ART WORLD / WORLD ART NO:5 MARCH 2010

EDITOR’S INTRODUCTION RES We hopeyouenjoytheread. by visitingourwebsiteat You cansubscribeforthehard-copyoraccesspdfversion of along withmanymorearticles,interviews,exhibitionandbook reviews. home -the Mureşan RES Ciprian for commission look atcontemporaryartin winner RES 5featuresaninspiringsetoftextsandimages,including the EditorialBoard.Andinnearfuture,rejuvenationof Editor, andNovemberPaynterhasalreadycontributedimmensely tothemagazinewithherpresenceon The fifthissueofRESbringswithitaslightchangeair;Duygu that, wehope,opensthedoorstoaversatilesetofsounds,colors (neglected) artscenesinneighboringcountries,RESisanon-co format. Includinginterviews,essays,exhibitionandbookreviews, we shoulddevelopaviewofthecontemporaryartagendathatenc Published biannuallybyDirimart,RESchampionsanintegrated -even eclecticapproach-arguingthat writers, artists,curatorsandartprofessionals. glance atcontemporaryartfromafresh,broadandcriticalpers RES ArtWorld/waslaunchedinSeptember2007Istanbu Richard Wright Richard Abraaj Capital Art Prize Art Capital Abraaj . RES5alsoincludesanoverviewofartworldprizesincludingtwotheclosestto thatweareveryexcitedabout- , aconversationbetweentheartist www.resartworld.com Romania andthe withafocusonClujandBucharest,inadditiontothe Deste Prize Deste . Wealsolookforwardtoreceivingyourfeedback. a drawing made specially for this issue by by issue this for specially made drawing a , aswellthe Yüksel Arslan Yüksel RES willbefurtheredwithguesteditors. mmercial publicationfromIstanbul pective, withcontributionsfromleading the currentandpreviousissuesofRES DemirrecentlyjoinedRESasManaging and dimensions. interview withthe2009TurnerPrize ompasses everyone,everyformand and withaspecialemphasison l withtheobjectiveofcastinga Hugo Boss Prize Boss Hugo and Hans Ulrich Obrist Ulrich Hans inNewYork, first art art first , a

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3 RES MARCH 2010 MARCH urkey. I could urkey. . Erotic painters… Roditi told him s not possible to leave T led a lot ) So Breton asked Roditi if he had met any laughs) So Breton asked Roditi if he had met any not even find a way to send two paintings to Paris. But in 1960 there was a military coup in Turkey. They But in 1960 there was a military coup in Turkey. not even find a way to send two paintings to Paris. Roditi it was possible to obtain a passport for 200 dollars and leave the country. Later, came into power. Mark Moyens bought four or five paintings of mine Mark Moyens. also sent to me an American collector, and showed these paintings at the Raymond in İstanbul. On his way to the U.S.A. he stopped in Paris Has music always played an important role in your works? important role in your always played an HUO Has music my other books. I can give you are always musicians… musicians, there there are many YA Yes, HUO Are published books? there other on a series, I make a book of the I work Every time published books. I love books very much. I have YA Yes, it before the exhibition. series and publish you born in İstanbul? HUO Were [santralistanbul]. In İstanbul, very close to the museum yes. YA Yes, to Paris? laughs) What brought you ( HUO Yes. YA I was invited by André The pope of Surrealists. Breton, the Surrealist. HUO Did he invite you? Here they he invited me in 1959 to converse. How do you say… After the Raymond Cordier Gallery. YA Yes, I was invited by André Breton. are (brings the books). Yes, HUO How did Breton get to know you? American In 1959, I met an a small square in İstanbul. Edouard Roditi in had not met. poet, YA We origin. His parents; his father immigrated Edouard Roditi was American but his parents were of Turkish novelist to the U.S.A. in İstanbul; Tilda Roditi. Tilda Kemal was the wife of the Turkish Roditi had a cousin place, professor’s saw my works at my Kemal. Roditi was in İstanbul to see his cousin in 1959. He Yaşar place. at İpşiroğlu’s this? they drawings like HUO Were Arslan?” went to a restaurant and he found me. Later, Then he YA He asked: “Where can I meet Mr. and he met Breton there. At the time, AndréRoditi went to Paris preparing an international Breton was exhibition on Surrealism. And the subject was erotism. ( painters that could be of interest to them - because Roditi trave So I got an invitation from Roditi while he was in about me, two German painters and one Dutch painter. İstanbul, at the Bosphorus (laughs). to see the exhibition? Did you see the Surrealist exhibition? HUO Did you go to Paris YA I could not participate in that exhibition. Because in 1959, it wa is (pointing to . of art YASEM‹N BASKI DUMAN AND BERRAK CÖMERT YASEM‹N BASKI DUMAN AND BERRAK I worked at Paris Modern Arts Museum for ten years but we HANS ULRICH OBRIST I worked at Paris When was the working? When did your art begin? When did you begin never met. an epiphany? Did it begin in the family? beginning, was there Maya, first exhibition was in 1955 at Galeri YÜKSEL ARSLAN The beginning, my to th ago. There were drawings similar İstanbul. It was 55 years his notebook). I still have the notebooks. All my notebooks are in İstanbul, at the example, currently they are. For museum [santralistanbul]. Great notebooks…Here, and take notes. AfterI am working on Janácek. I read books reading books, I take notes here (pointing to the notebook). Afterwards, I can see how I am going to work, Afterwards,how I can do this; an arture. I look at this [notebook] and draw here. I start working. HUO What made you work on Janácek? powerful ideas. Because they have very YA I love music and musicians very much. music.” The I have example, Janácek says “When someone speaks with me, For When Janácek have your way of speaking. Everyone does. melody of speaking. You way of speaking, the of your voice. Your hears you speak, he creates the music melody of your language, it is very interesting. you? There is the objects around HUO What is the relationship between you and many objects. It is are surrounded by so You blood on one side and there is Janácek. like a museum here. It is fabulous. instruments. This if you look around, you will see there are mostly musical YA Yes, is an African harp. This is sanza, the African This is like a piano. They invented it. music room. INTERVIEW IN FRENCH. TRANSLATED BY INTERVIEW IN FRENCH. TRANSLATED Yes, here, it is like a music room. Studio of the artist, like a music room. Studio of the artist, here, it is like a music room. YA Yes, Was that your inspiration? HUO Was Yes, there are many wind instruments. Oboe, wind instruments and some masks… Do you remember, and some masks… Do you remember, Oboe, wind instruments there are many wind instruments. YA Yes, this is like that Indian film. The film “Music Room?” It was a work HUO These are wind instruments?

RES MARCH 2010 WITH YÜKSEL ARSLAN YÜKSEL WITH

HANS ULRICH OBRIST IN CONVERSATION IN OBRIST ULRICH HANS 2

5 RES MARCH 2010 MARCH century. As one says, century. th . Because it is a beautiful landscape. But . Because it is a beautiful landscape. But ca had been executed by a firing squad. ca had been executed by a firing squad. ere are small figures of men. Shadow figures of men. ere are small it century. You open them and see that there are open them and You century. th miniatures. What are miniatures? They don’t have to paint the same sort of painting as they do in Paris, as they do in Paris, to paint the same sort of painting have miniatures? They don’t miniatures. What are in by what was in Turkey, So, I had the idea to be influenced can paint differently. London or Berlin. They etc,. Karagöz, miniatures, İstanbul. As theater, I said before, the figure of shadow book had Because your theater. Bataille, literature and of Bertolt Brecht, HUO There was also the theater Brecht in it. of the 20 poets of the greatest Brecht for example. I think he is one Bertholt YA Yes, he was a great mind. he was a great mind. you? HUO What was it about Brecht that influenced a great poet as well. They think of him as a It is said that he is YA I can say mostly his writings and poems. This influenced me along with his ideas. a great writer and a poet. in fact he is But, man of theater. HUO In poetry there was also Lorca. Lorca, of course. YA Yes, you? HUO What was it about Lorca that influenced are very few painters. YA His poems, of course. If you pay attention, in “Influences” there those who have nothing and who refuse “I am always with HUO Here you mention a quotation from Lorca. the tranquility of having nothing.” Because when we It is beautiful. Lorca. I made this landscape painting. Do you see this landscape? YA Yes, of clients wishing to buy put this in exhibitions there were lots No, my influence was mostly related to what I saw in Turkey. For example, the shadow theater with the shadow theater example, For in Turkey. related to what I saw was mostly YA No, my influence the curtains th curtains and on of Karagöz. There are the figure over an important influence China. This had originally comes from It is said that this Karagöz… theater, It is there are no paintings. Islamic country, is an me. And says, since Turkey Because one miniatures… you have if Palace, the Topkapı go to the library at When you there be paintings? Why wouldn’t ridiculous. can find manuscripts from the 15 the authorization, you there was something that the collectors forgot; this is where Lor there was something that the collectors HUO Is it where he died, Granada? and they brought him to the place in this in Granada, the fascists found Lorca where he was hiding YA Well landscape and they executed him. true. HUO Yes, was a beautiful painting. But they forgot YA But everyone wanted to buy this landscape painting since it Lorca was executed by a firing squad here, in front of that he was executed by a firing squad here. Poor this beautiful landscape. Arture 428, İnsan 69: Şizofreniler, toplayıcılar Arture 428, İnsan 69: Şizofreniler, collectors ] [Arture 428, Human 69: Schizophrenics, 1991 35 x 43 cm Courtesy santralistanbul started your magnificent drawings ings.” So in 1961, I got my passport and ings.” So in 1961, I got my passport and in Turkey in the 1950’s, what were you influenced by? Was it a Turkish influence or an international it a Turkish by? Was what were you influenced in the 1950’s, in Turkey influence? I would like to ask you about your influences. When you started, you had this magnificent book HUO I would like to ask you about your influences. When you started, called “Influences.” There is the influence of literature. When you We were going to write it. Because, what is Surrealism? They founded it when they were young. André Because, it. were going to write YA We Breton, Edouard, other Surrealists, Aragon… they were young. And They founded it when me, I was born we follow were young, why would We in 1933 and in 1933, Surrealism was an almost finished movement. the two years ago? So my friend and I, something that they had come up with when they were young, 40 We went to see a lawyer. of us started a school of phallicism. In the years 1959 and 1960 (laughs). We said that we would face problems asked the consequences of starting such a school. Our lawyer friend decided not to start such a school. But for So, it would not work. We and lawsuits, like pornography. many years my signature remained Comte de Phallus. manifesto? there a phallicism HUO Was When I was young, I used the signature “Comte de Phallus” (Count of Phallus) in my paintings “Comte de Phallus” (Count YA When I was young, I used the signature (laughs). I sent a letter to André send any paintings to Paris Breton explaining to him why I could not found this letter later on the internet de Phallus.” We in 1959. The letter was also signed as “Comte that there was a Marquis de Sade from He must have thought because Breton had kept it in his archives. from İstanbul. İstanbul, and now a “Comte de Phallus” phallicism Is there a phallicism movement. Your HUO I am very interested in your movements. manifesto? went to the Gallery Raymond Cordier, in Paris. went to the Gallery Raymond Cordier, Cordier Gallery in Paris. Among Sade. Cordier bought these paintings there was a portrait of Marquis de Cordier Gallery in Paris. that portrait and showed it to André this gentleman to our invited Breton. André Breton said: “We did not send any paint exhibition but he did not participate, he

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7 RES MARCH 2010 MARCH Arture 166, Kapital XV A (İş kazaları) Kapital XV A Arture 166, XV A (Work Accidents)] [Arture 166, Capital 1972 36 x 28.5 cm Jacques Vallet collection Courtesy santralistanbul . A textile factory. And Engels . A textile factory. even Mill did. e. hester him how circulation works. He explains, ) I was like you, I was ? (laughs) I was like you, I was superman (surhomme) Yes. He was the manager of a factory in Manchester. Recently, a biography of Engels on this topic has Recently, a factory in Manchester. He was the manager of HUO Yes. been published. He knows it from the inside. Not from the outsid explains it to him. He answers. He writes letters. He explains to ) because Engels is a boss. (laughs because he [Marx] cannot understand everything. But Engels knows, Yes, capital… Because actually Karl Marx never mentioned the fight between capital and labor. He only fight between capital and labor. Karl Marx never mentioned the capital… Because actually YA Yes, instance when he does not understand the circulation describes capital, the capitalist system, right? For of capital, he writes to Engels. Engels works in a factory in Manc Isn’t this at the same time about the fight? This is the fight between the capital and labor. the capital and labor. the fight? This is the fight between this at the same time about HUO Isn’t is a boss. He has a factory and a thousand workers and he says “I have a instance the hand is a boss. He has a factory and a thousand YA For Hand. A hand-worker for him. (laughs) thousand hands.” He sees workers as himself. Can we say that it was a portrait of work? A portrait of labor? A portrait of labor? HUO Can we say that it was a portrait of work? YA Yes. So you started in 1967 and you gave the “Capital” an image? And “Capital” an image? HUO So you started in 1967 and you gave the The Capital is a great cycle of drawings. Yes. Understanding the book, Karl Marx, Marxism. That means dialectic materialism and putting the dialectic materialism and Understanding the book, Karl Marx, Marxism. That means YA Yes. “Capital” into images. These are very different. Yes, when I was interested in the politics; people, the society… I asked myself what am I going to study I asked the society… I was interested in the politics; people, when YA Yes, and Marxism. What Marx, his friend Engels and I said I will study different. it’s HUO Yes, It was when you made your cycle on the “Capital,” right? HUO It was when you made it into images. YA No, I did not illustrate the “Capital.” I put . When I became interested in others I worked . When I became interested I understood that I was not superman like everybody else. on Marx. “Capital?” HUO So can we say that you illustrated the Yes, they say that my works are erotic and sometimes pornographic, or that they are too political. It’s It’s they are too political. or that and sometimes pornographic, my works are erotic they say that YA Yes, in İstanbul. Around I explained this with my paintings I was under the influence of the 1967 neither. him. I was married and I had I was very much influenced by Nietzsche. Friedrich German philosopher am I Then I asked myself, kids. I ate like everyone. The interesting thing here is that Brecht and poetry, Lorca and also Mayakovsky bring us to politics. Mayakovsky bring Lorca and also that Brecht and poetry, thing here is HUO The interesting you tell us with politics. Can is very much involved that your book your book, I’ve noted When I read your political relationships. about this,

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9 RES MARCH 2010 MARCH Arture 313, Etkiler (B)-46 (B. Brecht etkiler altında: Villon’dan K. Marx’a) [Arture 313, Influences (B)-46 (B. Brecht under influences: From Villon to K. Marx)] 1983 30x21 cm Lale Kula Özerden collection Courtesy santralistanbul Arture 216, Etkiler 5f (İslam Sanatları) [Arture 216, Influences 5f (Islamic Arts)] 1980 30x21 cm Besi Cecan collection Courtesy santralistanbul

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11 RES MARCH 2010 MARCH nd I say to them : “I will tell you e?” A YA Right. there are Most of the time works. a lot in your you draw hands role of hands? Because HUO What is the work. And accident in this example, I see a work cut off here. I see a hand hands. For My This is an homage to my father. What is this really? talking about a work accident here. we are YA Yes, as the result of a factory and he lost one of his fingers He used to work in a plywood father was a worker. homage to my father. That is also an work accident. you tell us about the colors you have? color palette. Can use very few colors. It is a limited You HUO Yes. I prepared. paper I call these natural colors. Look at the YA Of course. Because yes. What does Rustrel mean? Geographical? HUO Wow, It comes from It comes from Turkey. the raw material is the soil. Look… YA Look, when I prepare the paper, Mexico, America… HUO So what is Rustrel? times, The raw material is very prehistoric. In the olden YA Rustrel is a small holiday village in France. it themselves. So I thought of They produced did not buy paint. when they did paintings in caves, they Here are my colors… using natural colors. Not artificial ones. These are pigments. HUO Wow… I’ve always used it. it gives color. These are colors of stone. When it touches the paper, YA Yes. exhibition. ActuallyHUO There is another chapter that I saw at the of artures there are many series Andrelating to the subject of the “Capital.” “Capital.” But this is another chapter. arture is related to the And we see dogs. And then there is arture. Can you tell me a bit about this arture? But they wanted to sell my paintings. When I went to the Gallery Raymond Cortier in 1961, they YA Yes. But there are works are not paintings. They are not gouache. They are not watercolor. said to me: “Your me: “How is this possibl still colors. Because the collectors asked Art…tomorrow. And Art I found the word myself. combined them; arture. And and ure. I I found the word. And I said these are artures. (laughs) HUO It is like neologism. (laughs) YA It is like peinture [painting]. Architecture…Future… I added the suffix –ure. And I said these are artures. And suit me. What are artures?” he said “This doesn’t HUO And they have numbers? this one I’ve reached number 662. YA I have been numbering since then. Since 1961… With Arture 337, Autoartures VIII 1985 40x40 cm Oğuz Özerden collection Courtesy santralistanbul

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13 RES MARCH 2010 MARCH Arture 188 1978 50.5 x 71.5 cm santralistanbul collection Courtesy santralistanbul century. I wanted to provide an century. th century?” Look at this for example. Look at this for example. century?” th century. There is the Korean War here. The Independence War. Even the ones in Cambodia and Even the ones here. The Independence War. War There is the Korean century. th The 20 Yes, he and another poet. Esenin [Sergei]… He committed suicide. he and another poet. YA Yes, HUO But Mayakovsky talks about revolution… And I am curious about your interest in Mayakovsky. Political texts? No. I have been interested in politics and society. But I am no politician. No. I have been interested in politics and society. texts? YA Political HUO So are there any texts of yours that are related to politics? YA Yes. HUO When there is an urgency? Yes, I write when I feel that I have to. For example there is the text and conversation with Jacques example there is the text and conversation I write when I feel that I have to. For YA Yes, have to. well. I write when I feel that I here. I wrote the third one for example. I wrote this part as Vallet, So what is it for you? Because most of the time you write too. You wrote in the beginning. I see many wrote in the beginning. You time you write too. HUO So what is it for you? Because most of the are surrounded by their books. Mallarmé… You see Mayakovsky, books and the influence of literature. I What is the role of writing for you? Yes, like in the “Capital.” The hand symbolizes the worker and most of the time there are symbols like most of the time there are like in the “Capital.” The hand symbolizes the worker and YA Yes, this. HUO Dogs? Yes, it is symbolic. YA Yes, HUO And I see animals. Arture Artures 183. A very anxious insect. 198, 197, 193 and many artures of dogs. Yes, yes… YA Yes, HUO And one. Number 188. Arture this poor and rich countries. 188. A handshake. Shaking hands between The handshakes here are those among rich countries and third world countries… Back then they used world countries… third are those among rich countries and YA The handshakes here countries. The poor countries. to be called the immigrating I see a hand here again. There is a handshake. HUO I see a hand here again. update. series is the updating of “The series is the of course. The Capital in was written Because the “Capital” Capital.” YA Yes, And in the 20 “What is happening I asked myself: the 19th century. HUO And these portraits. And ones among there are capitalist are all sorts of are dogs. There there figures, right? Palestine are present. Tortures at camps, chemical wars… Here’s the 20 at camps, chemical wars… Here’s Tortures are present. Palestine

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HUO Turkish? YA When you are in İstanbul, as you saw when you walked around during your visit, you can see RES gravestones and fountains or mosques and there are always Arabic writings. It is interesting for YA No. Esenin was from Russia. Mayakovsky committed suicide too. Because he had understood that the foreigners, but mysterious to Turks. Especially Arabic writings. Because Atatürk introduced the Latin revolution with Stalin was not going well. The revolution was a failure. He understood this and therefore alphabet. And these gravestones, epitaphs of mosques… Since we cannot read these Arabic writings, it is killed himself… mysterious to us.

