979, only and Art : Concept, Paris Dragset that reorganize a given single man’s swimming pool, there was native gold dust was used. Cabochons space according to its multiple a body of a drowned man… of turquoise, opal, lapis lazuli, and coral Volos is an island situated in Thessaly, functions. With a title inspired by a as well as rubies, sapphires, diamonds, Greece. In the local archaeology museum, “misreading” of French philosopher semispherical and baroque pearls, and there is a pre-Cycladic terracotta sculpture and historian Michel Foucault, these tiny gold twigs were progressively added. representing a human chest surmounted figures tackle the issues of the relations It is also possible, by mutilating some by a polished axe instead of a head. between subject and governing power, parts of the case, to trick the animal into A block of clay wrapped in plastic found and of the subjugation mechanisms repairing it by placing material precisely in the children’s play area of a museum that are not external to individuals but on the damaged spot. and given to the artist by the curator rather constitute them as subjects who This experiment, which was successfully was similarly surmounted by a Neolithic can either accept such mechanisms or repeated, was patented in 1983 at the axe, which the artist already had in his resist and alter them. French National Institute of Industrial possession. He planted the axe in the The two artists bring to light this Property (Institut national de la block of fresh clay, only removing the imaginative transformation of propriété industrielle) under the number self-adhesive label and letting the plastic structures by playing with, and 83 02 024. wrapping produce condensation, folds, against, artistic institutions. “New The artist also gathered documentation and a skin-like effect. museums and McDonald’s are the most from Japan to Perugia, Italy, from French Considered as a “prototype,” the sculpture standardized forms today. The problem entomologists such as Pictet, Fabre and can be made anew (with other polished is that they are not flexible.” Elmgreen the British Miss E.M. Smee. As early axes and other blocks of clay), but not & Dragset thus strive to increase the as 1863, she had conducted in vitro reproduced in smaller or larger variations. “flexibility” of a shop, a social welfare experiments using fresh water ecosystems, center, a park, a hospital, an art gallery, which were made available at a time a prison, and each of the figures of the when aquariums were a popular fad Powerless Structures series. linked to the construction of the Crystal In 1997, at the Louisiana Museum of Palace in London. Thus the impressive Modern Art of Humlebæk (Denmark), and obsessional “trichopteratheque” was Powerless Structures, Fig. 11 presented

Danh_Vo_04_ING_esec.indd 9 02/04/15 11:49 luciano fischli felix fabro & weiss gonz a lez-tor r e s

and technical wealth of decorative arts, a way to revisit with awe the Baroque and Renaissance periods” in which the artist finds “the mobility of all the values of elasticity and lightness,” explains Lonzi. The bronze mask is based on a live cast. It preserves the critical moment of contact when the plaster thickens, hardens, and closes around a live body whose heart is beating and lungs are breathing. This conflict between the inside and the surface is made visible in Untitled (Tree Stump) Tamerlano the hardened metal, where the two straws 2005 1968 signal the breathing—the vital inhaling Cast polyurethane, black Golden bronze and exhaling that keep it animated. 105 × 165 × 114 cm 20 × 16 × 15 cm Here, doing and living are two “qualities” Pinault Collection Pinault Collection of the technical chain that allows form to be materialized and replace Polyurethane is a non recyclable plastic “Tamerlane. Neither a face nor a mask: identification, the process by which material that can be rigid or flexible the outer side of a mask, hinting to what we look for resemblance between and is used in all sorts of applications “Untitled” (Blood) is behind as if the mold was slightly the mask and an individual person. in our daily life such as thermal 1992 transparent. The two bamboo straws that insulation, upholstery, coatings, footwear Strands of beads and hanging device stick out were left there as if to enhance 1 FABRO, Luciano. “Vade-mecum,” tr. Machet, Luciano soles, automotive components (seats, Dimensions vary with installation the link between the outside and the Fabro, 1963-86, Paris, art édition, 1987 p. 178. headrests, armrests, wheels, headliners, Pinault Collection inside; they allow the model to breathe. dashboards, rear parcel shelves, car If he breathes, it means he’s alive. floors, and boot floors), sportswear This work by Felix Gonzalez-Torres In this sense, the golden crown is also (swimwear in particular), and interior is manifested anew each time it is key. The image itself invited me to call design (fake wooden beams, decorative exhibited. It was the artist’s intention it Tamerlane. Tamerlane destroyed items, sculptures, etc.). Here, it is that the work be installed thoroughly entire cities, entire civilizations, and also used as a sculpting material. From spanning a room or doorway, so transformed the small town of Samarkand the 1980s onwards, Fischli & Weiss that the work is a visual and physical into a paradise of the arts.”1 produced “simulated readymades” in threshold, or membrane, that people One of the Arte Povera group exhibitions black rubber, replicating manufactured must physically pass through. held in 1968 was “Nuevo Paesaggio” objects (a closet, a cutlery tray) or natural Regardless of the shape or size of the at the Milan Triennale (an international elements (roots), sometimes painted in space, the curtain must cover the whole design and architecture exhibition). grey. In conjunction with their 2005- area from ceiling to floor, and also the As a guest, the Italian sculptor Luciano 2007 Flowers & Questions retrospective entire width of the opening where it is Fabro invited young artists to produce (London, New York, Hamburg, Zurich, hanging in order to create an unbroken open-air environments in the Italian Paris), Fischli &Weiss added two large plane. The experience of walking territory. tree roots to their series of objects to be through the work is somatic and However, that year the area of the replicated. One is short and compact and conceptual, collapsing the delineation Triennale was occupied by the student the other larger, weighing about 440 lbs., between those registers of experience. protest movement as was, incidentally, with a crack on one side and cut with “Untitled“ (Blood) is a unique piece, the Venice Biennale. Fabro wrote a text a saw on the other. Their polyurethane however the uniqueness of the work that, together with the art critic Carla replica was produced in the specialized is not defined by materials. Lonzi, is also co-signed by their artist studio Kunstgiesserei of Argau, based The uniqueness of the work is defined friend Giulio Paolini, in which they in St. Gallen (Switzerland) by the Sitter by ownership, and the work may exist denounce this occupation and draw limits river since 1994. Silicon negatives were in multiple places at any one time to the political engagement of artists. produced for both stumps and then without infringing upon its uniqueness “At that moment, I called into question cast in black polyurethane—a complex (or the rights of ownership). the form, with a new meaning. The form procedure in the case of the second, larger As with other works in Gonzalez- is not anymore an aesthetic category but root because of its frayed surface. The Torres’s oeuvre, “Untitled” (Blood) the consequence of an action.” core is made of foam glass, an ultra-light develops and complicates conversations That same year, Fabro produced insulation material that, in contrast to around originality, ownership and Tamerlano, a golden bronze cast of the synthetic foams, is not prone to shrinkage materiality. As with many of Gonzalez- outside of a plaster mask, as well as the or to chemical reactions. Torres’s works, “Untitled” (Blood) is first models in plaster of several projects “If one can see pillows as mountains, accompanied by a Certificate that he would finalize in the following one can also make roots out of rubber,” of Authenticity and Ownership years. These pieces “celebrate the material said David Weiss. that details specific, yet open-ended

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parameters to the work and the role reads simultaneously as individual and that owners and exhibitors have in its collective, mysterious and public. presentation. The specific materials Following the artist’s intentions, from which the work is manifested may “Untitled” (Portrait of Julie Ault) may change over time, or may be different vary from one manifestation of the so as to encourage ease of presentation work to another. Its first manifestation for owners and exhibitors. determined by Gonzalez-Torres read: Gonzalez-Torres often titled his works David 1989 Aunt Jo’s Kitchen 1963 Tier “Untitled,” and for some works the 3 1980 Tootsie Pop 1973 Democracy title also includes a parenthetical 1988 Skunk 1967 Some Love 1978. portion. The parenthetical parts— Gonzalez-Torres’s portraits expand Untitled (Tree Stump) for example, “Untitled” (Blood)—use upon traditional considerations of both 2005 linguistic devices to encourage the portraiture and personhood, in that Cast polyurethane, black consideration of variability, individual the artist intended that the work extend 105 × 165 × 114 cm experience, and personal reference. over time to encompass both the life Pinault Collection Gonzalez-Torres intended his titles of the original “sitter,” as well as future to challenge and accommodate the owners of the work. Polyurethane is a non recyclable plastic perceived authority of language; Ault, like owners of similar portrait material that can be rigid or flexible he regarded the experience of his works, may choose to add or remove and is used in all sorts of applications “Untitled” (Blood) work—one viewer at a time—as the words and dates at the point of any in our daily life such as thermal 1992 primary source for meaning. manifestation of the work, and the insulation, upholstery, coatings, footwear Strands of beads and hanging device owner may temporarily extend that soles, automotive components (seats, Dimensions vary with installation right to third parties, such as the headrests, armrests, wheels, headliners, Pinault Collection curator of the exhibition or perhaps any dashboards, rear parcel shelves, car potential future owner. floors, and boot floors), sportswear This work by Felix Gonzalez-Torres Since 1991, “Untitled” (Portrait of (swimwear in particular), and interior is manifested anew each time it is Julie Ault) has undergone several design (fake wooden beams, decorative exhibited. It was the artist’s intention transformations. One was a complete items, sculptures, etc.). Here, it is that the work be installed thoroughly restructuring, and on another occasion, used as a sculpting material. From spanning a room or doorway, so Ault asked her mother, a psychic, the 1980s onwards, Fischli & Weiss that the work is a visual and physical to select the elements by using a produced “simulated readymades” in threshold, or membrane, that people pendulum. For the manifestation of black rubber, replicating manufactured must physically pass through. the portrait shown here, she invited objects (a closet, a cutlery tray) or natural Regardless of the shape or size of the “Untitled” (Portrait friend and artist Roni Horn to select elements (roots), sometimes painted in space, the curtain must cover the whole of Julie Ault) and organize the events comprising the grey. In conjunction with their 2005- area from ceiling to floor, and also the 1991 portrait. 2007 Flowers & Questions retrospective entire width of the opening where it is Paint on wall By inviting Horn to “author” the (London, New York, Hamburg, Zurich, hanging in order to create an unbroken Dimensions vary with installation portrait for this exhibition, Ault Paris), Fischli &Weiss added two large plane. The experience of walking Julie Ault Collection, New York engendered the possibility for the work tree roots to their series of objects to be through the work is somatic and to present their dialogue over time replicated. One is short and compact and conceptual, collapsing the delineation This work includes words and dates as well as their individual friendships the other larger, weighing about 440 lbs., between those registers of experience. culled from public and private events with Gonzalez-Torres. The portrait— with a crack on one side and cut with “Untitled“ (Blood) is a unique piece, and memories, which Julie Ault as a whole, and at any state—serves a saw on the other. Their polyurethane however the uniqueness of the work submitted to Gonzalez-Torres in as both an image and a caption of replica was produced in the specialized is not defined by materials. the process of creating her portrait. itself as process and object. Archiving studio Kunstgiesserei of Argau, based The uniqueness of the work is defined Gonzalez-Torres then considered each manifestation is considered an in St. Gallen (Switzerland) by the Sitter by ownership, and the work may exist the information provided and made important aspect of maintaining the river since 1994. Silicon negatives were in multiple places at any one time decisions about which words and dates history of the portrait’s changes— produced for both stumps and then without infringing upon its uniqueness would be incorporated, what additional elucidating upon the nature of cast in black polyurethane—a complex (or the rights of ownership). information would be interjected and a change—inherent in and to the work. procedure in the case of the second, larger As with other works in Gonzalez- sequence for the original version of the root because of its frayed surface. The Torres’s oeuvre, “Untitled” (Blood) text for the work. As the “sitter” core is made of foam glass, an ultra-light develops and complicates conversations and the artist jointly created the insulation material that, in contrast to around originality, ownership and portrait, it is at once a complication synthetic foams, is not prone to shrinkage materiality. As with many of Gonzalez- of authorship and an enduring or to chemical reactions. Torres’s works, “Untitled” (Blood) is question regarding the nature of “If one can see pillows as mountains, accompanied by a Certificate selfhood and subjectivity. The words one can also make roots out of rubber,” of Authenticity and Ownership and dates embody formative events said David Weiss. that details specific, yet open-ended that articulate a narrative in time that

Danh_Vo_04_ING_esec.indd 11 02/04/15 11:49 Jos de gruyter petrit and harald thys halilaj

Neolithic period. In Europe, they were Bourgeois Hens is a series of drawings incorporated into classical music by pinned on wood used for building, Giuseppe Donati around 1860. and framed. Each drawing represents Made in clay and brass, the ocarinas strutting cockerels and hens. Halilaj presented here date from 2015. used the title They Are Lucky to Be They were molded by the artist Bourgeois Hens several times for following a technique he learned from henhouses and/or video images of one of the last remaining ocarina henhouses. For example a video makers in Kosovo, named Shaqir Hoti. documents the henhouse that Halilaj A series of ocarinas figured in the persuaded his friends and neighbors exhibition Yes but the sea is attached in Runik (Kosovo) to build. It is in the to the Earth and it never floats around shape of a space rocket, which evokes in space. The stars would turn off and the fantasy of travelling in other spaces what about my planet (Galerie kamel but also the capacity to rise in the air, Hildegard mennour, Paris, 2014). At the 2013 a quality that chickens lack. 2013 Venice Biennale, in which Petrit Set in the coffee shop of Punta della Metal skeleton painted white, Halilaj represented Kosovo for its first Dogana, the sound installation Friends styrofoam head, dress, handbag, pavilion (under the title I’m hungry to of Birds is a collection of bird calls by fake bird, wooden brown painted keep you close. I want to find the words friends and relatives of the artist. bench with metal structure to resist but in the end there is a locked 150 × 160 × 80 cm sphere. The funny thing is that you’re Pinault Collection Si Okarina e Runikut not here, nothing is), the site had been 2015 transformed into a nest. Only the This piece was made originally for the Si Okarina e Runikut outer surface was visible to visitors, video Das Loch (2010, 27 min.)1 2015 who could peek through a hole at the Das Loch (The Hole) was shown in a Si Okarina e Runikut occupants: two live canaries. backroom of the Isabella Bortolozzi 2015 The old flag of Kosovo bears a two- Galerie in Berlin (16 December 2011 Si Okarina e Runikut headed eagle. But the bird that gave – 4 February 2012). It was featured as 2015 its name to the country is the kos or part of a posthumous retrospective of Brass, clay ocarina, stone Turdus merula, the common Eurasian a fictitious painter, Johannes, whose Dimensions variable blackbird. important body of work included Courtesy of the artist, kamel Six hundred bird specimens out of 120 small scale pieces shown in the gallery mennour, Paris, and Chert, Berlin a total of 1812 stuffed animals were on stand-alone display supports. produced and conserved at the Pristina Johannes, his wife Hildegard, and their Bourgeois Hens Natural History Museum, which was video-artist friend Fritz were the three 2015 an independent institution between lead characters in Das Loch. Each of them Pencil on paper 1956 and 1964. Some were lost when appears as a life-size puppet with a head Dimensions variable the museum’s collection was transferred in styrofoam, hair, and clothes. They Courtesy of the artist, kamel to Belgrade during the Yugoslavian all speak with a mechanical, computer- mennour, Paris, and Chert, Berlin wars. When it reopened, the inventory generated voice. of the museum had to be translated Friends of Birds from Serbian to Albanese and scientific 1 To see a clip online go to: 2015 Latin. http://ensembles.mhka.be/items/4234/assets/14758). Sound installation But in 2001, the content of the Courtesy of the artist, kamel museum was once again moved. mennour, Paris, and Chert, Berlin As Kosovo undertook a new ethnographic museum project, An ocarina is an ovoid wind musical more folkloric and nationalistic, the instrument that looks like a goose head, discarded birds quickly rotted. Halilaj’s hence its name: in Italian, oca means exhibition at WIELS in Brussels, “goose” and ocarina, “small goose.” Poisoned by men in need of some love, An ocarina produces sound when air is documented the former museum and blown through it. The fact that there is its lost birds and animals. Based on an air duct makes it easier to use since, old photographs in saturated colors, contrary to flutes, the instrumentalist reconstitutions were made out of earth, does not have to position his mouth straw, excrements, glue, and wire, and lips precisely in order to obtain a placed on top of ceiling rails, on the specific note. Such clay instruments floor, on a window sill, or perched on are thought to have appeared in the copper pipes.

Danh_Vo_04_ING_esec.indd 12 02/04/15 11:49 david hammons

Neolithic period. In Europe, they were Bourgeois Hens is a series of drawings incorporated into classical music by pinned on wood used for building, Giuseppe Donati around 1860. and framed. Each drawing represents Made in clay and brass, the ocarinas strutting cockerels and hens. Halilaj presented here date from 2015. used the title They Are Lucky to Be They were molded by the artist Bourgeois Hens several times for following a technique he learned from henhouses and/or video images of one of the last remaining ocarina henhouses. For example a video makers in Kosovo, named Shaqir Hoti. documents the henhouse that Halilaj A series of ocarinas figured in the persuaded his friends and neighbors exhibition Yes but the sea is attached in Runik (Kosovo) to build. It is in the to the Earth and it never floats around shape of a space rocket, which evokes Central Park West in space. The stars would turn off and the fantasy of travelling in other spaces 1990 what about my planet (Galerie kamel but also the capacity to rise in the air, Bicycle, clothing, street sign, Cigarette Holder mennour, Paris, 2014). At the 2013 a quality that chickens lack. portable cassette player 1990 Venice Biennale, in which Petrit Set in the coffee shop of Punta della Dimensions variable Wire, Lucky Strike half-smoked Halilaj represented Kosovo for its first Dogana, the sound installation Friends Pinault Collection cigarettes pavilion (under the title I’m hungry to of Birds is a collection of bird calls by 53.3 × 43.2 × 43.2 cm keep you close. I want to find the words friends and relatives of the artist. Two elements spell out the same fragment Pinault Collection to resist but in the end there is a locked of one of Manhattan’s most significant sphere. The funny thing is that you’re neighborhoods. The found street sign Black people’s hair that has been not here, nothing is), the site had been “Central Park West” is attached to the “prepared, cut and brushed by human transformed into a nest. Only the side of a bicycle whose front tire is flat. hands,” a very cheap bottle of Night outer surface was visible to visitors, The sign is lying on the floor. Train or Thunderbird wine, Lucky Strike who could peek through a hole at the The bicycle seems to carry it as if it were cigarettes that were touched by “black occupants: two live canaries. a spear, lowered head down, or to use it lips” are some of the objects with which The old flag of Kosovo bears a two- for balance. Originally the piece also Hammons makes tangible the way of headed eagle. But the bird that gave included a sound element: Central Park life of an African American body going its name to the country is the kos or West (1964) by famous tenor saxophone about in the city. These elements “replay” Turdus merula, the common Eurasian player John Coltrane. the body-prints that Hammons made in blackbird. The track was played in a loop on a the 1970s by covering parts of his body, Six hundred bird specimens out of Jambox while the piece was exhibited. his hair or his clothes with margarine a total of 1812 stuffed animals were Central Park West leads to a place where and pressing them against cardboard produced and conserved at the Pristina people go for a stroll—the “lungs” of paper. Similarly, these “cigarette-holders” Natural History Museum, which was the great park designed by Frederick with their twisted wire, swirls of shadow an independent institution between Law Olmstead—and to an historical projected on the wall and half-smoked 1956 and 1964. Some were lost when neighborhood where racial segregation cigarettes, are other emblems of the the museum’s collection was transferred has been most strikingly visible, with African American body. to Belgrade during the Yugoslavian Black and Hispanic communities installed wars. When it reopened, the inventory in Harlem. The clothes hanging on the of the museum had to be translated portable wardrobe that is composed by the from Serbian to Albanese and scientific bicycle, the street sign, and the portable Latin. music player are all in different shades But in 2001, the content of the of black. museum was once again moved. In 1990 Central Park West was part of As Kosovo undertook a new the first exhibition by David Hammons ethnographic museum project, in a white cube of a Manhattan gallery, more folkloric and nationalistic, the namely Jack Tilton’s. With its street sign discarded birds quickly rotted. Halilaj’s lying on the floor and its bicycle with exhibition at WIELS in Brussels, a flat tire, the installation emphasizes Poisoned by men in need of some love, the immobilization of movement that documented the former museum and is produced by stationing in a gallery. its lost birds and animals. Based on Another piece, Death Fashion, is installed old photographs in saturated colors, nearby: a rack with black clothes hanging reconstitutions were made out of earth, on it, the color of mourning that is also a Flies in a Jar straw, excrements, glue, and wire, staple in the unofficial art scene dress code. 1994 placed on top of ceiling rails, on the Hammons thus includes in his materials Glass jar with zippers and plants floor, on a window sill, or perched on the characteristics of the venues where he 25.4 × 15.2 × 15.2 cm copper pipes. exhibits his work. Pinault Collection

