DOCSLIB.ORG

Centre Pompidou-Metz Exhibitions in 2018-2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Centre Pompidou-Metz Exhibitions in 2018-2019 Press Release Centre Pompidou-Metz exhibitions in 2018-2019 From October, Centre Pompidou-Metz will present the exhibition Painting the Night devoted to a central theme of art history which has never ceased to inspire artists. The exhibition proposes to plunge the visitor into modern and contemporary painting, with a presentation in a space of around two thousand square metres transforming the spectator into a night bird leading him from giddiness to vertigo: vertigo of the senses, of reason, cosmic vertigo. Night, both a refuge and a window open onto the universe, appears to be a territory and a temporality to be explored, for anyone choosing to remain awake. Taking several directions (“Painting the Night” does it not mean Press contacts both to represent night and to paint at night?), the exhibition assembles Centre Pompidou-Metz over 200 works of artists from the XX and XXI centuries, major figures, but Agathe Bataille also discoveries or rediscoveries, as well as some large installations which Head of Publics and Communications redefine the notion of painting today. We will come across the painters of 00 33 (0)3 87 15 39 83 the nights of the années folles as well as the great insomniacs of the XX [email protected] century, the dreamers for whom the night was their medium, the painters Marion Petit for whom night was an abstraction without any limits, or even the attempts Communication officer by contemporary artists to grasp that intangible substance which the night 00 33 (0)3 87 15 52 76 [email protected] is made of. Claudine Colin Communication Pénélope Ponchelet The immersion in an unprecedented space-time will be prolonged with The Well-Tuned Piano in The Magenta Lights 87 V 10 6:43:00 PM – 87 V 11 00 33 (0)1 42 72 60 01 [email protected] 01:07:45 AM NYC by La Monte Young and Marian Zazeela. A major work by the musician, this solo for piano accompanied by the lighting effects created by his wife Marian Zazeela pursues La Monte Young’s quest for an eternal music. In February, the monographic exhibition of the Korean artist, poet and philosopher Lee Ufan. Inhabiting Time presents a selection of his work from the end of the 1960’s up until today. His paintings and his sculptures reveal his very personal definition of contemporary art, detached from language and conceived as an immediately sensorial experience. The transdisciplinary exhibition Rebecca Horn. Theatre of Metamorphoses, organised in collaboration with the Museum Tinguely of Basel, will be on show in June. It is based on the founding theme of metamorphoses in the artist’s work. The presentation goes back over five decades of creation, bringing into dialogue her works with those of other major artists who have inspired her such as Man Ray, Max Ernst and Marcel Duchamp. Also presented in June as an echo to the 350th anniversary of the Opéra national de Paris, the exhibition – event Opera as the World is a testimony to the encounter between the visual arts and the operatic genre from the 1 beginning of the XX century. Set models, costumes and other theatrical elements will be presented next to important installations and new creations. In September, Centre Pompidou-Metz is presenting a retrospective exhibition to The Ecstatic Eye. Sergei Eisenstein at the crossroads of the arts which explores the work of the film maker in the light of his very personal relationship with the history of art. The exhibition gives his rightful place to this major artist of the XX century, beyond the ideological interpretations of his work. The exhibition The Adventure of Colour also continues until July 2019. Veritable polychrome symphony, it invites visitors to discover the chromatic environment of the artists of the beginning of the XX century up until today, with the exceptional collection of the Centre Pompidou, Musée national d’art moderne. The Centre Pompidou-Metz programme benefits from the support of Wendel, founding sponsor. 2 IMAGES ARE AVAILABLE ON THE PHOTOTHEQUE The exhibitions in 2018 and 2019 : centrepompidou-metz.fr/phototheque LOGIN NAME: presse • Painting the Night PASSWORD: Pomp1d57 From 13 October 2018 to 15 April 2019 Galleries 2 and 3 • The Adventure of Colour Up until 22 July 2019 Grande Nef • La Monte Young and Marian Zazeela The Well-Tuned Piano in The Magenta Lights 87 V 10 6:43:00 PM – 87 V 11 01:07:45 AM NYC (1964/1973/1981/today) From 22 September 2018 to 7 January 2019 Gallery 1 (installation) • Lee Ufan. Inhabiting time From 27 February to 30 September 2019 Gallery 1 • Rebecca Horn. Theatre of Metamorphoses From 8 June to 11 November 2019 Gallery 2 • Opera as the World From 22 June 2019 to 27 January 2020 Gallery 3 • The Ecstatic Eye. Sergei Eisenstein at the crossroads of the arts From 28 