HUO He says: “The essence of his work is insult.” HUO Yes. They were like magical symbols that you cannot read, right?

YA True… YA They are mysterious to us because we cannot read them.

HUO Is that true for you too? HUO Abstract, isn’t it?

YA Who says that? YA Abstract, mysterious and this deeply effected me. Therefore I worked on Islamic art only. You see it on the streets, everywhere… HUO Mayakovsky. HUO In another one of the series in your exhibition is the series “İnsan” [Human.] İnsan 1, İnsan 5. You YA Oh, yes, yes, yes. mention abstraction. Here we get to microscopic from macroscopic. Men are like microcellular. Can you tell me about these worlds. Because there are different worlds in the artures. There is a world of ‘insan.’ HUO Is that true? YA Yes, in fact what I am interested is not the origin of man. When I decided to do this series, it took YA Yes. Because you know he was very much involved with the revolution and he believed in it. He was 15 years. And I said I am not going to do Darwinism on origin of man. Not something on the origin not like the other one, Esenin. Esenin was very angry, furious. Because he said: “They hosted us at the of man, but on the origin of life on earth and I studied this. I found books. Then I said to myself, I am Kremlin. They did not even give us chairs. They did not tell us to sit down.” Esenin was furious. But going to work on the structure of the nervous system. How the nervous system is formed. How life Mayakovsky was very much involved with the revolution. But he believed that it was the end when he actually began… And afterwards the nervous system. I studied these like a scientist and I understood was talking about the revolution. to the extent that I could. And after the nervous system, the normal nervous system and diseases of the nervous system… And of course later, mental diseases and schizophrenia. And I was very much HUO You make lists a lot of the time. Currently there is an Umberto Eco exhibition at the Louvre. Umberto interested in schizophrenia because there are millions of people with schizophrenia in the world. In Eco wrote a new book about lists. And then there is of course Georges Perrec, who worked a lot on lists. Switzerland… There are around 30 million people with schizophrenia… And you too, you make lists a lot of the time. Do you like lists? HUO Yes there is art brut [outsider art], right? YA Not always! It depends. YA Yes and I like it very much. I heard about it at the exhibition in Paris too. Because I travel a lot and HUO There was another question that I wanted to ask you. There is another series in İstanbul. These are I rarely go to modern art museums. Or I go to see these kinds of things or a biennial very rarely. But auto-artures. We arrive at auto-arture from arture. And within the arture system, there are auto-artures. when there is an art brut exhibition, or productions of the mentally ill, I go and see these. For example Is auto-arture polyphonic of auto-portrait? Or how do we define auto-artures? the last one was at La Halle Saint Pierre and I immediately went to see it. I bought catalogues. I love this. I love it very much. But once they discovered erotic art in the 50’s, there were no longer great YA Yes, yes. I have always been interested in others. Other poets, other writers, etc. Now I must turn to schizophrenic creators. Because everyone calmed down with the erotic art. The fights in the hospitals myself. Because I have my parents. And this is how it begins. Where I was born, with my parents. And ended. Everything is calm. (laughs) There are no longer great creators like Dubuffet. like I said, I wrote it in this book. Waking up in the morning, having three cups of tea, reading, working, working… Reading and books. (laughs) And I wrote that there is nothing interesting in my life. The only HUO Did you get to know Dubuffet? thing I could do was to arrange my system of working. And I wrote that I turned back to a great poet that I had just met, Dylan Thomas, and also Pessoa [Fernando]. He is Portuguese and I turned back to the poet. YA We wrote to each other. This is how I wrote, yes. In auto-arture I wanted to turn to myself. And the texts end in 1986. HUO Yes?

RES HUO There is another thing that I would like to ask you. It is about Islam. I would like to know what vision of Islam influenced you? YA Yes, we wrote letters. MARCH 2010

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17 RES MARCH 2010 MARCH aris in 1961 and I had an aris in 1961 and I had put portraits of my friends who are of my friends who put portraits the group. I did not join the Surrealist the group. I did not Arture 423, İnsan 64: Afyon [Arture 423, Human 64: Opium] 1991 35x66 cm Ceyda ve Ünal Göğüş collection Courtesy santralistanbul As you saw in the exhibition, I put the portraits of my friends on display. But the painting market But the painting market YA Ason display. friends the portraits of my exhibition, I put you saw in the all died. I did not are still alive, they But none of them stopped me. died. my friends who have It is an homage to still alive. HUO Here is Topor. was a good friend of mine. he is Topor, there YA Yes, in the panic movement with Jodorowsky? HUO Did you participate I was in P within the scope of Surrealism. But YA No, no, no. I do not fall I went to his house but I never joined appointment with Breton. Why like groups. They remind me of the military. join the panic group? I don’t group. Why would I there be uniforms? wouldn’t interest in What is your that you write about Heiner Müller. HUO What is your relation with theater? I saw theater? say is that he What I would like to like theater much. I liked Heiner Müller for what he wrote. YA I don’t actually wrote his life. And the musician. I found some things that I he loved interviews. Like John Cage, liked a lot in the books of Heiner Müller. HUO Have you ever met Heiner Müller? (laughs) re there any maps you have re there any maps you aphy? A to me. I read the whole library of no human figures in the paintings. That no human figures in a new series. This was in 1956. a new series. This was lized this a short time ago. Because in a short time ago. Because lized this s; poets, writers, they are all men. s; poets, writers, they Do you do portraits of your contemporaries? Is there a contemporary portrait by you? Because these portrait by you? Because these HUO Do you do portraits of your contemporaries? Is there a contemporary are portraits of historical persons. Yes. Like I showed here. I read, I took notes and I started to draw. In this way, I can see what I want In this way, I took notes and I started to draw. Like I showed here. I read, YA Yes. every arture. First drawing and preparing to do, right? Actually I prepare myself in my books. For sketches… HUO Another question that I would like to ask is… Apart from your paintings, you have drawings. For the books. Is that a daily practice? example sketches. Because most of the time there are sketches in Yes, it is. YA Yes, HUO “Criminal man?” Classics of Lombroso. When I could not find them, my psychiatrist friends opened their libraries to me. find them, my psychiatrist YA Classics of Lombroso. When I could not HUO Which book? a psychiatrist friend. He lent me books for years. I read a lot. And Look, for example, for years. I read a lot. a psychiatrist friend. He lent me books I bought a lot. book, but I bought it. “lombroso disease.” It is an expensive Of course, I read them. For example, when I was interested in mental disorders and diseases of example, when I was interested YA Of course, I read them. For opened their libraries the nervous system my psychiatrist friends Were you interested in medical books? Because you are evidently surrounded by literature and medical books? Because you are evidently you interested in HUO Were Have you been inspired by science or medical books? poetry. Yes… We can call it that. Yes, yes, yes. Yes, can call it that. We YA Yes… HUO But these are cartographies of men? HUO And on a book project and I invite working currently I am is the cartography of men? Because this cartogr map. Have you ever done geographical artists to do a world YA Not yet. my first exhibition in 1955, there was a criticism that there were in 1955, there was a criticism that there my first exhibition In reply to this, I immediately started there were only animals… this as days with man. can translate Günler”. We “İnsanlı man,” in Turkish I called it “Days with series of men. In fact all of the influence Fifteen years with this only interested in man. I have always been made that we can publish? That is what I realized… I said to myself, I have always been interested in man. Actually been interested I have always a type it is like to myself, I realized… I said YA That is what worked on. I rea something that I of man.’ This is also of ‘history In your work “İnsan,” the interesting thing is that it gives the impression that it provides a that it provides impression it gives the thing is that “İnsan,” the interesting HUO In your work portrait of man? we say that it is the diseases… Can of man. Cells, body, cartography

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June 16 to 19, 201019,to June16

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Tel. +49 711 44 05 204, Fax +49 711 44 05 220,[email protected] 05 204,Fax+49 711 44 05 Tel. +49711 44 June15,2010

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Vernissage BaselArtConversations Art|41|Basel Catalogorder: TheInternational ArtShow Die –Internationale Kunstmesse Basel,MCHSwiss Exhibition (Basel) Ltd., CH-4005 Basel 41 Art 86,[email protected], www.artbasel.com 26 Fax+4158206 A41B_RES_190x250.indd 1 rslan, e can say that. Because the e can say that. think there is a very important organ think there is a very ork. W pective of Yüksel A

nd Berlin st , 1 A Retrospective of

Photo credit: Cengiz Tacer Moscow Triennale, 2 st • was born in 1933 in Istanbul. He lives and works in Paris. The exhibition was born in 1933 in Istanbul. He lives and works in Paris. The (b. 1968, Zurich) joined the Serpentine Gallery as Co-Director of Exhibitions Hans Ulrich Obrist (b. 1968, Zurich) joined the Serpentine Gallery as Co-Director 2006. Prior to this, he was curator and Programmes and Director of International Projects in April as curator of museum in progress, of Musée d’Art Moderne de la Ville de Paris since 2000, as well internationally since 1991, including Vienna, from 1993-2000. He has curated over 200 exhibitions do it, Take Me, I’m Yours (Serpentine Gallery), Cities on the Move, Live/Life, Nuit Blanche is currently on view at santralistanbul (13/09/2009-21/03/2010). Yüksel Arslan is currently on view at santralistanbul (13/09/2009-21/03/2010). Wonderful. Thank you so much. Thank you so HUO Wonderful. internet for example, the technical developments in the world…I the technical developments in the world…I internet for example, etc,. they are very good. But our brain Our brain. All internet, these technical developments, in the body. is that even though I feel that I aged, one. The only thing I can say to the young The strongest is better. should use our beautiful organ, our brain. And if we advice. We I do not feel like an old man. This is not is the only thing we can do. This it. want something to work, we need to realize Yüksel Arslan No, I continue to work. Especially in this exhibition. [A Retros YA No, I continue to work. I have two last questions. Do you have projects that you could not realize, like utopias? Or what are like utopias? not realize, you could you have projects that last questions. Do HUO I have two to be realized? that are too great What are projects your dreams? YA No, no, no… ) We can say that putting something in your mind is realizing it. This means that one should This means it. mind is realizing can say that putting something in your YA (laughs) We to w One needs to be serious. One needs not be afraid of working. Rainer Maria Rilke is advice to a young poet. What would be your advice to a young artist today? What would be your advice is advice to a young poet. HUO Rainer Maria Rilke santralistanbul] It was very well prepared. On three floors. We could not find everything I made. We was very well prepared. On three floors. santralistanbul] It lost paintings, artures. AlthoughMy works… There are find them all, they found almost they could not I am happy. they did something important. 600 paintings. I think , 1 Biennale, Manifesta 1, and more recently Uncertain States of America Guangzhou Trienale (Canton China), and Lyon Biennale. In 2007 and 2009, Hans Ulrich co-curated Guangzhou Trienale (Canton China), and Lyon Biennale. In 2007 He was also Il Tempo del Postino with Philippe Parreno for the Manchester International Festival. the Van Alen Institute. Obrist is the awarded the New York Prize Senior Fellowship for 2007-2008 by author of 50 books, most recently, A Brief History of Curating.

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21 RES MARCH 2010 MARCH James Siena Forty-Six Combs 2008 Screenprint in 33 colors, 62 x 48 1/4 inches Courtesy Barbara Krakow Gallery of th , , Funes, with ultimate things, and with ultimate things, and , tells no stories, uses no s face cannot be compared . The question of how abstract , or at the same time. Jorge of movement, all these are difficult of movement, all these unknowing game CENTURY in the spray which an oar raised in and passive, mind and matter by s to it my Square’ res. If we remove the entire ideological . He could reconstruct all his dreams, e is the term “abstract music,” which years, driving nature out of art don, 2001), p. 259 ST ollections were not simple; each visual ollections were not simple; each visual can be in his short story e clouds in the south at dawn on 30 k to Magritte.) an object side its metier lays an memberment of the object and its reconstruction memberment of the object le. In the highest circle an ultimate mystery lurks le. In the highest circle an always also has something to do with a view of the world at the respective time always also has something to do with words. Ferruccio Busoni and Johannes Brahms, for example, championed absolute or abstract music. Busoni and Johannes Brahms, for example, words. Ferruccio if it does not depict In painting, a picture is considered abstract is banal, for it may be a visualization shapes and sections a picture can be that only shows geometric Black Square of 1915 Malevich’s machine cycles, etc. Kazimir of mathematical structures, processes, world: “...I am happy that summarizes the Suprematist view of the fathers, and I am not like them. I too am a stage obey the with any master or period. Am I right? I didn’t ...My philosophy is the destruction of towns and villages every 50 But certainly not to kill that living, vibrant source in man... and destroying love and sincerity in art. And you will never see on my Square the sweet smile of Psyche. And my Square will never be used as a mindset. abstract pictures were a product of his theosophical mattress for lovemaking.” Piet Mondrian’s He aimed to balance the contrasts between male and female, active using equal proportions of the vertical and horizontal in his pictu among other things, which the history of superstructure, these two painters formally point the way, that a picture always consists of a mount abstraction in the visual arts took. It must be noted however, and color palette, and a picture of a pipe is not a pipe (with a win Luis Borges wonderfully describes how different this perception Luis Borges wonderfully describes how saw all the shoots, the table; Funes three wine glasses on in a glance, perceive the Memorious: “...We, the shapes of th clusters, and grapes of the vine. He remembered yet achieves them!” NE & Lon Century of Isms, Mary Ann Caws (ed.), (Lincoln, Paul Klee, in Manifesto: A ART PRODUCTION April the marbled grain in the design of a them in his recollection with of 1882, and he could compare only once, and with the lines leather-bound book which he had seen the Quebracho. These rec the Rio Negro on the eve of the battle of thermal sensations, etc image was linked to muscular sensations, all his fancies...” in Latin refers to removing, of the word “abstract” Generally speaking, the etymological derivation etc. In music ther separating, omitting, generalizing, simplifying reference to fields out is a type of music that does not make any – nothing happens on its own, without that which happens previou – nothing happens on its own, without TEXT IN GERMAN. TRANSLATED BY JEREMY GAINES TEXT IN GERMAN. TRANSLATED BY the dis their grouping into complex subdivisions, “The release of the elements, SABINE BOEHL an equilibrium polyphony, the achievement of stability through into a whole, the pictorial circ for formal wisdom, but not yet art in the highest questions of form, crucial Art p the wretched light of the intellect is of no avail… behind the mystery, and

RES MARCH 2010 THE IMAGE’S SPACE IN THE 21 IN THE SPACE IMAGE’S THE

ABSTRACTION - THE SPACE OF THE IMAGE AND IMAGE THE OF SPACE - THE ABSTRACTION 20

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The positions of abstraction in art today are inconceivable without their predecessors, starting with RES the reduced Renaissance frescoes created by artists such as Giotto or Piero della Francesca, through Modernism’s versions of Cézanne, Monet, Seurat, Mondrian, Malevich, Duchamp, Leger, Matisse, Fontana, Picasso, Braque, Yves Klein, Moholy-Nagy, Schlemmer, Josef Albers, Anni Albers, Elaine de Kooning, and Willem de Kooning, to the Abstract Expressionist painters of the 1960’s such as Ad Reinhardt, Barnett Newman, Frank Stella, Sol LeWitt, Morris Louis, Kenneth Noland, Agnes Martin, Mark Rothko, Robert Mangold, Dan Flavin, David Rabinowitch, then on to Pop Art with Andy Warhol and Roy Lichtenstein and in France the work of Daniel Buren, not to mention Gerhard Richter, Gerhard Merz, Per Kirkeby, Günter Umberg, Imi Knoebel, and Hanne Darboven in Germany, Max Bill and Helmut Federle in Switzerland, Piero Dorazio and Bruno Munari in Italy, Bridget Riley in England, Olle Baertling in Sweden, finally, not forgetting John Cage and electronic music, etc, etc, etc. Even Kenneth Noland talks of his interest in “Old Masters” such as Mondrian, Klee, Matisse, Ingres, Velazquez, Corot or Goya. The longer he works, he claims, the greater his interest in these “Old Masters” becomes. Each position devised sets of vectors along the axes of what has been done before (be it by negation or affirmation of the past,) and at the same time is a further piece in the mosaic of the possibilities of realizing abstraction today. I invite you, the reader, to take a tour with me of the various possibilities of exploring this tradition of abstraction today, to be the place where you can experience abstraction, the image space of the area of the canvas or the Euclidean space in the sense of the overall visual composition.