Danh_Vo_04_ING_esec.indd 13 02/04/15 11:49 roni horn

Locked in a glass jar, the artist’s visual These elements are used commonly in work was shown at MOCA in Los rebus plays on the double meaning of industry or construction and can be read Angeles, produced another kind of the word “flies:” the plural of “fly” (the as both a protective gesture—plastic illumination. Gonzalez-Torres wrote insect and a trouser zipper). The basic sheets are used to protect, blankets to beautifully about this meeting, which material is thus language, isolated and keep warm—and a violent one—it happened at a time when Laycock was sampled in a glass jar and made concrete prevents one from seeing, forcing the dying of AIDS. He later met Horn by the association of the zippers and viewer to look at the painting’s elements and a friendship was born. As Horn the twigs on which they are placed and only at the edges or through the holes explained: “He always talked about displayed. Fragile? the group exhibition and gaps. Ross and his experience of the Gold at the Le Stanze del Vetro, on the island The plastic eyelets curtain through which Field. So immediately, I had the sense of San Giorgio Maggiore in Venice, parts of the wall can be seen does not of a triangle. I never met Ross. He in 2013, associated Flies in a Jar with hide any other paint. At L&M Arts, Gold Field had passed. At some point Felix made L’air de Paris (1919-1939), the air of this readymade draping the wall created 1980-1982 “Untitled” (Placebo – Landscape – For Paris which Duchamp encapsulated in a a conflagration between the public Gold sheet Roni), 1993: a mat with hundreds of pharmaceutical glass ampoule, and with visiting the gallery and the homeless 124.5 × 152.5 × 0.002 cm gold cellophane-wrapped sweets. In Dust to Dust (2009) by Chinese artist Ai people of a nearby refuge. Collection of the artist 1994, I replied with Paired Gold Mats. Weiwei, which locked the dust remaining For Ross and Felix.” from a Neolithic vase in a glass urn. Three Gold Field works exist, the first This work consisted of two gold mats, was produced in 1980-82 and the one on top of the other. two others in 1994. Each one is a 4 × The story of these works inspired 5 foot pure gold mat that is thinner several joint exhibitions. Gold Field than human hair. The first gold field— and “Untitled” (Placebo – Landscape – shown in the present exhibition—was For Roni) were shown together in 2005 created in association with an engineer at the Andrea Rosen gallery in New from Engelhard Precious Metals, the York, and Gold Field was also shown largest American company specialized with a golden curtain by Gonzalez- in precious metals. This collaboration Torres, “Untitled” (Golden), at the yielded a 99.999% pure gold sheet Solomon R. Guggenheim Museum of weighing 28,5 kilogram, a weight New York (2009-2010). sufficient for the mat to be placed on the floor and maintained without any glue, protection or frame. The gold was worked on with a heating process so that it would be flexible and easier to shape. The gold sheet was sent in a tube by FedEx to the artist’s studio. There, the gold mat was fabricated. In the entry “Gold Field,” which is featured three times (with four Untitled photographs) in the index of the 2007 catalogue of her retrospective (Roni Plastic Horn aka Roni Horn, Tate Publishing, 325.1 × 226.1 cm 2009), Horn refers to her discovery Pinault Collection of gold as a currency or as jewelry in her father’s pawn shop. The artist also Made from a sheet of plastic pierced with says that she wanted to “bring gold holes, this untitled piece was shown in back to its simplest physical being.” 2011 at the uptown space L&M Arts She also mentioned that she wanted (a gallery specialized in historical Abstract to have a closer relation with the sun. Expressionism representing artists such The folds and creases of the gold mat, as Willem de Kooning, Jackson Pollock, which becomes more wrinkled in each and Franz Kline) in New York City. It exhibition, produce more sun-like was Hammons’ second exhibition at effects. The display of Gold Field with L&M. He showed a series of paintings one end folded is intended to get “even composed with shredded garbage bags, more light.” plastic sheets, old blankets, and used The encounter between Gold Field, towels that covered, partially or fully, Felix Gonzalez-Torres, and his lover, abstract traces painted on the canvas. Ross Laycock, in 1990, when the

Danh_Vo_04_ING_esec.indd 14 02/04/15 11:49 roni peter horn hujar

work was shown at MOCA in Los have been invited by Topazia Alliata, Angeles, produced another kind of who is in charge of the Trastevere illumination. Gonzalez-Torres wrote gallery. During their stay, Hujar and beautifully about this meeting, which Thek visit the Capuchin Catacombs happened at a time when Laycock was of Palermo, where Hujar takes a dying of AIDS. He later met Horn photograph of Thek standing next to and a friendship was born. As Horn and in contact with the dead bodies explained: “He always talked about that surround them, neatly ordered in Ross and his experience of the Gold compact rows. Built in the 16th century Field. So immediately, I had the sense for the burial of monks, the catacombs of a triangle. I never met Ross. He contain about 8,000 bodies. Most were Gold Field had passed. At some point Felix made buried in the 19th century at a time 1980-1982 “Untitled” (Placebo – Landscape – For when the crypt was open to the Sicilian Gold sheet Roni), 1993: a mat with hundreds of bourgeoisie. 124.5 × 152.5 × 0.002 cm gold cellophane-wrapped sweets. In The latest burial, in 1920, was that of Collection of the artist 1994, I replied with Paired Gold Mats. a young child, Rosalia Lombardo. For Ross and Felix.” Palermo Catacombs #2 After a long process of dehydration, Three Gold Field works exist, the first This work consisted of two gold mats, 1963 the bodies were either embalmed was produced in 1980-82 and the one on top of the other. Period gelatin silver print and left in the open air, standing, two others in 1994. Each one is a 4 × The story of these works inspired (signed, titled and dated by the artist or placed in coffins equipped or not 5 foot pure gold mat that is thinner several joint exhibitions. Gold Field at the back) with side windows. They are stacked than human hair. The first gold field— and “Untitled” (Placebo – Landscape – 50.8 × 40.6 cm along the walls, ordered by gender, shown in the present exhibition—was For Roni) were shown together in 2005 age, etc. During the visit, Hujar takes created in association with an engineer at the Andrea Rosen gallery in New Palermo Catacombs #4 numerous square-format photographs from Engelhard Precious Metals, the York, and Gold Field was also shown 1963 with his Rolleiflex camera. He prints largest American company specialized with a golden curtain by Gonzalez- Period gelatin silver print them himself, each one with the same, in precious metals. This collaboration Torres, “Untitled” (Golden), at the (signed, titled and dated at the back) slight adjustment (for example, the yielded a 99.999% pure gold sheet Solomon R. Guggenheim Museum of 50.8 × 40.6 cm bottom right angle that is not exactly weighing 28,5 kilogram, a weight New York (2009-2010). at right angle). sufficient for the mat to be placed on Palermo Catacombs #5 Fifteen years later, in 1976, Hujar the floor and maintained without any 1963 selects a series of 12 for his book glue, protection or frame. The gold was Period gelatin silver print Portraits in Life and Death, including worked on with a heating process so (stamp of the Estate at the back) one for the cover: a photograph of the that it would be flexible and easier to 50.8 × 40.6 cm catacombs that shows a partial view shape. of three corpses placed in standing The gold sheet was sent in a tube by Palermo Catacombs #8 position against a wall, on which FedEx to the artist’s studio. There, the 1963 light projects shadows of foliage. gold mat was fabricated. Period gelatin silver print (stamp None of the 12 images show a general In the entry “Gold Field,” which of the Estate at the back) view of the catacombs. They all is featured three times (with four 50.8 × 40.6 cm focus on the bodies and the different photographs) in the index of the ways in which they are presented catalogue of her retrospective (Roni Palermo Catacombs #10 (coffins can be open, or have an Horn aka Roni Horn, Tate Publishing, 1963 opening protected by a grid, or lateral 2009), Horn refers to her discovery Period gelatin silver print windows, and bodies are stacked on of gold as a currency or as jewelry in (stamp of the Estate at the back) several levels, either standing or lying) her father’s pawn shop. The artist also 50.8 × 40.6 cm and on the written inscriptions they says that she wanted to “bring gold bear, in particular the label around back to its simplest physical being.” The Estate of Peter Hujar, courtesy the wrist of each of the mummies She also mentioned that she wanted Fraenkel Gallery, San Francisco, with the name and dates of birth to have a closer relation with the sun. and Pace/MacGill Gallery, New York and death. The theatrical presence, The folds and creases of the gold mat, the beauty of disintegration and the which becomes more wrinkled in each “With the photograph, we enter ornamental power of the bodies are exhibition, produce more sun-like into flat death,” writes the French individualized and detailed. effects. The display of Gold Field with intellectual Roland Barthes. In Portraits in Life and Death, one end folded is intended to get “even In the summer of 1963, Peter Hujar is the 29 portraits of living friends more light.” travelling in Italy and joins Paul Thek, and catacombs corpses are placed The encounter between Gold Field, his partner and lover, in Rome. They on the same level, signaling the Felix Gonzalez-Torres, and his lover, spend the summer and the autumn of interdependence and entropy between Ross Laycock, in 1990, when the 1963 in Palermo, Sicily, where they one state and the other.

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This place, which had been passed on to Dog Held by Peter’s him by transgender “superstar” Jackie Hand Curtis, was both private and professional. 1980 The emptied space connects with the Gelatin silver print classic practice of studio portrait but (stamp of the Estate at the back) discards the sets and backdrops used, 50.8 × 40.6 cm according to historical tradition, from Paris to Johannesburg in the 19th century. Beauregard’s Dog Only a bed, a table and a few chairs that 1983 can be used as props furnish the loft Gelatin silver print space. (stamp of the Estate at the back) Trained in fashion photography, Hujar 50.8 × 40.6 cm seems to have opted for a form of classicism as reflected in the composition, Snake on a Branch, framing, lighting, and contrast of his Baxter-Foreman Farm, Andrew’s Back images. But his relation to the bodies Germantown, 1973 in front of his camera is anything New York Gelatin silver print (signed, titled but canonical. Even when he takes 1985 and dated by the artist at the back) inspiration from Caravaggio, as is the Gelatin silver print (signed, 50.8 × 40.6 cm case for this sleeping Draped Male Nude titled and dated at the back) (I) whose penis is exposed, the model is 50.8 × 40.6 cm Cybernetic Art Paul’s Legs free to act as he wishes, “granted with his 1963 1979 own autonomy,” said critic Lyle Rexer. Skippy on a Chair (I) Mixed technique: table tennis balls, Gelatin silver print (signed, titled “For Hujar, there were no freaks, and 1985 glass jars, nails, collages in a painted and dated by the artist at the back) there was no possession.” Gelatin silver print (stamp wooden box with lid 50.8 × 40.6 cm of the Estate at the back) 77 × 49,6 × 10,2 cm 50.8 × 40.6 cm Pinault Collection Draped Male Nude (I) 1979 The Estate of Peter Hujar, After moving to Paris in 1962, Gelatin silver print Courtesy Fraenkel Gallery, Japanese artist Tetsumi Kudo made (stamp of the Estate at the back) San Francisco, and Pace/MacGill several wooden boxes in which he placed 50.8 × 40.6 cm Gallery, New York found objects and tools (he had no studio and no means of production). Pascal: Scarred Abdomen When he received his first camera at age There are two boxes painted blue 1980 13, Hujar had lived most of his life on containing similar devices. One is titled Gelatin silver print his grandparents’ farm. This is where, Your Portrait, Your game, 1962-1963, (stamp of the Estate at the back) it is said, he bonded with animals, as and is part of the collection of the Fonds 50.8 × 40.6 cm reflected in the photographs he took National d’Art Contemporain. later in life of his friends’ dogs but also The other box painted baby blue bears Draped Male Nude (III) of cows, horses, and snakes. the inscription “Cybernetic Art. 1979 These black-and-white square-format Kudo Co. Ltd.” It associates the title Gelatin silver print Will: Char-Pei portraits, in which the only spatial “Cybernetic Art” with a company: Kudo (stamp of the Estate at the back) 1985 / printed 2014 indication is the line that separates Ltd. Similarly, the Kudo firm marketed 50.8 × 40.6 cm Pigment print (signed, titled the studio floor from the wall, are a condom filled with whitish liquid, and dated at the back) centered on the animal as a “person.” called “Instant Sperm Kudo Co. Ltd.” Chuck Gretsch (IV) 50.8 × 40.6 cm The sharply contrasted images enhance It was to be served as cocktail to people 1981 the materiality of the bodies, their attending a Free Expression workshop Gelatin silver print Great Dane folds, wrinkles, coat, and rings. There (American Center for Artists in Paris, (stamp of the Estate at the back) 1981 is a shallow depth of field. The framing in 1964, and Théâtre de la Chimère 50.8 × 40.6 cm Gelatin silver print brings physical closeness with the in Paris, in 1966). It was also made as (stamp of the Estate at the back) model. Even more so than humans, the an edition presented with either a blue The Estate of Peter Hujar, Courtesy 50.8 × 40.6 cm animals must trust the photographer to or pink ribbon. Fraenkel Gallery, San Francisco, let him get so close. The Cybernetic Art box can be opened and Pace/MacGill Gallery, New York Bouche Walker Hujar reportedly gave a print of Will: by its two joints. Inside, there is a kind (Reggie’s Dog) Char-Pei, shown with its head turned, of pinball game but without an electric Most of the portraits made by Hujar 1981 to each of his seven doctors after he circuit to throw the ping-pong ball after 1975, whether of human beings Gelatin silver print was diagnosed with pneumocystis around. The springless handle is a small or animals, were taken at his loft on (stamp of the Estate at the back) pneumonia, an AIDS-related illness, phallus in resin. If the ball could be 189 Second Avenue, in Manhattan. 50.8 × 40.6 cm on New Year’s Eve, 1987. thrown, it would go through a

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Dog Held by Peter’s sperm-shaped circuit and reach a frieze Hand made of two horizontally aligned vulvae. 1980 The bottom of the box is a chessboard Gelatin silver print dotted with small holes and nails that (stamp of the Estate at the back) drive the ball, hypothetically, into one 50.8 × 40.6 cm of the five glass jars. But it must first go through a zone containing a series Beauregard’s Dog of images of bodybuilders. 1983 Each of the sealed glass jars is labeled Gelatin silver print “Instant” and contains a ping-pong ball. (stamp of the Estate at the back) Other glass bottles containing and 50.8 × 40.6 cm compressing dolls are titled Bottled Humanism. Cybernetic art. Kudo Co. Snake on a Branch, Ltd., 1962; these were distributed by Baxter-Foreman Farm, Kudo at the Free Expression workshop, Germantown, in 1964. Untitled New York 1975 1985 Mixed technique and cage Gelatin silver print (signed, 18 × 11.5 × 9 cm titled and dated at the back) Pinault Collection 50.8 × 40.6 cm Cybernetic Art 1963 Kudo mixed the materials he used Skippy on a Chair (I) Mixed technique: table tennis balls, for making molds of his feet, hands, 1985 glass jars, nails, collages in a painted mouth and parts of his face and never Gelatin silver print (stamp wooden box with lid gave away his fabrication secrets. of the Estate at the back) 77 × 49,6 × 10,2 cm Untitled They appear fragile and worn out; but 50.8 × 40.6 cm Pinault Collection c. 1970 in fact they harden with time and resist Composite plastic material, resin, decay. The flower, a lily of the valley, The Estate of Peter Hujar, After moving to Paris in 1962, hair, plasticine is in plastic. Kudo was a chain-smoker Courtesy Fraenkel Gallery, Japanese artist Tetsumi Kudo made 7 × 25 × 2 cm and, as evidenced in photographs and San Francisco, and Pace/MacGill several wooden boxes in which he placed Pinault Collection videos, he used to light up numerous Gallery, New York found objects and tools (he had no cigarettes without smoking them studio and no means of production). These flattened, penis-like shapes are completely. When he received his first camera at age There are two boxes painted blue made of plastic, resin, and plasticine These documents show that the 13, Hujar had lived most of his life on containing similar devices. One is titled to which horse and human hair have cigarettes were still burning when his grandparents’ farm. This is where, Your Portrait, Your game, 1962-1963, been agglutinated with iridescent Kudo put them in the mouths he was it is said, he bonded with animals, as and is part of the collection of the Fonds pigment. They are shown in a working on. reflected in the photographs he took National d’Art Contemporain. performance in which the artist’s wife, And when a whole face appears, smoke later in life of his friends’ dogs but also The other box painted baby blue bears Hiroko Kudo, uses an iron to squash four comes out of the eyes. of cows, horses, and snakes. the inscription “Cybernetic Art. of these pieces. This took place during These black-and-white square-format Kudo Co. Ltd.” It associates the title the happening “Souvenir of Moult” as portraits, in which the only spatial “Cybernetic Art” with a company: Kudo part of the 1970 exhibition Happening indication is the line that separates Ltd. Similarly, the Kudo firm marketed and Fluxus at the Cologne Kunsthalle. the studio floor from the wall, are a condom filled with whitish liquid, This is at least the information provided centered on the animal as a “person.” called “Instant Sperm Kudo Co. Ltd.” in the caption of a photograph taken by The sharply contrasted images enhance It was to be served as cocktail to people Tetsumi Kudo of this action. the materiality of the bodies, their attending a Free Expression workshop folds, wrinkles, coat, and rings. There (American Center for Artists in Paris, is a shallow depth of field. The framing in 1964, and Théâtre de la Chimère brings physical closeness with the in Paris, in 1966). It was also made as model. Even more so than humans, the an edition presented with either a blue animals must trust the photographer to or pink ribbon. let him get so close. The Cybernetic Art box can be opened Votre Portrait Hujar reportedly gave a print of Will: by its two joints. Inside, there is a kind 1970-1975 Char-Pei, shown with its head turned, of pinball game but without an electric Painted plastic and wood, painted to each of his seven doctors after he circuit to throw the ping-pong ball moss and resin, plastic objects, wire, was diagnosed with pneumocystis around. The springless handle is a small transistors, electrical resistance pneumonia, an AIDS-related illness, phallus in resin. If the ball could be 30 × 42 × 21 cm on New Year’s Eve, 1987. thrown, it would go through a Pinault Collection

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(which symbolize, according to Kudo, the “decomposition of human dignity”), hands and internal organs such as a brain in plastic, and excrement. Sometimes, the imprints are torn in a way that is reminiscent of reptilian molting. All these “three-dimensional images,” as writes French critic Alain Jouffroy, are painted in pastel, fluorescent, and sometimes phosphorescent colors, manifesting the mutating condition of an artifact-body. The side of a face in molded polyester is either placed inside the aquarium or Gabriel Gaveau Portrait of Artist right next to it, or confined in the cage. 1981 Manubelge in Crisis, Portrait Sometimes, it is flanked with bony Grand piano, liquitex acrylic paint 1982 of Eugène Ionesco hands that seem to be holding the space 151 × 200 × 104 cm Medicine cabinet, glass, metal, 1976 delimited by the bars or the Plexiglas. Pinault Collection liquitex acrylic paint Cage, feather, resin, coins, Sometimes the two brain hemispheres, 165 × 74 × 35 cm thermometer, mirror, and mixed only visible from behind, are inserted Gabriel Gaveau is the first piano painted Pinault Collection media under the face, which may be that of the by Bertrand Lavier for the exhibition 5 32 × 35 × 22 cm artist as a smoker. pièces faciles at the Eric Fabre gallery in Lavier bought the medicine cabinet Pinault Collection From 1976 onwards, Kudo introduced Paris, in 1981. As he didn’t have a studio, in a second hand shop in Brussels while the facial features and name of Eugene the artist used Eric Fabre’s former gallery he was preparing his exhibition at the Ionesco, the famous Romanian theatre space and Fabre also paid for the piano, Michèle Lachowsky gallery in Antwerp. playwright who lived in Paris. It seems bought at the flea market. He presented the cabinet together that the two men did not get along at all The “Gabriel Gaveau” instrument is a with various painted objects when Kudo was invited to participate as pianola, a traditional piano equipped with (a punching ball, a ladder, an office art director in the film Mire (1970), a mechanism that enables it to play on its folder). Lavier painted it on the spot, based on a play by Ionesco. own. It can still be used. Indeed, like all using the gallery as his studio. The title Portrait of Artist in Crisis. Portrait the objects painted by Lavier, it remains This “paramedical” object caught the of Eugène Ionesco seems to confirm this functional: this is what differentiates it attention of collector Herman Daled, hypothesis. However, the label placed from a replica. a radiologist, who acquired it. on the fluorescent green cage says only It is covered with paint—not transparent This is the artist’s first use of a Portrait of Artist. He is barely recognizable gel or tar but a coat of the same color “transparent medium gel.” Lavier also in this composition in which a flaccid as the object itself. This same-color coat used this medium to paint the windows penis shape tops a head made of rough thus covers the piano, the white and of the Friedericianum in Kassel Paradise and scruffy material, with bloodshot eyes. black keys, the silver pedals, and the for the Documenta 7 in 1982. 1979 In the cage, coins indicate some sort of golden plaque bearing the name Gabriel For this exhibition, the technical Metal and painted wood, vegetal fiber worship for the author, who is focused Gaveau. At the time, Lavier called this specifications of Liquitex, the company and painted resin, plastic, medicines on painting, holding a brush in one hand ostensible and manifest gesture, as a that produces this medium, were 38 × 31 × 21 cm and a lump of dung in the other. The modern painting cliché, “the Van Gogh published in lieu of a critical text on Pinault Collection scene also shows three bird feeders with touch,” meaning that the paint itself has the artist. two birds and a heart. an attractive power. “We cannot live without boxes. We are While it was being shown at Fabre’s, born from a box (womb), live our lives Gabriel Gaveau was acquired by Herman in a box (apartment), and after death Daled, who had started, together with we end up in a box (coffin),” wrote Kudo wife Nicole, one of the most famous in 1976. collections of 60s and 70s conceptual art Votre Portrait and Portrait of Artist in Crisis in Belgium. For a while, Daled broke the are the titles he uses to label these distinct rule he had set himself to never show any boxes: birdcages and domestic aquariums work of art at home, and placed Gabriel containing fish decor, plastic fishes, and Gaveau in the music room built by Henry a thermometer to check the ambient Van De Welde, replacing the piano that La Bocca / Bosch temperature. He locked up imprints had originally been there (as seen in 2005 in resin of various parts of the body in 1930s photographs). He later loaned the Sofa on freezer the cage or aquarium, each presented piece to the Pompidou Centre and the 85 × 212 × 87 cm (sofa) as a spare part such as eyeballs, noses, Brussels Palais des Beaux-Arts; it is now 86 × 157 × 70 cm (freezer) ears, mouths with cigarettes, penises part of the Pinault Collection. Courtesy Kewenig, Berlin and Palma