September 2019 to 24 February 2020 Grande Nef 3 Peter Doig, Milky Way, 1989-90 © Peter Doig. All Rights Reserved, DACS/Artimage 2018. Photo: Painting the Night Jochen Littkemann / ADAGP Paris, 2018 13.10.18 > 15.04.19 Galleries 2 and 3 “Listen to the Earth’s heartbeats. Night is at the very heart of current debates, whether they be societal Surrender yourself to the fear that comets and the unknown provoke in (should we open shops at night or devote night to sleep?), ecological (how man. Switch off the sun on request. to limit light pollution which prevents us from seeing the stars or disrupts Light the brain’s lamps at night.” the natural world?), political (public support for victims of terror (nuit Max Ernst debout), clandestine crossing of frontiers) or scientific (we never cease to increase our knowledge of the night). The night world with all its questioning is omnipresent amongst artists, notably at the end of the XIX century. Night has changed and has changed us, because of major revolutions such as electrification and lighting, psychoanalysis and space exploration: as many upheavals in the definition and the relationship that we have with the night. A major source of inspiration throughout the history of art, night still remains today a fertile field of experiences. Coming back to a subject as vast as the night enables us to ask essential questions about our condition and our place in the universe, as well as about the role of art. Painting in particular has regularly tried to grasp the substance of the night. If such a proposition can appear at first to be a contradiction, “painting the night” on the contrary turns out to be full of sense. The title voluntarily contains an ambiguity: either painting the night means representing the night, or 4 painting at night. Painting the obscurity or painting in the obscurity is already to make a choice, that of sharpening one’s exterior vision or in fact of abandoning it. Night enables both physically as well as symbolically this “detachment from the world” so dear to modernity. The arrival of dusk could in fact be the perfect metaphor of the volatile frontier between the figurative and the abstract. Through an approach tied to the perception of night rather than its iconography, the exhibition presents itself as a nocturnal experience, a perambulation which transforms the visitor into a night bird, and which passes on this vertigo which the night provides, vertigo of the senses, interior vertigo, cosmic vertigo. We advance in the exhibition just like we advance at night. Faithful to the spirit of the exhibitions at Centre Pompidou-Metz, it does not limit itself in an exclusive manner to painting, although it is central, but offers echoes and parallels with music and literature notably, as well as with video and photography. It brings together around one hundred artists and historical figures (Winslow Homer, Francis Bacon, Anna-Eva Bergman, Louise Bourgeois, Brassaï, Max Ernst, Helen Frankenthaler, Martin Kippenberger, Paul Klee, Lee Krasner, Henri Michaux, Joan Mitchell, Amédée Ozenfant, etc.) and contemporary artists (Etel Adnan, Charbel-joseph Boutros, Ann Craven, Peter Doig, Jennifer Douzenel, Rodney Graham, Paul Kneale, Olaf Nicolai, Gerhard Richter, etc.) as well as spectacular installations of which certain were specially conceived for this project (Harold Ancart, Raphaël Dallaporta, Spencer Finch, Daisuke Yokota, Navid Nuur, etc.). Curator : Jean-Marie Gallais, Head of exhibitions, Centre Pompidou-Metz Exhibition and research officer : Alexandra Müller, Centre Pompidou-Metz With the support of the Moselle departement Patrons of the exhibition: The exhibition has benefitted from exceptional loans from the musée d’Orsay With the assistance of Pianos Schaeffer 5 “Six nights at the museum” 8.11.18 > 04.04.19 Every month a night show will enable the discovery of the exhibition at nightfall in exceptional situations: after a programme of music played in front of the works, one or several guests will each reveal, according to their discipline (philosophy, astrophysics, dance, music…) a different representation of the night. Each one of these night shows will be an opportunity for the Gabriel Pierné regional conservatoire of Metz Metropole to occupy the spaces for programmes of music given in front of the works or in the semi- darkness of the scenography. The arts centre comes to life at night thanks to these interventions which are an echo to sections of the exhibition: get lost in the night, rhythms and presences, nocturnal obsessions, unobstructed eyes, attracted to the stars, night enveloping me. Each one of these night shows also gives the right to an invitation, with which the evening can be extended at the exhibition, in the Studio or at the Wendel Auditorium: philosopher, astrophysician, dancer, musician, film maker come to share their definition of the night.