Stella’s and Pollock’s are positions that resurface when we observe James Siena’s works. For example, the ironic reference to Barnet Newman’s painting Who’s Afraid of Red, Yellow and Blue in the title of a lithograph dating from 2006, Who’s Afraid of Barney, reveals that he is conscious of his tradition. However, he does not use large formats in an attempt to give an impression of grandeur, nor the full- body gesture that continues the all-over painting method, rather, he uses concentrations in small and medium-sized formats, realized line by line in free hand. In his early works, for example Column Doubling of 2004, Siena used algorithms: While a horizontal section of the picture continually expands, starting from the left edge, the vertical sections narrow at the same pace. “I don’t make marks. I make moves. The reality of abstraction is my primary point of engagement. When I make a painting, I respond to a set of parameters, like a visual algorithm.” In his pictures, Siena repeats larger sets of structures on a smaller scale. Such as in Recursive Lighthouse, also of 2004, he applies lacquer on aluminum, in which the repeated division of a quartering of the space by wavy horizontal and vertical lines produces ever smaller segments, until the area is completely covered by light and dark lines. A recursive process is one that invokes itself – light and dark alternate – the title Recursive Lighthouse seems to say everything, and yet says nothing of the rampant impression of the picture, which repeatedly eludes observers’ attempts to get a complete, illuminating look at it – an impression which Katharina Grosse Faux Rocks the irregularly positioned tesserae in Byzantine mosaics, for example, also generate. In Heliopolis 2006 of 2005, a curving, light-colored sinuous structure grows out from the center, with gaps filled with a DEUTSCHE WANDSTÜCKE Sette scene di nuova pittura germanica, Museion, Bozen Acrylic on floor, wall, stone, 352 x 4.817 x 365 cm reddish-brown tone, perhaps sienna or sepia. Differing line thicknesses and widths of the meandering Photo credit: Hartmut Nägele bands confuse our sight, and we get lost in the intricate, interlaced lines. “... The tautness between the © Katharina Grosse and VG Bild-Kunst Bonn, 2010 one and the many, the single line and the multitude is one of the deep pleasures of Siena’s paintings.” [1] In more recent works, Siena also depicts figures in labyrinthine clusters of lines, such as faces or individual bodies, erotic situations, interlaced figures penetrating each other, all of them extending over the area in the lines, never instantly clear to the eye. Nobody Listens to the Old People is a graphite drawing on blue paper from 2006. Here the meandering line defines the head of an old woman with her

RES lips sewn together. In terms of composition it has something in common with the grotesques drawn by Da Vinci and Michelangelo. Siena goes one step further in the direction of an existential orientation MARCH 2010

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with works like Flat Red Girl of 2008. The artist treats Katharina Grosse is interested in the phenomenon inherent in painting; that it is simultaneously RES the surface structurally in his usual way, but as the able to generate illusory spaces and really exist as a material. “When I look at a waistcoat that Goya observer looks, a female figure reveals itself, drawn painted using dashes of ochre, in that context they are golden buttons, but they are also oil paint. This out over the surface like a cave painting, divided into simultaneity of materiality and illusion is a phenomenon unique to painting.”[3] Katharina Grosse’s various red tones, masturbating and surrounded by early works are canvases, painted with vertical and horizontal bands of color, and later with diagonals, sets of lines in ochre to yellow colors. In this way, Siena circular segments and finally solid patches of color. She then started creating pictures with spray paint. grasps an intangible physical feeling with his peculiar “Graffiti is a declaration of the author’s presence and power. They are very distinct calligrams that mark artistic style which we can never quite catch. a territory... This feeling of an aggressive occupation of a place gets complicated in my work because the method of temporal interweaving, which comes from painting, undermines clear-cut hierarchical Like James Siena, whom he met in Los Angeles, Fred relationships.” [4] Like Pollock with his drip paintings, Grosse works by using a spray gun with a full- Tomaselli works with meticulous detail. “James and body gesture. Through her chosen medium, spray paint, with which she covers everything, Grosse puts I were these low-end workers of the art world and I everyday objects and presentation spaces in their own context, like Louise Nevelson before her, who in a guess we were fairly suspicious of this dismissal of final step covered her relief assemblages, consisting of various materials, with one color, making them craft,” Tomaselli has said. With his works, Tomaselli monochrome. In contrast to Jessica Stockholder, who compiles prefabricated, already colored objects aims to both open a window to another world and into an overall artwork, for Grosse spray paint is the combining element. Earth, the oldest pigment, reflect everyday reality. Unlike Siena however, he does often dumped, piled up, spray painted, also partly binds installations together. Three-dimensional not just use color to do this. Tomaselli’s pictures are image carriers, like balloons, transform the flat image carrier canvas into an object that occupies the collages, consisting of photographic reproductions of space, as in the exhibition “Picture Park” at the Queensland Art Gallery in Brisbane in 2007, in which she reality, real objects, like LSD pills or cannabis leaves distributed acrylic paint over the walls, ceiling, floor, a mound of earth, latex balloons and canvases. Katharina Grosse and painting: “...I try to throw as much information This Is No Dogshit 2007 into an object as it can handle...” As a final step, he Franchise Foundation, Leeuwarden applies transparent epoxy resin to the various layers, Acrylic on bricks, floor and glass psychedelic-looking compositions, patterns, thus Photo credit: Harold Koopmans © Katharina Grosse und VG Bild-Kunst Bonn, 2010 evening out the different material qualities with this shiny surface that in part reflects its surroundings. He then applies the final details with paint. From his numerous archives for every possible mode of photographic representation, from figures, animals and flowers to objects, pills -which he first used in 1989- and color, Tomaselli assembles animal constellations, decorative dream-worlds, landscapes fed by both his experience with drugs and his reception of art and perception in general. “...Going to Disneyland and then happening to go into a Bruce Nauman retrospective is a good indication of the dichotomous level of my formative growth (laughs.) Also LSD had been a formative influence on how I saw the world... I get a lot of juice from Asian art, German Romanticism, Pop Conceptualism and so on and so forth.” Thus in Echolocation of 1998, ellipses of mouths, eyes, pills and leaves are superimposed over each other, forming a complex spiral structure. In Field Guides of 2003, a swarm of butterflies follows a reaper who is planting a field of mushrooms with his scythe. On the surface, exactly the same is visible in Avian Flower Serpent from 2006, in which a bird of prey sits on a branch holding a snake in its claws, surrounded by decorative flowers – naturally the observer’s gaze can also focus on the odd pill, photographic detail etc... Parallel to these works, the artist has created charts such as Portrait of Frank and Dave of 1996, in which the drugs the sitter has consumed are plotted both in a photogram and a constellation. Other diagrams are devoted to all the rock bands he has ever seen, the vertebrates that have become extinct since 1492. In Red Iris, concentric circles made up of different-sized circular shapes and resembling eyes are concentrically arranged around a central point. “Most of my favorite art hits the viewer in some non-intellectual, intuitive kind of way. You can lose yourself in the work. It’s a singular moment, but the complexity is there for later. You get more information the longer you look

RES at it. At different times it might mean different things. You allow these other kinds of information to sit there and be available for another day...”[2] Renée Levi MARCH 2010 Sar›yer 2003 Museum Folkwang Essen

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In an exhibition project at the Contemporary Arts Museum in Houston, Grosse incorporated eggs into RES the installation. She subsequently developed from this larger, circular, spherical and egg-shaped forms, which she arranged in clusters. The egg, in the Renaissance a symbol of absolute perfection and structure, as in Piero della Francesca’s Brera Madonna, showing an enthroned Mary with various saints and Federico da Montefeltro, also interested Grosse because of its fragility and the way visitors moved through the exhibition. Katharina Grosse is conscious of her painterly tradition; she studied Matisse’s work early on. “Katharina Grosse feels she belongs to this line of continuity, the common thread that connects predominantly American painters ranging from Abstract Expressionism to Color Field Painting. Yet on examining her work, it also becomes clear that the gigantic splurges of color that she uses are also macroscopically akin to the brushstrokes of the impressionists and expressionists.”[5] Tangible traces of the production are also part of her installations. For example, canvases she paints in situ are rehung elsewhere in the installation and only the sprayed “frame” remains - the empty space where the picture was created. Grosse paints over her own objects and ultimately also her own pictures, which are assembled in a new exhibition context. The Director of the Museo Civico di Modena, Angela Vettese, speaks of “anarchic abstractions.” Whereas in Stella’s work, the three-dimensional objects relate back to the Baroque, in Grosse’s art it is the orchestration of the spatial situation that calls to mind this epoch. However, Grosse is not interested in symmetry or spatial harmony, rather, her installations are frequently disruptions of symmetry within the space, even in the outside architectural space, comparable with John Cage’s noise as an element in music. This is no Dogshit of 2007, for example, is an attack with white paint on a gray façade in Leeuwarden in the Netherlands. The first floor, the entrance area, the door, window and parts of the plaster are covered in evident gestures with white paint, creating the impression of a flash of light frozen in time.

Unlike Grosse, the trained architect Renée Levi works with the available space, questions its structure, emphasizes previously unnoticed elements and works with a reduced color palette: “A good picture stands out thanks to its clarity – clear in form, clear in color, clear in space.” In a “controlled gesture,” as I would describe this act of realization, irregular graffiti covers the regularity of the artist’s chosen format - be it walls, MDF panels or strips of paper. GALATA, a work dating from 2002, and shown in the exhibition “Painting on the Move, Es gibt kein letztes Bild - Malerei nach 1968” (Painting on the Move. There is no Final Picture. Painting after 1968) at the Museum für Gegenwartskunst in Basel, consisted of four MDF panels, each measuring 4 x 27 m. Around a fifth was sprayed vertically with fluorescent reddish-orange paint in horizontal lines running parallel to each other. Then there was a white section painted in the same way and finally white symbols arranged closely in a row like knots resembling flowers. The overall composition was reminiscent of Monet’s Water Lilies. Levi used fluorescent yellow for further works. The title SARIYER refers less to the color of the paint she used in 2003 at Museum Folkwang Essen, and more to the fact that Sarıyer, a district of Istanbul, literally means “yellow place.” Thus this work, made using yellow fluorescent acrylic, took as its theme the specific perception of a place. “A title gives a name to a previously nameless and speechless experience. When naming something, understanding itself is also important, which I also slip in or make the central theme, because the name says something, names what is there, but is only present as an idea and Peter Kogler Installation view experience.”[6] In the work, fluorescent yellow is spread out over 300 continuous meters of white self- 2009 adhesive film. In this installation, the film was directly sprayed and hung on the gray wall in various Museu Coleccao Berardo, Lisbon Photo credit: António Nascimento constellations – sometimes with three strips of film, one above the other, at others the artist’s name Courtesy the artist -LEVI- was formed from the film, at still others the year of the exhibition -03-. With the name, composed

RES of vertical and horizontal segments of film, Renée Levi doubly laid claim to the space; the signature became an element of the installation and simultaneously made reference to the sub-cultural strategy MARCH 2010

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of “tagging,” in which the abbreviated signature, a pseudonym, marks the territory of the respective RES sprayer. “I seek a quality of ambivalence with my work, which cannot dissolve, but rather constantly recharges itself. Spraying increases this phenomenon of not being able to hold or touch, because the fine spray dissolves the edges of the line, its contours.” In ICONOCLASTE 2005 shown at the Parvis Centre d’Art Contemporain Ibos of 2005, for example, she worked exclusively with blue. Lines going in various directions covered the walls, sometimes in eye-like ellipses in a row, at others in horizontal rows of wavy lines. Levi’s works evolve from a drawing. Renée Levi: “I produce drawings. In fact, everything comes from the drawings. Small A4 drawings. I make a drawing on the table, or on the floor. Drawing is like practicing, rehearsing. And then the work is the performance. If we compare it to theater, so that we can understand it, you can’t just stand on the stage and tell a story. You have to prepare for it. For me, that is drawing. I actually paint pictures on canvas. That is my work.”

While Renée Levi works with space, it serves Peter Kogler as a projection screen for his computer- generated rastered labyrinths. In these installations and projections, ultimately the beholder also becomes a part of the installation and a projection screen for it. Kogler’s alphabet is one whose characters make reference to information flows. They are symbols like the brain, the pipe, “this black- and-white pipe shape is a primary formal design element, we need think only of the Cubists or Fernand Léger or the column shape in architecture in general.”[7] Other symbols are the globe, light bulb, rat and ant. “The ant happened to crawl over the newspaper, and I simply followed it with my camera. I didn’t originally intend for the film to be an autonomous work. Only upon subsequent reflection did I realize that it was not just an ant, but an ant on a newspaper page, i.e. an ant in relation to a system of symbols. The ant itself as a form has a very strong symbolic character and appears as though it takes on a new life as a letter.”[8] The grammar on which these characters run their labyrinthine course is that of periodic repetition, infinite recurrence. In the projection Everynowhere at the MAMCO in Geneva, the space was illuminated in a flash of bright greenish-yellow, and then speckled with medium green, organic spots of color, similar to in ON/OFF at Casino Luxembourg, in which bright green light formed rows with the “growth” of an ant structure, divided into separate pictures. In “Eye on Europe,” MOMA, New York, 2006, Untitled 1992/2006, ants meandered over the wall. In SOCIÉTÉ DES NATIONS factice et scindée en elle-même, Circuit, Lausanne, 2006, a light bulb blinked in front of a repeated arrangement of brain structures. Square or isometric grids, both the basis of computer animation and the basis of structure in the history of painting, for example in the Renaissance, serve as the basis of Kogler’s constructions. Thus warped isometric grids cover the walls and ceiling of an exhibition like wallpaper, as in 2008 at the Mumok in Vienna, for example. The degree of warpage of the grid meant that the walls appeared to assume an organic structure. The projection of a bright square grid made of tubes (one tube arranged optically in a vertical position at the front with the one behind positioned horizontally) covers the walls and is reflected in the floor. Whereas the square grid was used in the Renaissance to structure an image space, the image seen as a window, in Kogler’s projections the beholder feels incorporated into Ateliers Jean Nouvel The Louvre in Abu Dhabi the visual space. When these grid structures dissolve into amorphous structures in the subsequent 2007-2012 sequences, he feels a strong sense of instability: “In the labyrinth, the infinite line can also represent © Ateliers Jean Nouvel the transition ‘life-death-life,’ of which we are not necessarily aware and which is capable of replicating itself in all directions and covering entire surfaces. Even the simplest form of the labyrinth has a deep meaning, conveys a sense of division, an idea of the archetype of life and death as a whole...” [9] Kogler’s works can also be found in the outside architectural space, for example, his projection of white rats onto the gridded relief of the gray façade of the Mumok in Vienna. The projection both broke up the façade

RES and at the same time needed it to bear the images. MARCH 2010

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31 RES MARCH 2010 MARCH atterns , he began with his , you approach an auto- in reverberations and reflections in reverberations and rather grids and spots of light all generated e, of the city or countryside, of the But there is also a geographic and give rhythm to the façade like a piece built in 1987- 88 as a solitary black built in 1987- 88 as medium that freezes time; sound with blue and white azulejos. P nd four enclosed courtyards. The ground nd four enclosed courtyards. The ground d on buildings, architects such as architects such d on buildings, sidential use. Like the Institut du Monde sidential use. Like the Institut du Monde t Jean Nouvel did indeed originally did indeed originally t Jean Nouvel era-like diaphragms, and reappears in the era-like diaphragms,

While visual artists are regaining the function of designer in an the function of artists are regaining While visual Jonas Architecture Hutton and Dale Sauerbruch Jean Nouvel, Boullée’s Etienne-Louis are following interesting tha It is especially io anche son pittore.” dictum “Ed The from his parents. in 1964 under pressure study architecture before deciding to a painter, want to be traditional of sculpture, painting, combines aspects all over the world made him known building that of the On the south side of the façade architecture with cutting-edge technology. ornamentation, and Institut du Monde Arabebehind the glass. In Arabian “Mashrabiyas” positioned there are 240 so-called inside to look like shutters, allow people that, are decorative wooden lattices architecture, Mashrabiyas of the Institut iris diaphragms from looking in. The computer-controlled but prevent people outside out, du Monde Arabe, the amount of sunlight entering to continuously regulate built in 1987, were designed of light The theme began to consider the question of light. Institute I also the Arab World the building. “At cam wall, which consists entirely of is reflected in the southern the blurring of contours, the superimpositions, stacking of the stairs, was Onyx Cultural Center in Saint Herblain and shadows.” [10] The a lake. The Alcantaracube on the edge of this year. project in Lisbon is due to be completed Mar housing context in terms of architecture with its use of existing historical This project accommodates Lisbon’s and the façade design, construction materials typical of the city and patterned sections of different sizes structure, emphasize and and patterned sections of different sizes will be arranged arou of fabric. 160 apartments in four buildings the upper stories for re floor is reserved for commercial use and Arabe, the Louvre Abu Dhabi, planned for 2012, draws inspiration from traditional Arabian architecture: place is a stage in mutation. “...it is important to consider that each of modification rather than disconnecting I prefer projects that begin with the idea historic continuity. depth. delicacy, to do a project full of simplicity, I always wish My attitude is not modest. from the context. location, the desire of peopl Projects which maintain the spirit of the Abu [11] The Louvre buildings that came before it...” be spanned by a perforated Dhabi building is to This dome is reminiscent of a synthesis of the dome of the sail roof measuring 180 meters in diameter. through the treetops. The lighting as it filters in Rome and the natural distribution of light, Pantheon position of the sun. Shadows, changes in the space depending on the by the roof migrate over the walls and floor. floor. by the roof migrate over the walls and with minimal materials in pictures and space, Carsten Nicolai (a.k.a. noto, alva noto) not only works minimalism. A trained landscape architect but in music too he follows the path of a direct descendent of Schönberg and does not consider himself music projects about 12 years ago. He him. AlthoughStockhausen, though they did influence he generally produces his pieces on computer; modified. Asfor the project Xerox he copied individual notes from classic compositions which he he founded his own label in 1995, “noton,” his electronic music was initially met with little interest, to form “raster-noton.archiv für ton Bretschneider which later merged with Olaf Bender and Frank joint Carsten Nicolai worked on und nichtton.” Using the pseudonym “alva noto,” among other things, Sakamoto. “Loop,” “nucleus” and “polarity” are the words projects with the Japanese musician Ryuichi work. “I would say that I was somebody who was interested in that formed the basis of the artist’s interests me, confronting contradictions, developing processes that electronic frequencies. Polarity work on different dynamics and create dialogic contexts. Another motivation is that every one of these disciplines has a different relationship to time: painting is a static for me is a spatial phenomenon; and with an interactive installation, [11] The interdisciplinarity of Buckminster reproductive mechanism that can continue infinitely.”