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La Bocca sur Zanker (La Bocca / Zanker) was shown in 2005 at the Xavier Hufkens gallery in Brussels. It is a domestic freezer surmounted by a sofa in the shape of a giant mouth, referencing a drawing by Dalí. In a previous exhibition at the Patrick Seguin gallery (Paris), the artist used a freezer as a base for a table by Jean Prouvé. In Lavier’s research into elements of contemporary design, an object often exists before a base is added. Gabriel Gaveau In the case of La Bocca, it was the other 1981 Manubelge way round. Grand piano, liquitex acrylic paint 1982 La Bocca / Bosch is a variant of a 151 × 200 × 104 cm Medicine cabinet, glass, metal, three-piece “edition.” Each employs a Pinault Collection liquitex acrylic paint different brand of freezer. In 2005, La Untitled 165 × 74 × 35 cm Bocca / Bosch was shown at Kewenig 1990/1992 Gabriel Gaveau is the first piano painted Pinault Collection Gallery in Cologne in an exhibition Gelatin silver print, edition of 6 by Bertrand Lavier for the exhibition 5 titled Lumières d’étoiles (Star Lights). 38.5 × 27.7 cm pièces faciles at the Eric Fabre gallery in Lavier bought the medicine cabinet The piece was displayed in a room Pinault Collection Paris, in 1981. As he didn’t have a studio, in a second hand shop in Brussels while in the basement. Those lips also the artist used Eric Fabre’s former gallery he was preparing his exhibition at the kissed other lands: in Moscow, in space and Fabre also paid for the piano, Michèle Lachowsky gallery in Antwerp. the Aftermoon 2010 exhibition, the bought at the flea market. He presented the cabinet together piece was displayed on the top floor The “Gabriel Gaveau” instrument is a with various painted objects of the Tsum department store, near pianola, a traditional piano equipped with (a punching ball, a ladder, an office the escalator from which people a mechanism that enables it to play on its folder). Lavier painted it on the spot, could gradually see it. In Paris, it was own. It can still be used. Indeed, like all using the gallery as his studio. shown at the Grand Palais in the 2006 the objects painted by Lavier, it remains This “paramedical” object caught the exhibition La Force de l’Art, and later at functional: this is what differentiates it attention of collector Herman Daled, the exhibition Bertrand Lavier, depuis from a replica. a radiologist, who acquired it. 1969 at the Centre Pompidou. After It is covered with paint—not transparent This is the artist’s first use of a the Kewenig gallery moved to Berlin, gel or tar but a coat of the same color “transparent medium gel.” Lavier also the piece was shown in their 2014 as the object itself. This same-color coat used this medium to paint the windows exhibition Bertrand Lavier: Medley. thus covers the piano, the white and of the Friedericianum in Kassel In 2006, a porcelain version of the black keys, the silver pedals, and the for the Documenta 7 in 1982. sofa was produced by the National golden plaque bearing the name Gabriel For this exhibition, the technical Manufacture in Sèvres. It was conceived Gaveau. At the time, Lavier called this specifications of Liquitex, the company by the artist for the Louvre exhibition ostensible and manifest gesture, as a that produces this medium, were Contrepoint 2, de l’objet d’art à la modern painting cliché, “the Van Gogh published in lieu of a critical text on sculpture. Carnivores touch,” meaning that the paint itself has the artist. 1992/97 an attractive power. Gelatin silver print While it was being shown at Fabre’s, 60 × 45 cm Gabriel Gaveau was acquired by Herman Pinault Collection Daled, who had started, together with wife Nicole, one of the most famous Both photographs were taken in collections of 60s and 70s conceptual art museums: Carnivores in the Museum in Belgium. For a while, Daled broke the of Natural History in New York, where rule he had set himself to never show any Zoe Leonard started to take pictures work of art at home, and placed Gabriel in 1979-1980, and Untitled in a Gaveau in the music room built by Henry European museum of natural history. Van De Welde, replacing the piano that La Bocca / Bosch Undercutting any sensationalism, the had originally been there (as seen in 2005 series of “museum pictures” introduce 1930s photographs). He later loaned the Sofa on freezer the politics of exposition and the piece to the Pompidou Centre and the 85 × 212 × 87 cm (sofa) processes of subjectification that exist Brussels Palais des Beaux-Arts; it is now 86 × 157 × 70 cm (freezer) in such institutions. By pointing to the part of the Pinault Collection. Courtesy Kewenig, Berlin and Palma gulf between the physical materiality

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of the two hanging animal pelts and their categorization under the word “CARNIVORES,” or the naturalized violence of the cat-and-mouse spectacle, the two photographs point out how things are ordered, memorized, preserved, described and even designed for the sake of a “good image.” These photographs were taken with black and white 35mm film and with only the light available in the spaces where they were taken. The two to five year periods between the date the photograph Spazio Luce Filtro e rete was taken and the date it was printed 1960 1962 are latent time spans, during which the Synthetic resin on canvas Superimposed metal nets, images remained on the artist’s mind, 170 × 200 cm iron frame No Title (toilet lid) searching for their reason for being. Pinault Collection 100 × 120 cm c. 1962-1963 The artist did her own darkroom Pinault Collection Oil on wood toilet lid processing. The two tasks of editing— Francesco Lo Savio describes his 37.5 × 33.5 × 2 cm narrowing down the images to one— monochrome paintings as “the vision These filters are produced from the Pinault Collection and printing are the result of numerous of luminous ghosts in space.” They juxtaposition of several half-transparent material experimentations over the manifest “a purely spatial conception surfaces, and they fuse with the Lee Lozano probably found this toilet course of several months or years. in which the structuring of the surface surrounding environment. The canvas seat on Canal Street in New York. Leonard has often emphasized the is only defined by light, in order to is replaced by several layers of metal In 1962, she used it to draw a smiling resemblance between the production establish contact with the surrounding wire mesh. Two of these nets are fixed face with a cigar in the space left by of her prints and the process of writing, space.” on a rectangular frame. In between, missing teeth (one of the teeth, a canine, both of which are works on paper that In the catalogue of the first exhibition other square nets are superimposed. is as sharp as a vampire’s fang). require, as she says: “An editorial pursuit. of Lo Savio’s paintings in 1961 Their format is gradually reduced There are a lot of toothless smiles You have a mass of pictures and you have (Leverkusen, Germany), which included down to the smallest, central square, in Lozano’s early 1960s drawings. to edit it down to the one you think is works of American painter Ad Reinhardt which has a tighter and denser pattern In her diary, she writes: the most important, print it over and and Belgian painter Jef Verheyen, that makes it look darker. According 29 May 1969 over again, get rid of all excess, find the the German curator Udo Kultermann to the artist, this work is halfway “The enamel on my teeth is right density, the right paper, etc.” noted that, “all the drawings and “between the theoretical space and the disintegrating (when I was twelve I was As indicated by the dark line of paintings of the exhibition are based real space.” It is about “a situation of a metal mouth). The enamel wears away unexposed film that borders the image, on the shape of the circle and seek, by chromo-energetic absorption” created in spots which eventually turn brown. there is no cropping or reframing process means of the slightest nuances of color, by adding surfaces that have a low Perhaps I’ll someday be able to fulfill in Leonard’s pictures (except for a few to produce the movement of breathing light absorption coefficient, which a secret wish: platinum inlays right up “theatrically staged” photographic in space. By means of superimposed “determines a dynamic of chromatic front with a diamond set in each. I have narratives, such as the Fae Richard surfaces, a suspended area is suggested, intensity that is inversely proportional the diamonds. It’s the dentistry I can’t Archives, which chart the life of a which has no direction or dimension to the additional action of the filters.” afford.” fictional character). Indeed, by cropping and exists as a unit in itself.” Filtro e rete was also part of the 18 May 1969 the image, the reference point of the Archival documents show that Spazio Christian Stein collection. “I noticed at Paula Cooper opening that frame would be lost. Such ethics in Luce was exhibited by the Christian many many people have discolored, photography, whereby the location of Stein gallery, Milan, in 1960. The piece stained or rotten teeth (‘New York the photographer’s subjectivity is not was also shown at the 1980 Venice tooth’) (me too). Make inquiry about hidden, often requires using numerous Biennale. It was part of the selection reactions to idea of setting jewels in film rolls before selecting one image and of “Italian monochromes” in the teeth, painting them different colors making it visible while at the same time exhibition La couleur seule at the Saint- too.” clearly evidencing the reference of its Pierre Museum of contemporary art frame. The resulting print thus indexes of Lyon (1988), and in the selection the artist’s position and shows were she of the Christian Stein Collection shown stands. Otherwise, it would be a visual at the Nouveau musée, Villeurbanne field that would bear no reference to the (1992). camera or the photographer. The prints It was included in the exhibition Art are displayed without a case or frame: italien 1945-95: le visible et l’invisible, they hold directly to the wall under a which was shown in several Japanese rectangular sheet of glass. The vulnerable museums, and in the solo exhibition printing paper is exposed, giving the Lo Savio at the Luigi Pecci Centre for viewer a very physical experience. Contemporary Art in Prato (2004).

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that is fully subject to the directional push of the brush strokes. But Lozano’s stance on artistic labor is more ambiguous than that of her fellow, male artists. In a 1970 publication she writes: “I will not call myself an art worker but an art dreamer and I will participate only in a total revolution both personal and public.”

Filtro e rete 1962 Superimposed metal nets, iron frame No Title (toilet lid) 100 × 120 cm c. 1962-1963 Pinault Collection Oil on wood toilet lid 37.5 × 33.5 × 2 cm Crook These filters are produced from the Pinault Collection 1968 juxtaposition of several half-transparent Oil on canvas, two panels surfaces, and they fuse with the Lee Lozano probably found this toilet 244.4 × 177.8 cm surrounding environment. The canvas seat on Canal Street in New York. Pinault Collection is replaced by several layers of metal In 1962, she used it to draw a smiling wire mesh. Two of these nets are fixed face with a cigar in the space left by Today, the work of Lozano is considered on a rectangular frame. In between, missing teeth (one of the teeth, a canine, a multi-faceted stream of work other square nets are superimposed. is as sharp as a vampire’s fang). encompassing both her personal and Their format is gradually reduced There are a lot of toothless smiles artistic production and various modalities down to the smallest, central square, in Lozano’s early 1960s drawings. such as painting and “language pieces,” which has a tighter and denser pattern In her diary, she writes: rather than corresponding to different that makes it look darker. According 29 May 1969 periods or “phases.” to the artist, this work is halfway “The enamel on my teeth is The title Crook associated with the 1968 “between the theoretical space and the disintegrating (when I was twelve I was two-part oil painting can be linked real space.” It is about “a situation of a metal mouth). The enamel wears away with a list of verbs included in one chromo-energetic absorption” created in spots which eventually turn brown. of her notebooks: “List of paintings titles by adding surfaces that have a low Perhaps I’ll someday be able to fulfill 1964-67 (May).” light absorption coefficient, which a secret wish: platinum inlays right up The verbs “REAM,” “SPIN,” and “VEER” “determines a dynamic of chromatic front with a diamond set in each. I have written in capital letters as in most of her intensity that is inversely proportional the diamonds. It’s the dentistry I can’t language pieces are a clear reference to the to the additional action of the filters.” afford.” vocabulary of workers and the use of tools Filtro e rete was also part of the 18 May 1969 or specific machinery. Christian Stein collection. “I noticed at Paula Cooper opening that The compilation of verbs by the artist many many people have discolored, Richard Serra, done a few years later in stained or rotten teeth (‘New York 1967-1968, is much more famous and has tooth’) (me too). Make inquiry about been described as the working program reactions to idea of setting jewels in of a sculptor (“roll, cut, tear…”). teeth, painting them different colors With Lozano, these verbs (which have too.” a sadomasochistic connotation) do not describe a project but shapes that can be No-Grass Piece associated to the body, including abstract [part 1 & 2] ones. 1969 Lozano used the same kind of brush as Graphite and ink on paper construction painters as part of 27.9 × 21.6 cm a larger movement in which artists sought to associate themselves with workers. Masturbation The use of metal oxide paint—she labeled Investigation her colors “office supplies”—contribute 1969 to creating a corrugated and slightly Graphite and ink on paper reflective surface as well as a corporeality 27.9 × 21.6 cm

Danh_Vo_04_ING_esec.indd 21 02/04/15 11:49 Thinking Offer during six weeks from the 1st of April No Title no date to the 3rd of May 1969. Therefore, No- c. 1963 Pen on velum paper Grass is dated 4 May 1969, immediately Pencil and graphite on paper 26.1 × 31.2 × 3 cm after Grass; it lasted 33 days. The effects 23 × 24 cm of withdrawal are noted and dated as Pinault Collection The Estate of Lee Lozano, well as instances of relapse. Courtesy Hauser & Wirth These relapses are linked to another No Title simultaneous language piece titled 1963 On 22 January 1971, a Friday, Lozano Dialogue, in which the artist notes her Pencil and graphite on paper sends to Charlotte Towsend, the director conversations with John Torreano, La 58.5 × 73.8 cm of the “Mezzanine Gallery” at the Nova Monte Young, Marion Zazeela, and Alan Pinault Collection Scotia College of Art (Halifax, Canada), Saret, during which she smokes grass. an exhibition layout plan and ten sheets Grass and No-Grass were shown together No Title of paper, “drawings” of nine pieces. at Paula Cooper Gallery in New York for 1964 No title One of them, No-Grass, spreads over two a group exhibition titled “Number 7” Graphite on paper c. 1962 sheets of paper. She recommends hanging (May 1969). They were also featured 21 × 21 cm Oil on canvas the pieces far apart because, she promises, in End Moments, the self-published Pinault Collection 91 × 100.5 × 4.5 cm she will send more to be placed in magazine of Lozano’s partner, the artist Private collection, Paris the gaps. Dan Graham. No Title The exhibition Infofiction was a Masturbation Investigation, “the most 1964 As symbols of Judeo-Christian retrospective of Lozano’s “Language difficult work I ever did,” she said, Graphite on paper civilization, the Cross and the Star Pieces” and the only exhibition of these is dated 3-5 April 1969, three days 36.5 × 46.5 × 2.5 cm of David were the subject of a series works made in her lifetime. The title during which she compared the effects Pinault Collection of paintings in which they are depicted can be associated with a note from the of fantasies and the use of images or embedded in a woman’s body, often artist’s notebooks: “Information objects. Grass is also running at the No Title martyrizing it. In one case, the Star of is content. Content is same time, as well as other pieces such 1964 David is crushed between her teeth. fiction. Content is messy.” as General Strike (which consists of Graphite on paper In another, it is squashed in one hand With these words, she also seems to avoiding official or public meetings 28.5 × 34.5 × 2.5 cm following some bloody mutilation. criticize the title and content of the linked to the art scene). Simultaneity Pinault Collection In yet another, the breasts are hidden famous 1970 conceptual art exhibition, is important: the work is always by two Stars of David and an eye Information, organized at the New York “now.” “The only art I ever made is my Lozano’s drawings of tools and tool parts in the shape of an areola is hanging Museum of Modern Art by curator ‘ongoing work’,” she wrote. underwent a radical transformation around the figure’s neck. Kynaston McShine. Very few women Thinking Offer, a language piece in around 1964-1965, when they became The same goes with the cross. A artists were selected for it and Lozano was which Lozano offers to “think about detailed, hyperrealist close ups of tools, painting shows “the last station on the not among them. something for anyone,” is not part of such as drill bits, drills or rubber tubes, way to the Cross” inside the opening Lozano detailed precisely how to display Infofiction and is not dated. used by manual laborers. of a vagina. In the painting shown the two sheets of No-Grass, which According to her executor, Barry here, the cross hanging on the neck must be placed next to each other and Rosen, Lozano probably found these is so large that it pushes the breasts at a distance of 7.5 cm from another objects when shopping with the artists outwards. piece titled Grass; they need to be Carl Andre and Hollis Frampton Dark marks on each breast resemble displayed together on the wall facing the around Canal Street, in downtown bruises. These marks, which were made entrance of the gallery. “MAST.INV.” Manhattan. At the time, there with dark vermilion and appear like (Masturbation Investigation) was placed were lots of street sellers in this dry blood, also signal that “the frontier on the entrance wall together with other neighborhood, many of whom sold all between the protective surface of language pieces. sorts of tools, bits of metal, and other the skin and the endless depth of The pieces are to be displayed at metal junk. the internal wound are a challenge to 1.45 meters from the floor in order to be In the early 1960s on Canal Street, the artist’s perverse need to penetrate seen easily. Lozano also recommended there was also a local trade of metal and the pleasure she finds in the use of plastic folders to preserve the No Title scrap and spare parts from boats, and dissection,” notes Sabine Folie, a papers, some of which are carbon copies. 1964 shipyards, in particular those that had specialist in Lozano’s work. Each of these language pieces is Graphite on paper been subsidized by the U.S. Navy paradoxically both prescriptive (a set of 36.5 × 46.5 × 2.5 cm during WWII and later the Korean instructions) and retrospective (Lozano Pinault Collection War, which scrap dealers sold by followed these instructions meticulously weight. Since the war was also a period and noted their effects). No-Grass must No Title in which women were called to work start immediately after Grass, which 1962 in the weapons industry (“We Can Do is about smoking excellent marijuana, Graphite and pencil on buff paper It!”), it is pleasant to think that metal get high as quickly as possible and stay 27.31 × 34.92 cm junk produced by a female industrial high all day long, to see what happens, Pinault Collection force was later recycled by Lozano.

Danh_Vo_04_ING_esec.indd 22 02/04/15 11:49 No Title as the tools and the sexual metaphors c. 1963 they represent. Pencil and graphite on paper The artist chose to retire from the 23 × 24 cm art scene in 1972. She also decided Pinault Collection around that time to boycott women. However, according to her friend and No Title executor Barry Rosen, “she did not 1963 stop doing art, she stopped doing Pencil and graphite on paper commodity art.” Even though there 58.5 × 73.8 cm are many gaps in her biography, it is Pinault Collection now held that for about ten years she kept on living in New York where she No Title No Title used to frequent an art bookshop and 1964 No title c. 1965 various alternative venues. She was Graphite on paper c. 1962 Oil on canvas, two panels even invited to exhibit in Documenta 21 × 21 cm Oil on canvas 234.3 × 310.3 × 3.9 cm 6 (1977) but declined. Pinault Collection 91 × 100.5 × 4.5 cm Pinault Collection Ten years into her retirement, she Private collection, Paris moved to Dallas and changed her No Title No Title (1965), composed of two name to the letter “E.” Perhaps her 1964 As symbols of Judeo-Christian unequal parts, was produced for decision to leave the art world caused Graphite on paper civilization, the Cross and the Star an exhibition at Green Gallery in Lozano to be forgotten for about 36.5 × 46.5 × 2.5 cm of David were the subject of a series New York, a prominent avant-garde 20 years before she was rediscovered Pinault Collection of paintings in which they are depicted gallery where Lozano had a solo “at the last minute,” just before her embedded in a woman’s body, often presentation in 1964, as did other death in 1999. Since about 2006- No Title martyrizing it. In one case, the Star of young Minimalists. 2007, she has been considered as 1964 David is crushed between her teeth. In 1965, Green Gallery planned “the” rediscovery of the 21st century. Graphite on paper In another, it is squashed in one hand another exhibition for which they Numerous retrospective exhibitions 28.5 × 34.5 × 2.5 cm following some bloody mutilation. commissioned a text by critic Jill have been organized in the past few Pinault Collection In yet another, the breasts are hidden Johnston (“Lee Lozano, Green years, the most recent at the Moderna by two Stars of David and an eye Gallery, 1965”). Museet in Stockholm (2010). In Lozano’s drawings of tools and tool parts in the shape of an areola is hanging However, the gallery shut down 2017, another major retrospective will underwent a radical transformation around the figure’s neck. without prior notice and the be shown at Madrid’s Centro de Arte around 1964-1965, when they became The same goes with the cross. A exhibition was not held; Johnston’s Reina Sofía. detailed, hyperrealist close ups of tools, painting shows “the last station on the text will not be published for several such as drill bits, drills or rubber tubes, way to the Cross” inside the opening decades. used by manual laborers. of a vagina. In the painting shown Experimental filmmaker Hollis According to her executor, Barry here, the cross hanging on the neck Frampton’s black and white photo, Rosen, Lozano probably found these is so large that it pushes the breasts “Shot of work table in the studio of objects when shopping with the artists outwards. Lee Lozano, whose paintings will be Carl Andre and Hollis Frampton Dark marks on each breast resemble shown at the Bianchini gallery from around Canal Street, in downtown bruises. These marks, which were made 11/5-11/30, 1966,” was to serve as Manhattan. At the time, there with dark vermilion and appear like the invitation card. were lots of street sellers in this dry blood, also signal that “the frontier The shot, taken from above, shows all neighborhood, many of whom sold all between the protective surface of the tools on the table—pliers, scissors, sorts of tools, bits of metal, and other the skin and the endless depth of bolts, artist materials—, a label of one metal junk. the internal wound are a challenge to of her pieces from Green Gallery, In the early 1960s on Canal Street, the artist’s perverse need to penetrate a 1961 Carl Andre sculpture titled there was also a local trade of metal and the pleasure she finds in Cock, and a match box from the bar scrap and spare parts from boats, and dissection,” notes Sabine Folie, a Max’s Kansas City. Next to the table, shipyards, in particular those that had specialist in Lozano’s work. there is a stool upon which cigarettes been subsidized by the U.S. Navy and a coffee cup are perched. during WWII and later the Korean Nearby, there is a photocell and War, which scrap dealers sold by four Polaroid prints of the photo weight. Since the war was also a period shoot session from which the image in which women were called to work for the invitation was produced. in the weapons industry (“We Can Do This mise en abyme makes visible It!”), it is pleasant to think that metal Lozano’s process, showing how junk produced by a female industrial she composed the abstract paintings force was later recycled by Lozano. from black and white drawings as well