Load more

Recommended publications
  • Hans Ulrich Obrist a Brief History of Curating
    Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist.
    [Show full text]
  • Conceptual Art: a Critical Anthology
    Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.
    [Show full text]
  • Ingeborg Lüscher Biography
    Ingeborg Lüscher Biography 1936 Born as Ingeborg Löffler in Freiberg in Saxony (Germany) 1946 – 1949 Rudolf-Steiner-School in Dresden 1 1949 Relocation to West Berlin 1956 School-leaving examinations 1956 – 1958 Acting studies at drama school Marlise Ludwig, Berlin, state-approved graduation 1958 First film engagements, including the main female role of Madelon in “Cardillac”, the first b/w Ufa TV film after the end of World War II (story E. T. A. Hoffmann) Ensemble member at Vagantenbühne and Renaissance Theater Berlin, tour to Switzerland 1959 Meets the Swiss colour psychologist Max Lüscher, marriage Ensemble member at Komödie Basel, main female role of Dynamene in the Swiss TV film “Ein Phönix zuviel / A Phenix Too Frequent” with original dialogues by Christopher Fry 2 1960 – 1967 Psychological studies, including at the Berlin Free University Numerous main female roles in b/w TV films, like “Jennifer” 1965, Alwine von Valencay in Jean Anouilh‘s „Leben wie die Fürsten” 1966 (directed by Helmut Käutner) and Laura Manulescu in „Des Rätsels Lösung“ 1966 (with Ivan Desny) 1967 Journey to India Relocation to Ticino (Switzerland) Film shootings in Prague, Gräfin Nettelburg in the TV film „Till Eulenspiegel“ (with Helmut Lohner) Meets dissidents of the later Prague Spring and starts critical questioning the own role in her life Separation from Max Lüscher Turns to fine art as an autodidact and takes the former studio of Hans Arp in Locarno 1967 - 1972 Works with fire and with cigarette stubs Contact to artists of the Nouveau Réalisme www.ingeborgluescher.com 1969 Travels to New York, meets Tiny Duchamp, Christo and Andy Warhol Discovers the hermit Armand Schulthess at Onsernone Valley (Switzerland), starts the photographic documentation of his encyclopedic forest („Der größte Vogel kann nicht fliegen.
    [Show full text]
  • 04/2014 Heldart Saadane Afif William Copley S.M.S., William Copley S.M.S
    04/2014 Heldart Saadane Afif William Copley S.M.S., William Copley S.M.S. In 2013 Heldart buys an edition named Shit Must Stop (S.M.S.). In a random conversation with artist Saadane Afif it becomes apparent that Afif is very familiar with the S.M.S. edition that was put together by the legendary William Copley, in 1968. The Marcel Duchamp prize winner Afif acquires a complete copy of the edition as well. Heldart plans exhibiting the S.M.S. edition and invites Saadane Afif to react to that endeavor. In order to participate Afif in turn recquires Heldart to assemble a selection from the 72 works contained in the S.M.S. edition and to position itself with that selection. He then in turn refers to the selection, says Afif. Heldart follows through despite its opinion that curating in general is an academic discipline and reserved to institutional activities such as museums and other scientifically relevant art contexts. In any event the result can be seen at the newly opened shopping mall called Binkini Berlin hosted in the former Bikinihaus. Saadane Afifs’ commentary consists of doubling Heldart's selection. The choice to show in a shopping mall is no coincidence. The work is not for sale and an apparent yet entirely different affirmation to the original idea behind the Shit Must Stop edition by Copley. The idea Copley’s in 1968 was to neutralize the commercial power of galleries and the political-institutional arrogance of museums by sending the self-produced edition containing the best contemporary artists of its time to art collectors directly by mail.