PaceWildenstein, New York Courtesy Galerie EIGEN + ART, Berlin/Leipzig and Courtesy Galerie EIGEN + ART, Berlin/Leipzig Diasec on aludibond, 112,5 x 200 cm Diasec on aludibond, 112,5 x 200 2006 Fades 04 Carsten Nicolai RES MARCH 2010 30

33 RES MARCH 2010 MARCH , imbued the rench philosopher . Even when visitors nd in a sculpture from of the Indian god Shiva in e of their presence on the white the prepared space, but they cannot pty exhibition space and body-print after coating his soles with acid. e tree structure in which the light in which the e tree structure der Rohe, which is intended, together a “Stingel.” A are invited to recombine make up this are invited to recombine make up this h are covered with insulating material. h are covered with insulating material. hich are blacked out as though there snowflakes grow in glass cylinders. snowflakes grow in the only wall-hung exhibit is a name or not l way into the work.”[13] A comparison ition lighting and sound design help ition lighting and sound d an aluminum frame, horizontal stripes d an aluminum frame, d of sound visible/audible in the form d of sound visible/audible e Iles, quoting the F for example, captures a momentary captures a momentary funken for example, the year 1994, Stingel once again lends this visual form: a representation the year 1994, Stingel once again lends Fuller, the scientist Nicola Tesla’s research on alternating current, after whom magnetic flux density after whom magnetic current, on alternating research scientist Nicola Tesla’s the Fuller, The work of interest. areas are among Nicolai’s is named, spark The shape of a printed upside down. from 2003 were photographs of sparks The event. energetic of th quality; it is a visualization takes on a graphic in the space of snowflakes visualizes the production from 2002 The work snow noise the space dissipates. energy in watch lab situation. Observers are able to in a specially created opposite, with which on the wall snowflakes with linear diagrams of This equipment is complemented add the flake structures they observe. In observers can classify that is otherwise 334m/s also visualizes a phenomenon perception of the structures. focus viewers’ spee of tubes filled with gas makes the invisible: A construction in 2007, Nicolai positioned Gallery in New York Wildenstein Atof brief explosions. an exhibition at Pace strongly at different points more or less the space such that sound was created parabolic mirrors within functions with computer-generated images to form columns of 2006 blends sine (“static balance”.) Fades wo of images which the artist has beenrking on static is the name of a series of light within the space. an of magnetic tape, acrylic on polyester since 2000. Consisting utopias. of 2003 visualizes and draws on modernistic present a frozen acoustic signal. modular re.strukt on the walls, parts of w Silk-screened prints of lattice structures objects that visitors were a virus in the structure, and porcelain installation. AndIn his installations, Rudolf Stingel invites the observer to interact. not only there, for as early in his “Instructions”, a book process of image production as 1989 he demystified the contemporary on how to create in which he offers photo-by-photo instructions paintbrush, utensils in his six hands: a pair of scissors, tube of paint, polyurethane holds Stingel’s visitors to leave behind evidenc brush, mixer and spray gun. He allows foil of the walls, whic carpet of an exhibition hall or in the silver as he says, “There he also always considers himself the author of such interventions, is a However, of the individual there difference in whether the so-called trace no authors, they act within scratch in their names, they are by far who carry out my concept but by I allow painting, but not by my assistants One could say, control it. response in a materia a public that inscribes its own individual his presentation of an em with Yves Klein seems appropriate, with in 1954 Klein published pictures. And However, Klein also produced a book containing instructions. turn du Judo”. “To judo, “Les Fondements on the high martial art of a book, completely free of irony, an object upside down is to deprive it of meaning,” says Chrissi Stingel presented this horizontal action on the wall. Carpets, as highly polished, mirror-like stainless steel exhibition area with color in one show, while in another, The artist has clad floors, walls and ceilings of rooms with panels covered the floor as the only element. silver-coated insulating material. Untitled (Sarouk) of 2006 is a carpet that completely covers the floor, on which an Oriental pattern is printed typical of the Arak province in Iran with an infinite repetition Stingel will have also installed a carpet like this in February of black-and-white values running over it. 2010 at the Neue Nationalgalerie in Berlin, designed by Mies van canvases existing collection. Stingel’s with pictures on canvas, to strike up a dialog with the museum’s Maurice Merleau-Ponty, in a catalog essay on Stingel. And in a Rudolf Stingel frequently performs this act Maurice Merleau-Ponty, in his work. He “stamps” his own footprints in pieces of Styrofoam

Alva Noto (Carsten Nikolai) and Ryuichi Sakamoto Unitxt dervate version Performance 2009 Photo credit: Dieter Wuschanski

PaceWildenstein, New York Courtesy Galerie EIGEN + ART, Berlin/Leipzig and Photo credit: Jorg Lohse Installation view at PaceWildenstein, New York, USA, 2007 2006 Fades Carsten Nicolai RES MARCH 2010 32

35 RES MARCH 2010 MARCH Peter Zimmermann Beads 2008 250 x 350 cm, epoxy resin on canvas Photo credit: M. Schneider Courtesy the artist . But of course, this is . In contrast, Camouflages. In contrast, . Here we can see a similarity ’s work. “I had someone write a work. “I had someone ’s ance as in enlarged halftone uct material and thus clearly see how ch as gravity and fog of 2006 have moved on to transforming plastering to transforming plastering moved on of mental spaces. When realizing at my request in the form of decorative elements, in the form of decorative the form of a computer error that ich the paint, which is applied first, is applied first, which ich the paint, then chose from all the results the in the left and right parts of the picture. rmann of such as Untitled aroque structures, ed to cover a large part of the images Limes I of 2004, a three-part work in which Blob Paintings, he used the Photoshop filter remains visible owing to patches where it has not been painted over and owing to the characteristics and owing to the characteristics over been painted where it has not owing to patches remains visible brocade and patterns such as interior décor his paintings depicted Subsequently, layer. of the second then the artist structures etc., and stripes, star damask patterns, ornamental B plaster reliefs in paintings. He created into panel pictures ornamental his for palette color Americanthe to Similarly 2008. Stingel’s Nevelson, Louise artist to black, white and gold. Asand reliefs is reduced of gallery owner well as a black-and-white oil painting Some also produced self-portraits. Mapplethorpe, in 2005 Stingel Cooper after a portrait by Robert Paula Stingel counteracts and inverts Here, parts and always have the same motif. of these have several art- works of 2009 depict Stingel’s print strategy. serial silk-screen Andywith his handiwork Warhol’s . example, Untitled (Bishop) or Untitled (Mary Magdalene) for a similar way, historical objects in makes use of the visual tradition of non-art While Rudolf Stingel image in the form of of the art, it is the contextualization of visual case ’s in Peter Zimmermann such as for promotional the 1980’s, in started producing enlarged book covers book covers. He first dictionaries, as well as trivial books monographs on abstract painting, books on art and film theory, books and all kinds like travel guides, general cultural reference to abstract art from Mondrian via the covers when referring his art books, Zimmermann focuses on becomes necessary to also reproduce in part it thus In order to represent Pollock, Malevich to Pollock. for example. When repeated, this case the dripping method, the method of production employed, in becomes a calculated constr the quick, expressive “all-over” method realizes his Zimmermann Brushstrokes series. Initially working with oil paint, to Roy Lichtenstein’s fields on an ungrounded resin over masking-tape covered pictures by pouring pigmented epoxy forward from the series production of takes another step canvas. Like Stingel, here Peter Zimmermann pictures we in the direction of work by hand. In Zimmermann’s existing image material since Warhol the semi-transparent paint can discern underlying layers through encaustic technique, for example, Zimmermann’s Johns’ the picture is structured. Similar to Jasper A random occurrence in pictures also have the texture of reliefs. idea in motion in Zimme corrupted an image file likewise set the from the period around 1992 are silver-covered color fields in wh are silver-covered color around 1992 from the period program for me that is able to corrupt my image files with errors program for me that is able to corrupt it hundreds formalized mishap. I used one that crops up when and how it wants, but a not a real error, different results. I of times and got the same number of visually In his ones that I found most aesthetically interesting”. dots. Arrangements and consequently superimposed of circular areas separated into primary colors, flowing modules of more irregular, blending into secondary colors, were followed by pictures consisting all-over of color modules using the and more colors. Zimmermann tried out every possible arrangement method. He divided the surface up into small sections, as in pictures Other Pollock. by one on superimposed been has Newman Barnett by work a that appears it Here such as Warhol’s of his call to mind works by Morris Louis or Andy Warhol, craters” in which pictures like BL/BA from 2003 feature layer upon layer of dark nuances and leave “ the layering of paint is visible, like the rings of a tree. Pictures su a similar structure to this work. Here, black or white paint is us variations, at a few points. Finally, and only reveals the underlying layers, applied in numerous color it to realize floor works. Zimmermann has removed paint from the canvas base and used to strongly modify an existing image, giving it a fragmented appear to strongly modify an existing image, the uniformity of the arrangement is disrupted by two verticals

RES MARCH 2010 34

37 RES MARCH 2010 MARCH

Peter Zimmermann Print III 2003 resin on canvas 150 x 120 cm, Epoxy Michael Janssen, Berlin Courtesy Galerie

Courtesy the artist and Gagosian Gallery Gouache on paper, 23 1/3 x 30 inches 2004 Untitled Richard Wright RES MARCH 2010 36 39

MARCH 2010 NOTES

Richard Wright is even more committed to working by hand than Zimmermann. In formal terms, his RES [1] John Yau, p. 6, catalogue James Siena New Paintings and Gouaches works are ornamental, symmetrical structures with gold leaf or gouache mounted on walls or drawn [2] All quotes by Fred Tomaselli taken from a conversation with Philipp Taaffe, 2002. on paper. “Wright’s subject matter, if it can even be called that, is derived from a variety of sources. [3] Katharina Grosse in an interview with Ulrich Loock. [4] Katharina Grosse in an interview with Ulrich Loock. His kaleidoscopically converging lines, repetitive geometric progressions, and baroque decorative [5] Angela Vettese, p. 7 exhibition catalog, “Another man who has dropped his paintbrush” fragments collide with a variety of extrapolations of typographic fonts and patterns seemingly [6] (Renée Levi in an interview with Necmi Sönmez) [7] Renée Levi in an interview with Necmi Sönmez. derived from the world of underground tattoo design to form a kind of hybrid, graphic Esperanto.”[14] [8] Peter Kogler in an interview with Kathrin Rhomberg. Wright incorporates patterns and ornamental structures into the architectural context, as painters [9] Károly Kerényi, “Labyrinth-Studien: Labyrinthos als Linienreflex einer mythologischen Idee, 1941, Jean-François Chougnet: Das Labyrinth Kogler incorporated their frescoes into the overall architectural design context as early as the Renaissance. [10] Jean Nouvel “In the end the position of the work could be half of the work for me. In the first instance the work [11] Jean Nouvel has the possibility to affect or change the way you are drawn through the space; it therefore has the [12] Nicolai in conversation with Gianni Romano. [13] Rudolf Stingel, interview, 2004. potential to reveal the space in a new aspect.”[15] At Kunsthalle Bern, the artist distributed seven- [14] Douglas Fogle armed groups of vectors over the walls in the exhibition space, while at Kunsthalle Düsseldorf the [15] Extract from a conversation between Richard Wright and Adam Szymczyk, catalog Kunstverein Düsseldorf, 2002. pattern on the wall of the exhibition space resembled steps and the letters on the ceiling were golden, [16] Richard Wright together reading BASTARD IN LOVE, the title of a Black Flag song. In an exhibition in 2002 at the [17] Alain Robbe-Grillet, For a New Novel Gagosian Gallery, Wright positioned a realistic depiction of an eye on the wall. Linear rays starting from this eye ran at equal distances over the wall. Another of Wright’s murals was an ornamental structure in a Victorian or Oriental-looking style, horizontal, like the basic shape of a Rorschach test. Sabine Boehl was born in Darmstadt, Germany. She studied under Gerhard Merz and Daniel Buren, and graduated in Fine Art from the Staatliche Kunstakademie Düsseldorf in 2004 as a “Meisterschüler” (masterstudent) of A mural from 2005 in red gouache is composed of linear curves lined up next to each other. Centered on Gerhard Merz. She is an artist represented by Nächst St. Stephan in Vienna and Dirimart in Istanbul. As well as a wall, we find a symmetrical module that looks like a fragment of a two-winged portal and extends like producing art, she writes about it; her articles have appeared in the online magazine kunstmarkt.com. an arrow. That same year, Wright produced a ceiling work in black gouache that looks like the linear projection of an Op art picture, such as a Vasarely, or a picture by Frank Stella, reduced to the dividing lines, such as Abgatana III from 1968. Parallel to this, he created black linear gouaches on paper, floral or strikingly divided into color fields. In 2009, Richard Wright applied the lines of the ancient pattern, also repeatedly found in Renaissance floors and which generates the optical illusion of cubes, to the ceiling of the Gagosian Gallery using silver leaf. Whereas in Untitled (6.1.08) dating from 2008, a work on paper, gold leaf in rocaille structures covers the sheet, in Untitled (3.3.2009) of 2009, the vertical elliptical shape in the upper half of the picture spreads out line by line in star-like wavy lines surrounding the shape. The rocaille-like watercolor and gouache work Untitled (8.6.2009), also made in 2009, is reminiscent of a bird’s eye view of a Baroque garden of the like of Hieronymus Bosch’s Garden of Earthly Delights. Richard Wright realizes his complex murals using the same process as Renaissance artists. To transfer his mural drafts onto a wall, he perforates the draft and then transfers it with chalk dust. After an exhibition, his works are painted over: “The most important thing is that the paintings are painted over…This work is not for the future. It is for now.”[16] Richard Wright is passionate about intensive work by hand: “My history with the Tate goes back to my teenage years when I used to get the overnight bus to London, go and see the show at the Tate, go to the National Gallery and then get the next bus home,” he says. “It was the only way, at that time, of seeing a lot of art and, of course, the Tate had a collection of not just British art, but everything. There were a lot of memories tied up with it.”

Common to all the above-mentioned artists is an intimate knowledge of their own metier, the fact that they continue walking their chosen paths and that they continue, with their own means, to link the strands of art and abstraction in all kinds of ways. “For the function of art is never to illustrate a truth – or even an interrogation – known in advance, but to bring into the world certain interrogations (and also, perhaps, in time, certain answers) not yet known as such to themselves.” [17] • RES MARCH 2010

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43 RES MARCH 2010 MARCH should become part of should become . For this reason I would probably . For stood (seen) at this time. But for me stood (seen) at this consciousness – a reality - which is consciousness – a reality gy working with or informed by was working with or informed experience was somehow tied in to the was somehow tied experience No Title 2009 (Gagosian Gallery Davies St installation) © Richard Wright. Courtesy of Gagosian Gallery, London/New York, The Modern Institute/Toby Webster Ltd, Glasgow, and BQ, Berlin Photo credit: Mike Bruce being the agent of understanding - the notion that the aesthetic - the notion that agent of understanding being the from a kind of reading. or derived act of interpretation also had parallel at the time, I also say that, now. But I must a bit high minded This all sounds a desire that painting counter elitism, or with a kind of preoccupations I was a great deal of the material everything else. Consequently and non art. incidental, everyday Abstraction it is really a form of figuration. It is which means has become a technique like Surrealism, be under work of an artist like Mondrian could hard to see how the a relevant than it ever was because it invokes this makes it more as somehow not want to valorise the idea of abstraction I do our reach. However, almost entirely beyond ideolo this tendency could so easily slip into being more real, as an abstract painter. avoid calling myself ainting . . Perhaps this is my intentions and the kind of my intentions and the without the sense that it was part of at your feet artist might have been that a work artist might have been oncretism. e virtual pictorial to actual space- also pervade all cultures and histories. such thing as painting. However diotic, but essentially human. P inuum of reality RICHARD WRIGHT WRIGHT RICHARD century? Do you relate to other abstract painters? st How would you position your works in relation to fresco painting and art history and why do you and art history your works in relation to fresco painting How would you position had links to a great interest in the Russian Avant-garde and Neoc This was in part a rejection of the idea of art as I was thinking of painting more as an action than object. When I stopped painting on canvas I had the feeling – perhaps the misguided feeling – that I had the misguided feeling – that I had When I stopped painting on canvas I had the feeling – perhaps The thinking behind this was perhaps close to that of Judd in his actually stopped painting altogether. being neither painting article Specific Objects when he speaks of the notion of “three dimensionality” as nor sculpture. The move away from representation - shift from th The problem with figurative painting is that the sky always wants to be where the ground is. RW The problem with figurative painting is that the sky always wants RES There is something specifically awkward about painting; it’s a kind of obstinacy. It refuses to be a kind of obstinacy. about painting; it’s There is something specifically awkward the idea. It wants to be something else, but for me this seamless and to go along with invisible, perfect, link to the cont obstruction – tendency to mutate - is paintings is something made out of nothing. It is just pushing mud around, anyone can do it – but like singing, just pushing mud around, is something made out of nothing. It is to do it requires a certain humility. could you talk about how painting to abstraction, RES How and why did you move from figurative abstraction functions in the 21 something in the nature of a language or practice that seems to something in the nature of a language and because it is i I choose to continue to paint out of obstinacy On a technical level there is an enormous difference between fresco and the generally between fresco and the generally there is an enormous difference RICHARD WRIGHT On a technical level between use and this perhaps is a key difference fugative methods I continue to use such hands-on techniques? continue to use such A denial of a future is also a denial of a past. It was never my intention that by painting on to the wall, It was past. A denial of a future is also a denial of a contrary the On the and history. or of paintings the soul of art, I should be inserting my practice into you could not do anything problem with painting seemed to be that paint as if there was no I have always felt that you should try to history that your question suggests. The thought of the Byzantine suggests. The thought of the Byzantine history that your question quality that the work disappears. me it is a redeeming would last until the end of time. For what had already been done. furthest away tends to land paradoxically the thing that you throw

RES MARCH 2010

AN INTERVIEW WITH WITH AN INTERVIEW NOTHING’’ NOTHING’’

‘‘PAINTING IS SOMETHING MADE OUT OF OUT MADE SOMETHING IS ‘‘PAINTING 42

45 RES MARCH 2010 MARCH

No Title 2007 Commissioned by the Common Guild for Jardins Publics, Edinburgh International Festival © Richard Wright. Courtesy of Gagosian Gallery, London/New York, The Modern Institute/Toby Webster Ltd, Glasgow, and BQ, Berlin Photo credit: Ruth Clark

Photo credit: Prudence Cuming Associates Ltd. The Modern Institute/Toby Webster Ltd, Glasgow, and BQ, Berlin © Richard Wright. Courtesy of Gagosian Gallery, London/New York, Untitled (02.03.09) RES MARCH 2010 44

47 RES MARCH 2010 MARCH

. ests me - my work is made of time. of consciousness. A concentration posed certain practical constraints. e and art and belief project like a shadow in ally have. But as you say I know the from having a plan. Quite often I will use from having a plan. ce to begin. ocution. I tend to leave myself notes tend to leave myself ocution. I n this beginning will have its foundation n this beginning will m forms you are already working on? are already working m forms you

How much do you plan an intervention before creating it in-situ; are any of your paintings completely any of your paintings are it in-situ; before creating do you plan an intervention RES How much all stem fro on the wall or do they as you start work improvised the an image. Sometimes into an idea evolves my work by which clear procedure in RW There is no a lot of circuml usually there is seems more direct but situation I thought I saw. reminding me of something six of thoughts with arrive often Afterwill I drawings. of number exhaustive an make I site the seen have I Ofte But then I almost always start again. or eight possibilities. far drawings I have made, but this is very in a part of one of the copy and photocopy it photocopy it then draw on top of the I draw a part of the work and a photocopier. this is just a way of getting the confiden again and so on. Really begin completely again. up and you comes through all of this, something else Sometimes having gone most interesting works. me these are the mean by completely improvised. For This may be what you can you describe how important time, works and ornament and RES What is the relationship between your your work? science and mathematics are for you and with gratuitous or even mindless term ornament has come to be associated the In the modern West some of this, but for me it is a No doubt ornament has been repetitions and degeneration of style. which links time, scienc tendency of thought (a sensory calculus) geometric patterns suggest has shown that some of its A recent study of medieval Islamic art thirty years. Perhaps this is an example been proved in the last mathematical principles that have only that magical rites of what Levi Strauss meant when he suggested of “faith in a science yet to be born.” and appear as expressions advance of the body of rational thought to do with a fixation The tendency to ornament also has something which more directly inter of the mind and perhaps this is something but my mathematics is primitive part in its development, Geometry and numbers play a very significant It is almost never the starting point for of building than science. and practical – more the mathematics Pythagorean superstition which may degenerate into the work (although this interest does sometimes divert the work.) exhibition Prize the Turner Prize. For RES Congratulations on your recent success winning the Turner given that you had already made Britain galleries as a site differently, how did you approach the Tate interventions in the building for the exhibition Intelligence in 2000. Prize did mean I had to take a slightly RW The very particular circumstances that surround the Turner The logistics of the situation - the building of the different approach to making my work at the Tate. spaces and getting four shows up in a fairly tight time frame – im I had to approach the work with a clearer idea than I would norm unusual the development of work an space and have worked there before and this history ended up giving duration.

Photo credit: Mike Bruce The Modern Institute/Toby Webster Ltd, Glasgow, and BQ, Berlin The Modern Institute/Toby Webster © Richard Wright. Courtesy of Gagosian Gallery, London/New York, © Richard Wright. Courtesy of Gagosian 2009 (Turner Prize Tate Installation) No Title RES MARCH 2010 46 49

MARCH 2010

In the nine years since making the piece for the Intelligence exhibition I had made several site visits for RES possible projects at the Tate and had even worked on a number of drawings. Although I started again, with the work for the Turner show, the work I ended up making turned out to be some sort of circuitous reflection on the piece from 2000 and the time in between.

RES In terms of the ephemeral and site-specific character of your paintings, has there been any space/ architecture in particular, or perhaps a certain cultural environment that you have worked in, that seemed the most naturally accepting of one of your interventions?