Danh_Vo_04_ING_esec.indd 23 02/04/15 11:49 robert piero manson manzoni

of this work. Manson tries to present surface. The internal contamination the key elements of the scouting of the surface thus produced is, as movement: “Orientation techniques Manzoni explains, neither a polar (1934 and 1971), outdoors (1937), landscape nor the conjuring of a pioneering spirit (1949 and 1976), mysterious beauty, nor a symbol, strong religious principles (1952), the nor anything but itself, anything but Cub Scouts’ carefree cheerfulness, the achrome. Achrome and a body at the gravity of Explorer scouts, and the same time. energy of Eagle Scouts.” Manzoni’s great interest in perishable The film on the scouting movement materials and techniques—some by French filmmaker Georges Ferney Achromes have been considered as Les Cent Camarades takes visual cues particularly interesting “case studies” by from Manson’s photo essays. In fact, museums’ restoration departments— Manson agreed to be in the film, in Achrome is also expressed in the selection of which he played “the butler.” c. 1962 the container. Here the box-frame is Manson’s pictures were published by Bread rolls and kaolin on panel double: the larger one has the same the magazine Jeunesse Agricole 18 × 28 cm proportions as the smaller one, which Catholique (a French publication Pinault Collection it contains, and the space between the for “rural and catholic youths”) and two is occupied by dark blue velvet. in their calendars, as well as in the Piero Manzoni used “achromatisation” Velvet brings depth to the composition Travaux des champs women’s magazine Promesse. as the conceptual tool with which but also a distance with the daily c. 1950 The two series of photographs, he tackled the questions of form and materials of the aesthetic object. Series of 37 photographs from which the photographs in this composition, organization and order, 25.4 × 19.3 × 1.5 cm exhibition were part, are a selection and produced 70 works titled Achrome Pinault Collection made by Manson for a book project, between 1957 and his death in 1963. “Anthology of rural happiness,” that “Monochrome” means using one, Scenes de la vie has never been published. Other single color. “Achrome” refers to a lack quotidienne et types views on the rural world had already of any chromatic identity. ruraux been expressed in France at the time. The principle is to let the material’s c. 1950 In 1946, Georges Rouquier presented “self-determination quality” manifest Series of 32 photographs the daily life of a family of peasants of by leaving it to itself. Indeed, kaolin, 25.4 × 19.3 × 1.5 cm the Aveyron region (his own family, a material used in the manufacture of Pinault Collection in the farm Farrebique situated in porcelain and in which the canvases are Goutrens) through the four seasons soaked, does not require application This series of photographs was in his film Farrebique. with a brush or to be poured. It acts acquired at auction on Saturday Furthermore, Georges-Henri Rivière on the material during the drying and 18 June 2011. The auction also at the Musée de l’Homme and fixation process. In particular, kaolin included a series of 21 photographs later at the Musée national des arts damages the colored parts of the shot and printed by Robert populaires where he was appointed painting and adds weight to it. This Manson representing rural trades curator in 1937, was determined to “object-ness” of (beekeeper, blacksmith, basket maker, elevate ethnology to a science. But the painting becomes even more washerwoman, horse dealer, wood in France, the notion of folklore tangible with the inclusion of bread coal trader) as well as several others quickly became associated with rolls. dedicated to the scouting movement. the ultra conservative values of the The Achromes then explore the Indeed, scouts’ websites and Vichy regime (1940-1944). This repetition, organized according to a discussion forums are the best source is why the Laboratory of French regular grid, of patterns in relief that of information on “Robert our Ethnography, created after the war, are folded like petals and are produced buddy,” who would “often go about replaced these notions with that by the radical and silent corporeality of on his bicycle wearing the scouts of traditional, rural society. The the food; here, bread rolls commonly uniform and hat.” laboratory was tasked with recording served for breakfast in Italy. Born in 1907, Manson started to take the remaining traditions and customs The bulbous presence of these pictures of scout scenes around 1924, through fieldwork mainly focused perishable goods is interpreted by some when he joined the movement. For on material culture. The laboratory’s critical theorists as a contradiction with half a century, he recorded and built findings would later provide the basis or a reaction to the formal structure the image of the European Scouts, of the Musée des arts et traditions of the grid that embodies a purely illustrating their calendars and populaires, which opened in 1972 visual approach to modernism. Indeed, promotion material. in Paris with a display conceived the volume and material of each of The 1978 book Robert Manson, according to a radically new these kaolin-coated “cells” affect the photographe du scoutisme is a selection museology. predetermined organization of the

Danh_Vo_04_ING_esec.indd 24 02/04/15 11:49 piero sadamasa manzoni motonaga

surface. The internal contamination or pour black ink in order to create of the surface thus produced is, as aggregation effects, with infinite Manzoni explains, neither a polar shapes and limits. landscape nor the conjuring of a “I used oil paint, and so if I mixed mysterious beauty, nor a symbol, much oil, the paint became very nor anything but itself, anything but watery. I poured it [on canvas]. So I achrome. Achrome and a body at the discovered that heavier pigments sink same time. more quickly, and that the lighter Manzoni’s great interest in perishable pigments flow farther. Each color has materials and techniques—some its own weight. Red is rather heavy, Achromes have been considered as for example. By trial and error, I particularly interesting “case studies” by discovered that, ‘Oh, this color is museums’ restoration departments— light,’ ‘Oh, this color is flowing that Achrome is also expressed in the selection of Work way,’ or I’d think, ‘Please flow this c. 1962 the container. Here the box-frame is 1961 way.’ So I realized I should not watch Bread rolls and kaolin on panel double: the larger one has the same Enamel paint of oil based synthetic them flow. So in the evening, I’d go 18 × 28 cm proportions as the smaller one, which resin on canvas out for a drink. When I came back Pinault Collection it contains, and the space between the 60 × 116 cm home, I had a masterpiece. I had to two is occupied by dark blue velvet. Pinault Collection go out and drink to make this kind of Piero Manzoni used “achromatisation” Velvet brings depth to the composition painting.”1 as the conceptual tool with which but also a distance with the daily The first major exhibition of the he tackled the questions of form and materials of the aesthetic object. Japanese “Gutai” group (translated 1 Interview with Motonaga Sadamasa conducted composition, organization and order, in English as “embodiment” or by Kato Mizuho and Ikegami Hiroko, December and produced 70 works titled Achrome “concrete,” the word “gutai” also 9, 2008. between 1957 and his death in 1963. includes the notions of tool, material, “Monochrome” means using one, and body) was organized at the single color. “Achrome” refers to a lack Martha Jackson Gallery in New York of any chromatic identity. in 1958 by Yoshihara Jiro, one of the The principle is to let the material’s founders of the movement, along “self-determination quality” manifest with the French critic Michel Tapié. by leaving it to itself. Indeed, kaolin, Viewers were told that Motonaga’s a material used in the manufacture of work was inspired by “his work in porcelain and in which the canvases are Gutai theatre, where he uses [a cannon soaked, does not require application to produce] swirls of smoke, creating with a brush or to be poured. It acts dramatic effects.” on the material during the drying and In spite of the publicity given to fixation process. In particular, kaolin this group exhibition, it was a flop. damages the colored parts of the Perhaps it was not “Japanese” enough? painting and adds weight to it. This “Gutai does not practice orientalism,” “object-ness” of said Tapié. Gutai’s modernism was the painting becomes even more hastily interpreted as deriving from tangible with the inclusion of bread European Art Informel or the New rolls. York school of Abstract Expressionism. The Achromes then explore the Motonaga’s painting in particular was repetition, organized according to a compared with the work of American regular grid, of patterns in relief that artists Morris Louis and Sam Francis. are folded like petals and are produced Nevertheless, in spite of the cool by the radical and silent corporeality of reception of her exhibition, Martha the food; here, bread rolls commonly Jackson decided to work with Jiro served for breakfast in Italy. and Motonaga. She signed a contract The bulbous presence of these with the latter in 1960 and organized perishable goods is interpreted by some an individual exhibition in 1961. critical theorists as a contradiction with It seems that Motonaga was inspired or a reaction to the formal structure by the traditional technique of of the grid that embodies a purely tarashikomi in his use of enamel paint. visual approach to modernism. Indeed, He would first apply very diluted the volume and material of each of black paint, or a color wash, and these kaolin-coated “cells” affect the before this first coat would completely predetermined organization of the dry off, he’d add other color coats

Danh_Vo_04_ING_esec.indd 25 02/04/15 11:49 jean-luc henrik moulène olesen

removed from the mold, cleaned and Their interaction was determined by polished, they take on the aspect of experimenting with dolls and wooden parchment, a bit like a skin. They are pieces. Once stabilized, the final figure is displayed on a blanket similar to those placed directly on the ground, standing used in transport rather than on a base. on its own center of balance. This protection is also a reference to the The second piece shown in this baskets that were used for decapitated exhibition is produced through the heads. interaction of three garden sculptures but according to a different movement. The fountain and its basin are placed upside down; the body of the animal is activated, thus cutting the basin deep enough to make a dent. When the interaction is stabilized at the right place, the basin is placed on a vertical axis. The body of the eagle is then inserted Tronche / moon face and rotated. (Paris, May 2014), 2014 Polished concrete, blue blanket 26 × 18 × 22 cm Pinault Collection

This Tronche (a colloquial term for “face” that can be translated as “mug”) is part of a body of 24 pieces, to which another three are added (titled Bush Family). A Portrait They are fabricated from silicon or rubber La toupie 2014 masks that cover the whole head. These 2015 Wood, metal carnival figures were acquired in shops Concrete 196 × 15 × 3 cm in Mexico City, Los Angeles, Paris, and 147 × 93 × 67 cm Pinault Collection New York but were probably all “Made in Courtesy of the artist China.” They are inspired by all sorts of and Galerie Chantal Crousel, Paris The two pieces of wood in this work movie monsters (aliens, zombies, etc.) and are presented as follows: the longer by famous politicians, for example the rotor Tête-à-Cul piece hangs vertically so that its lower President of Mexico, Enrique Peña Nieto. 2015 (Paris, spring 2014) part is situated at 10 cm from the floor, The eyes and other orifices were sewn. The Concrete 2014 with its lighter part at the bottom and masks were then turned inside out so that 151 × 77 × 42 cm Bone (boar, doe), balloon, epoxy resin the darker one facing up. This dark part the inner side became the external surface. Courtesy of the artist 42 × 30 × 20 cm is aligned with the darker part of the The neck of the mask was then placed on and Galerie Chantal Crousel, Paris Pinault Collection second piece of wood, which is smaller a four-legged template pierced by a hole, and hangs next to it, also vertically, a thus positioned head down. The artist The artist and his team of craftsmen Two bones, the jaw of a boar, and the bit higher. then poured as much concrete as possible developed their production technique— pelvis of a doe, were offered to the artist In 2009, Henrik Olesen used without tearing the material, stopping just the interaction of cement garden by his Mexican gallerist. They remained in similar wood pieces, leftovers from at break point. But when he went too far, sculptures that wear out as they rub the studio for six months. While moving an exhibition at Studio Voltaire disrupting the balance, the mask full of against each other—while making and manipulating them, the artist ended (London), for a portrait of his parents. concrete fell on the ground and produced L’Aigle, Haendel et la Pucelle. Here, the up fitting them together by turning them He sometimes repeated the same the result seen in Tronche / Moon Face. tool used to shape a statue is another around, “arse over tit” (the title Tête-à-Cul proportion between the long and the The title was given a posteriori to a statue, which is animated by the energy means literally “head over arse”). short pieces and sometimes not. zombie figure that had fallen after being produced by the regular movement of a The empty space created by this The two pieces of wood are placed one filled. The weight of the concrete heads concrete mixer. construction is filled with an inflated on top of the other for Portrait of thus depends on the degree of resistance Concerning the first of the series, the balloon that sticks out from the bones as My Father (2010), topped by a potato. during the filling process: some Tronches process is as follows: Haendel’s head if it was a swollen stomach. The whole In Portrait of My Father (2009), can weigh up to 40 kilos. For the artist, turns and penetrates the body of the piece was fixed with epoxy resin, simply an almost empty jar of jam tops the action of filling the mask up to female figure, which is also worn out by adjusting the different parts together the composition. For Portrait of the limit of what is possible translates from a cross shape by the movement of and stabilizing them in precise contact My Mother (2009), a piece of wood in sculpture to the equivalent of a the eagle. The materials used—concrete points. A yellowish finish was then stands on its own. monochrome in painting. and cement—attest to the fact that they applied to the ensemble, which is hanging The conventional structure of The pieces are air dried. Once they are are garden sculptures. at face height on a torn hanger. the father-mother-child is commonly

Danh_Vo_04_ING_esec.indd 26 02/04/15 11:49 henrik olesen

Their interaction was determined by represented by a triangle. experimenting with dolls and wooden But some artists, notably since pieces. Once stabilized, the final figure is Louise Bourgeois, strive to give placed directly on the ground, standing the illusion of submission by providing on its own center of balance. a “rather good” biography, which The second piece shown in this can inspire a basic psychoanalytic exhibition is produced through the interpretation of the knot between life interaction of three garden sculptures and work. When Olesen uses leftovers but according to a different movement. from an exhibition and writes in The fountain and its basin are placed simple, childish letters “the shortest upside down; the body of the animal is possible form of portrait of his father,” activated, thus cutting the basin deep he adopts a position that enables him enough to make a dent. When the to be emancipated “while at the interaction is stabilized at the right place, same time affirming that he is not the basin is placed on a vertical axis. emancipated,” commented the The body of the eagle is then inserted writer-artist Joseph Strau. Untitled #05 and rotated. 2011 Screws, nails, canvas 165 × 165 cm Pinault Collection

These pieces were conceived for Olesen’s show at Galleria Franco Noero (Turin), in 2011. Each of them was pinned to the wall with eight nails inserted in holes made on the edges of A Portrait the canvas. Each canvas, once hanging 2014 on the wall, produced different folds by Wood, metal the effect of its own weight. This is part 196 × 15 × 3 cm of a process of physical transformation Pinault Collection set up and encouraged by the artist. Indeed, the presentation of the work The two pieces of wood in this work Untitled #03 is not conditioned by considerations are presented as follows: the longer 2011 of formal or narrative starkness such Tête-à-Cul piece hangs vertically so that its lower Screws, nails, canvas as minimalism. On the contrary, (Paris, spring 2014) part is situated at 10 cm from the floor, 165 × 165 cm the motivation seems to be to risk 2014 with its lighter part at the bottom and Pinault Collection producing a piece that would not be Bone (boar, doe), balloon, epoxy resin the darker one facing up. This dark part formal or narrative but rather organized 42 × 30 × 20 cm is aligned with the darker part of the as a mathematical experiment, an Pinault Collection second piece of wood, which is smaller enumeration. and hangs next to it, also vertically, a As the American scholar Peggy Two bones, the jaw of a boar, and the bit higher. Phelan suggests, “The production pelvis of a doe, were offered to the artist In 2009, Henrik Olesen used and reproduction of visibility are by his Mexican gallerist. They remained in similar wood pieces, leftovers from part of the labor of the reproduction the studio for six months. While moving an exhibition at Studio Voltaire of capitalism.” How then can it be and manipulating them, the artist ended (London), for a portrait of his parents. possible to make a body—one’s own up fitting them together by turning them He sometimes repeated the same body—that would be free of this labor around, “arse over tit” (the title Tête-à-Cul proportion between the long and the of reproduction? means literally “head over arse”). short pieces and sometimes not. The link between Olesen’s screws and The empty space created by this The two pieces of wood are placed one screwdriver and the question of “How construction is filled with an inflated on top of the other for Portrait of do I make myself a body?” can be seen balloon that sticks out from the bones as My Father (2010), topped by a potato. at the double retrospective exhibition of if it was a swollen stomach. The whole In Portrait of My Father (2009), the Malmö Konsthall and the Museum piece was fixed with epoxy resin, simply an almost empty jar of jam tops für Gegenwartskunst, Basel (2011). by adjusting the different parts together the composition. For Portrait of Untitled #04 The exhibition deconstructs familiar and stabilizing them in precise contact My Mother (2009), a piece of wood 2011 tropes through the brilliant homosexual points. A yellowish finish was then stands on its own. Screws, nails, canvas British mathematician Alan Turing applied to the ensemble, which is hanging The conventional structure of 165 × 165 cm (1912-1954). at face height on a torn hanger. the father-mother-child is commonly Pinault Collection The order in which the screws are

Danh_Vo_04_ING_esec.indd 27 02/04/15 11:49 pablo sigmar picasso polke

placed can also be associated with the movement, might hint to sexual play. typographic arrangement of letters But more broadly, game is a constant seen, for example, in concrete poetry. theme in a body of work that often Olesen also hints to a parallel in the challenges the other player to make a production of sound in techno music. move. What is anticipated here is the Indeed, he has shown great interest move from painting to sculpture, from in the Master-Slave dialectic and its canvas to the cutting of metal. links with techno culture. The sculptural intention of this pictorial work is apparent in each of companion species the drawings, which indicate volume 2015 through striations or grey and black Acrylic and inkjet print on canvas shadowing. Is the grey monochrome 220 × 1000 cm inspired by the dark granite of Brittany, Courtesy of the artist and Galerie as seen on the roofs, dolmens, and Buchholz, Berlin/Cologne standing stones around Quimper, where Picasso stayed with his friend Max Jacob? In any case, the ground is marked by a line under the ball and the legs. It corroborates the verticality of the figure, which is broken by the Objekt Kartoffelhaus triangular shape of the genitals that 1967-1990 Baigneuse au ballon seem to pop out, producing the illusion Wood, metal and potatoes mid-September 1929 of relief in a space that, once again, is 252 × 200 × 200 cm Oil on canvas not pictorial anymore. Pinault Collection 187 × 128 cm Picasso produced two other similar Private collection, courtesy paintings before moving to the castle The structure made of resinous wood Fundación Almine y Bernard of Boisgeloup, where his sculptural rods is assembled with screws. The three Ruiz-Picasso para el Arte creativity exploded. Born from external faces of the lattice walls are painting, the sculptures of 1929-30 studded with metal rods used to hold Several drawings in a sketch book were “another watershed moment potatoes: there are about 300 medium- and on a sheet of paper folded in in the history of sculpture.” They sized potatoes, either white or yellow, four representing a “Bather with also inspired the paintings of 1932. which are regularly replaced. Beach Ball” were produced during the Indeed, Picasso’s friend and colleague Sigmar Polke uses the image of the summer of 1929 in Dinard, France, Julio Gonzalez saw that, “painting, potato in his painting Potato Heads where Pablo Picasso went with his wife drawing, and sculpture are becoming (Mao & LBJ, 1965), in which the Olga as well as, clandestinely, his (very one with Picasso” who “sees everything leaders of the People’s Republic of young) lover Marie-Thérèse Walther. as a sculptor” even though he imagines China and the United States, President Baigneuse au ballon, a large oil on the plasticity of his figures as a painter. Mao and Lyndon B. Johnson, are canvas about two meters high, was Although the financial crash didn’t represented with potato-shaped heads. probably painted in Paris between the affect him (at the time, Picasso But Polke also uses the potato as the end of September and October 1929, had already amassed a considerable object of his “scientific” research: just before the stock market crash. It fortune), he was probably aware of “On the verge of giving up my planned is a dark painting with somber colors: the absurdities of the world of money. investigation in the apparent absence of shades of dark grey with some dashes His dealer Paul Rosenberg decided to a suitable object of study, I happened of white, brown, beige, and black cancel the monographic exhibition to go into my cellar one day and cover the figure and the background planned for 1930. And throughout the I finally found what I had been looking equally. What distinguishes the figure crisis, Kahnweiler’s gallery remained for—the very incarnation of everything from the background is not color but deserted. Yet the museum built by art criticism and pedagogy fancy, in a thick black line. The line delimitates Abby Aldrich Rockefeller, Mary the form of a joyfully innovative, the gigantic open mouth of the Quinn Sullivan, and Lillie P. Bliss spontaneously creative subject: the bather, which is filled with small lines in New York opened in 1929: the potato.” resembling teeth at the level of the Museum of Modern Art. In his auto-icono-biography (Early eyes. The director at the time, Alfred H. Influences, Late Consequences or: How On the top left corner of the painting, Barr, wanted to dedicate the first did the Monkeys Get into my Work and the head is matched in counterpoint exhibition to Picasso. Other Icono-Biographical Questions, with a shape that springs on the right, Picasso kept this Baigneuse au ballon published under the name of Friedrich one arm extended as a stalk while and it was included in the inventory Wolfram Heubach), Polke comments the other arm picks up a ball. The of his works that was made after his on his scientific interest in the potato. ball game, with its back and forth death in 1973. Its specificity is that it germinates

Danh_Vo_04_ING_esec.indd 28 02/04/15 11:49 sigmar carol polke rama

movement, might hint to sexual play. spontaneously and that, without any But more broadly, game is a constant author’s pride, it generates surprising theme in a body of work that often shapes and colors ranging from lilac to challenges the other player to make a pale white and greenish. move. What is anticipated here is the The construction of the experimental move from painting to sculpture, from model of the Kartofellhaus results from canvas to the cutting of metal. the cross between a common potato The sculptural intention of this chest and Wilhelm Reich’s Orgon Box. pictorial work is apparent in each of Adept in alternative medicine, Reich the drawings, which indicate volume had built the Orgon Box, or “Orgon through striations or grey and black Accumulator,” to harness the biological shadowing. Is the grey monochrome energy of his patients (he ended up inspired by the dark granite of Brittany, being arrested by the Food and Drugs Bricolage as seen on the roofs, dolmens, and Administration and sent to jail for 1967 standing stones around Quimper, misleading the public). Protective and Mixed technique, dolls eyes, where Picasso stayed with his friend protected, the Potato House builds its small pearls on panel Max Jacob? In any case, the ground is innovation potential on each of the 28 × 45 cm marked by a line under the ball and horizontally inserted potatoes, whose Pinault Collection the legs. It corroborates the verticality energy is supposed to transfer to each of the figure, which is broken by the Objekt Kartoffelhaus person who enters such a structure In Carol Rama’s apartment-studio in triangular shape of the genitals that 1967-1990 that is altogether physical and mental, Turin (Italy) where she has lived for the seem to pop out, producing the illusion Wood, metal and potatoes materialized and fantasized. past 70 years, there is “a shoemaker’s of relief in a space that, once again, is 252 × 200 × 200 cm Of course, the fact that visitors come anvil, dozens of wooden molds, her own not pictorial anymore. Pinault Collection out of the house unscathed brings the works and those of Man Ray, Picasso, Picasso produced two other similar experiment back to irony, with artistic and Warhol, an African ritual mask, paintings before moving to the castle The structure made of resinous wood expression as accomplice. collections of taxidermy eyes, fingernails of Boisgeloup, where his sculptural rods is assembled with screws. The three and hair, dozens of bicycles tires (a creativity exploded. Born from external faces of the lattice walls are recurring element of her works made after painting, the sculptures of 1929-30 studded with metal rods used to hold 1970), hanging flaccidly from hooks, and were “another watershed moment potatoes: there are about 300 medium- piles of old soap that have degraded over in the history of sculpture.” They sized potatoes, either white or yellow, time appearing now as slabs of animal also inspired the paintings of 1932. which are regularly replaced. fat. Her apartment is like an organic Indeed, Picasso’s friend and colleague Sigmar Polke uses the image of the archive of her own work in the process of Julio Gonzalez saw that, “painting, potato in his painting Potato Heads decomposition.”1 drawing, and sculpture are becoming (Mao & LBJ, 1965), in which the In the 1960s Bricolages series, Rama one with Picasso” who “sees everything leaders of the People’s Republic of combines formulae with numbers and as a sculptor” even though he imagines China and the United States, President informal color debris with things—corks, the plasticity of his figures as a painter. Mao and Lyndon B. Johnson, are claws, fur, rice, canulas, dolls’ eyes in Although the financial crash didn’t represented with potato-shaped heads. porcelain, small pearls—on canvas or affect him (at the time, Picasso But Polke also uses the potato as the paper clots of pictorial material. She had already amassed a considerable object of his “scientific” research: transfers their energy on the surface thus fortune), he was probably aware of “On the verge of giving up my planned composing an “itchy” color, according the absurdities of the world of money. investigation in the apparent absence of to the term coined by the Italian poet His dealer Paul Rosenberg decided to a suitable object of study, I happened and literary critic Edoardo Sanguineti. cancel the monographic exhibition to go into my cellar one day and He called these pieces “bricolages” planned for 1930. And throughout the I finally found what I had been looking (tinkering), in reference to the work of crisis, Kahnweiler’s gallery remained for—the very incarnation of everything French ethnologist Claude Lévi-Strauss, deserted. Yet the museum built by art criticism and pedagogy fancy, in in his book The Savage Mind,in which he Abby Aldrich Rockefeller, Mary the form of a joyfully innovative, stated that “intellectual bricolage” is the Quinn Sullivan, and Lillie P. Bliss spontaneously creative subject: the typical form of mythical thought. in New York opened in 1929: the potato.” The imposing frame indicates that Rama’s Museum of Modern Art. In his auto-icono-biography (Early work, far from being the result of frantic The director at the time, Alfred H. Influences, Late Consequences or: How production, is also aimed at a public, at Barr, wanted to dedicate the first did the Monkeys Get into my Work and friends, at others who are all invited to exhibition to Picasso. Other Icono-Biographical Questions, contemplate it. Picasso kept this Baigneuse au ballon published under the name of Friedrich and it was included in the inventory Wolfram Heubach), Polke comments 1 Paul B. Preciado: http://lemagazine.jeudepaume.org/ of his works that was made after his on his scientific interest in the potato. blogs/beatrizpreciado/2013/05/27/carol-rama-for-ever- death in 1973. Its specificity is that it germinates suite-et-fin/.