    [Show full text]
  • Download Full Biography
    Sadie Coles HQ William Nelson Copley (CPLY) Biography 1919 born in New York City (NY), educated at Phillips Academy and Yale University 1942-46 Military service in Africa and Italy 1947-48 directs Copley Galleries in Beverly Hills (CA),USA, (with John Ployardt) 1947 begins to paint 1951 moves to Paris 1963 returns to New York (NY) 1992 moves to Key West, Florida where he lives until his death 1996 dies in Key West, Florida Selected Solo Exhibitions 2018 The Coffin They Carry You Off In, ICA Institute of Contemporary Art Miami, Miami (FL), USA Candice Breitz: Sex work. In dialogue with works by William N. Copley from The Frieder Burda Collection, Museum Frieder Burda | Salon Berlin, Berlin 2017 Women, Paul Kasmin Gallery, 515 W. 27th Street, New York 2016 Fondazione Prada, Milan, Italy The World According to CPLY, The Menil Collection, Houston (TX) 2015 Drawings (1962 – 1973), Paul Kasmin Gallery, New York (NY) 2013 Confiserie CPLY, Marktplatz 19, Basel, Switzerland 2012 The Patriotism of CPLY and All That, Paul Kasmin Gallery, New York (NY) Frieda Burder Museum, Baden Baden, Germany Reflection a Past Life, Linn Lühn, Düsseldorf, Germany 2011 X-Rated, Sadie Coles HQ, London 2010 me Collectors Room, Berlin X-Rated, Paul Kasmin Gallery, New York (NY) 2009 Galerie Klaus Gerrit Friese, Stuttgart, Germany Western songs, El Sourdog Hex, Berlin Linn Lühn, Cologne, Germany 2007 Linn Lühn, Cologne, Germany 2006 Works from the 1970’s, Nolan/Eckman Gallery, New York (NY) Galerie manus presse/Klaus Gerrit Friese, Stuttgart, Germany 2005 Galerie Onrust,
    [Show full text]
  • Documenta 5 Working Checklist
    HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha.
    [Show full text]
  • Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition
    Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition Abstract This paper argues that Cardinal Points of Art, directed by Achille Bonito Oliva has been decisive in the formation of the contemporary Venice Biennale. The 45th Venice Biennale, (1993) was memorable for many reasons: the first exhibi- tion of Chinese painters in Venice, its transnational approach, and because it was the last time the Aperto exhibition was shown. Nevertheless, this was a complex and much criticised Biennale whose specific characteristics are also connected to the process of reform that the institution had been undergoing since the 1970s. The analysis of the exhibition starts with the examination of this legacy and continues by questioning Bonito Oliva’s curatorial contribution in order to define the specific features which helped to shape the contemporary Venice Biennale. Keywords Venice Biennale, Aperto, 1993, Achille Bonito Oliva, Nomadism, Coexistence, Contemporaneity OBOE Published online: September 16, 2020 Journal On Biennials and Other Exhibitions To cite this article: Clarissa Ricci, “Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition”, OBOE Journal I, no. 1 (2020): ISSN 2724-086X 78-98. oboejournal.com To link to this article: https://doi.org/10.25432/2724-086X/1.1.0007 Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition¹ Clarissa Ricci Introduction The format of today’s Venice Biennale is the result of a long intellectual and polit- ical negotiation.