RW Sometimes you walk into a museum or gallery and the work is just there. But often you have to look hard and this is part of it. I would say that the most receptive settings have tended to be the ones that are not normally art spaces. Last year I made a work in a disused apartment in Berlin (with Gallery BQ). We drove round and round for a week and almost gave up. It’s hard to say what I was looking for, but finally we found a small unassuming flat and I would be happy to go back there and work again.

RES Can you talk about the relationship between your site-specific, spatial works and your works on paper, how do they function differently, how do they relate to each other?

RW Some works on paper seem like more direct pathways to or from wall paintings. I use drawing to think through, but not to plan. It is more a question of preparing like an athlete prepares for an event (though I detest this kind of analogy.) It can be a matter of developing a way of “seeing” that makes a way of “doing” a possibility or the reverse. Often these drawings are destroyed in the process of making the wall paintings, they may be cut up and reassembled or extended. Works on paper also evolve from a series of destructions.

I would have said the reverse of this a few years ago, and would even have considered the paper works a subsidiary activity, but recently I have felt more freedom in working on paper. This is probably for no other reason than that the circumstances (the conditions of production) are usually more flexible. It’s actually much more easy to start again. The activity is also more private, so I can have secrets. If the work is going nowhere I can put it aside. This really does facilitate a kind of development that would be very problematic in a live situation.

The performative aspect of wall painting forces a different kind of thinking - adrenaline plays its part. There is also a certain necessity in the engagement with all the circumstances around the work that constitute “a place,” which is somehow urgent and indispensable. I think this is something to do with the fact that the process is so fragile and so completely exposed. In general these parallel activities feed each other, although they also contain possibilities that exclude each other.

Untitled (08.06.09) RES And finally with regard to the images of your works printed here (in the magazine alongside the © Richard Wright. Courtesy of Gagosian Gallery, London/New York, interview,) how do you feel about the process of documenting your interventions? Obviously it is The Modern Institute/Toby Webster Ltd, Glasgow, and BQ, Berlin important to photograph or film each painting as otherwise no record of the work remains, but how do Photo credit: Prudence Cuming Associates Ltd. you feel about seeing the work on photographic paper, in a magazine, or on video, when the spatial and perspectival qualities of the painting in-situ are so important to the viewer’s experience?

Richard Wright was born in 1960 in London. He is currently based in Glasgow. RES RW I think the work is totally lost in photographs. • MARCH 2010

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53 RES MARCH 2010 MARCH . These international . These international esting both for critics and collectors it an interest in Romanian artists… social transition in Romanian society describe the social transition – focusing describe the social transition – focusing an B began as a collaboration between as a collaboration an B began ipate in significant international art ipate in significant Plan B as an artist to shape and fundamentally change Pop’s optimism and persistence have rewarded him with success, though it’s been hard won and he had won and he had been hard though it’s him with success, have rewarded optimism and persistence Pop’s thwarted. Pl being continually early artistic dreams to suffer his of the fact that, acknowledgement name was a wry and painter AdrianPop gallery’s in 2005. The Ghenie frustrated their 30s and increasingly to nothing. Entering had come their “plan a’s” all point, up to this insider rivalries and institutional by provincial that was being strangled art context with a Romanian a new model. They secured some that to effect change they must create and Ghenie realized politics, Pop as an exhibition space, could function that and established a commercial gallery local private funding artists where they could and as a kind of laboratory for artists internationally, a vehicle for promoting develop projects. initiate research and artists now in the stables with many of Plan B’s expectations, exceeded the pair’s The venture greatly partic galleries and regularly invited to of leading international returned to artists, Ghenie has has the gallery been in launching local so successful events. In fact, to painting, although he is still connected concentrating on his to the development of been essential - have non-Romanian collectors they attract connections—and the art scene; as to date Romania has only a handful of passionate collectors contemporary the country’s young artists. committed to supporting the country’s with. He is also excited to have works of the artists he is clearly proud of the success of Plan B and Pop you have the chance, in Romania today, “Working been given the opportunity to make a difference: unlikely to exist again- -which did not exist before and which is things.” the difficult process of the He goes on to explain: “I’m referring to cynically) with what we (sometimes and deal The artists I continually work with are interested in today. object – from figurative painting to video art, Beyond their different approaches may call recent history. and makes them inter and installation, what brings them together the social and cultural contexts they come from. Both art, alike, is their interest in exploring through can be efficiently used to figurative painting and conceptual art of understanding recent history but society and on the difficult process Eastern European on today’s the visual.” also as autonomous fields of exploring dictatorship and through its that the reality of living under an oppressive certainly arguable It’s Romanian artists. According to the success of these young aftermath may have helped contribute to and witnessing its disintegration, up during communism Romanian critic, Mihnea Mircan, growing followed by the rapid onslaught and effects of consumer culture on their society has given this to what he describes as an “allergy generation of artists a unique perspective. They have developed a desire to deconstruct and uncover things Utopia” that has imbued them with a watchful detachment, wrong, voice in their work. It would be for themselves and to develop and sustain a strongly independent of all up and coming Romanian though, to suggest that a common theme threads through the work practices—is a highly individualized artists. What they do share—and this extends across their various matter. approach to their chosen subject sense of perception mingled often with a dark, sometimes ironic, art for outsiders is linked to convinced that part of the appeal of Romanian contemporary is also Pop “It seems that the integration investment in Eastern Europe and the expansion of the EU. He argues: of Romania in a western sociopolitical structure has brought with s aintbrush , describes Pop as , describes Pop a vibrant space of op. Artist, curator and such as the P aintbrush Factory umbrella. aintbrush Factory s commercial galleries on the comprising artist studios, galleries, comprising artist studios, and performative arts.) The project was and performative arts.) The project was visits from representatives of high a focal point for outside visitors, ania’ al community is keen to keep Cluj’ scene is Mihai P and director of Sabot managers and producers. Unusually not driven by outside forces, but home not driven by outside forces, but home der The P Indeed few people outside Indeed few people outside art scene had heard of Cluj. few people in the international From that point on, all the not-for-profit cultural organizations who declared their interest in becoming who declared that point on, all the not-for-profit cultural organizations From and formulating our common interests part of this new community started to work together with us on aims.” having “a truly visionary mind.” Although she originally discovered the abandoned paintbrush factory, having “a truly visionary mind.” Although she originally discovered the abandoned paintbrush factory, on board: “Mihai tried with bringing all the various facets that make up The Factory Pervain credits Pop and finally succeeded in bringing all the cultural life of Cluj un international scene,) Pop has been a driving force in the development of the careers of Romania’s 30 has been a driving force in the development of the careers of Romania’s international scene,) Pop something generation of artists. Daria Pervain, a fellow gallerist One of the key players in both the Cluj and overall Romanian art Factory that acquire status both nationally and internationally and attract attention from leading that acquire status both nationally and internationally Factory art world, as well as figures across the established and emergent profile at home and abroad, city’s creatives believe they can raise their level EU Institutions, Cluj’s and speed of its cultural growth and while maintaining a certain amount of control over the manner development. director of Plan B Gallery (the best known and most active of Rom cultural character and identity, and to protect it from becoming an outpost for others’ empires. an outpost for others’ and to protect it from becoming cultural character and identity, independent arts initiatives By initiating and fostering ground breaking of Romania and Hungary knew of the capital of the province of Transylvania in North West Romania. in North West of Transylvania knew of the capital of the province of Romania and Hungary of the some of the brightest young stars 2010 it would be home to still would have predicted that by Fewer such as Adriancontemporary art world an impressive Man and Ciprian Mureşan and to Victor Ghenie, into (an old paintbrush factory converted de Pensule’ ‘Fabrica new cultural initiative, JANE NEAL FIVE YEARS AGO to foreign investors, most notably increasingly attractive During the past five years, Cluj has become of Cluj (a university city with the inhabitants For banks and communication-related industries. reputation for innovation in café culture and a growing a noticeably youthful population, strong art and cultural life, outside investment is in the city’s technology and medicine), who are active though funding is, the loc welcomed, but with caveats. Necessary 2000 square metres dedicated to contemporary arts and creatives dedicated to contemporary arts and creatives 2000 square metres active in the visual fashion designers, and cultural organisations artists, curators, cultural originated by a group of 40 Cluj-based idea for the project was in an increasingly globalized world, the common goal to create a dynamic focus local friendships and a grown and independently motivated by community and provide in Cluj that could both activate the local artistic and creative community. heart of the city’s enabling them to more easily access the

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55 RES MARCH 2010 MARCH s converted Each artist is getting on with Each artist is getting mon perspective, Cluj’ ed tists at a time. luding llaborate. There are different creative llaborate. There are l Romania’s galleries, it’s important to important to it’s galleries, l Romania’s rd and tral potted by international critics and potted by international educated Cluj-Napoca Fabrica de Pensule Courtesy Sabot Gallery • Even though Plan B has the highest profile internationally of al profile internationally Plan B has the highest Even though those not in the stable see on its website. To who aren’t Cluj-based artists the success of other recognize occurs that A common misunderstanding is unjust. to their peers as somehow secondary of the gallery emerges is the belief that whoever radar artist hits the international when a “new” amongst outsiders a later “wave.” following is part of home,” and anyone the field “back therefore be leading must, first, be s be true that strong artists will quickly While it may indeed of their own with curators and galleries have agendas also important to remember that curators, it’s of ar compatible with only a given selection concepts and images and gallery spaces, is artist studios – with its diverse cultural organizations, Factory The Paintbrush world to receive art scene and this will allow the outside different facets of Cluj’s bringing together the and co of how its various figures interact a more accurate sense up and projects can throw set in stone and new partnerships but boundaries are not hubs in the city, exchange. Cluj is a hubbub of artistic energy and fresh possibilities. as long as friendship remains and his or her own international career, the business of developing to be driven from a com at the core and future initiatives continue art scenes in this new may prove itself to be an exemplary model for emerging Factory Paintbrush decade. developing art scenes of Cen Jane Neal, an independent art critic and curator, is very familiar with the British and international publications inc and Eastern Europe. She writes regularly for a wide variety of Painters, MAP and Flash and has curat The Telegraph, World of Interiors, AD Magazine, Art Review, Modern Austin, Zurich and Prague. Neal was critically acclaimed exhibitions in London, New York, Los Angeles, continues to live and work between Oxfo at Oxford University and the Courtauld Institute, London. She London. , and therefore The Need for Uncertainty,” The Need for Uncertainty,” false perceptions, neither does it false perceptions, neither exciting, emerging Romanian artists ployment due to industrialization) fundamental division between high in terms of their involvement with the ted in Plan B projects are of the same of what was to be the success of the to be the success of what was olo show, “ distinct from each other aika is a not for profit space with spaces ssault of the market and if there is a ssault of the market ,and Gabriela Vanga trained alongside him at ,and Gabriela Vanga s continued influence on contemporary Romanian s continued influence on contemporary the University of Art described as being conceptually strong, and Design in Cluj. Their work could all be specific ideas and phenomena. exploring and deconstructing as the practice of each is concerned with installation; and Ghenie, work across disciplines; Man in painting and Mureşan and Pogacean Cantor, from Cluj including Marius Bercea, promising young talents Savu and Hausi (alongside a number of to painting. Historically Romanian maintain a strong commitment Mircea Suciu and Oana Farcas) thinking, most notably artists have a reputation for avant-garde Yet can the art world’s sometimes fickle fashions be avoided, or at least mitigated on behalf of the artist? fickle fashions be avoided, or at least sometimes art world’s can the Yet According damage can be lessened: “Through to Pop, you can create an artistic galleries such as Plan B a capable of filtering the massive interest production structure by or who have participa Most of the artists who are represented invited Mircea projects, Pop in keeping with his original intentions for Plan B to facilitate Last year, in preparation for his s Cantor to use the gallery as a workshop, will commercial galleries to break onto the international scene, Sabot While Plan B was the first of Cluj’s even an eccentric travesty of a generator, project incubator, “A follow. Pervain describes the gallery as: raise We embrace curatorial and commercial models without the solution of continuity. We a gallery. questions rather than spell predictable truths, by sabotaging the Romanian artist in the West.” Romanian crazily sensationalized – the exotic tends not European Chic then at least it’s current fetish for Eastern goes culture – such as China.” Pop Western that are radically different from to be looked for in places feeding culture has never been very keen on on: “Eastern European interesting and however artist, believe an Eastern European I don’t spectacular. have the flavor of the might be exotic.” would ever have the sense that his art particular, Adrian Ghenie, Cantemir Hausi, and indeed many of them—such as Mircea Cantor, generation as Pop Şerban Savu Man, Ciprian Mureşan, Cristi Pogãcean, Victor Dada and Dada’ Dada movement (their contribution to Dada East: The Sandqvist, Tom 2006-published book by artists was recently acknowledged in the Romanians of Cabaret Voltaire). in in Venice as commissioner of the Romanian Pavilion also served which toured three UK museums. Pop Art Fair. in the Frieze 2007, and in October 2009, Plan B participated art making and curating. Sabot (the name of a type of shoe once and low culture, process and result, thrown into the machinery to disable it and avoid their own unem story This Revolution. French the survive not did but names, aristocratic against reaction a as used once may speak – up to a certain point – about our reactive profile. L Bercea, Vlad Olariu, Şerban Savu by artists Marius Founded and Bucharest. in both Cluj (in The Factory,) and Mircea Suciu, the idea was to link two art scenes previously double the exposure for participating artists. The space addresses to experiment on projects atypical and those more established, who might wish to have the opportunity of their usual practice. I witnessed the strong input received by contemporary art in the former communist countries and communist countries former art in the received by contemporary the strong input I witnessed it’s few years (though interest of the past sudden and massive I felt the EU enlargement, with the 2004 of silence...) Andsuspect after years somehow culture is not necessarily the frame of western because the exploitation as much as I could I wanted to avoid alike ours,

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57 RES MARCH 2010 MARCH Adrian Ghenie Dada is Dead 2009 Oil on canvas, 220 x 200 cm Photo credit: Katrin Hammer Courtesy Mihai Nicodim Gallery, Los Angeles Collection of Dean Valentine and Amy Adelson, Los Angeles Adrian Ghenie The Collector 4 2009 Oil on canvas, 200 x 240 cm Photo credit: Adrian Ghenie Courtesy the artist, Plan B, Cluj/Berlin and Katsuhiko Ikeda Collection, Japan

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59 RES MARCH 2010 MARCH 2009 Last Kiss Marius Bercea Courtesy the artist Oil on canvas, 30 x 30 cm

Cantemir Hauşi Who’s Trofee? 2008 Oil on wood panel, 15 x 21 cm Photo credit: Adrian Ghenie Courtesy Plan B, Cluj/Berlin and Hort Collection, NY

Courtesy Plan B, Cluj/Berlin and Cor Looker Collection Photo credit: Şerban Savu Oil on canvas, 64 x 100 cm 2007 Weekend Şerban Savu RES MARCH 2010 58

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RES MARCH 2010 MARCH 2008 Mircea Cantor Seven future gifts 400x400x400 cm (nr.7). Photo credit: Mircea Cantor Courtesy the artist and Galerie Yvon Lambert, Paris Views from the Mucsarnok Kunsthalle, Budapest, Hungary 162x162x162 cm; (nr.4); 231x231x231 cm (nr.5); 324x324x324 cm (nr.6); 162x162x162 cm; (nr.4); 231x231x231 cm (nr.5); 324x324x324 Concrete, iron, 23x23x23 cm (nr.1); 40x40x40 cm (nr.2); 80x80x80 cm (nr.3); Concrete, iron, 23x23x23 cm (nr.1); 40x40x40 cm (nr.2); 80x80x80 Mircea Cantor Which light kills you 2009 Light box 16/26 cm © Mircea Cantor Courtesy the artist and Dvir Gallery, Tel Aviv

Courtesy Mircea Cantor and Yvon Lambert Paris, New York © Mircea Cantor 2’ 43”, 16mm transfered to BETA digital, color, silent 2005 Deeparture Mircea Cantor RES MARCH 2010 60

63 RES MARCH 2010 MARCH Gabriela Vanga Cumulus 2005–2006 White powder View of the installation at Plan B, Cluj Photo credit: Bartha Lorand Courtesy Plan B, Cluj/Berlin Vlad Olariu Building Site 2008 Autoclaved cellular concrete, pallet, 120 x 80 x90 cm Courtesy the artist

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65 RES MARCH 2010 MARCH Ciprian Mureşan Choose… 2005 DVD PAL, 41 sec. Video stills Ciprian Mureşan Courtesy Plan B, Cluj/Berlin Ciprian Mureşan Leap Into The Void – After Three Seconds 2004 Photograph, dimensions variable Photography Raymond Bobar Courtesy Plan B, Cluj/Berlin and Nicodim Gallery, Los Angeles

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67 RES MARCH 2010 MARCH Tomas Vanek 2005 Performance, Exhibition 1811197604122005 at Plan B Cluj Photo credit: Mihai Pop Courtesy the artist and Plan B, Cluj/Berlin Cristi Pogacean 2544 2006 Video, loop 6 min. Photo credit: Cristi Pogacean Courtesy Plan B, Cluj/Berlin

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69 RES MARCH 2010 MARCH Victor Man Romania 2007 Installation on the façade of Romanian Pavilion, 52nd Venice Biennale; animal furs, dimensions variable Sabot Gallery Courtesy Sabot Gallery

Alice Tomaselli installation view

Courtesy the artist Photo credit: Victor Man Oil on canvas on wood, 30 x 39,9 cm 2006 Untitled (Without going into the extravagance that’s in trees) Victor Man RES MARCH 2010 68 Ciprian Mureşan Beetle in the Anthill, 2010 An illustration for RES after A.&B. Strugatsky