Danh_Vo_04_ING_esec.indd 29 02/04/15 11:49 charles auguste cameron ray rodin rowland

made another, larger version of this figure, this time without any reference to mythology, at least in the title which states simply: Étude de femme aux jambes ouvertes. It is featured in a photograph taken around 1896-1898, where it is shown in front of The Gates of Hell. In this version, the cast has no wings, no head, one arm missing and another arm raised. In his 1900 retrospective of Fish sculptures and drawings, presented in 2011 his own pavilion of the Place de l’Alma Sterling silver Iris messagère des dieux in Paris, Rodin exhibited the figure of 18 × 95 × 39 cm 1890-1891 Iris under the title Autre voix, dite Iris. Courtesy of the artist and Original plaster As is often the case in Rodin’s work, Matthew Marks Gallery, New York 84 × 76 × 36 cm this original plaster is an intermediate Pinault Collection proof produced posthumously in For the past two decades, Charles Ray’s order to cast bronze pieces under the Loot sculptural exploration has produced This figure without a head and without supervision of the Rodin Museum 2014 figurative objects, yet they are the a left arm was inspired by a Cancan (between 1902 and 1965). Copper fittings, bag in plastic-coated continuation of an abstract and modernist dancer who modeled for Auguste Rodin, Eleven were produced by Eugène fabric tradition. For him, the surface has become according to art historian Albert Elsen. Rudier in his father Alexis Rudier’s Paris 47 × 43.2 × 38.1 cm the place where sculptural events, which His hypothesis is based on the acrobatic foundry, between 1935 and 1951, Rental can be very precisely focused or on the movement of the figure, which is typical and later by Georges Rudier, between Pinault Collection contrary slightly blurry, connect and link of someone who is used to physical 1951 and 1965. up. Among the various mediums he uses activity and to exposing her sexualized The piece shown here was probably At some point basic utilities like for his sculptures, Ray has worked with body. His numerous sketches and made at the time of the Second World electricity and water were services aluminum, stainless steel, and fiberglass. drawings show that Rodin used to place War. According to experts, it was controlled by the state, because they His “Fish” is in sterling silver. It is a big fish, his models in unusual positions that produced with a piece mold, a technique relied so heavily on public infrastructure. on a scale slightly larger than the live fish were more erotic than academic. used since the 19th century to produce More and more these flows are valved used as his model. Each piece is the result In this case, the model would have laid plaster casts from an artist’s clay by private corporations. of “intentionality,” according to the term on her back with her legs wide open. molding. On the back of the plaster, Small amounts of scrap metal are often coined by art historian Michael Fried when Proof is that the back of the sculpture is someone has written: “Large Iris Tanguy, sold to small scrap yards. These yards speaking of Ray’s sculptures. He sees the barely worked on. Rodin conceived original plaster, height 90 cm (approx.), shear the metal into pieces sized for a sculptural investment at play in each of the the headless figure as a representation provenance Eugène Rudier.” compacter. internal relations of the work of art, in each that is entirely absorbed by her Indeed, the piece passed from Eugène The pieces are baled or sold to a larger detail, each instant of the process including movement and unaware of being Rudier into the hands of Jean Mayodon, yard that bales them. Someone sold the choice of the fabrication process itself, watched. Indeed, Rodin is said to have a ceramist and Rodin’s executor. these copper fittings in this bag to either by molding or cutting. hidden the sculpture from unwanted The fact that the same poses, postures, a small yard. They were not sheared The process can start with a photograph, visitors at his studio. or body parts—feet, hands, etc.—are because they were already in pieces. followed by clay molding, 3D scanning, This hypothesis is backed by a series of reused is typical of Rodin’s working Although physically unaltered, cutting out a foam dummy, which is then figures based on the motif of the Cancan method. He also used to delegate part the material’s function shifts once sold covered in clay and scanned another time. dancer that are stored among the Rodin of his work. Indeed, at the height of his as scrap. They were bought back in the After that, a machine cuts out the shape plasters of Meudon and may have been fame, he had about 50 people working same bag before they were baled. in a solid block of metal. Each step in the inspired by Iris messagère des dieux, for him, men and women, It is a liability for the scrap yard to sell fabrication process is very long. There is a which was perhaps the original figure. some specialists and others not. the material back on the market because lot of work involved and it also involves The piece was first conceived around Some made plaster molds, others cut the metal often comes into contact with teamwork with several assistants and 1890-1891 and he may have intended it marble; some helped in what Rodin toxic building materials. specialized technicians. However, the artist to be placed at the top of the Monument called marcottage, and others worked The only yards willing to resell scrap works alone on Fridays in order to assess to Victor Hugo. In a version with wings with the foundries (where Rodin never are small, which are often supplied the work in progress by himself. in which she “dives” towards the late went himself); some made patina, and by individuals. Every square inch is carefully thought writer, the figure is part of the second more importantly, others made the through, including the level of finish, in version of the Monument to Victor Hugo, larger or smaller versions that kept the order to defer meeting figurative sculpture also called The Apotheosis of Victor Hugo large studio financially afloat. as image, a trope that Fish tries to avoid. (1897). Two versions were made, The sculpture is lying directly on its base, one without a head and a smaller one just as Gustave Courbet’s Truite (Trout with a head. (1872 and 1873) lies on the river bank, However, from 1894 onwards, between life and death. Henri Lebossé, who worked for Rodin,

Danh_Vo_04_ING_esec.indd 30 02/04/15 11:49 cameron rowland

made another, larger version of this figure, this time without any reference to mythology, at least in the title which states simply: Étude de femme aux jambes ouvertes. It is featured in a photograph taken around 1896-1898, where it is shown in front of The Gates of Hell. In this version, the cast has no wings, no head, one arm missing and another arm raised. In his 1900 retrospective of sculptures and drawings, presented in his own pavilion of the Place de l’Alma in Paris, Rodin exhibited the figure of Iris under the title Autre voix, dite Iris. As is often the case in Rodin’s work, this original plaster is an intermediate proof produced posthumously in order to cast bronze pieces under the Loot 90, 45, 15 supervision of the Rodin Museum 2014 2014 (between 1902 and 1965). Copper fittings, bag in plastic-coated Converter, garbage bag Eleven were produced by Eugène fabric 45.72 × 30.48 × 25.40 cm Rudier in his father Alexis Rudier’s Paris 47 × 43.2 × 38.1 cm U66 Private collection foundry, between 1935 and 1951, Rental 2013 and later by Georges Rudier, between Pinault Collection Metal, standard finish Catalytic converters are one of the 1951 and 1965. 167.64 × 4.76 × 6.35 cm most valuable scrapped car parts. The piece shown here was probably At some point basic utilities like Pinault Collection Used catalytic converters are illegal to made at the time of the Second World electricity and water were services resell or reuse. They contain various War. According to experts, it was controlled by the state, because they The Lozier company has sold variations combinations of Rhodium, Platinum, produced with a piece mold, a technique relied so heavily on public infrastructure. of its no-bolt Gondola shelving system and Palladium that filter exhaust. Each used since the 19th century to produce More and more these flows are valved since 1957. As the industry standard for model converter has a different value. plaster casts from an artist’s clay by private corporations. retail circulation and organization, the These three catalytic converters were molding. On the back of the plaster, Small amounts of scrap metal are often reliance on this system has produced quoted as a group at $155-175 by the someone has written: “Large Iris Tanguy, sold to small scrap yards. These yards a secondary market for used Gondola author of the Book of Numbers (an original plaster, height 90 cm (approx.), shear the metal into pieces sized for a units. Warehouse locations hold used anonymously authored estimation provenance Eugène Rudier.” compacter. units acquired from recently closed index for catalytic converters) and at Indeed, the piece passed from Eugène The pieces are baled or sold to a larger businesses, waiting to be resold to $10 at a scrap yard. They were bought Rudier into the hands of Jean Mayodon, yard that bales them. Someone sold others, which depend on the supply of as a package for $255. State emissions a ceramist and Rodin’s executor. these copper fittings in this bag to discounted fixtures. Like other industrial law regulates their resale because they The fact that the same poses, postures, a small yard. They were not sheared systems, the Gondola relies on a set of contain waste filtered out of exhaust. or body parts—feet, hands, etc.—are because they were already in pieces. standardized parts. Used parts are rarely When catalytic converters are sold reused is typical of Rodin’s working Although physically unaltered, sold individually, but are maintained as between states, emissions law method. He also used to delegate part the material’s function shifts once sold units for the sake of inventory. Removed is harder to enforce. This catalytic of his work. Indeed, at the height of his as scrap. They were bought back in the from the unit, the individual part is not converter was shipped from Michigan fame, he had about 50 people working same bag before they were baled. recognizable, as its visual coherence relies to New York. for him, men and women, It is a liability for the scrap yard to sell on its structural contingency. some specialists and others not. the material back on the market because The extraction of the part voids its ability Some made plaster molds, others cut the metal often comes into contact with to form a unit. marble; some helped in what Rodin toxic building materials. Attempts to reorganize the excluded often called marcottage, and others worked The only yards willing to resell scrap do so through economic incorporation. with the foundries (where Rodin never are small, which are often supplied Cora Walker and other local leaders went himself); some made patina, and by individuals. founded the Harlem River Consumers more importantly, others made the Cooperative Supermarket in 1968 as larger or smaller versions that kept the a way to direct their buying power. large studio financially afloat. Variations on this model of community economic development have proliferated nationally since then. Often initiated by community development corporations (CDCs), this model is reproduced on pre-existing terms of value.

Danh_Vo_04_ING_esec.indd 31 02/04/15 11:49 andres nancy serrano spero

the artist’s bathroom wall to wall. One and sometimes they are singled out, of them, a 13 inch high, white plastic intact. The cut-out figures impose figurine with a wooden carved cross their irregular format to the paper, became his first immersion, plunged or sometimes they are blurred in the into a Plexiglas tank filled with the coloured background. artist’s piss, while working the lighting The direction in which the frieze so that the yellow substance turned is read—for example from right into warm light. Shot with a 35mm to left—allows viewers to perceive slide film, Serrano matter-of-factly the changes of tone, shade and density and descriptively titled the work Piss of the coloured background. Christ. They span from clear to dark, from The Immersions series was first shown bright to subdued, from pale to intense at the Stux Gallery in New York and up until monochrome when silhouettes several works including Piss Christ become shadows in a background toured as part of the show “Awards of ashes or ink. in the Visual Arts 7,” for which each This movement, this way of reading artist received a fellowship from the piece that affects the body of Winston-Salem’s Southeastern Center the viewer, results from a long process. for Contemporary Art (SECCA). The handprinting process starts The exhibition traveled to LACMA with a design made from a motif (Los Angeles), the Carnegie- that was photocopied in the studio Mellon University Art Gallery, and and then altered and made hers by Piss Christ Richmond’s Virginia Museum of Fine Cri du Cœur the artist. It is then sent out to 1987 Arts. Two months after the exhibition, 2005 a company that transfers the image Cibachrome, silicon, Plexiglas, a letter of complaint to the editor Handprinting on paper, mounted on a zinc plate, which enables wood frame of a local newspaper in Richmond on polyester poplin the artist to print the figure in various 152.4 × 101.6 cm was spotted by the American Family 83.2 × 4893.1 cm ways: with different dosages of ink, Pinault Collection Association (AFA). While sending a Courtesy The Estate of Nancy Spero different tools, pressure, angle, protest with a copy of Piss Christ to and Galerie Lelong, New York support, and resistance… In 1987, Andres Serrano was every member of Congress (which Apart from the printing process, experimenting with bodily fluids, unwittingly made it surely the best- Cri du Cœur is a horizontal paper the artist spent considerable time pouring blood into a tank of milk known work of contemporary art frieze almost 50 meters long. It shows applying the colors on the paper, while making picture at the same time on Capitol Hill), the AFA ignited a a procession that is unrolling very selecting them and organizing them (Bloodstream, 1987) or producing virulent campaign against the artist. It low on the wall, almost at floor level. sequentially and horizontally. monochrome images of blood, of milk, stormed the debate against Serrano as Colored and handprinted by segments Because her studio was small, of urine “as pure pigment” (Blood. well as against photographer Robert in the artist’s studio, this piece was first she never saw the full piece before Milk. Piss). Serrano built Plexiglas Mapplethorpe, which in turn created installed on the walls of the Galerie it was exhibited. containers that he filled with liquids one of the most violent controversies Lelong in New York. Spero got into the habit of working and saved the fluids in empty milk of the late 20th century about the type The same image is printed an at night, blurring the limits between jugs that he stored in the bathroom of art and artistic practices that are incalculable number of times on sheets daytime and night-time but also of the small apartment where he lived eligible for federal grants. This debated of colored, painted and stained paper: between life and death. at the time. As he strived to produce exploded in the so-called American the profile of an Egyptian mourning Her husband Leon Golub, her partner something that would be both abstract “cultural wars.” woman in lamentation. The figure is in activism and art for 53 years, and representational—a color and a Since the 1980’s, Piss Christ has been inspired by a painted scene from the died as she was working on this last, symbolic substance—he composed the a “sleeping giant” that is regularly tomb of Ramose, Vizier of Thebes monumental installation. Her own, camera shots to exclude the edges of attacked: in 1997 during the Serrano (around 1370 BC), of a procession of intimate grieving is thus shared with the fluid-filled tanks. retrospective at the National Gallery women, their arms raised towards the the conscience of other people’s Matters of scale and monumentality of Victoria in Melbourne; in 2011 at sarcophagus of the deceased, marking painful mourning in the wake of the became more apparent when he the Collection Lambert in Avignon the passage to the afterlife. wars waged by the United States in started immersing small depictions (where it was damaged with hammers The image is part of the lexicon that Afghanistan and Iraq and the hurricane of figures into the fluids. They were and screwdrivers); in 2012 at the constitutes the matrix used by Nancy Katrina disaster in New Orleans. classical art historical figures such as Edward Tyler Nahem gallery in New Spero as an inspiration for her drawings. It seems that the way the frieze is Rodin’s The Thinker, a plaster Venus, York, and in 2014 during an auction The repetition of this single motif applied on the wall changed over time. or religious figures he’d find inSanteria at Sotheby’s. After the attack on 7 produces a crowd, a choir. But it is not A year before the exhibition at the shops in East Harlem and the Lower January 2015 against the satirical homogeneous. The silhouettes are more Galerie Lelong, the Centro Galego East Side (New York) and crucifixes magazine Charlie Hebdo in Paris, the or less densely shaped and the rhythm de Arte Contemporanea of Santiago he would buy in flea markets or American press agency Associated guiding the procession is irregular. de Compostela, Spain, titled Weighing antique stores. This wealth of religious Press removed from its online library Their shapes are more or less precise; the Heart Against a Feather of Truth paraphernalia would eventually cover the image of Piss Christ. sometimes they overlap in staccato showed a different version

Danh_Vo_04_ING_esec.indd 32 02/04/15 11:49 nancy spero

and sometimes they are singled out, of Cri du Cœur printed on vellum. Artaud Paintings – intact. The cut-out figures impose And for the first installation of All Writing is Pigshit, their irregular format to the paper, Cri du Coeur at Galerie Lelong in Artaud or sometimes they are blurred in the 2005, the frieze was apparently ironed 1970 coloured background. on the wall using double-sided tape Handwriting with the left hand, The direction in which the frieze applied on tiny spots. paint on paper is read—for example from right Because the paper stuck directly 74.5 × 61.5 × 3.5 cm to left—allows viewers to perceive on the wall resulted difficult to Courtesy The Estate of Nancy Spero the changes of tone, shade and density manipulate, the pieces were placed on and Galerie Lelong, Paris of the coloured background. 18 panels, which is the way in which They span from clear to dark, from they are now exhibited and conserved. Artaud Paintings – bright to subdued, from pale to intense Finally I hate up until monochrome when silhouettes 1969 become shadows in a background Gouache on paper of ashes or ink. 74.5 × 61.5 × 3.5 cm This movement, this way of reading Courtesy The Estate of Nancy Spero the piece that affects the body of and Galerie Lelong, Paris the viewer, results from a long process. The handprinting process starts Artaud Paintings – with a design made from a motif I wish that your law… that was photocopied in the studio 1969 and then altered and made hers by Gouache on paper Cri du Cœur the artist. It is then sent out to 68.9 × 55.9 × 3.2 cm 2005 a company that transfers the image Courtesy The Estate of Nancy Spero Handprinting on paper, mounted on a zinc plate, which enables and Galerie Lelong, New York on polyester poplin the artist to print the figure in various 83.2 × 4893.1 cm ways: with different dosages of ink, Artaud Paintings – Courtesy The Estate of Nancy Spero different tools, pressure, angle, Je Ne Touche Plus… and Galerie Lelong, New York support, and resistance… 1970 Apart from the printing process, Gouache and collage handpainted Cri du Cœur is a horizontal paper the artist spent considerable time Artaud Paintings – on paper frieze almost 50 meters long. It shows applying the colors on the paper, You bear the stigma 71.2 × 59 × 3.2 cm a procession that is unrolling very selecting them and organizing them 1969 Courtesy The Estate of Nancy Spero low on the wall, almost at floor level. sequentially and horizontally. Acrylic, ink and collage on paper and Galerie Lelong, New York Colored and handprinted by segments Because her studio was small, 72 × 59 × 4 cm in the artist’s studio, this piece was first she never saw the full piece before Courtesy The Estate of Artaud Paintings – installed on the walls of the Galerie it was exhibited. Nancy Spero and Galerie Lelong, La Coupure… Lelong in New York. Spero got into the habit of working Paris 1970 The same image is printed an at night, blurring the limits between Gouache and collage handpainted incalculable number of times on sheets daytime and night-time but also Artaud Paintings – on paper of colored, painted and stained paper: between life and death. Forming God in 61 × 49.5 cm the profile of an Egyptian mourning Her husband Leon Golub, her partner the Slimey Courtesy The Estate of Nancy Spero woman in lamentation. The figure is in activism and art for 53 years, 1969 and Galerie Lelong, New York inspired by a painted scene from the died as she was working on this last, Gouache and collage painted tomb of Ramose, Vizier of Thebes monumental installation. Her own, on paper These gouaches are part of the “Artaud (around 1370 BC), of a procession of intimate grieving is thus shared with 74.5 × 61.5 × 3.5 cm Paintings” series featuring short women, their arms raised towards the the conscience of other people’s Courtesy The Estate of hand-written and painted quotes. sarcophagus of the deceased, marking painful mourning in the wake of the Nancy Spero and Galerie Lelong, At the end of the 1960s, Nancy the passage to the afterlife. wars waged by the United States in Paris Spero adopted the angry writings of The image is part of the lexicon that Afghanistan and Iraq and the hurricane French theater theorist and “literarist” constitutes the matrix used by Nancy Katrina disaster in New Orleans. Artaud Paintings – Antonin Artaud at a time when they Spero as an inspiration for her drawings. It seems that the way the frieze is Les choses n’ont plus had become a cultural phenomenon in The repetition of this single motif applied on the wall changed over time. d’odeur the United States. In 1969, she bought produces a crowd, a choir. But it is not A year before the exhibition at the 1970 an anthology of Artaud’s writings in homogeneous. The silhouettes are more Galerie Lelong, the Centro Galego Gouache and collage on paper English edited by Jack Hirschman or less densely shaped and the rhythm de Arte Contemporanea of Santiago 75.5 × 64 × 3.5 cm and published by City Lights (1965). guiding the procession is irregular. de Compostela, Spain, titled Weighing Courtesy The Estate of One of her sons, Philip Golub, read Their shapes are more or less precise; the Heart Against a Feather of Truth Nancy Spero and Galerie Lelong, out the texts to her in English and then sometimes they overlap in staccato showed a different version Paris retranslated them into French.