    [Show full text]
  • Art & Language and Ilya Kabakov THE
    SPROVIERI Art & Language and Ilya Kabakov THE NON-OBJECTIVE WORLD exhibiIon 30 sep - 19 nov preview 29 sep 6 - 8 pm 23 heddon street london w1b 4bq sprovieri.com +44 (0) 20 7734 2066 Sprovieri is pleased to present Art & Language and Ilya Kabakov in THE NON-OBJECTIVE WORLD. The exhibiIon revisits the radical, early 20th century theoreIcal departure spelled out by Kasimir Malevich in his book, The Non-ObjecIve World, not through his original Black SQuare painIngs, but through related works by the important living conceptual arIsts, Art & Language (Michael Baldwin and Mel Ramsden) and Ilya Kabakov. As conceptual arIsts each has absorbed, over the last 50 years, the impact which Malevich has had on modern art and turned it into something of their own. For the first Ime, in a joint collaboraIon between Sprovieri and Jill Silverman van Coenegrachts, this connecIon between the greatest and most original abstract arIst with leading conceptual arIsts of our Ime is explored. Malevich’s book on SupremaIsm The Non-ObjecIve World, was first published by the Bauhaus Press in German in 1927, but not in English unIl 1959. Michael Baldwin bought a copy in 1965. “Malevich had a certain glamour, the glamour of radicality, which every twenty year-old is searching for in their own spoay way…” he explains in an interview with Silverman van Coenegrachts. Baldwin, ader reading the Malevich book, was inspired to make a series of installaIon works based on ideas from the text. Three of which are currently in private and insItuIonal collecIons, the remaining three installaIons from 1965 – Two SupremaIst SQuares in two variaIons and Ten SupremaIst SQuares – have come directly from the arIst's studio for the first Ime and will be included in this exhibiIon.
    [Show full text]
  • 2.3 Curating Biennales
    2 Curating 61 2.3 Curating Biennales This section will examine the emergence of the professional profile of the biennale curator as they exist today. The goal will be to highlight several seminal moments in its development, in order to show the challenges and debates that define it. The focus in this section is on Documenta in Kassel, because it has been a site for many important developments in biennale curating, but also because it illustrates how many different factors—geopolitics, art history, global vs local—are brought to- gether and negotiated through curatorial practice. The section will focus on three particularly important editions of documenta, each significant for its own reasons. The first section will examine the inaugural Documenta in 1955, and thedebates around Harald Szeemann’s Documenta in 1972, and the second section will exam- ine Enwezor’s Documenta 11 in 2002. Each will focus on different parts of what make up biennale curatorship, though of course it being the same festival, there are certain threads that flow through all of the editions. 2.3.1 DocumentaV Documenta was originally established in 1955 by professor and exhibition-designer Arnold Bode. The exhibition was put on with the intention of repudiating the Nazi- era branding of modernism as degenerate art (Entartete Kunst), and reintegrating Germany with avant-garde artistic movements, in an attempt to modernize and move forward after the trauma of war. Bode’s inspiration came from his visit to the Venice Biennale of 1954, demonstrating the importance of Venice as a site for the dissemination of the biennale model (Wallace 2011, 5).
    [Show full text]
  • A&L PR English
    ART & LANGUAGE ‘HOMELESS STUFF’ 7 JUNE – 15 JULY 2017 Rob Tufnell presents a retrospective of posters, prints, postcards, journals, jigsaws, records, video and ephemera produced by Art & Language between 1969 and 2017. In 1968 ‘Art & Language’ was adopted as the nom de guerre a group of artists teaching at Coventry College of Art. The initial group of Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell had a shared interest in producing what is now understood as Conceptual Art (a movement Mel Ramsden has since characterised as ‘Modernism’s nervous breakdown’). Their practice, was informed by broad interests including philosophies of science, mathematics and linguistics. They embraced Paul Feyerabend’s notion of “epistemological anarchy” to find new ways of producing, presenting and understanding art. They sought to replace Modernism’s ambitions of certainty and refinement with confusion and contradiction or a state of ‘Pandemonium’ (from John Milton’s ‘Paradise Lost’ (1667)). In 1969 they published the first of 22 issues of the journal ‘Art-Language’ with texts by Terry Atkinson, David Bainbridge and Michael Baldwin and others alongside contributions from Dan Graham, Sol Le Witt and Lawrence Weiner. After they were joined in 1970 by Ian Burn and Mel Ramsden the group quickly expanded forming around two nuclei in the small town of Chipping Norton in Oxfordshire, England and in New York. In the following years they were joined by Charles and Sandra Harrison, Graham Howard, Lynn Lemaster, Philip Pilkington, David Rushton and Paul Wood (in England) and Kathryn Bigelow, Michael Corris, Preston Heller, Christine Kozlov and Andrew Menard (in New York).