73 RES MARCH 2010 MARCH s urelia Mihai. Magda Radu, a member urelia Mihai. Magda l gain its own identity and profile as A king collaboratively with Plan B king collaboratively ghout the years of the museum’ ghout the ry that prefers the culture of short-term ry that prefers the culture of short-term ction could offer a better and more offer a better and ction could Photo: Eduard Constantin Streets in Bucharest’s center Young Artists Biennial in Bucharest is curated by Young th paintings, if properly researched and contextualized, this colle and contextualized, if properly researched paintings, has been the that the museum to note though It is interesting history. of recent local nuanced picture Mihnea Mircan example, For curators. of young platform for a number and career kicking playground to do so throu opened and continued from the day it worked there established artists of the at the more looking research team of the museum is also of the curatorial and such as Adrianmoment, time. the same at Ghenie, while working independently and a generous a strong long-term vision institution, with a constant budget, Even though a mid–sized came into existence can be cited. of smaller venues that recently a number exist, space still does not Among a space is Pavilion galleries. Such these are non-profit places, artist-run spaces, and commercial marriage between 2009) -a Unicredit - Centre for Contemporary Art February and Culture (opened in with additional budget from and the former bank premises the organizers of the Bucharest Biennale opening, it still feels like a trial project with a Unicredit’s Unicredit Romania. A year after Pavilion in the future it wil programme that is quite random, but hopefully to achieve in a count an institution. This is hard and important consistency. permanent institutional event-orientated projects rather than valuing festivals and Romania has an impressive number of are two international biennials and only in Bucharest there in both taking place biennials for contemporary art, Bucharest the same year; besides the aforementioned festival, and Biennale (launched in 2005 as a photography art biennial revamped as an international contemporary also the Young for the second edition in 2006,) there is Artists Biennial (with its first edition in 2004,) organized Speaking again of the hype by the Meta Foundation. that in 2010, both around curators, it is worth mentioning charge of them; biennials have very young curators in Vogel by Felix the Bucharest Biennale 4 (BB4) is curated (b. 1987), who is referred to on the Biennale website as “probably the youngest curator of a biennial ever;” and the 4 harshest criticism when many considered the institution to be cohabiting with political powers, they with political to be cohabiting considered the institution when many harshest criticism having endured this problematic however, and lack of coherent programming; also disputed its location wor freelance curator and has been period, he is now a successful figure for the Bucharest respected , who has been a constant, Berlin. Oana Tanase Gallery in Cluj and of Romanian born ambitious surveys more is organizing within the museum contemporary art scene, and abroad, such as Ştefan Constantinescu artists who are living the only slightly older art critic Mica Gherghescu (b. 1981.) a better way to maintain Whether a marketing strategy, control on the part of the organizers, a genuine interest to open paths for experimentation, or all of the above, time will tell if this youthful approach will be of success. These two biennial projects target the same kind of public, the Bucharest inhabitants who are interested in consuming cultural events as well as the art scene. Moreover they both . Since ’ studios, . In time, this void first . Bucharest lacks the Museum has claimed to be the such as studio space, exchange a programme of exhibitions which in one of the largest buildings in ously incubating ideas and projects ously incubating ideas es in the city h position in the city and the embassy- gh very few are left today) as part e story the range of art institutions that lie ary art scene in Bucharest rish. There are few artists y disarming and contradictory in their y disarming and contradictory in their , well-researched exhibitions, or contradicted each other about what was is however more concrete as it is the portionate number of propaganda Bucharest’s art scene resembles a large balloon, one that hardly ever touches art scene resembles a large balloon, Bucharest’s RALUCA VOINEA FROM A DISTANCE a gloomy underbelly to th Less metaphorically speaking, there is the ground but that offers a captivating spectacle. Yet, on board confusion is paramount and people board confusion is paramount and people on offers a captivating spectacle. Yet, the ground but that to better emulate while others observe the former for all things new or shiny, cast their fishing rods continu those who wait for the balloon to land, them. There are also as spiced and Yet, they see below. what and a few who remain overconfident in without realisation and unexpected ceases to attract and the pairing of flaws art scene never colorful as it is, Bucharest’s actors can be charmingl qualities gives it a unique taste and its hate or complaints. enthusiasm, irony, accounts of the situation, garnished with came to be filled with loud voices that criticized, acclaimed and MNAC is Half a decade later, needed, and at the same time promised to create a system of alternatives. still acting more as a curiosity than a professional institution, with dictated by budgetary and diplomatic could be hosted by a municipal gallery and touring exhibitions reasons. The inhospitable nature of the building, its hard-to-reac a city public-oriented programming (in type security checks at the entrance are not compensated by a by has little appeal to a public overwhelmed let alone contemporary art, in which even modern art, In addition for much of the year. commercial spectacle,) so the large rooms of the museum stay empty collection of contemporary Romanian art, there are very few exhibitions that feature the museum’s which, despite its heterogenous selection that includes a dispro fundamental structures that an arts scene needs in order to flou fundamental structures that an arts scene places for education residencies, production grants, alternative things did exist (althou magazines, etc.. Ironically many of these to which artists of the Artists in the 1950’s, Union - the centralized, Socialist network established this institution has become obsolete, the Today to exist. had little choice but to belong if they wanted ways, its galleries across the country traditional, conservative majority of its members are working in facilities they offered artists have gradually closed and many of the general society’s in the Romanian have disappeared. Moreover, programs and opportunities to exhibit appearing to replace them. none are rush to synchronize with the market economy, more optimistic, it The other plot in the story is not necessarily for a lively contempor only one giving substance to the potential of Parliament, Artthe Museum of National Contemporary wing of the Palace opened in 2004 in one plausible. While the National institutional diversity is becoming more Europe and is in fact located largest museum of its kind in Eastern ignored the gap in the world, in its own city context the museum between itself and the little group of very small, independent spac

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employ national and international curators, who propose convincing lists of artists, both emerging and RES established. Yet the two biennials refuse to acknowledge each other and their relationship continues as one of undisguised competition. They do have some separate specificities - The Young Artists Biennial has instituted two workshops involving the curator of the biennial and other cultural figures participating in the opening events: one for young art critics and another for young artists who want to receive feedback on their portfolios, both of which are much needed in the local context. The Bucharest Biennale, in its turn, has accustomed its followers to the use of varied and challenging venues, such as the Botanical Garden and the Museum of Geology, raising awareness of the need to take contemporary art out of its isolated, traditional places of display.

Apart from this investment in the young generation, there is also an interest in the more established (or sometimes forgotten) figures, and quite recently, commercial galleries have started to endorse artists who have a strong production that dates back to before 1989. Among them are the artists Ion Grigorescu, promoted by Andreiana Mihail Gallery, and Geta Bratescu, by Ivan Gallery, both recognized as key figures of the avant-garde of the 70’s in Romania and both of whom are still prolific today. Then there is the presentation of work by the late Ion Dumitriu, by Galeria Posibila, with a less known photographic series also from the 70’s, and the “discovery” or “invention” of Ion Bârladeanu, an enigmatic artist until recently homeless, whose production of collages from the communist times is promoted by H’art gallery. This last example, besides raising questions on the all-too-powerful role that galleries today take in “creating” not only the market but also the artists themselves, proves further the need for recuperating a richer past, finding more links, characters and stories which can be interesting in today’s hunger for roots, while always having to pay attention to the danger of merely capitalizing on a history which is still in the process of being (re)written.

Looking back at the 1980’s is also proving highly attractive for exhibition venues, publications and events in Bucharest, both in terms of the artists of this generation (with examples such as Dan Perjovschi, Matei Bejenaru, Teodor Graur and Iosif Kiraly, all with more or less established international careers but also with strong and significant local presence,) and as a historic subject, which is only beginning to be exploited, with a rather fetishistic look, especially at painters. The East itself, historically and geographically, is not neglected, Centre for Visual Introspection, initiated by curator Alina Şerban, is a small venue focusing on showing and debating this region with a broader mind-frame. Also worth mentioning are ParadisGaraj, an alternative, no-budget space, coordinated by artist Claudiu Cobilanschi and curator Ştefan Tiron, challenging the mainstream from the position of the underground in a series of funny and unconventional presentations; the National Centre for Dance, a multi-disciplinary space located in the late 70’s extension of the National Theatre in Bucharest (although plans to restore the theatre to its original 60’s architecture means that all the institutions functioning there will eventually need to look for other venues.). At least Graffiti in Bucharest, referencing the 2nd bucharest biennale Photo credit: Eduard Constantin in cases such as these one can only be glad that the economic crisis and political indecision is slowing down the hectic and irremediable schemes of urban gentrification witnessed in the last few years in the Romanian capital.

For it is the city itself, with its beautiful old houses, loud construction sites, layers of diverse influences and its protean present that is not only the backdrop of contemporary art but also its shelter, inspiration and often substance. • RES Raluca Voinea is an art critic and curator, works in Bucharest. Since 2006 she is co-founder of a small non-profit

MARCH 2010 institution, E-cart.ro, which is currently developing a programme of debates and artistic interventions, The Department for Art in Public Space. Since 2008 she is co-editor of IDEA. Art + Society magazine, published in Cluj, Romania.

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77 RES MARCH 2010 MARCH ParadisGaraj, 2009 Photo credit: Claudiu Cobilanschi Exploring the Return of Repression Return the Exploring by Razvan Ion Curated the exhibition View from 2009 UNICREDIT, Bucharest, PAVILION Biennial for Young Artists rd , 3 2008 Sala Dalles Bucharest, curated by Ami Barak Photo credit: Eduard Constantin Re-Construction

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79 RES MARCH 2010 MARCH

Ion Grigorescu Professor at the House of Pioneers 1976/1977 In the exhibition Nothing is Worth More than This Day Curated by Magda Radu, Andreiana Mihail Gallery, 2009 Photo credit: Mona Vatamanu & Florin Tudor

and Serbians.)” (Ivan Gallery) focus mainly on Romanian and Eastern European contemporary artists (Hungarians inaugural show in the gallery’s new space. The future programme of the gallery will ; it is the called Spaces from 1979 and two of her most recent works, Jeu de formes “The exhibition consists of three different series of collages from Geta Bratescu: one “The exhibition consists of three different series of collages from Geta Bratescu, exhibition at Ivan Gallery RES MARCH 2010 78

81 RES MARCH 2010 MARCH Ion Barladeanu Untitled, from the series Realpolitik 1991 Paper collage Courtesy of H.art gallery Photo credit: Alexandru Paul of March 1975 th

at the outskirts of Bucharest. During the communist regime they were at the outskirts of Bucharest. During the communist regime they in withdrawn from a public exhibition, organized by Ion Grigorescu the Bucharest, and later after 1989 they were not of interest during almost depression of the new market economy, so they stayed unknown a decade after the artist’s death. Since 2007 Galeria Posibila itinerated this series of 54 slides, enlarged, together with a book of comissioned texts which start from these photographs and evoke realities of the 70’s.” (Galeria Posibila) Ion Dumitriu (1945-1998) From the series The Dump, 8 march 1975 Courtesy of Galeria Posibila “The 54 slides in the series The Dump are made on 8

Photo credit: Arnold Estefan Centre for Visual Introspection, Bucharest Curators Vít Havránek & Zbynek Baladran, 2009 Monument to Transformation RES MARCH 2010 80

83 RES MARCH 2010 MARCH Aurelia Mihai The Social Being of Truth Art - MNAC, 2009) (National Museum for Contemporary Curated by Oana Tanase Photo credit: George Vasilache

Dan Perjvoschi La Zid [At the Wall] 2008 Site-specific drawing installation at the National Centre for Dance-Bucharest (CNDB) “His Trojan wall drawn at CNDB was his only permanent artistic intervention in an institution of the Romanian State. CNDB is the only public cultural institution created with the purpose of supporting, developing and promoting contemporary dance. It proposes projects in which the body becomes the mediator of multiple forms of expression and investigation of reality, encourages research, experiment and innovation within contemporary art and contributes to the creation of an environment open for dialogue, reflection and debate.” (CNDB)

models of interlinking the social space with the art space.” (CIV) points CIV as an observing agency whose main focus is to develop specific points CIV as an observing agency whose main focus is to develop research, architecture, design and sound experiment. The term “introspection” research, architecture, design and sound experiment. The term Serban for promoting the artistic production at the borders of cultural theory, Serban for promoting the artistic production at the borders of artists Anca Benera, Arnold Estefan, Catalin Rulea and art historian Alina artists Anca Benera, Arnold Estefan, Catalin Rulea and art historian “Centre for Visual Introspection is an independent platform generated by “Centre for Visual Introspection is an independent platform generated Centre for Visual Introspection, outside viewz RES MARCH 2010 82

85 RES MARCH 2010 MARCH . www.bioswop.net . Take for example for example . Take and performance, has a practice and performance, has ity or age, abiding methodologies of classification, is negated in her of the artwork. Like her predecessors of the artwork. Like spans several media, including videos, fusion for the researcher udience, curators or fabricators are e and restricted mobility e and restricted Raymond, Udo Kittelmann and Tirdad Zolghadr. Emily Jacir, the last recipient of the Hugo Boss Prize, hails the Hugo Boss Prize, the last recipient of Jacir, Emily Tirdad Zolghadr. Udo Kittelmann and Raymond, both video and and identity through territory of borders the complex Her work negotiates from Palestine. notions of exil engaged with Her work is especially installation. tautology with no a nightmare belt, conveyor only of a circular that consists Embrace (2004), a sculpture or end. beginning installation to virtual web- and performance represent a vast range of media, from The nominees for 2010 more cohesive upon selection becomes practices. What initially seems a disparate based and archival further reflection. All shifting and with truth and fiction, as well as the of the nominated artists play in contemporary society. complex notion of identity whose work includes video, installation Natascha Sadr Haghighian, ring familiar even to an That her name may not most indicative of this complexity. that is perhaps the seeks to undermine the which her practice, art world is emblematic of audience in the contemporary author the artist as creative genius and sole traditional notion of Haghighian adopts a form of institutional and Michael Asher, Mierle Laderman Ukeles, Hans Haacke of art practice. The a critique to emphasize the collective nature I Can’t Work Like This, which was created in 2007 for an art often implicated in her work, for example, was spelled out in the negative space of a rambling mass of nails Like This” Work The phrase “I Can’t fair. with hammers and nails, the most basic floor nearby was strewn hammered into the wall of the booth. The the unseen labor of the art world. Haghighian has also and representative of of utensils for hanging art, every person associated with the where artist Robbie Williams, recently created a solo show by a “fake” as an author. horse jumps, was credited creation of the sculptures, which resembled to a new level of con A website by Haghighian takes her practice the very methods by which the art industry resisting nationality, negates the concepts of biography and well as any others who are interested the artists, as In this project, categorizes and organizes information. this site breaks with cvs for any purpose. The anarchic ethos ofthe in collaborating, can borrow and swap Rendering any sort of hierarchical biography and history. artist’s most basic of art world conventions: the shifting and evasive identity and encourages the same Haghighian prefers to keep a system irrelevant, Categorization by national of her colleagues registered on the site. introduced systems in the history of art since the Enlightenment a challenge to even the most critical of work presents Haghighian’s conceptual and ephemeral project. artist is rendered invisible by her own as the Critique movement, artists associated with the Institutional she studied. Is her age is, or where say with any certainty where she comes from, what hand. One can’t with this question open for interpretation Haghighian a real person, or a constructed identity? She leaves her subtle and complex work. one of the most well-known artists on the shortlist The notion of identity is also questioned by Cao Fei, Born in Guangzhou in 1978, despite her tender age Cao for 2010, and an obvious choice for the winner. a and working in China. With is one of the few internationally established female artists living Fei practice resists the ‘big face’ trend that catapulted market dominated by male figurative painters, Fei’s the surge of Chinese contemporary art in recent years. Her work known as well as the popular web-based activity performance, interactive digital art and photography, work has been shown in many prestigious exhibitions over the past few years, as Second Life. The artist’s of Dress Codes: The Third Triennial including currently at the International Center of Photography’s urner Prize in the UK bu Dhabi branch, due to oung and Alexandra Munroe s the award. A winning collaboration affect the market? izes in general. Who do they serve, the ished names on the contemporary , Joan Y as grown to offer five artists an award). as grown to offer five artists an award). no restrictions in terms of age, race, nchise (which as an aside, will be ten ntly their A ir to pit artists against each other? How nged in just one decade: the site of the nged in just one decade: y more than the T the first time I saw, during a trip to New York in 1997, an installation by Matthew Barney, 1997, an installation by Matthew Barney, in during a trip to New York the first time I saw, KATHY BATTISTA I REMEMBER of the Hugo Boss Prize. Althoughthe first artist recipient already released Cremaster 4 Barney had public. At to the wider name Documenta X (1997), he was an unknown and had exhibited in that time Soho on Americanthe prize focused largely and the exhibition took place in Guggenheim’s nominees cha to reflect on how much things have branch. It is interesting of $100,000, decidedl The Hugo Boss Prize carries a cash stipend museum show: the winner of the real reward is the promise of a high-profile Prize, the Like the Turner One of year. the following New York at the Guggenheim Hugo Boss Prize is the subject of an exhibition Gordon, Pierre Huyghe, Tacita awards, past winners include Douglas most prestigious the art world’s Dean, and Rirkrit Tiravanija, all of which have become well-establ former Guggenheim Soho is now a flagship Prada shop (designed by Rem Koolhaas) and the museum and by Rem Koolhaas) Soho is now a flagship Prada shop (designed former Guggenheim afield, most importa has set its sights on outposts much further their Middle Eastern fra open in 2015. Perhaps in anticipation of Hugo Boss Prize seems intentionally global. for this year’s times as big as their NY space) the lineup (China), Hans- are: Cao Fei nominees not one American this year’s With born artist in the shortlist, Roman Ondák (Slovakia), Natascha Sadr Haghighian Raad (Lebanon), (Germany), Walid Peter Feldman (Thailand). Some of more on that below), and Apichatpong Weerasethakul (of uncertain nationality, Raad, are prominent figures on the international exhibition and Walid these artists, including Cao Fei Haghighian may be new discoveries for many of the and others such as Weerasethakul circuit; however, audience. New York Guggenheim’s inaugurated Abraaj(£40,000 GBP), but less than the more recently Art Prize awarded in Dubai (each of this year the prize h three finalists previously received $200.000, Prize, is that it carries The most unique aspect of the Hugo Boss Prize is for a British or medium as most other prizes do; for example The Turner nationality, gender, Artist aged under 50. winners tend towards new media and practices that include video and the Increasingly, art market. museum to show its progressive Indeed the prize presents an opportunity for the relational art. a chance to align itself with a multinational, prestigious institution tendencies, and for Hugo Boss it’s that has become as much a brand as the clothing label that sponsor on both sides, this prize can be used to examine the state of art pr host institution, the artist winner or the sponsor? Is it indeed fa much do art prizes affect public opinion and in turn how does this The Hugo Boss Prize is decided by a jury including Nancy Spector curatorial team, as well as an international board of experts including Yasmil from the Guggenheim’s