Danh_Vo_04_ING_esec.indd 33 02/04/15 11:49 About 90 pieces painted on Japanese Codex Artaud I Codex Artaud Xia Codex Artaud XXIII paper, all of a similar format, are 1971 1971 1972 produced between 1969 and 1970. Cut-and-pasted typed text Cut-and-pasted typed text Cut and pasted paper, printed text, With the quotes from Artaud directly and painted paper on paper and painted paper on paper gouache, metallic paint, pen transcribed by the artist using her left 58.4 × 226.1 cm 53.3 × 213.4 cm and stamped ink and pencil hand (she switched from English into Centre national des arts plastiques Courtesy The Estate of Nancy Spero on Japanese paper, irregular French over the course of the series), (CNAP), on loan at Musée national and Galerie Lelong, New York 61 × 292.3 cm the works include collages of figures d’art moderne – Centre Pompidou The Museum of Modern Art, and symbols painted in gouache on rag (MNAM-CCI), Paris Codex Artaud XIb New York. Gift of Agnes Gund, bond paper then cut out and glued onto 1971 R.L.B. Tobin and Jo Carole, the support paper. Codex Artaud III Cut-and-pasted typed text and Ronald S. Lauder, 1993 “The paper puckered and yellowed, 1971 and painted paper on paper which I like for the Artaud works […] Cut-and-pasted typed text 351.9 × 41.9 cm Codex Artaud XXV because I wanted the work to look and painted paper on paper Courtesy The Estate of Nancy Spero 1972 used or odd,” said Spero, quoted in 50.8 × 193.1 cm and Galerie Lelong, New York Cut-and-pasted typed text Christopher Lyon’s comprehensive Peter Schjeldahl and Brooke and painted paper on paper critical survey of the artist’s works. Anderson collection, New York Codex Artaud XII 61 × 487.7 cm All but one quotations are signed 1971 Williams College Museum of Art, “Artaud.” The Artaud Paintings precede Codex Artaud V Cut-and-pasted typed text, Williamstown (MA). Museum the Codex Artaud. 1971 painted paper and gouache purchase, Kathryn Hurd Fund Cut-and-pasted typed text on paper and painted paper on paper 487.7 × 61 cm Codex Artaud XXVII 53.3 × 365.8 cm Stephen Golub Collection 1973 Colección MACBA. Cut-and-pasted typed text Fundació Museu d’Art Codex Artaud XIII and painted paper on paper Contemporani de Barcelona, 1972 108 × 42.5 cm Barcelona Cut-and-pasted typed text Philip Golub Collection and painted paper on paper Codex Artaud VI 130.2 × 62.2 cm Codex Artaud XXVIIIa 1971 Colección MACBA. Fundació and XXVIIIb Cut-and-pasted typed text, Museu d’Art Contemporani de 1972 painted paper, gouache on paper Barcelona, Barcelona Cut-and-pasted typed text 52.1 × 316.2 cm and painted paper on paper Museo Nacional Centro de Arte Codex Artaud XV Diptych, each panel: 212.1 × 31.8 cm Reina Sofía, Madrid 1972 Stephen Golub Collection Cut-and-pasted typed text Codex Artaud VII and painted paper on paper Codex Artaud XXIX 1971 274.3 × 61 cm 1972 Cut-and-pasted typed text Private collection, London Cut-and-pasted typed text and painted paper on paper and painted paper on paper 52 × 381 cm Codex Artaud XVI 212.1 × 31.8 cm Museo Nacional Centro de Arte 1972 Paul Golub Collection Reina Sofía, Madrid Cut-and-pasted typed text and painted paper on paper Codex Artaud XXX Codex Artaud IX 114.3 × 45.7 cm 1972 Codex Artaud 1971 Max and Marie Warsh Collection Cut-and-pasted typed text 1971-1972 Cut-and-pasted typed text and painted paper on paper 26 panels and painted paper on paper Codex Artaud XVIIIa 127 × 31.8 cm Cut-and-pasted typed text, 63.5 × 314.96 × 5.08 cm and Codex Artaud XIXb Paul Golub Collection painted paper, gouache on paper Los Angeles County Museum 1972 Dimensions variable of Art, purchase funded by Alice Cut-and-pasted typed text Codex Artaud XXXI and Nahum Lainer; Hansen, and painted paper on paper 1972 Jacobson, Teller, Hoberman, Diptych, each panel: 355.6 × 40.6 cm Cut-and-pasted typed text Newman, Warren, Sloane & Paul Golub Collection and painted paper on paper Richman; and Sharleen Cooper 127 × 31.8 Cohen and Martin L. Cohen, Paul Golub Collection M.D.

Danh_Vo_04_ING_esec.indd 34 02/04/15 11:49 Codex Artaud Xia Codex Artaud XXIII Codex Artaud XXXII vision, as the artist herself declared in 1971 1972 1972 2004. The material, Japanese paper, Cut-and-pasted typed text Cut and pasted paper, printed text, Cut-and-pasted typed text and the materialization process of and painted paper on paper gouache, metallic paint, pen and painted paper on paper each panel of the “scroll work” of 53.3 × 213.4 cm and stamped ink and pencil 56 × 208.3 cm Codex Artaud are equally remarkable. Courtesy The Estate of Nancy Spero on Japanese paper, irregular Philip Golub Collection The sheets of paper are used as and Galerie Lelong, New York 61 × 292.3 cm a support for collaged elements. The Museum of Modern Art, Codex Artaud XXXIIIA Language and figurative images Codex Artaud XIb New York. Gift of Agnes Gund, 1972 organize a confrontation and a 1971 R.L.B. Tobin and Jo Carole, Cut-and-pasted typed text constant slippage between the verbal Cut-and-pasted typed text and Ronald S. Lauder, 1993 and painted paper on paper and the visual. The texts, in capital and painted paper on paper 71 × 289.6 cm letters, have been typed—mostly— 351.9 × 41.9 cm Codex Artaud XXV Museo Nacional Centro de Arte with a bulletin typewriter, and torn Courtesy The Estate of Nancy Spero 1972 Reina Sofía, Madrid or cut out before being glued to the and Galerie Lelong, New York Cut-and-pasted typed text fragile, vulnerable support. and painted paper on paper Codex Artaud XXXIIIB The figures painted in gouache— Codex Artaud XII 61 × 487.7 cm 1972 sometimes with addition of other 1971 Williams College Museum of Art, Cut-and-pasted typed text mediums—are also cut out and glued Cut-and-pasted typed text, Williamstown (MA). Museum and painted paper on paper on the support paper. painted paper and gouache purchase, Kathryn Hurd Fund 71.1 × 203.2 cm Each of the occurrences of the Codex on paper Museo Nacional Centro de Arte Artaud is thus composed of three 487.7 × 61 cm Codex Artaud XXVII Reina Sofía, Madrid different kinds of paper. Each panel Stephen Golub Collection 1973 undoes the heroic relation to painting Cut-and-pasted typed text Codex Artaud XXXIIIC conceived as direct expression and Codex Artaud XIII and painted paper on paper 1972 physical interaction with the canvas 1972 108 × 42.5 cm Cut-and-pasted typed text while emphasizing the “hand made” Cut-and-pasted typed text Philip Golub Collection and painted paper on paper quality of all the collaged elements and painted paper on paper 62.5 × 295 cm in gouache and ink (including the 130.2 × 62.2 cm Codex Artaud XXVIIIa Museo Nacional Centro de Arte folds made by the glue during the Colección MACBA. Fundació and XXVIIIb Reina Sofía, Madrid processes of application and drying). Museu d’Art Contemporani de 1972 The typewritten texts all refer to Barcelona, Barcelona Cut-and-pasted typed text Codex Artaud is a series of 37 collages. the writings of Antonin Artaud, the and painted paper on paper They are composed of sheets of French writer-theorist-performer- Codex Artaud XV Diptych, each panel: 212.1 × 31.8 cm paper glued together end to end in artist and phenomenon, which Nancy 1972 Stephen Golub Collection horizontal or vertical strips, which the Spero copied in their original French. Cut-and-pasted typed text artist originally conserved in scrolls, For the Codex, she used quotations and painted paper on paper Codex Artaud XXIX around a cardboard tube. The collages drawn from the complete writings of 274.3 × 61 cm 1972 are numbered from I to XXXIIIC Antonin Artaud (Oeuvres Complètes Private collection, London Cut-and-pasted typed text and three of them are diptychs. They d’Antonin Artaud, vols. 1, 4, 8, 9. and painted paper on paper were produced over the course of two Paris: Gallimard, 1971). Codex Artaud XVI 212.1 × 31.8 cm years in 1971 and 1972. The numbers In the video filmed by Patsy Scala 1972 Paul Golub Collection associated to the works do not clearly in 1973 (which is presented by Cut-and-pasted typed text reflect a strict order in the process Julie Ault in the exhibition Slip and painted paper on paper Codex Artaud XXX of production. Christopher Lyon, of the Tongue) where Nancy Spero 114.3 × 45.7 cm 1972 the author of the comprehensive unrolls parts of the Codex on the Max and Marie Warsh Collection Cut-and-pasted typed text Nancy Spero: The Work(Prestel, 2010) floor of her studio at La Guardia and painted paper on paper identifies a division “into waves: Place (New York), one can hear her Codex Artaud XVIIIa 127 × 31.8 cm two sequences, 1-XXI and XXII- son Philip Golub reading in French and Codex Artaud XIXb Paul Golub Collection XXXI, each comprise a group of one of Artaud’s Letters to Jacques 1972 horizontal panels followed by vertical Rivière, while the artist scribbles. Cut-and-pasted typed text Codex Artaud XXXI ones. There is a concluding set of Philip Golub provided translations and painted paper on paper 1972 horizontal pieces, Codices XXXII and in English for the first exhibition of Diptych, each panel: 355.6 × 40.6 cm Cut-and-pasted typed text XXXIII.” The choice of such format— the Codex at the A.I.R. Gallery in Paul Golub Collection and painted paper on paper horizontal or vertical irregular long 1973. The quotes are not associated 127 × 31.8 strips—is in sharp contrast with according to the temporal logic of Paul Golub Collection the usual, flat and framed rectangle Artaud’s written texts and produce that defines the Western painting their own geography of relationality tradition. Even though each scroll is and fragmentation of language now framed, it calls for a “peripheral” from one panel to another in the

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Codex Artaud. There are about is not there anymore, what do we see? 140 Artaud quotes dispersed in the When she painted Stella The Marriage Codex which are presented, along of Reason and Squalor (First Version), with English translations, in Julie Sturtevant didn’t take ownership of the Ault’s booklet to accompany the painting. She did not claim anything, Codex for this exhibition.Codex add anything, or subtract anything. Artaud was shown for the first time Her method? “It is imperative that I in 1973 as the inaugural exhibition see, know, and visually implant every of the cooperative gallery A.I.R. work that I attempt. Photographs are Gallery situated on Wooster Street not taken and catalogues [are] used in SoHo (New York), which had only to check size and scale. The work been created in 1972 by a collective is done predominantly from memory, of women artists, amongst whom Stella The Marriage using the same techniques, making Nancy Spero was a founding member. of Reason and Squalor the same errors and thus coming out Codex Artaud was also exhibited in (First Version) in the same place,” said Sturtevant. 1974, at Douglass College, Rutgers 1990 Except that the work is not a Stella. University, New Brunswick (New Black enamel on canvas The artist is painting black strips on Jersey). Although both shows were 229.5 × 328 cm white canvases in a photographic titled Codex Artaud, they were partial Estate Sturtevant, Paris. Courtesy contact sheet published, without showings of the work. Indeed, there Galerie Thaddaeus Ropac, caption, as one of the documents on Sculpture-lampe IX is no evidence that Codex Artaud has Paris-Salzburg her studio included in the catalogue 1970 (Lamp-Sculpture IX) ever been shown complete. of the exhibition The Brutal Truth Colored polyester resin, Sturtevant’s “Stella” series (including (Museum für Moderne Kunst, electric wire, metal the works: Stella Tomlison Court, Stella Frankfurt am Main, 2004). One 127 × 42 × 33 cm Getty Tomb, Stella Club Onyx, Stella thumbnail is marked in red; it shows Pinault Collection Seven Steps, Stella Arbeit Macht Frei, the painting more than the artist, Stella Bethlehem Hospital, Stella the who is standing very near to the “It is a casting of my mouth,” said Marriage of Reason and Squalor, Stella piece that she is about to complete. Alina Szapocznikow in a documentary Die Fahne Hoch) was shown at the This photographic investigation into by French filmmaker Jean-Marie Drot, Rhona Hoffman gallery in Chicago in Sturtevant’s method authenticates the Journal de Voyage. En Pologne (1969) 1990. The exhibition marked the end process she describes above. Indeed, [Travel Diary. In Poland], that was of the 1980s, just before Sturtevant photography records the ambiguous shown on French television. After first flew to Europe, and more precisely to shift of a pictorial practice that casting her leg, the artist produced a Paris, where she remained until her claims to be impersonal yet remains, multitude of flower-mouths, breasts death in 2014. in fact, dedicated to biographical and abdomens. These partial body With the “Stellas,” Sturtevant tackled construction, as shown in the portrait prints are embedded in figures made the programmatic and technical of Stella taken by the photographer out of industrial materials such as questions raised by a series of black Ugo Mulas, which is reproduced in his cement and plastic cement. They and totally abstract paintings, in book New York: The New Avant-Garde are also molded in brightly colored the sense that they challenge what (1967). polyester, a synthetic material whose is left of the figurative regime in innovative usage allows effects of abstraction, i.e.: the relation between transparency and light. In 1966, figure and the ground, the non-iconic Szapocznikow created her first series hierarchies within the picture, and of “illuminated breasts” and “mouth- the discrepancy between the inside lamps” in polyester resin. The imprints and outside the frame. Such figurative of sensuous mouths embedded in the traits are replaced by repetition and lamps are those of the artist, of Ariane symmetry. Raoul-Duval—partner of the French But when Frank Stella refuses to writer Roland Topor and a friend of produce art as a “relentless recording the artist—and of British actor Julie of the personality” and replaces it by Christie. With their long and slender an impersonal tautology, “what you see stem (about 15 to 23 inches high), is what you see,” the name Stella still the polychrome mouth-lamps look remains. The signature enables us to like flowers in bloom. An electric wire recognize the author and his authority goes through the stem and a light over the painting, even though it is bulb lights up the lips, which take claimed to be “as good as” the work of on a bright, almost phosphorescent a construction painter, nothing more, luminescence. nothing less. So when Stella’s authority Two darker mouth-lamps are featured

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is not there anymore, what do we see? on the cover of the catalogue initiated When she painted Stella The Marriage by the French critic Pierre Restany of Reason and Squalor (First Version), and designed by Roman Cieslewicz Sturtevant didn’t take ownership of the (Szapocznikow’s second husband) for painting. She did not claim anything, the Florence Houston-Brown gallery add anything, or subtract anything. in Paris in 1967. Her method? “It is imperative that I By 1970, Szapocznikov continues see, know, and visually implant every producing and selling mouth-lamps work that I attempt. Photographs are as well as jewelry, for example rings not taken and catalogues [are] used studded with lips, and tummy- only to check size and scale. The work cushions. These sculptures-objects- is done predominantly from memory, bodies are meant to be multiplied using the same techniques, making and useful. Converted into “gadgets,” the same errors and thus coming out as they were called in the 1960s, in the same place,” said Sturtevant. they manifest Szapocznikov’s drive Except that the work is not a Stella. to “declassify” and “downgrade” The artist is painting black strips on sculpture. The same goes for her white canvases in a photographic “photo-sculptures” (1971-2007) made Towards an contact sheet published, without out of chewed gum, a material that is Abstract Icon caption, as one of the documents on Sculpture-lampe IX also produced by the mouth. 1980 her studio included in the catalogue 1970 Although they earned wide Acrylic paint on canvas, of the exhibition The Brutal Truth Colored polyester resin, recognition in Poland during frame by the artist, lamp (Museum für Moderne Kunst, electric wire, metal Szapocznikow’s lifetime (she died in 23 × 30.2 cm Frankfurt am Main, 2004). One 127 × 42 × 33 cm 1973, the same year as her first solo Private collection thumbnail is marked in red; it shows Pinault Collection exhibition at the Museum of Modern the painting more than the artist, Art of Paris), culminating in 1975 In 1980, Paul Thek was in New York who is standing very near to the “It is a casting of my mouth,” said with a retrospective that travelled to working as a janitor in a hospital. piece that she is about to complete. Alina Szapocznikow in a documentary eight Polish cities, these pieces were In a letter to Franz Deckwitz, he says This photographic investigation into by French filmmaker Jean-Marie Drot, shown thereafter less and less often. he is working on “little canvases, very Sturtevant’s method authenticates the Journal de Voyage. En Pologne (1969) Szapocznikow’s work remained in a little, 9 in. by 12 in., all different styles, process she describes above. Indeed, [Travel Diary. In Poland], that was kind of purgatory until 2000, when it all different subjects, though I think a photography records the ambiguous shown on French television. After first was rediscovered in Poland. In 2007, lot of Kandinsky, of Klee, of Gustave shift of a pictorial practice that casting her leg, the artist produced a she was featured in Documenta 12 in Moreau… and of Niki de St Phalle.” claims to be impersonal yet remains, multitude of flower-mouths, breasts Kassel and by several galleries (Gisela Eighteen of these small paintings, in fact, dedicated to biographical and abdomens. These partial body Capitain, Broadway 1602, and Galerie each with a golden frame on which construction, as shown in the portrait prints are embedded in figures made Loevenbruck, which was appointed by a label is stuck with the title written on of Stella taken by the photographer out of industrial materials such as the artist’s son to administer her perforated tape and surmounted by Ugo Mulas, which is reproduced in his cement and plastic cement. They estate). More recently, her work has a picture lamp, were exhibited at book New York: The New Avant-Garde are also molded in brightly colored been shown (2011-2013) at WIELS in the Brooks Jackson Iolas Gallery in (1967). polyester, a synthetic material whose Brussels, New York under the title Small innovative usage allows effects of the Los Angeles Hammer Museum, Paintings, in 1980, and at Samy Kinge’s transparency and light. In 1966, the Wexner Arts Center of Colombus, gallery in Paris, under the title Petites Szapocznikow created her first series and MoMA in New York. peintures, in 1982. of “illuminated breasts” and “mouth- The light produced by the goosenecked lamps” in polyester resin. The imprints lamps at the top of the frames provides of sensuous mouths embedded in the the dramaturgy for the display. lamps are those of the artist, of Ariane A few golden chairs are placed in Raoul-Duval—partner of the French front of some of the paintings and writer Roland Topor and a friend of in the middle of the room, which is the artist—and of British actor Julie otherwise dominated by a central piece Christie. With their long and slender composed of orchids. Writing about stem (about 15 to 23 inches high), the exhibition in Artforum, Richard the polychrome mouth-lamps look Flood notes that these paintings, like flowers in bloom. An electric wire in which clichés converge, collide goes through the stem and a light sideways with the “poisonous figure of bulb lights up the lips, which take the postmodernist school in art.” on a bright, almost phosphorescent These paintings were part of the luminescence. installation Where Are We Going Two darker mouth-lamps are featured presented by Paul Thek at the 1980

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Venice Biennale. In the center of the According to a conservator who worked is part of this group. The glass and metal Satyr masque room, there was a Tower of Babel on another of Thek’s reliquaries, the box bearing yellow lines recalls Josef c. 1541-1544 in sand surrounded by soil and meat is made out of several layers of Albers’ Homage to the Square. Oil on wood newspapers. Numerous paintings hung beeswax that were modeled using a rope In an April 1966 interview with Gene 59 × 58 cm on the walls all around. or string mesh, a traditional method. Swenson in Artnews, Thek commented: Gallerie dell’Accademia, Venice There are no photographs of the The wax was heated and mixed with oil “The dissonance of the two surfaces, installation of Towards an Abstract Icon colors in order to imitate blood, fiber, glass and wax, pleases me: one is clear In 1369, Philippe de Mézières, but it must have been part of and fat, which is yellowish and looks and shiny and hard, the other is soft chancellor of the Kingdom of Cyprus, the exhibition at Samy Kinge gallery like parchment. and slimy. I try to harmonize them donated a Relic of the Cross to in Paris in 1982. The frame is original The contrast between the perishable without relating them, or the other the Scuola Grande San Giovanni as is the Dymo-made label. The chair aspect of the meat and the showcase, way around. At first the physical Evangelista in Venice. The school is not part of the piece. Rather, it i.e. the closed container, is repeated in vulnerability of the wax necessitated gained importance because of this is part of the characteristics of the the second group of meat pieces in the cases; now the cases have grown to offering. In the first half of the display, rather low on the wall so that which the containers are made of need the wax. The cases are calm; their 16th century, an Albergo (inn) was the paintings can be looked at when colored Plexiglas and Formica laminate. precision is like numbers, reasonable.” added to its existing buildings, for sat on the chair. The third group includes body parts The meat pieces were shown in which Titian and his workshop were In the last exhibition he installed in transparent Plexiglas, displayed with several exhibitions, notably The Other commissioned to paint the ceiling. at Brooke Alexander, Inc. gallery in indents on their lids. At the time he Tradition organized by Gene Swenson Through a Napoleonic decree in New York, in 1988, Thek used a was working on this group, Thek was at the University of Pennsylvania in 1806, the Scuola was disassembled school chair. School chairs were also also working on The Tomb, the first of Philadelphia (1966) and Documenta and its patrimony was partly sold. The used in the posthumous exhibition his works in which he cast his whole 6 in Kassel (1968). But the title paintings in the school by Gentile Diver organized in 2010 by the body with the help of his assistant Neil Technological Reliquaries under which Bellini and Vittore Carpaccio, Whitney Museum and the Carnegie Jenney. the pieces are now shown has been used amongst others, were placed under Museum of Art in Pittsburgh. Among the visual material usually cited only since 1977. compulsory purchase but remained as references, there are the photographs in Venice on view at the Gallerie (exhibited in room 6) of the Capuchin dell’Accademia. Titian’s painting of Catacombs of Palermo taken by his Saint John the Evangelist in Patmos is lover Peter Hujar when both men were now in the National Gallery of Art travelling in Sicily in the summer in Washington D.C. while the works of 1963. Thek was impressed by of the bottega (cherubs, grotesque, the “8,000 corpses—not skeletons, symbols of the Evangelist, and this corpses—decorating the walls, and the satyr masque) are conserved at the corridors […] filled with windowed Gallerie dell’Accademia. coffins.” He was also “delighted that bodies could be used to decorate a room, like flowers.” Untitled (meat cables) All the meat pieces were made in 1969 New York. Thek later said, in 1969: A: wax on steel cable with two “In New York at that time there was turnbuckles such an enormous tendency towards 4.5 × 4 × 450 cm Untitled the minimal, the non-emotional, B: wax on steel cable with loop, 1964-1965 the anti-emotional even, that I wanted turnbuckle and bolt Series: Technological Reliquaries to say something again about emotion, 6 × 6.5 × 940 cm Wax, metal, wood, paint, hair, rope, about the ugly side of things. I wanted Private collection, courtesy Alexander resin, glass to return the raw human fleshy and Bonin Gallery, New York 61 × 61 × 19 cm characteristics to the art. People thought Watermill Center Collection, courtesy that it was a sado-masochistic trick. In January 1969, Paul Thek took part Alexander and Bonin, New York That did not even occur to me. But if in a group exhibition at Galerie 20 in they wished to see it like that, it is OK Amsterdam together with Dutch artists The title Meat Pieces refers to three with me: sado-masochism at least is a Woody van Amen, Daan van Golden, groups of works by Paul Thek. The first human characteristic, at least it is not and Wim T. Schippers. For his first group, which includes Untitled 1964- made by machine. When I started to appearance in the Amsterdam art scene, 1965, is more direct: in particular, hair realize that people recognized me only he installed a number of steel cables on is used to produce plausible replicas of as the man-of-the-meat, I stopped it.” which pieces of meat made out of wax pieces of fresh, fibrous meat and skin The first group was shown at the Stable and resin were fixed. The cables and the that are inserted in glass boxes, some Gallery in New York, where Robert “meat” were fixed across the room on decorated with stenciled motifs and Indiana, Cy Twombly, and Andy Warhol opposing walls just like in Thek’s studio, metal joints. were also on view. Untitled (1964-1965) and he also hung sheets of newspaper.