    [Show full text]
  • Tate Papers Issue 12 2009: Walter Grasskamp
    Tate Papers Issue 12 2009: Walter Grasskamp http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/gras... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Landmark Exhibitions Issue To Be Continued: Periodic Exhibitions ( documenta , For Example) Walter Grasskamp Between 1978 and 1983 I worked for the German art magazine Kunstforum International that planned to publish its fiftieth volume in 1982, the year of the seventh documenta . I proposed that we should dedicate the issue to the history of the documenta , combining our minor jubilee with the major event that had re-established West Germany as an international forum of modern art in 1955. Having heard that a documenta archive existed in Kassel, I expected that little work would be needed. ‘Just grab the photos and run’, I thought, but I was wrong. The archive in Kassel turned out to be quite a respectable library, consisting of catalogues and books on modern and contemporary art, most of them debris from the previous six exhibitions sent in by gallerists and artists, or bought for, and left behind by, the various exhibition committees. More appropriate to the name and function of an archive was an impressive collection of press clippings and reviews, stored in folders that also contained letters, drafts and other material written by the founders and curators of the first six documentas . When I asked for installation photographs of the exhibitions, however, I was shown a metal locker in the corner of the room, brim-full of envelopes and files containing heaps of photographs and papers. But it seemed that the locker had been opened for me for the first time in years: a quick examination showed that most of the photographs were unsorted and had no comments, or only laconic comments, on the back, some not even giving the number of the documenta in which they had been taken.
    [Show full text]
  • Documenta 5 : 30
    documenta 5 : 30. Juni bis 8. Oktober 1972 June 30 - October 8, 2007 CHECKLIST Artwork Art & Language. Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing). offset-printed ; 28.5 x 20 in. ; black-and-white ; edition unknown. unsigned and unnumbered ; Köln, Germany : Paul Maenz, 1972. Two-sided poster produced by Art & Language in conjunction with Documenta 5. Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. Reference: Charles Harrison, Essays on Art & Language. MIT Press, Cambridge, MA, 2001, pp. 63 - 81. Steven Leiber, "Extra Art." Smart Art Press, Santa Monica, CA, 2001, pp. 60 - 61. Paul Maenz and Germano Celant, Paul Maenz : Köln 1970 - 1975. Paul Maenz, Köln, Germany, pp. 48. Good / Very Good. Yellowing newsprint, folded in eight. [Object # 9812] $450.00 Joseph Beuys. Rose for Direct Democracy. 33.5 x 5 x 5 cm. ; edition 440 signed and numbered copies (plus unlimited unsigned and numbered copies). signed and numbered ; Heidelberg, Germany : Edition Staeck, 1973. A graduated glass measuring cylinder with incised texts and certificate on the letterhead of "Organisation for Direct Democracy through referendum," with rubber-stamping, numbering and signature of Beuys. A similar glass (without the incised text) was in the permanent political office on Beuys' desk during Documenta 5. Reference #71 in Jörg Schellmann and Bernd Klüser, Joseph Beuys : The Multiples. Busch-Reisinger Museum, Harvard University Art Museums, Cambridge ; Walker Art Center, Minneapolis ; Edition Schellmann, Munich & New York, pp. 103, 441. Fine. This copy SIGNED and NUMBERED by Beuys on certificate. [Object # 9824] $3,500.00 Joseph Beuys.
    [Show full text]