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Photography and Video. She was included in Hans Ulrich Obrist’s ambitious landmark 2006 exhibition to their absurdity. Like other artists mentioned above, he often incorporates viewers into the work. For RES China Power Station, which featured contemporary Chinese art at the Battersea Power Station, in The example, his performance Good Feelings in Good Times of 2003, consists of a group of actors who form Rising Tide, a feature length documentary that looks at contemporary Chinese artists and in the 10th a spontaneous queue for no apparent reason. Ondák’s work plays with the concept of anticipation, an International Istanbul Biennial curated by Hou Hanru. emotionally charged state where we prepare ourselves for some thing or event, good or bad. Why are these people waiting? And what are they waiting for? Ondák identifies how much of our lives are spent in both Her ongoing series RMB City takes its title from the official name for the Yuan, the Chinese currency. A anticipation and frustration. child of the generation that saw the explosion of capitalism, especially in the Pearl River Delta where the artist was born, it is not surprising that she would use currency as symbolic of the future urban The ‘virtual aspect’ of Ondák’s work relates to his fellow nominee Cao Fei. Where she invents a fictional environment. RMB City is an online art community in which visitors participate in the virtual world digital space, Ondák creates a psychological and ultimately ephemeral action, with no physical trace of Second Life. This project is an experiment exploring the shifting relationship between imagined once the actors disperse. Again, the concept of institutional critique may be considered. These artists spaces and identities, and is a reflection of China’s urban and cultural explosion. Cao Fei’s avatar ‘China elucidate the irrelevancy of certain aspects of the art world’s main tenets—the need for a space, the Tracy’ is credited as ‘Director’. In RMB City Second Life participants, who choose an avatar to represent existence of an object—and presumably resist the institution. However, Ondák’s work, like Cao Fei’s, themselves, can navigate from ‘the people’s factory’ to the ‘people’s love center’ or ‘the people’s slum’. has been celebrated by the same institutions he critiques: the Tate acquired Good Feelings in Good The concept of Second Life, where one’s on-line persona may or may not align with their true identity, Times (2003); he has had solo shows at the Museum of Modern Art, New York; CCA Wattis Institute for provides a space for fantasy and game-playing. However, it also blurs the tenets of fact and fiction, Contemporary Arts, San Francisco; Ludwig Museum Budapest; Pinakothek der Moderne, Munich; and reality and fantasy. Where in real life one is a writer, in RMB City one could be a singer, politician or represented Slovakia in the 2009 Venice Biennale. That the Guggenheim has shortlisted Ondák is an construction worker. Like Haghighian’s project, Cao Fei relegates authorship in the artistic process important indication of their curatorial trajectory, which their forthcoming solo exhibition of Tino Sehgal by relying on visitors to RMB City to help shape the work. Much has been said of relational aesthetics further solidifies: the Guggenheim is embracing alternative media and ironically, works that subvert the artists such as Liam Gillick and Rirkrit Tiravanija. Cao Fei’s work is as relevant and germane to this traditional role of the institution. discussion. Walid Raad (born 1967, Lebanon) is another artist and academic who engages with the tenuous link This slippage between fact and fiction is also a central aspect of Apichatpong Weerasethakul’s work. between truth and fiction. Raad’s practice explores collective memory, trauma and the representation of Known primarily as an avant-garde filmmaker in his native Thailand, Weerasethakul counts influences conflict. The artist has created a fictional archive of photographs, texts and videos based on the conflict as disparate as Stephen Spielberg’s films and the Surrealists’ ‘exquisite corpse’ drawing game. His films that tore apart his native Beirut during the years of their protracted civil war (1975 – 1990). resist the formal Thai studio system and instead make use non-linear narrative and unprofessional actors. For example, Weerasethakul (born 1970) won the Jury Prize in Cannes in 2004 for his film Tropical In 1999 Raad founded The Atlas Group, an imaginary foundation that exists in order to document Malady, which had a plot that switched dramatically in the middle, separating it into two distinct parts. the history of Lebanon. Raad presents the group through lectures that include films, photography Hailed by some (including Quentin Tarantino, who was on the Cannes jury) and despised by others, the exhibitions, videos, and a variety of documents from the group’s archives. Sections of the archive have film was met with equal contempt and praise. been the object of a number of installations in museum spaces and featured in Documenta XI, the Venice Biennale and The Whitney Biennial. As in the case of Cao Fei, The Atlas Group’s activities are located Weerasethakul studied architecture in his home country before enrolling as a student at the Art online, in an archival site. These fictional archives include a variety of materials, among them notebooks Institute of Chicago. Recently he has shown his short films and installations in the context of belonging to the Lebanese historian Fadl Fakhouri, videos of the former hostage Souheil Bachar and of contemporary art. Primitive (2009), a seven–screen video installation, was shown at Haus der Kunst in Zainab Hilwé, the victim of a car bombing, as well as a number of anonymous documents that include, Munich as well as FACT (Foundation for Art and Creative Technology) in Liverpool. Retrieval of history for example, a series of photos entitled Secrets in the Open Sea. Like Roman Ondák and Tino Sehgal, Raad, is a central theme for the artist here. The film was shot in the border town of Nabua, an area with a long despite his polemical stance, is represented by some of the leading commercial galleries, including Paula and controversial history of racial migration and slaughter, where the Mekong River divides Laos from Cooper Gallery in New York. Perhaps the irony of this—the institution embracing its critics—is lost to a Thailand. Nabua is where the Maoist Communists fled and later where the Thai government targeted new generation of viewers, for whom radical politics may be a quaint memory of the past. local communities as sympathizers to the Communist regime. There is an ancient legend about Nabua that claims a widow ghost would abduct any man who comes into her empire. Primitive reconfigures Hans-Peter Feldman is the pater familias of the nominees, almost thirty years the senior of most of the Nabua as a town of men only, freed from the widow’s curse where teenagers fabricate memories and artists. Since the 1960’s Feldman has made subtle installations that make use of a Dada-esque sense build a dream in the jungle. Indeed fabrication—of history and identity—is a theme paramount within of humor and chance. Feldman is a cult artist, celebrated by curators such as Hans Ulrich Obrist, who the Hugo Boss Prize shortlist. recognize the influence of his work on future generations of artists. An “artist’s artist,”, Feldman’s work challenges the notion of “high art” and again, remains non-hierarchical in principle. Roman Ondák, a Slovakian artist (born 1966) who has studied in the United States, is best known for

RES his work that fabricates art actions rather than objects. Like others of his generation including Tino Feldman takes found commercial and domestic objects and rearranges them in installations that call Sehgal and Elmgreen & Dragset, Ondák investigates sociopolitical conventions by calling attention attention to visual culture. Shadowplay, an installation from 2005, sees various objects arranged on a MARCH 2010

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table with lamps that project shadows on to the adjacent wall. While the objects themselves are banal RES toys, the resulting shadow transforms the wall into an ephemeral futuristic skyline, which ceases to exist when the lights turn off. This slight of hand is typical of Feldman, who has spent a career resisting the monumentality of contemporary art. Pictures of car radios taken when good music was playing (2004) embraces the conceptual strategies of chance and documentation. With a similar structure to Ed Ruscha’s 26 Gasoline Stations (1963) and Dan Graham’s Homes for America (1966), Feldman’s unostentatious work seems under-recognized, especially in America.

The Guggenheim’s nomination of Feldman will be a long awaited coup for the cult artist. Feldman would not be a bad bet for the winner, as he has seniority and the respect of fellow artists. The truth of the matter is that all the artists are winners. The shortlist represents a range of approaches to art making that encompasses a wide variety of media. However, they all share a common, and what might be called, post-20th century attribute: the artists question the steadfast understanding of identity, truth and history. In a world where information is processed so quickly and we can learn virtually anything at the touch of our fingertips, these artists urge us to slow down and consider the real truth, which is that nothing is as it seems.

A publication featuring the work of all six finalists with accompanying essays will be published in June 2010. The prizewinner will be selected and announced in fall 2010, and the artist’s work will be presented in an exhibition in 2011 at the Solomon R. Guggenheim Museum, New York. • Cao Fei, RMB City 8, 2007 Digital c-print, 47.2 x 63 in / 120 x 160 cm Courtesy of the artist and Lombard-Freid Projects Artists shortlisted: Cao Fei (b. 1978, Guangzhou, China) — video, installation, performance, photography, and online projects. Hans-Peter Feldmann (b. 1941, Düsseldorf) — sculpture, installation, photography, and artists’ books. Natascha Sadr Haghighian — sculpture, installation, performance, video, photography, sound, and online projects. Roman Ondák (b. 1966, Žilina, Slovakia) — performance, installation, photography, drawing, and sculpture. Walid Raad (b. 1967, Chbanieh, Lebanon) — photography, video, mixed media, essays, and lectures. Apichatpong Weerasethakul (b. 1970, Bangkok) — film and installation.

A publication featuring the work of all six finalists with accompanying essays will be published in June, 2010. The prize winner will be selected and announced in fall, 2010 and the artist’s work will be presented in an exhibition in 2011 at the Solomon R. Guggenheim Museum, New York.

Kathy Battista is Director of Contemporary Art at Sotheby’s Institute of Art, New York. Her doctoral research examined the work of feminist artists in 1970s London. She is coauthor of Art New York (ellipsis, 2000) and Recent Architecture in The Netherlands (ellipsis, 1998), as well as editor and author of Haluk Akakçe: Reincarnation (galerist, 2009). Her essays have appeared in the following edited collections: Ladies and Gents: Public Toilets and Gender (Temple University Press, 2009); Arcade: Artists and Placemaking (Black Dog, 2006); Surface Tension: Supplement 1 (errant bodies, 2006) and Surface Tension: Problematics of Site (errant bodies, 2003); as well as many exhibition catalogues. Kathy is a regular contributor to the journals RES Art World / World Art and Art Monthly and is on the editorial board of Art & Architectural Journal. She has taught at Birkbeck College, Kings College, the London Consortium, the Ruskin School of Art (Oxford University), and Tate Modern. She founded the Interaction education and contextual events program for the public art agency Artangel and she was a Postdoctoral Fellow of The London Consortium at Tate Modern. RES MARCH 2010 Cao Fei, RMB CITY 9, 2007 Digital c-print, 47.2 x 63 in / 120 x 160 cm

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2009 Shadowplay Hans-Peter Feldmann Courtesy 303 Gallery, New York

5 Wooden Tables, 7 Home Made Lamps,

32 X 295 1/2 in / 81.3 X 750.6 cm, overall and 7 Rotating Tableaux of Found Objects

Courtesy 303 Gallery, New York 5 Photographs: 70 3/4 X 53 1/4 in / 179.7 X 135.3 cm, each Photograph On Aluminum Dibond 1999 Bookshelfs Hans-Peter Feldmann RES MARCH 2010 90

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Natascha Sadr Haghighian Natascha like this I can’t work 2007 / 157 1/2 x 78 3/4 in nails, hammers, 400 x 200 cm Wall installation, Berlin © Johann König,

Photo Credit: Ines Schaber © Kunst-Werke Institute for Contemporary Art, Berlin Format variable Two channel video installation, text by Kathy Acker 2006 Empire of the Senseless Part II Natascha Sadr Haghighian RES MARCH 2010 92

95 RES MARCH 2010 MARCH Roman Ondák Measuring the Universe 2007 Performance, overall display dimensions variable Courtesy the artist & Johnen Galerie Roman Ondák Good Feelings in Good Times 2003 Performance, overall display dimensions variable Courtesy the artist & Johnen Galerie

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Walid Raad Untitled Installation 2008 Beirut Museum of Modern Art (Lebanon) Views from Outer Comportment to Inner Comportment Painted high density foam, 25 x 50 1/8 x 2 3/4 in / 63.5 x 127.3 x 7 cm Collection Hussam Hosi (Libya), 2009 ©Walid Raad Courtesy of the artist and Paula Cooper Gallery, New York

Courtesy of the artist and Paula Cooper Gallery, New York ©Walid Raad 12 1/2 x 110 3/8 x 41 in / 31.8 x 280.4 x 104.1 cm Video installation: 4 LCD screens. Photos: Resin, latex paint, polycarbonate and archival jet prints Floor: Red oak veneer with polyurethane Gallery walls and understructure; acrylic sheet with latex paint 1989-2004 Part I_Chapter 1_Section 139: The Atlas Group (1989-2004) Walid Raad RES MARCH 2010 96

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Apichatpong Weerasethakul Phantoms of Nabua, from the Primitive series 2009 Set photograph Photo Credit: Chaisiri Jiwarangsan Courtesy of Kick the Machine Films

Courtesy of Kick the Machine Films Photo Credit: Chaisiri Jiwarangsan Set photograph 2009 Phantoms of Nabua, from the Primitive series Apichatpong Weerasethakul RES MARCH 2010 98

101 RES MARCH 2010 MARCH Marwan Sahmarani From the series Beirut 2008 50x200cm, watercolor on paper Hala Elkoussy Hala # 2, Mukattam (re)construction 2003 x 70 cm C print 100 , in that The Abraaj ts have so far been “unveiled” (the the artistic production process. program and has allocated $1 million program and has allocated complicated to dissect here as we have e to match a curator up with an artist opositions for collaboration. Once t that the fair has been organizing liar character the fact that all the twists and turns ue as one nascent in a region that lacks ue as one nascent in a region that lacks tion and “unveiling” process sheds a as invited additional focused attention as invited additional focused attention puts them directly in the vocabulary was set up in 2008 by Abraaj was set up in 2008 private equity Capital, the largest ART PRIZE THAT FOCUSES ON THE MENASA REGION REGION MENASA THE ON FOCUSES PRIZE THAT ART ZEYNEP ÖZ THE ABRAAJ CAPITAL ART PRIZE have shared a pecu The selection process in the first two editions group in the region, as part of its Corporate Social Responsibility as part of its Corporate Social Responsibility group in the region, “Theto empower chief aim of the prize is the two editions it has realized so far. per year in each of region the MENASA from the vibrant artists often under-represented contemporary potential, and give in a handicapped environment [1] Because the prize operates develop their talent.” resources to further and there is a lot of pressure much responsibility weighs on its shoulders, support, in terms of financial model. This amounts to to set an example and enact a successful The scrutiny. are under close this year, been some major ones in its policy change, of which there have this prize especially uniq following text will outline what makes arts. organized schemes for supporting the Capital Art Prize asked an artist and a curator to come up with a proposal together in order to apply. Capital Art in order to apply. proposal together a Prize asked an artist and a curator to come up with unique: Abraaj approaches seems to be proposals, rather than fully- only awards of the prize’s Two a curatorial emphasis on fetched existing artworks, and also puts the reason for the choic Representatives from the prize state that claimed that they were not readily artists in the region who was made in response to complaints from of the prize typically resulted in though the first year recognized by curators from abroad. Even the second year proved to be different well-known artists, applications that saw curators approaching the curators with pr and artists were actually the ones to contact selected as a winner of the Abraaj rewarded $200,000 for their project, Capital Prize, each couple was work on. The realized projec which they officially had six months to process which occurs each year in March, meaning that a production official term) at the Art Dubai fair, revealed to onlookers in a ceremonious environment becomes that is carried out in a rather confidential artists and art enthusiasts from an event that attracts curators, collectors, manner during the art fair, the prize ceremony h all over the world. Coinciding the fair and and thus more complicated on a region that was already becoming more fashionable, more productive, to look at over the last decade. The climatic aspect of the produc bright light on the artworks, and in relation to the fair exhibits Considering that the award winning works are realized to become of the international language of art. involvement as part of the support structure is idiosyncratic part of a corporate collection, Art Dubai’s and can be well contextualized when we take into account the fac Abraaj’s at large in the region. From numerous side events, which seek to conceptualize art production perspective, the Abraaj Art Prize cleanly inserts itself into a certain structure of visibility with a specific agenda; but what this combination actually implies might be too yet to understand the significance of the agenda of Art Dubai itself.

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(MIDDLE EAST, NORTH AFRICA, SOUTH ASIA) AFRICA, SOUTH EAST, NORTH (MIDDLE THE FIRST THE THE ABRAAJ CAPITAL ART PRIZE PRIZE ART CAPITAL ABRAAJ THE 100

103 RES MARCH 2010 MARCH SA SA , with the nother crucial , if not both these figures, , if not both these figures, braaj Capital in that they have support for the arts. Other support follows, taking into consideration the addition of expanded visibility in , it is probably safe to say that there by artists who live in a region - that is by artists who live in a region - that is circulate them internationally t of the A e only organized pool of regional money e only organized pool of regional money to point towards the selections that , or the curator as a result of personal connections. This as a result of personal connections. This ues in key capital cities of the art world. capital cities of the ues in key er ost noticeable of them. A sful, every international presentation sful, every international uction, which over centuries has been the uction, which over centuries has been . When choosing the winners of the prize, . When choosing the winners of the prize, ized do not sway away from the proposal ized do not sway away from the proposal t between the practitioners and the predict on the basis of the six works eral state of art production in the MENA approved proposals. During an interview approved proposals. During an interview

Part of the prize winning contract states that once completed the finished artworks will become part of artworks will finished completed the states that once prize winning contract of the Part the AbraajDubai the first showing in after the is that A further intention Corporate Collection. Capital significant ven tour to be hosted by works then go on final three this City of Arts to the Museum of the first edition toured the exhibition example, York & Design in New For to be a difficult venues has proved in 2009, finding the economic crisis since Unfortunately, past summer. succes for which the committee is working. If process, albeit one artist significant in raising the profile of the proves to be highly terms of size, conceptual scale, in a great(er) an opportunity to produce work on while also giving them rigor and/or visibility. Cristiana with curator Ataman (Turkey), edition of the prize in 2009 were Kutluğ The winners of the first Bouabdellah (Algeria),Perrella (Italy); Zoulikha and curator Carol Solomon (United States); with Attia winners are Kader (Algeria), (Iran). This year’s Nazgol AnsariniaFakhr (Iran), with curator Leyla (Egypt), with curator Jelle Bouwhuis (United States); Hala Elkoussy Annwith curator Laurie Farrell is Urieta (UK). Visibility El Bacha Mahita Marwan Sahmarani (Lebanon), with curator (Netherlands); and to the Abraaja key concept to talk about in relation as apart from the Sharjah Foundation’s Capital Prize, this is probably th support of the Sharjah Biennial commissions, art works and then also that offers the possibility to produce new a major collection of works final benefit of their being included in art patronage, or governmental usually not endowed with a history of and hence un-institutionalized, and produced, are largely private structures, under which art works get on a one-time basis often the money is for the most part granted to means of artistic prod creates an ongoing precarity in regard very specific to the gen case and has been well theorized, but is the stability and institutionalization of a scheme of art production and the Thus, region in particular. are quite significant. visibility that this stabilization brings process is risky on the par Creating part of a collection from this stay close to the original to trust the artists/curators chosen to with Savita Apte,why the Abraajthe prize, she expressed that this is the chair of team and jury monitor sure that the works real the production process closely; to make has to be mutual trus by a large margin. She believes that there process to be successful representatives of the collection for the Apte as well as representatives committee, which consists of art practitioners states that the selection from the Abraaj - the conservators and managers of the Abraaj Capital Fund - Capital Corporate Collection rootedness artworks, or the proposal’s have various criteria in mind, such as the medium of the proposed in the region where the work comes from. Of course, it is hard to that have been chosen so far how exactly these criteria combine are made and what the overall vision for the collection is. Howev is already a curatorial process in place that the selection committee the needs and the promise of the artists chosen as well as the symbolic value of the forces of the market, the of curators involved in building the collaborating curators. Thus the existence of a growing number which deserves appraisal. collection makes for a certain plurality, The effects and the importance of the prize have been various, with other international institutions as described above, being the m

Courtesy Art Dubai 2009 Unveiling of the Abraaj Capital Art Prize Rhyme and Reason Nazgol Ansarinia RES MARCH 2010 102