Danh_Vo_04_ING_esec.indd 38 02/04/15 11:49 school of titian danh vo

is part of this group. The glass and metal Satyr masque box bearing yellow lines recalls Josef c. 1541-1544 Albers’ Homage to the Square. Oil on wood In an April 1966 interview with Gene 59 × 58 cm Swenson in Artnews, Thek commented: Gallerie dell’Accademia, Venice “The dissonance of the two surfaces, glass and wax, pleases me: one is clear In 1369, Philippe de Mézières, and shiny and hard, the other is soft chancellor of the Kingdom of Cyprus, and slimy. I try to harmonize them donated a Relic of the Cross to without relating them, or the other the Scuola Grande San Giovanni way around. At first the physical Evangelista in Venice. The school vulnerability of the wax necessitated gained importance because of this the cases; now the cases have grown to offering. In the first half of the need the wax. The cases are calm; their 16th century, an Albergo (inn) was If you were to precision is like numbers, reasonable.” added to its existing buildings, for climb the Himalayas The meat pieces were shown in which Titian and his workshop were tomorrow several exhibitions, notably The Other commissioned to paint the ceiling. 2007 Untitled Tradition organized by Gene Swenson Through a Napoleonic decree in Rolex watch, Dupont lighter, 2008 at the University of Pennsylvania in 1806, the Scuola was disassembled American military class ring Luggage, fruitwood Philadelphia (1966) and Documenta and its patrimony was partly sold. The 527.81 × 618.24 × 440.44 cm 40 × 50 × 30 cm 6 in Kassel (1968). But the title paintings in the school by Gentile Courtesy of the artist and Isabella Private collection, Turin Technological Reliquaries under which Bellini and Vittore Carpaccio, Bortolozzi Galerie, Berlin the pieces are now shown has been used amongst others, were placed under Suitcase containing one portion of six only since 1977. compulsory purchase but remained Vitrine containing objects acquired by sections of a medieval German sculpture in Venice on view at the Gallerie the artist from his father, Phung Vo: depicting St. Joseph, acquired whole in dell’Accademia. Titian’s painting of a Rolex watch Phung purchased with 2008. The artist cut the sculpture and Saint John the Evangelist in Patmos is the gold left over from organizing distributed each section into a respective now in the National Gallery of Art the family’s escape from Vietnam, a piece of luggage, sized in accordance with in Washington D.C. while the works Dupont lighter purchased with Phung’s European discount airline Easyjet’s official of the bottega (cherubs, grotesque, first earnings in Denmark, and an dimensions for carry-on hand bags. symbols of the Evangelist, and this American military signet ring. satyr masque) are conserved at the The artist paid his father an amount Gallerie dell’Accademia. for these possessions equal to the cost of “upgraded versions,” which Vo Senior subsequently acquired. Phung still owns the second versions and Untitled (meat cables) wears the watch and ring daily. In 1969 2011, he signed a will with his wife, A: wax on steel cable with two Hao Nguyen, as witness, bequeathing turnbuckles those second, updated items to the 4.5 × 4 × 450 cm Walker Art Center, Minneapolis B: wax on steel cable with loop, upon the return of his grave marker turnbuckle and bolt to Copenhagen. The grave marker 6 × 6.5 × 940 cm is a work in the Walker Collection, Private collection, courtesy Alexander Tombstone for Phung (2010), acquired and Bonin Gallery, New York in 2011. It will be exchanged for Phung’s In January 1969, Paul Thek took part current watch, lighter, and ring upon in a group exhibition at Galerie 20 in the will’s probation. Oma Totem Amsterdam together with Dutch artists 2009 Woody van Amen, Daan van Golden, 26” Philips television, Gorenje and Wim T. Schippers. For his first washing machine, Bomann appearance in the Amsterdam art scene, refrigerator, wooden crucifix, casino he installed a number of steel cables on card which pieces of meat made out of wax 220 × 60 × 60 cm and resin were fixed. The cables and the Private Collection, Turin “meat” were fixed across the room on opposing walls just like in Thek’s studio, Refrigerator, washing machine, and TV: and he also hung sheets of newspaper. part of a package given to the artist’s

Danh_Vo_04_ING_esec.indd 39 03/04/15 08:26 maternal grandmother, Nguyen Thi destroyed all but one shred. Vo contracted to retrieve young, female, Ty, by the Immigrant Relief Program Excerpted from an email from Aaron blonde hair (with parental consent) upon arrival in Germany in the 1970s. Goodstone, March 31, 2013: and paid by the centimeter. Crucifix: gift from the Catholic Church. “I got lucky and found that morsel This material, specifically from Personalized casino card entry pass: of canvas in question from Martin’s young girls, is still the most effective acquired independently. infamous Riker’s Island series. You know, material for predicting humidity in an Nguyen immigrated to Germany and when the painting flashed on the screen enclosed environment. Contemporary spent the rest of her life in Hamburg at the Guggenheim during your talk with hygrothermographs do employ synthetic (instead of Denmark like the artist) as she Julie Ault and Peter Broda, it was really fibers (with less precise results), however was on a separate vessel intercepted at sea, shocking because I have not seen the young, blonde, female hair is preferred rather than the boat captained by Phung painting since I destroyed it. In retrospect, as the hair expands and lengthens in Vo. The family made the decision to it was a beautiful painting from the the presence of the slightest humidity. Beauty Queen separate with the intention that it would vantage point of artistic creativity— As the artist has stated, “I have an army 2013 give the “family line” as a whole a greater funny that, at the time, I was unable to of nieces and nephews, so I thought Wood chance of survival. appreciate its artistic merit given that this I would activate them a bit by paying 22 × 50 × 32 cm Oma Totem was first shown at the Galleria was some deep dark fantasy of Martin’s… them $100 to find some of their Pinault Collection Zero in Milan in the exhibition, Last it was hard for me to absorb this series, classmates to sell their hair… Fuck, 2009. it really felt like a violation at the time. These small girls also like money— 17th century oak Christ sculpture, In retrospect, it is like a love letter, it is a a lot of them at least. But they also like formerly polychromed wood, origin beautiful rendition of the expression of their blonde hair. I would offer them Champagne Ardennes area, France, creativity; all matters of the heart are pure. a certain amount of money per cut and placed in a wooden condensed Perhaps unrequited love or unreciprocated centimeter that they would sacrifice. milk box. love is the purest as it involves no human That’s always interesting to see, Produced at the Porto Culturgest, contact. Anyway, I was remembering their choices.” Portugal, for the exhibition Gustav’s you asked me why I kept this part of the Wing, 2013. Other elements from painting: I realize I kept that part of the the same Jesus sculpture appear in the painting because this was the part that did work Log Dog. not feature me ‘in the buff,’ but moreover, I suppose it was because I liked the painting so it seemed pointless to destroy the whole painting. In the end, this is IMUUR2 part of the complex lexicon of the artist- 2012 confidant-collector-friend-relationship…” Color heliogravure on paper 44 × 52 cm Courtesy of the artist

Gravure produced from a c-print taken by artist Martin Wong (1946-1999); it is the only documentation of an installation of a specific set of work from his Riker’s Island prison paintings. The central figure in the works was modeled off of Wong’s friend, the graffiti artist Aaron “Sharp” Goodstone. 02.02.1861 After finding this snapshot in the Martin 2009- Wong Papers at the Fales Library in New Ink on paper York, Vo searched for the various elements 29 × 21 cm Christmas (Rome) 2012 of this installation. He discovered that one Courtesy of the artist 2013 painting belongs to curator Adam Putnam, Velvet elements one was covering another work in a gallery. Last letter of St. Jean Théophane Vénard Dimensions variable In 2013, Vo presented the collection of Untitled to his father before he was decapitated, Pinault Collection ephemera Wong produced with his mother 2012 copied by Danh Vo’s father, Phung Florence Fie at the Guggenheim for the Blonde hair from a 10 year old girl Vo. Each handwritten text arrives in an Pieces of velvet museum display Hugo Boss Prize Exhibition. Goodstone 95 × 10 cm envelope mailed by the artist’s father fabric found while on vacation with met Vo through that project, (made after Private collection directly to the buyer. family in Italy. Patterns on cloth Vo produced this gravure) and explained This is the first text the artist had his produced by museum objects that he had taken the two paintings in Hair belonging to a classmate of father write in what became an ongoing installed and exposed to light over which he was depicted explicitly and the artist’s nieces and nephews whom series of calligraphic projects. time.

Danh_Vo_04_ING_esec.indd 40 02/04/15 11:49 Vo contracted to retrieve young, female, Photograph of the missionaries Th. blonde hair (with parental consent) Vénard, G. Goulon, J. Perrier, J. and paid by the centimeter. Lavigne, and J. Theurel leaving Paris This material, specifically from for Asia on September 19, 1852. Th. young girls, is still the most effective Vénard was later canonized following material for predicting humidity in an his beheading in Indochina in 1861. enclosed environment. Contemporary He is the author of the farewell letter hygrothermographs do employ synthetic written out by Phung Vo, 02.02.1861 fibers (with less precise results), however (2009-) and included in this young, blonde, female hair is preferred exhibition. as the hair expands and lengthens in the presence of the slightest humidity. Beauty Queen As the artist has stated, “I have an army 2013 of nieces and nephews, so I thought Wood I would activate them a bit by paying 22 × 50 × 32 cm them $100 to find some of their Pinault Collection classmates to sell their hair… These small girls also like money— 17th century oak Christ sculpture, a lot of them at least. But they also like formerly polychromed wood, origin their blonde hair. I would offer them Champagne Ardennes area, France, a certain amount of money per cut and placed in a wooden condensed centimeter that they would sacrifice. milk box. Self-portrait (Peter) That’s always interesting to see, Produced at the Porto Culturgest, 2005 their choices.” Portugal, for the exhibition Gustav’s Courtesy of the artist Wing, 2013. Other elements from the same Jesus sculpture appear in the Document produced by the Royal work Log Dog. Academy in Denmark while Vo attended the school as an undergraduate. Danish painter and former professor, Peter Bonde recommends that Vo stops painting. The document was submitted by Vo as an artwork in his portfolio to Professor Log Dog Tobias Rehberger to gain entrance 2013 (successfully) to the Staedelschule in Wood, iron, chains, and hooks Frankfurt. Dimensions variable During the exhibition, this work is Pinault Collection presented at the Gallerie dell’Accademia in Venice. Branches sourced in and around Mexico City, inlaid with wooden religious sculptures from various European origins. Installed with “log dogs,” chain-and-hook instruments sourced in the Pacific Northwest USA used to haul heavy wooden logs, as well 02.02.1861 as fragments from a French 17th century 2009- oak Christ figure. The torso from this Ink on paper sculpture is part of another work in this 29 × 21 cm Christmas (Rome) 2012 exhibition, Beauty Queen (2012). Courtesy of the artist 2013 Velvet elements Last letter of St. Jean Théophane Vénard Dimensions variable to his father before he was decapitated, Pinault Collection copied by Danh Vo’s father, Phung Vo. Each handwritten text arrives in an Pieces of velvet museum display envelope mailed by the artist’s father fabric found while on vacation with bye bye directly to the buyer. family in Italy. Patterns on cloth 2010 This is the first text the artist had his produced by museum objects B/w heliogravure on paper father write in what became an ongoing installed and exposed to light over 65 × 52 cm series of calligraphic projects. time. Pinault Collection

Danh_Vo_04_ING_esec.indd 41 03/04/15 08:27 around a group of players who were dealing three playing cards. They appeared to be a Queen and two white cards. There was a lot being won, so I stayed and watched for a very long time. I also wanted to play, but I didn’t have any money. So what should I do. I was wearing a wedding ring at the time, so I pulled it out and gambled it. I saw the Queen before my eyes, and then suddenly there was only a white card to be seen. My ring was gone. I was racked with fear and wanted to get it back. I ran home and got my husband’s wedding ring, and gambled it in order to get my own ring back. In the end, I lost both rings. I didn’t know what I should do. In fear that my husband would find 08:03, 28.05 Gustav’s Wing out, I bought two other rings. I kept the 2009 2013 story to myself until 1998. The first person Late 19th century chandelier from Bronze that I told was my mother. I made her the ballroom of the former Hotel Dimensions variable swear never to tell anyone. My mother was We The People (detail) Majestic, Avenue Kléber, Paris Pinault Collection forgetful and told my husband. 2011-2013 Dimension variable My husband just laughed, as so much time Copper Statens Museum for Kunst, Life-sized sculpture of a human figure had passed by the time he found out about Dimensions variable Copenhagen in six cast bronze fragments, based on it. That’s why he didn’t bear a grudge. Pinault Collection a mold of the artist’s nephew Gustav, at That is the story of my two wedding rings.” The Majestic hotel functioned as the age 11. Originated as a photograph of Hao Thi Nguyen One to one recreation of the Statue of headquarters for the German Military the boy’s double-jointed shoulder blade, 8-6-09 Liberty’s copper exterior by Frédéric Administration during the occupation which he referred to as his ‘wing.’ Auguste Bartholdi, produced in of France in World War II. It then hosted approximately 250 individual pieces near UNESCO before becoming the French Shanghai, China, and meant to be shown Ministry of Foreign Affairs and the site independently or in smaller fragment of the signing ceremony known as the groupings. Paris Peace Accords, and subsequently One source of inspiration for this project the nine-point plan aimed at guaranteeing came from a particular painting by lasting peace in Vietnam in 1973. Martin Wong, The Statue of Liberty c. The building also hosted peace 1997, which depicts the statue die-cut in negotiations over Kosovo, the Ivory half with imagined passage-ways inside. Coast, and a list of other international Wong’s painting is on view in this conflicts. The hotel was sold and is now Untitled exhibition. the first Peninsula Hotel in Europe; 2007 it opened in 2014. Wood, cloth 111 × 295 × 265 cm Untitled (ring) Fonds National d’Art Contemporain, 2009 Paris Gold ring, letter handwritten by Hao Nguyen Four tomb sculptures of Jarai Montagnards 2 × 2 cm c. 1954: Legionnaire, Crying /Angry Collection Stefania Morellato Woman, Monkey, Man. One pair of white and Emilio Giorgi gloves, wrapping paper, four crates.

“The wrong step. This is a story that I won’t experience again until the end of my days. I remember it well, it was 1969, the year that I got married. About three months after the wedding I went to the market and I saw a huge gathering of people. Out of curiosity I approached the crowd and noticed that they were gathered

Danh_Vo_04_ING_esec.indd 42 02/04/15 11:50 around a group of players who were Title taken from line spoken by the dealing three playing cards. They appeared demon in: The Exorcist. Screenplay to be a Queen and two white cards. by William Peter Blatty. Dir. William There was a lot being won, so I stayed and Friedkin. Perf. Mercedes McCambridge, watched for a very long time. I also wanted Linda Blair. Warner Bros., 1973. Film. to play, but I didn’t have any money. So what should I do. I was wearing a wedding ring at the time, so I pulled it out and gambled it. I saw the Queen before my eyes, and then suddenly there was only a white card to be seen. My ring was gone. I was racked with fear and wanted to get it back. I ran home and got my husband’s wedding ring, and gambled it in order to get my own ring back. In the end, I lost both rings. I didn’t know what I should 18.10.1860 do. In fear that my husband would find 2013 Gustav’s Wing out, I bought two other rings. I kept the Photogravure on paper 2013 story to myself until 1998. The first person 54.5 × 42.5 cm Bronze that I told was my mother. I made her Pinault Collection Dimensions variable swear never to tell anyone. My mother was Pinault Collection forgetful and told my husband. The image depicts one of five Pekingese My husband just laughed, as so much time dogs taken during the looting spree Life-sized sculpture of a human figure had passed by the time he found out about which preceded a decree by Lord Elgin Untitled in six cast bronze fragments, based on it. That’s why he didn’t bear a grudge. (the son of the 7th Earl of Elgin of the 2015 a mold of the artist’s nephew Gustav, at That is the story of my two wedding rings.” “Elgin marbles”) on October 10, 1860 Gold, cardboard, various iron age 11. Originated as a photograph of Hao Thi Nguyen to burn down the Summer Palace and wood farm tools the boy’s double-jointed shoulder blade, 8-6-09 in Beijing. This particular dog was Dimensions variable which he referred to as his ‘wing.’ discovered curled up in a wardrobe, and a Pinault Collection British officer took him back to England as a present for Queen Victoria; she Cardboard boxes from America depicting named her Looty. motifs of brands used in quotidian domestic life such as: Colgate toothpaste, Kellog’s cereal, Clorox bleach, and Poland Springs water. Reverse side of each box depicts the original 13-star design of the American flag, in which each of the 13 founding colonies is represented. Installation is made up Untitled of 27 flags in total, one for each design 2007 change the flag has undergone (one star Wood, cloth is added for each new state). 111 × 295 × 265 cm Untitled (ring) Fonds National d’Art Contemporain, 2009 Paris Gold ring, letter handwritten by Hao Nguyen Four tomb sculptures of Jarai Montagnards 2 × 2 cm c. 1954: Legionnaire, Crying /Angry Collection Stefania Morellato Woman, Monkey, Man. One pair of white and Emilio Giorgi gloves, wrapping paper, four crates. Your mother sucks cocks in Hell “The wrong step. This is a story that 2015 I won’t experience again until the end of Marble fragment of a child, Roman my days. I remember it well, it was 1969, workshop, 1st-2nd century AD; Untitled the year that I got married. About three oak and polychrome Madonna 2015 months after the wedding I went to the and child, French Early Gothic; 17th century oak and polychrome market and I saw a huge gathering of plywood cherub’s head people. Out of curiosity I approached the 53.3 × 39.6 × 35.1 cm 11.8 × 17 × 16.5 cm crowd and noticed that they were gathered Pinault Collection Private collection

Danh_Vo_04_ING_esec.indd 43 02/04/15 11:50 david wojnarowicz

Fabulous Muscles Cremate me after you cum on my lips Honey boy place my ashes in a vase beneath your workout bench

No romance, no sexiness but A star filled night Kneeling down before now familiar flesh of your deformed penis Wigging out before the unfamiliar flesh of my broken neck

Fabulous Muscles Untitled (Buffalos) Cremate me after you cum on my lips 1988-1989 Honey boy place my ashes in a vase beneath 2013 your workout bench Gelatin silver print Shove it up your ass, 60,96 × 76,2 cm you faggot Fabulous Muscles Collection of Annie Leibovitz, 2015 Cremate me after you cum on my lips Courtesy of the Estate of David Oak and polychrome Madonna and Honey boy place my ashes in a vase beneath Wojnarowicz and P.P.O.W. Gallery, child, French Early Gothic 1280- your workout bench New York 1320; marble torso of Apollo, Roman workshop, 1st-2nd century AD; steel Untitled Stewart, Jamie. “Fabulous Muscles.” In 1988-89, David Wojnarowicz was 154.2 × 50 × 50 cm 2007 Fabulous Muscles. Lyrics. Perf. XiuXiu. preparing the exhibition Weight of Courtesy of the artist Very old French type percussion cap 5 Rue Christine, 2004. the Earth, which was divided in two and Marian Goodman Gallery hunting rifle from the H’ Mong tribe, sections, each with 14 photographs and belt with a buffalo horn with a small drawing considered as “films of Title taken from line spoken by the a barking deer antler stopper, living, sounding a particular note like demon in: The Exorcist. Screenplay pouch made from a French military each word that makes up a sentence.” by William Peter Blatty. Dir. William t-shirt pocket with a snap closure These photographs can stand alone, but Friedkin. Perf. Mercedes McCambridge, containing a small wooden tube together they show something that is Linda Blair. Warner Bros., 1973. Film. with percussion caps, bag of birdshot more enigmatic. and some lead musket balls, Weight of the Earth “is about captivity wood working adze and in all that surrounds us,” writes the an elephant handler’s mahout stick, artist in his Notes to the Show. shaman’s bamboo medicinal mixing He describes the exhibition as tube & masher/dipper and a gourd “the weight of gravity, the pulling in medicine container, woven reed soft to the earth’s surface of everything that head pillow, bamboo tube musical walks, crawls, or rolls across it” and instrument, bone hair pick with “the heaviness of the pre-invented dyed animal hair decoration, existence we are thrust into.” pair of elephant bells suspended His first selection of images for the from elephant hide in a curved exhibition included Untitled (Buffalos), bamboo frame, cardboard box which is also called Untitled (Falling with a top Buffalos). Wojnarowicz took this picture Dimensions variable during a visit to the National Museum Untitled Mackert Collection of Natural History in Washington 2007 D.C., where he photographed details Presentation Montagnard longbow Untitled of a diorama illustrating an Indigenous and arrow, Rhade Montagnard 2015 American method for hunting buffalos elephant hunters field axe, early Graphite writing by Phung Vo by running them off a cliff. 20th century Montagnard bamboo Dimensions variable The photograph shows two buffalos folding headrest, rare rhade Courtesy of the artist falling down and another about to lose Montagnard mounted warriors sword its balance. The artist described it as with late 19th century, French coin Break my face in was the kindest touch you “a metaphorical image for the title mounted on the pommel, cardboard Ever gave of the show, a sense of impending box, 14 documents, certificate Wrap my dreams around your thighs and collision contained in this acceleration Dimensions variable Drape my hopes upon the chance to touch your of speed with the structures of Johann and Lena König, Berlin arm civilization.”

Danh_Vo_04_ING_esec.indd 44 02/04/15 11:50 david martin wojnarowicz wong

Fabulous Muscles Wojnarowicz took the negative of this Cremate me after you cum on my lips photograph to the Schneider-Erdman Honey boy place my ashes in a vase beneath laboratory, which had been developing your workout bench the artist’s films and making his contact sheets since 1984 in exchange for an No romance, no sexiness but occasional print. Schneider, the lab A star filled night technician, had previously helped Kneeling down before now familiar flesh of Peter Hujar, Wojnarowicz’s “father, your deformed penis brother,” sometimes lover, and mentor. Wigging out before the unfamiliar flesh of my Wojnarowicz had been living in Hujar’s broken neck loft since his death and in spite of the landlord’s attempts to evict him, he Fabulous Muscles Untitled (Buffalos) stayed there until 1991. Cremate me after you cum on my lips 1988-1989 Untitled (Buffalos) has become iconic, Honey boy place my ashes in a vase beneath 2013 one of the most haunting artistic your workout bench Gelatin silver print responses to the AIDS epidemic. A 60,96 × 76,2 cm detail of the image was reproduced for Fabulous Muscles Collection of Annie Leibovitz, the cover of Wojnarowicz’s book Close Cremate me after you cum on my lips Courtesy of the Estate of David to the Knives. The band U2 also used Honey boy place my ashes in a vase beneath Wojnarowicz and P.P.O.W. Gallery, the image for their single, One (1992), your workout bench New York and for a video clip that the artist, who Voices died of AIDS-related illness on 22 July 1981 Stewart, Jamie. “Fabulous Muscles.” In 1988-89, David Wojnarowicz was 1992, probably never saw. Acrylic on canvas Fabulous Muscles. Lyrics. Perf. XiuXiu. preparing the exhibition Weight of 184 × 122 cm 5 Rue Christine, 2004. the Earth, which was divided in two Pinault Collection sections, each with 14 photographs and a small drawing considered as “films of In 1900, about two thirds of the living, sounding a particular note like population of New York City lived each word that makes up a sentence.” in tenements. The living conditions These photographs can stand alone, but in these narrow rows of densely together they show something that is populated buildings where tenants were more enigmatic. packed in tiny accommodations with Weight of the Earth “is about captivity very little daylight and air have been in all that surrounds us,” writes the recorded by the photojournalist Jacob artist in his Notes to the Show. Riis (1890). From the 1960s onwards, He describes the exhibition as part of the Lower East Side became “the weight of gravity, the pulling in a hotspot of the New York Puerto to the earth’s surface of everything that Rican (Nuyorican) culture. In the early walks, crawls, or rolls across it” and 1980s, Latino and Afro-American “the heaviness of the pre-invented families moved into this run-down existence we are thrust into.” neighborhood that became known His first selection of images for the as Loisaida in Spanglish, as well as exhibition included Untitled (Buffalos), artists, poets, musicians, graffiti artists, which is also called Untitled (Falling b-boys, rappers, dealers, and “bad Buffalos). Wojnarowicz took this picture boys.” There, in apartment number 9 during a visit to the National Museum at 141 Ridge Street, at the corner of of Natural History in Washington Stanton Street, Martin Wong, who had D.C., where he photographed details moved to New York in 1978, painted of a diorama illustrating an Indigenous feverishly. He placed each canvas American method for hunting buffalos on the floor and used brushes that by running them off a cliff. remained stained with layers of dried The photograph shows two buffalos out bits of paint. falling down and another about to lose A guillotine window such as those its balance. The artist described it as commonly found in the tenements “a metaphorical image for the title is both the subject of the painting of the show, a sense of impending and its frame, as signaled by the collision contained in this acceleration inscription “Voices” painted in of speed with the structures of trompe-l’oeil at the bottom of civilization.” the window frame—as would an

Danh_Vo_04_ING_esec.indd 45 02/04/15 11:50 inscription at the bottom of the frame of Loisaida. Wong met him in 1982 shortcuts or aerial perspective tricks of a painting. The half-open window is at the inauguration of the exhibition obviating the need for detail. If we add painted in white: “The view from the “The Crime Show” at ABC No Rio, the red iron oxide content of his paint window is also a view of the window” a gallery in the Lower East Side. to the labor intensity of such a task, (catalogue of the Martin Wong The two spent a year and half together we begin to see this part of Wong’s exhibition at Exit Art, 5 November and they made oral and pictorial works project as bricklaying: he is building the – 23 December 1988). The view of art that not only use street language paintings as much as he is painting the from the window is of these “goddam but also talk to the street. buildings,” wrote Barry Blinderman in little bricks” that Wong meticulously Wong combined his passion for sign 1998. painted, one by one, during the language, astrological symbols, graffiti, 18 years he spent in the Lower East calligraphy, tattoos, sexual codes with Side. his erotic inclinations expressed through his choice of strong men—prisoners, policemen, firemen—as super heroes of his visual culture.

Inri 1984 Acrylic on canvas Statue of Liberty 91.44 × 91.44 cm c. 1997 Private collection Oil on linen 152.4 × 152.4 cm There are two paintings representing J.K. Brown and Eric Diefenbach, the same man wearing a tank top New York that reveals part of his back and his muscular shoulders. Parts of a large In Wong’s many paintings which crucifixion tattoo on his back can be seen. feature the Statue of Liberty, the iron A name adorns both sides of the cross: (and later steel) frame that constitute Pepe Turcel. Untitled (with brick the skeleton of the statue and the Inri, 1984 has a square format, depicting in brick) copper plates covering it are all replaced a man’s back and neck. In Sacred Shroud 1988 by painted bricks. The transfer of the of Pepe Turcel (1990), the subject’s face Oil on canvas on plywood sculptural material into brick painting is partially seen, turned towards 122 × 86 cm proposes quite literally a new “mural” the left, towards the prison bars that Pinault Collection concept of the Statue of Liberty. the character is facing. The orthogonality Whether he showed the inside or of the grid that makes up the cell This painting was, under the title outside face of the statue, compressed probably inspired the artist when Vertigo, part of a 1989 exhibition at the a fragment into the circular shape of a he chose an octagonal shape for that alternative space Exit Art (New York). tondo, multiplied the points of view on painting (one can assume that Wong, The painting is presented without a the statue, or showed her sobbing after who had collected a drawing frame but it includes, within the scene the Tiananmen Square massacre in by Mondrian, which he sold to fund depicted, two antique frames that 1989, Wong placed himself under the his graffiti art museum in 1989, delimit two other brick areas. gaze of “Miss Liberty.” She also watches was well aware of the formal resonances Wong explained that the image of these over the students of the New York I.S. of the grid). bricks came to him one day when he 90 school from the circular ceiling on The central character, a homoerotic was buying a toy at a market in Canal which he composed a mural. fantasy reminiscent of Jean Genet, Street, a few blocks from the (legendary) This painting of the Statue of Liberty seems to have been inspired by the tales art supply shop Pearl Paint, where he cut in half lengthwise and provided of Nuyorican poet Miguel Piñero who worked stretching canvases. “Each of the with imaginary passageways was one wrote and performed scenes about his hundreds or even thousands of bricks on source of inspiration for Danh Vo’s experience in prison. Piñero was the one of Wong’s paintings is individually project We The People(also in the beloved champion and outlaw minstrel rendered; there are no impressionistic exhibition).

Danh_Vo_04_ING_esec.indd 46 02/04/15 11:50 Photographic references Henrik Olesen: A Portrait (Photo Steve Bishop); Untitled #03; Untitled #04; Masters of the 13th, 14th and 15th century: Untitled #05 (Courtesy Galleria Franco © Fondazione Giorgio Cini, Venice. Photo Noero, Turin. Photo Sebastiano Pellion Matteo De Fina di Persano) Leonor Antunes: Courtesy of the artist Pablo Picasso: © FABA. Photo Eric and Air de Paris Baudouin Nairy Baghramian: © Palazzo Grassi Sigmar Polke: © The Estate of Sigmar and Heinz Peter Knes Polke. Courtesy Michael Werner Gallery, Giovanni Bellini: © Gallerie New York shortcuts or aerial perspective tricks dell’Accademia, Venice Carol Rama: Photo Gianni Ingrosso, Turin Constantin Brancusi: Courtesy Pinault Charles Ray: Courtesy of the artist. obviating the need for detail. If we add Collection © Palazzo Grassi and Heinz Peter Knes the red iron oxide content of his paint Marcel Broodthaers: © The Estate Auguste Rodin: Courtesy Pinault Collection to the labor intensity of such a task, of Marcel Broodthaers / Courtesy Michael Cameron Rowland: Courtesy Essex Street, Werner Gallery, New York. Photo Andy New York we begin to see this part of Wong’s Keate Andres Serrano: © Andres Serrano. project as bricklaying: he is building the Giovanni Buonconsiglio known as il Courtesy of the artist and Paula Cooper paintings as much as he is painting the Marescalco: © Gallerie dell’Accademia, Gallery Venice Nancy Spero: Cri du Cœur (© Palazzo buildings,” wrote Barry Blinderman in Hubert Duprat: Cassé-Collé (Courtesy Art : Grassi and Heinz Peter Knes; © TheN ancy 1998. Concept, Paris. Photo Frédéric Magnoux); Spero and Leon Golub Foundation for the Tribulum (Courtesy Art : Concept, Paris. Arts. Courtesy Galerie Lelong, New York); Photo Rémi Chauvin); Corail Costa Brava Artaud Paintings (© The Nancy Spero (Courtesy Art : Concept, Paris. Photo Rémi and Leon Golub Foundation for the Arts. Chauvin); Caddis worms building their Courtesy Galerie Lelong, Paris); Codex case (Courtesy Art : Concept, Paris. Photo Artaud XXX (© The Nancy Spero and Leon Frédéric Delpech); Volos, 2013 (Courtesy Golub Foundation for the Arts. Courtesy Art : Concept, Paris. Photo Rebecca Fanuele) Galerie Lelong, New York. Photo Fabrice Elmgreen & Dragset: © Palazzo Grassi and Gibert); Codex Artaud XXXI (© The Nancy Heinz Peter Knes Spero and Leon Golub Foundation for the Luciano Fabro: Courtesy Galleria Christian Arts. Courtesy Galerie Lelong, New York. Stein, Milan Photo Michael Bodycomb) Fischli & Weiss: © Palazzo Grassi and Sturtevant: © Estate Sturtevant, Paris. Heinz Peter Knes Courtesy Galerie Thaddaeus Ropac, Paris- Felix Gonzalez-Torres: © The Felix Salzburg Gonzalez-Torres Foundation / Courtesy of Alina Szapocznikow: © Palazzo Grassi Andrea Rosen Gallery, New York / © Photo and Heinz Peter Knes Palazzo Grassi and Heinz Peter Knes Paul Thek:Towards an Abstract Icon Jos de Gruyter and Harald Thys:Courtesy (© The Estate of George Paul Thek; of the artists, Galerie Isabella Bortolozzi, courtesy Alexander and Bonin, New York. Berlin / Photo Christine Clinckx / M HKA Photo Joerg Lohse); Untitled, 1964-1965 Petrit Halilaj: Courtesy of the artist and (© The Estate of George Paul Thek; kamel mennour, Paris. Photo Fabrice Seixas courtesy Alexander and Bonin, New York. David Hammons: Central Park West (Courtesy Photo Lance Brewer); Untitled (meat cables), Statue of Liberty of the artist. Photo Palazzo Grassi and Heinz 1969 (© The Estate of George Paul Thek; c. 1997 Peter Knes); Cigarette Holder (© Santi Caleca courtesy Alexander and Bonin, New York. for Palazzo Grassi Spa); Flies in a Jar (Courtesy Photo Joerg Lohse) Oil on linen of the artist and Pinault Collection); Untitled, Danh Vo: If you were to climb the Himalayas 152.4 × 152.4 cm 2007 (Courtesy of the artist. Photo Palazzo tomorrow (Courtesy of the artist); Untitled, J.K. Brown and Eric Diefenbach, Grassi and Heinz Peter Knes) 2008 (Courtesy of the artist); Oma Totem Roni Horn: © Photo Roni Horn Studio (Courtesy of the artist. Photo Cosimo New York Peter Hujar: © The Estate of Peter Hujar; Pichierri); IMUUR2, 2012 (Courtesy of Fraenkel Gallery, San Francisco and Pace/ the artist); Untitled, 2012 (Courtesy of MacGill Gallery, New York the artist); 02.02.1861 (Courtesy of the In Wong’s many paintings which Tetsumi Kudo: Cybernetic Art; Untitled, artist); Beauty Queen (Courtesy of the feature the Statue of Liberty, the iron c. 1970; Untitled, 1975 (Courtesy artist. Photo Charlotte du Genestoux); (and later steel) frame that constitute Galerie Christophe Gaillard. Photo Rurik Christmas, Rome, 2012 (Courtesy of the Dmitrienko); Votre Portrait (Courtesy artist. Photo Charlotte du Genestoux); the skeleton of the statue and the Galerie Albert Benamou, Paris); Portrait Self-portrait (Peter) (Courtesy of the artist); copper plates covering it are all replaced of Artist in Crisis, Portrait of Eugène Ionesco bye bye (Courtesy of the artist and Niels by painted bricks. The transfer of the (Photo Maurice Aeschimann, Onex); Borch Jensen. Photo Jørgen Strüwing); Paradise (Courtesy Galerie Albert Benamou, Log Dog (Courtesy of the artist and sculptural material into brick painting Paris. Photo Bernard Saint-Genes) kurimanzutto, Mexico City. Photo Estudio proposes quite literally a new “mural” Bertrand Lavier: Gabriel Gaveau (© Photo Michel Zabé, 2013); We The People (detail), concept of the Statue of Liberty. André Morin); Manubelge (© Photo André 2011-2013 (Courtesy of the artist); 08:03, Morin); La Bocca / Bosch, 2005 (© Palazzo 28.05 (© Statens Museum for Kunst, Whether he showed the inside or Grassi and Heinz Peter Knes) Copenhagen); Gustav’s Wing (Courtesy of outside face of the statue, compressed Zoe Leonard: © Zoe Leonard the artist and Galerie Buchholz, Berlin / a fragment into the circular shape of a Francesco Lo Savio: Courtesy Galleria Cologne); Untitled 2009 (Courtesy of the Christian Stein, Milan artist); Untitled, 2007 (Courtesy of the tondo, multiplied the points of view on Lee Lozano: All photos (© The Estate of artist); 18.10.1860 (Courtesy of the artist the statue, or showed her sobbing after Lee Lozano); No-Grass Piece [Part 1 & 2]; and Niels Borch Jensen. Photo Jørgen the Tiananmen Square massacre in Masturbation Investigation; Thinking Offer Strüwing); Your mother sucks cocks in Hell, (© The Estate of Lee Lozano. Courtesy 2015; Untitled, 2015; Untitled, 2015; Shove 1989, Wong placed himself under the Hauser & Wirth) it up your ass, you faggot, 2015 (Courtesy of gaze of “Miss Liberty.” She also watches Robert Manson: Courtesy Pinault the artist and Marian Goodman, over the students of the New York I.S. Collection New York. Photo Peter White) Piero Manzoni: Courtesy Archivio Opera David Wojnarowicz: Courtesy of the 90 school from the circular ceiling on Piero Manzoni, Milan Estate of David Wojnarowicz and P.P.O.W. which he composed a mural. Sadamasa Motonaga: Photo Maurice Gallery, New York This painting of the Statue of Liberty Aeschimann, Onex Martin Wong: Voices; Untitled (with brick Jean-Luc Moulène: Tronche / Moon Face in brick) (Courtesy Galerie Buchholz, cut in half lengthwise and provided (Paris, May 2014) (© Palazzo Grassi and Berlin/Cologne); Inri; Statue of Liberty with imaginary passageways was one Heinz Peter Knes); La Toupie (© Palazzo (© Palazzo Grassi / Photo Fulvio Orsenigo) source of inspiration for Danh Vo’s Grassi and Heinz Peter Knes); Tête-à-Cul (Paris, Spring 2014) (Courtesy of the artist Palazzo Grassi Spa remains at the disposal project We The People(also in the and Miguel Abreu Gallery, New York. of the rights holders and is ready to make exhibition). Photo Jeffrey Sturges) up for unintentional omissions

Danh_Vo_04_ING_esec.indd 47 02/04/15 11:50 Slip of the Tongue Acknoledgments The private lenders Venice, Punta della Dogana J.K. Brown and Eric Diefenbach April 12 - December 31, 2015 The artists Paul Golub Leonor Antunes Philip Golub Julie Ault Stephen Golub Exhibition curated by Nairy Baghramian Johann and Lena König Danh Vo Jos de Gruyter and Harald Thys Annie Leibovitz in collaboration with Hubert Duprat Stephanie and Jan L. Mackert Caroline Bourgeois Elmgreen & Dragset Stefania Morellato and Emilio Giorgi Fischli & Weiss Peter Schjeldahl and Brooke Anderson Curatorial and research assistance Petrit Halilaj Max and Marie Warsh Danh Vo: Marta Lusena, Amy Zion David Hammons Caroline Bourgeois: Julia Séguier Roni Horn The galleries Bertrand Lavier Miguel Abreu Gallery, New York Texts Zoe Leonard Air de Paris, Paris Elisabeth Lebovici Jean-Luc Moulène Alexander and Bonin Gallery, New York Henrik Olesen Art : Concept, Paris Texts for Danh Vo and Leonor Antunes Carol Rama Galerie Albert Benamou, Paris Amy Zion Charles Ray BFAS Blondeau Fine Art Services, Geneva Cameron Rowland Isabella Bortolozzi Galerie, Berlin Graphic design Andres Serrano Gavin Brown’s Enterprise, New York Leonardo Sonnoli Danh Vo Galerie Buchholz, Cologne - Berlin (Tassinari/Vetta) Chert, Berlin The Estates Galerie Chantal Crousel, Paris Photography (installation views) Constantin Brancusi: The Estate Essex Street, New York Heinz Peter Knes of Constantin Brancusi Fraenkel Gallery, San Francisco Marcel Broodthaers: The Estate Marian Goodman Gallery, New York - Translations of Marcel Broodthaers / Michael Werner Paris - London Nathalie Bourgeois Gallery, New York Hauser & Wirth, Zürich - London - Contextus srl, Pavia (Lisa Richardson) Luciano Fabro New York Felix Gonzalez-Torres: The Felix Xavier Hufkens, Brussels Additional research Gonzalez-Torres Foundation / Courtesy kamel mennour, Paris Andrew Blackley of Andrea Rosen Gallery, New York Kewenig Galerie, Berlin and Palma Peter Hujar: The Estate of Peter Hujar, kurimanzutto, Mexico City Published by Pace/McGill Gallery, New York Yvon Lambert, Paris Marsilio Editori® Spa, Venice and Fraenkel Gallery, San Francisco Galerie Lelong, Paris - New York Tetsumi Kudo Dominique Lévy, New York - London Copyediting Francesco Lo Savio Galerie Loevenbruck, Paris legaudiose.studioeditoriale, Venice Lee Lozano: The Estate of Lee Lozano / Matthew Marks Gallery, New York - Hauser & Wirth, Zürich - London - Los Angeles © Constantin Brancusi; New York Mnuchin Gallery, New York Marcel Broodthaers; Hubert Duprat; Robert Manson Murray Guy, New York Elmgreen & Dragset; Fondazione Piero Manzoni: Archivio Opera Piero Galleria Franco Noero, Turin Piero Manzoni, Milano; Tetsumi Kudo; Manzoni, Milan Pace/MacGill, New York Bertrand Lavier; Sigmar Polke; Sadamasa Motonaga Galerie Perrotin, Paris - New York - Nancy Spero; Alina Szapocznikow, Pablo Picasso: Fundación Almine y Bernard Hong Kong Succession Picasso, by SIAE 2015 Ruiz-Picasso para el Arte, Brussels P.P.O.W. Gallery, New York Sigmar Polke: The Estate of Sigmar Polke, Galerie Eva Presenhuber, Zürich © 2015 by Palazzo Grassi Spa, Venice Köln/ Michael Werner Gallery, New York Galerie Almine Rech, Paris Auguste Rodin: Musée Rodin, Paris Andrea Rosen Gallery, New York First edition April 2015 Alina Szapocznikow Fondazione Sardi per l’Arte, Turin Nancy Spero: The Nancy Spero Galerie Pietro Spartà, Chagny Printed by and Leon Golub Foundation for the Arts / Sprüth Magers, Berlin - London - Grafiche Veneziane, Venice Galerie Lelong, New York Los Angeles for Marsilio Editori® Spa in Venezia Sturtevant: Estate Sturtevant / Galerie Micheline Szwajcer, Brussels Galerie Thaddaeus Ropac, Paris - Pantin Michael Werner Gallery, New York - Paul Thek: The Estate of George Paul Thek London David Wojnarowicz: The Estate of White Cube, London - Hong Kong David Wojnarowicz / P.P.O.W. Gallery, Galleria Zero, Milan New York Martin Wong: The Estate of Martin Wong And all those who wish to remain / P.P.O.W. Gallery, New York anonymous

The institutions Centre national des arts plastiques, Paris: Yves Robert, director Fondazione Giorgio Cini, Istituto di storia dell’arte, Venice: Giovanni Bazoli, president, Luca Massimo Barbero, director Gallerie dell’Accademia, Venice: Giulio Manieri Elia, director Los Angeles County Museum of Art, Los Angeles: Michael Govan, director MACBA, Museu d’Art Contemporani de Barcelona: Bartomeu Marí, director MNAM - Centre Pompidou, Paris: Alain Seban, president, Bernard Blistène, director Museo Correr, Venice: Andrea Bellieni, director Museo Nacional Centro de Arte Reina Sofía, Madrid: Manuel Borja-Villel, director Statens Museum for Kunst, Copenhagen: Mikkel Bøgh, director The Museum of Modern Art, New York: Glenn D. Lowry, director Williams College Museum of Art, Williamstown: Christina Olsen, director

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