105 RES MARCH 2010 MARCH braaj pte says, have come , would improve the overall , would improve the . This year, Abraaj Captial . This year, Savita A ly quite large-scale projects and This would ensure that a clear This would ensure that per artist oduction process rather than merely oduction process rather production sync and influence production sync and has been the coupling effect that has been the coupling of Abraaj to accept works Capital and well thought out processes, but of collection building, the A of collection alf of both members of the team, in the e is a substantial budget to play with. lso opinions that having one umbrella lso opinions that having throw everything they get into one rs concerned with the region in making with the region rs concerned the prize, in that the process is ever t there will now be five winners awarded t there will now be five winners awarded number is gradually growing. Having gradually growing. number is ery strongly in the face of a lack of in the face of a lack ery strongly changes in policy are welcome by those changes in policy are welcome by those oming up with costly but less rigorous oming up with costly but less rigorous he outset project going and to achieve what we as opposed to sending a proposal with as opposed to sending a proposal with in how they have negotiated bringing a in how they have negotiated long-term benefit of the prize process is the further involvement process is the further benefit of the prize long-term that speaks v a timely response growing collection, to their own though their in the region, even of contemporary art collections the process it makes transparent be exemplary in how set out to for collecto offered a new model Collection has Capital Corporate the pr in the collection as well as investing in public the artworks works. acquiring already finished so far and encouraging aspect of the prize But the most irregular artistic where a curatorial process and was intentionally created, have won the prize, I can infer that the interviews with some of the artists who From one another. them of the process has been beneficial to collaborative aspect were a realization. On the other hand, there concrete proposal to curator winning proposals, as opposed to one curator for all three stage. realized at the end of the production quality of the exhibition works and relating them to one weaving together the three curatorial hand would be concerned with structure. another in a more cohesive exhibition what benefits and results are specific we will see about this year, Now, with the policy changes that come curator and artist from t to offering a collaboration to a team of directly to the prize Prize announced that the artists can apply Another of money awarded to each project will decrease change this year is that the amount a curator. for the fact tha from $200,000 to $120,000 in order to compensate years. These changes, as opposed to the three as in the two preceding own word) character of about because of the “evolutionary” (her for building the Abraaj with improved schemes evaluating itself and trying to come up Capital Corporate much consideration, the Collection. Having been initiated after built through critical of us who are eager to see collections being The decrease in the amount of pragmatically are curious. what these changes will signify and mean the committee because it “lets the artist as an improvement by money awarded to each project is deemed so overwhelmed that they still dream at a large-scale, but not be of artists potentially c pan [thereby there is no longer the issue artists have produced, there is indeed a Looking at the past projects that project conceptually.]”[2] allocated to realize potential conflict between the six-months of time with working to fulfill inflated expectations due to the generous the pragmatic complexities that come believe that any of the artists would complain about having been given I personally don’t budget; yet, on a big idea that does not necessarily the opportunity to lay their hands on this much money and work have to be large in size. As Nazgol Ansarinia an example to this time-size conflict, describes working on her winning proposal: “Rhyme and Reason is a handwoven carpet based on my Patterns Series, (a series of drawings that plays that ground, the off getting challenges many so faced production the carpet); Persian the of idea the with all efforts were made with the support of my curator to keep the had initially proposed.” [3] Because of the relentless work on beh was first proposed. In such instances, end the carpet was indeed realized as the ambitious project that battling with a short time frame is often only possible when ther Zoulikha Bouabdellah Walk on the Sky. Pisces Abraaj Capital Art Prize © Vipul Sangoi 2009

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MARCH 2010 As one curator has expressed, the role of the curator is by definition a rather political one in that NOTES the curator has to bring together and negotiate between the institutional and artistic spheres and [1] Abraaj Capital Art Prize 2011 Applications Press Release RES [2] Interview with Savita Apte dictate how the overlap becomes publicly revealed. If one takes out the hand of the curator from this [3] Interview with Nazgol Ansarinia negotiation process, there is not as much of the bouncy cushion that a curator offers in how the project [4] Interview with Nahita El Bacha Urieta is articulated before it is catapulted into the language of the collection. On the other hand, eliminating the pluralistic curatorial points of view, in favor of one curatorial voice may prove highly influential for Zeynep Öz received a BA in Mathematics and Studio Art from Dartmouth College, and went on to graduate from Center for Curatorial Studies, Bard College this past year. She is now the assistant curator for Home Works V in creating a coherent series of yearly exhibitions. At the same time, a continuity in terms of the curatorial Beirut, opening in April 2010. She recently commissioned and published Melanie Gilligan’s book, Five Scripts. role from year to year provides an overall vision for the collection whereas a variety of voices with different curatorial perspectives could enhance the collection in a more diverse way. Yet again, when considering the best approach for the curatorial role, there is some negotiation to be done here about how much the prize is concerned with collection building and how much it invests into the processes of artistic production. One thing that will be foregone for sure, now that artists apply independently, are the long lasting relationships that became secured between the artists and curators in the last two years when working together in realizing such large-scale projects.

In the end, the responsibilities that the Abraaj Capital Prize bears on its shoulders, whether it had chosen to take these responsibilities on itself or not, are rather heavy. The prize has created a pocket of opportunity for curators and artists alike in a sphere lacking monetary opportunities, to initiate and to take on projects otherwise deemed impossible. The prize produces visibility through, but not restricted to, the scale of intent in which the artists realize work. It would be wasteful not to exercise this opportunity in a responsible and creative way. The Prize has so far been willing to be open to changes; whether it can keep on adjusting itself in a self-critical manner will be seen in the upcoming years. There are also aspects where it has had the opportunity to fill in voids such as the lack of theoretical production in the region by producing yearly catalogues with texts on the artists. Such endeavours supply and feed the mechanism of art production, and it is these efforts that will prove whether the prize givers view such opportunities further and dwell on them in a non-wasteful way.

As one of this year’s winner curators, Mahita El Bacha Urieta proposes that the one apparent disadvantage that comes with this year’s policy changes will be the lack of encouragement for curators from the region. Although during the past two editions of the prize, there have been only two curators to come from the region, in her opinion the opportunity was there to shed light on these professionals. [4] Indeed, it was an important chance to work within a ready-made structure in a geographical zone that has few institutions of a standard to act as curatorial incubators. By extension this curatorial possibility also opened doors to other processes such as the production of new critical writing and critical theory, a requirement in any context that excels and drives contemporary art production. In the end, none of these achievements are expressed as aims of the prize, which has set out to build a collection that focuses on artistic production in the region as its springboard; however, these bilateral opportunities are some that are too great to be missed. How the Abraaj Capital Art Prize sets out to play in this arena of opportunities and whether it decides to outreach its investment by also supporting other curatorial ventures in the region and if it chooses to do so also outside the scope of the prize, we shall see in the upcoming years; but given the self-evaluating process of the display so far, there is definitely hope. •

The second annual Abraaj Capital Art Prize will be unveiled at Art Dubai 2010, 17 – 20 March, 2010. RES Applications for the 2011 Abraaj Capital Art Prize are now open. MARCH 2010 Please visit http://www.abraaj.com/acap for details.

Kutlu€ Ataman

106 Strange Space Abraaj Capital Art Prize © Vipul Sangoi 2009

109 RES MARCH 2010 MARCH e for instance cannot even pay for e for instance cannot a prize for them to trust you?’’ them to trust you?’’ a prize for • d no contact with any art scene in e. decision to move my own practice into which curators I want to work with which curators I want the successful cases), or underlining (and often limiting)... In other words (and often limiting)... our way around things with not much our way around things Absolutely. It was great exposure, my work was seen by “the right people” and after that things and after that things by “the right people” my work was seen great exposure, It was LA Absolutely. same support if I have had the : “would you do wonder course sometimes into place… Of started falling you need to win different context? Do was seen in a the same work in the to promote my work me and enables opportunities anyhow, opened up a lot of It certainly show, and make choices as to where I want to direction I want to, want to be represented by. and which gallery I in Athens? of the art scene prize has also influenced other elements RES Do you feel that the invaluable privilege for the is an Foundation the existence of the Deste LA Besides all its glamour, little public support account that Greek artists have very taking into That’s Greek art scene in general. in Greec all European countries). Museums (perhaps the least from galleries on the other hand are limited production costs. Private find y today is a bit of a curse, you ve got to being a Greek artist abroad, and that makes “the scene of artists leave the country and move why the majority help. That’s in Athens” has had an enormous impact in a “ghost town”. The Prize though seem a bit like a scene both because Dakis Joannou is a in bridging the Athenian international art scenes. And and that’s and because they’re doing a great job. superstar, may have seen your work? and so RES What kind of audience visit the Deste Foundation contrary to the performing arts or for the elites, LA Contemporary art in Greece is totally exclusive a fantastic general public. It was the Deste Prize show also attracts a lot of the cinema in fact… Yet audience there for onc experience showing to such a big and wide CHRISTODOULOS PANAYIOTOU Recipient of the Deste Prize in 2005 did it seem like an important initiative launched in 1999 and RES Do you remember the Deste Prize being at that time? in 1999... I actually ha CP I had no contact with the Greek art scene ballet student. 1999... at that time I was a hard working opportunities as a result? you feel like you have had more won the prize in 2005. Do RES You the exposure is far reaching. since I was awarded the prize, because Opportunities have resulted CP Yes, On a personal level the prize helped me to validate my conscious the field of contemporary art. of the art scene in Athens?RES Do you feel that the prize has also influenced other elements CP I think that the prize, like any prize, is rather commenting (in (in the less successful cases) particular elements of the art scene. is to create a platform for the selection committee members give each selection committee members give each You won the prize in 2007. Do you feel like you have had more opportunities as a result? you feel like you have had more won the prize in 2007. Do RES You I remember hearing about it a couple of years later, in fact I was a foundation student in London LA I remember hearing about it a couple of years later, I suppose that was a new departure for library. at the time, and found the catalogue in my college’s it had suddenly found an international spotlight. contemporary Greek art, Each prize has its own characteristics and the diversity of the DJ Each prize has its own characteristics did it seem like an important initiative RES Do you remember the Deste Prize being launched in 1999 and at that time? Is there any particular year of the prize that stands out for you as one that hosted a shortlist of that stands out for you RES Is there any particular year of the prize works of outstanding quality? LOUKIA ALAVANOU Recipient of the Deste Prize in 2007 This question I think is best answered by third persons. Our aim DJ This question I think is best answered international exposure of Greek artists show a special flavor. Do you feel that the Deste Prize has influenced the young generation of contemporary artists in the young generation RES Do you feel that the Deste Prize has influenced attain to? Greece by giving them a specific goal to The Selection committee and the Jury members are decided by myself together with an ad-hoc members are decided by DJ The Selection committee and the Jury advisory board How is the Greek selection committee and the international jury determined each Prize? the international RES How is the Greek selection committee and It started in 1999 when DESTE moved into its permanent space in Neo Psychico. moved into its permanent DJ It started in 1999 when DESTE Was there a particular motivation for initiating the Dest Prize in 1999 given that you had the Dest Prize there a particular motivation for initiating RES Was back in 1983? inaugurated the Foundation Founder of the Deste Foundation and the Deste Prize in Athens Founder of the Deste Foundation DAKIS JOANNOU

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111 RES MARCH 2010 MARCH DESTE Prize 2007 th Courtesy upstairs Berlin Loukia Alavanou Chop Chop Tale 2007 Double screen video installation, 5min Installation View, 5

Christodoulos Panayiotou Truly 2005 Video installation Installation view, 4th DESTE Prize 2005

Menelaos Myrillas

Photo credit: Courtesy the artist Oil and Acrylic on 3 panels, total dimensions 68x23 cm Oil and Acrylic on 3 panels, total 2009 Επιτάφιος Eirene Efstathiou RES MARCH 2010 110

113 RES MARCH 2010 MARCH (light score) Study for Polytope de Montréal c. 1966 Color pencil on paper, 9 1/2 x 12 1/2 in Iannis Xenakis Archives, Bibliothèque nationale de France, Paris s and his by explores, and effective curatorial device. imedia site-specific works from the 60’ is work.

In the making for over two years, the exhibition was co-curated In the making for over two years, the exhibition and Carey Lovelace, new music specialist, Sharon Kanach, a Paris-based independent curator and critic, both former students a New York-based Littman, The Drawing Center’s Brett de Paris. at the Université of Xenakis’ in his foreword to the exhibition catalogue, recounts Executive Director, run-in with Xenakis during a charming tale of his own influential San University of California, days as an undergraduate student at the Xenakis (then a visiting Diego after seeing a performance in which through the movement professor at UCSD) created an aural landscape A ring of speakers a computer. of kites whose strings were attached to fed by sounds from the machine encompassing the audience broadcast sense it makes to say, Needless the sky. wanderings through the kite’s ently on view at The currently on view at The composer Iannis Xenakis (1922-2001) the Greek avant-garde

THE WORK OF Composer, Architect, Visionary in the exhibition Iannis Xenakis: York Drawing Center in New early is threaded with material from his The exhibition begins and ends with architectural projects and musical works as well as his “polytopes” (“many” + “sites”); mult AMY OWEN initial inventorying of the Xenakis archive (comprised of The exhibition developed from Kranach’s then flourished following and de Paris) Bilbliothèque Nationale over 80 boxes of material housed at the work, the curators were faced with the challenge breadth of Xenakis’ conversations with Lovelace. Given the to encompass the myriad projects created keeping it broad enough of honing down their presentation yet influential career. highly throughout Xenakis’ in particular, the fundamental role of drawing within the protean practice of this immensely talented practice within the protean the fundamental role of drawing in particular, the cross-pollination of of science and art, it illuminates the merging More interestingly, cultural producer. in h embraced so fully and effortlessly disciplines that Xenakis home at the Drawing Center amidst the hands of such able and loving that the exhibition would find its’ for the work is palpable. respect and admiration fans. Upon entering the exhibition, the method of working, the curators led many of their decisions with the ear- as the work to Xenakis’ True 70’s. As i-pods loaded with corresponding tracks to the a result, is seemingly meant to be encountered aurally. visuals on view are made available to visitors at the onset; a clever the of walls the line paper on works Two-dimensional pristine. and quiet is exhibition the Formally, notations. and scores musical and photographs, archival renderings, architectural displaying gallery published Xenakis’ of array an housing gallery, the of center the at viewer the confront vitrines Four for worked had Xenakis whom Corbusier Le architect famed from letter a even and recordings, writings, Photo by Cathy Carver

Installation at the Drawing Center, New York, 2010 RES MARCH 2010

JANUARY 15 - APRIL 8 , 2010, THE DRAWING CENTER , 2010, THE DRAWING 15 - APRIL 8 JANUARY VISIONARY IANNIS XENAKIS: COMPOSER, ARCHITECT, COMPOSER, XENAKIS: IANNIS 112

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throughout the 1950’s and who entrusted Xenakis with the oversight of the 1958 Philips Pavilion project. MARCH 2010 Xenakis morphed Le Corbusier’s skeletal plans into a more dynamic asymmetrical framework based on RES hyperbolic parabaloids, yet Le Corbusier failed to credit Xenakis for his innovative design once building was underway and soon following tensions rose. Le Corbusier’s letter on view here, sent just after the groundbreaking of the building, announced that Xenakis’ services were no longer needed—he had been fired in a tantrum.

Along the far wall of the gallery, hidden from view by a long partition, hang archival images and drawings from Xenakis’ various compositions and Polytope works. Of particular interest is Terretektorh; a work that demonstrates Xenakis’ enchantment with, the dimensional possibilities of sound which required that the audience be seated throughout the 88 participating performers surrounding the conductor. Further, at the opening of this piece, visitors were given chairs akin to camping stools and encouraged to roam throughout the space and experience the work from different locations. In Xenakis’ frenetic drawing, Study for Terretektorh (distribution of musicians) from 1965, we can see the composition come to life through the potential paths of visitors carved around the static performers.

The first of many “polytopes” also on view here, is Polytope de Montreal; a commission for the French Pavilion at the 1967 Montreal Expo. Steel cables woven through the interior of the building were lined with lights that, through mechanized instructions, generated flickering constellations over a six- minute performance in which a simultaneous symphony played by four different orchestras was piped from four surrounding loudspeakers. The building allowed visitors to interact with the piece from multiple levels. In Xenakis’ Study for Polytope de Montreal (light score), c. 1966 we see his use of layering color and graphite on paper, a multi-dimensional method that pervades many of his sketches and illustrates his way of thinking via systems.

The installation also features two sets of flatscreens, chairs and headphones, which buttress each side of the partition that cuts through the back of the gallery in separate listening/viewing stations. These video components, most interestingly, allow the viewer the opportunity to observe the workings of Xenakis’ revolutionary UPIC-compositional tool. Xenakis invented this machine to be a digitized musical drawing board that allowed one to literally draw sound. The system was capable of translating drawn forms into electronically generated sound so one did not have to know how to read music to compose music. The technology was so profound that the machine was traveled around the world. It opened up the composition and teaching of music to a whole new audience of students and individuals, from children to the blind.

The exhibition is accompanied by an extensive catalogue including essays by the curators as well as Xenakis’ daughter Mâki Xenakis and music writer Ivan Hewett, and continues on tour to the Canadian Centre for Architecture and then to the Museum of Contemporary Art, Los Angeles. An impressive line up of events has also been developed in collaboration with a host of local performing arts organizations, universities and musicians. As thorough and exciting as the public program is, so much emphasis has been placed on the musical and performative components of Xenakis’ works, that it would have been interesting to see the exhibition engage another cross disciplinary contingency through any of the numerous architectural programs in the city—a missed opportunity. Furthermore, the exhibition could Study for Terretektorh (distribution of musicians) have benefited from the inclusion of a few architectural models of Xenakis’ projects providing a richer December 20, 1965 RES and more tangible experience of that important body of work. Ink on paper, 9 x 9 in

MARCH 2010 Iannis Xenakis Archives, Bibliothèque nationale de France, Paris

114 The exhibition brings to mind Bernard Tschumi’s Architectural Manifestoes, the 1978 exhibition mounted at Artists Space (another one of New York’s downtown non-profit arts organizations) which presented work that explored ideas (essentially architectural) that could not be investigated through conventional means, and rather deployed these concepts in a visual and textual form comprehensible Pier 94 / Booth 1511 in terms of conceptual art. Of his manifestoes, Tschumi stated, “like love letters, they provide an erotic distance between fantasy and actual realization.” Perhaps we can view Xenakis’ drawings through The Armory Show 2010 this lens, as “love letters” that, as Tschumi elaborated, “play on the tension between ideas and real spaces, between abstract concepts and the sensuality of an implied spatial (and in Xenakis’ case, aural) experience.” •

Amy Owen is Director of Exhibitions at Artists Space. She was previously Exhibitions and Publications Associate at Independent Curators International (ICI) from 2001-2005. Recent curatorial projects include Re-Shuffle: Notions of an Itinerant Museum at Art in General (2006), Facts on the Ground at the Center for Curatorial Studies, Bard College (2007), Salad Days (2008) at Artists Space and Other Certainties at the New York Center for Art and Media Studies (2008). Owen received her BA in Art History from Southern Methodist University and her MA in Curatorial Studies from Bard College.

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OSMAN BOZKURT, DRIFT, 2007 (detail) 100 x 150 cm, C-Print

PiST/// Interdisciplinary Project Space

RES Dolapdere Caddesi

MARCH 2010 Pangalt› Dere Sokak No 8 A / B / C istanbulartlist.net

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119 RES MARCH 2010 MARCH urthermore, many of social relationships which, a distinctively female way of architecture.” the ‘I’ and the ‘you’ are related well as the results, on a functional but results, on a functional well as the done or documented, and of what will s distanced but physically adjusting but physically adjusting s distanced alized practices. F urther considerations and horizons for urther considerations f dominant cultures, to examine methods f dominant cultures, to examine methods nto others, or simply used. In spite of book is productively book is productively Support Structures Chisenhale Gallery, 2003, Céline Condorelli and Chisenhale Gallery, 2003, conditioned, created, manifested, and articulated the process as and articulated created, manifested, conditioned, to be defined a therefore seemed level. Our role also an aesthetic a serving and brief a to responding also were we that fact the to relation in seen always idea an curators, a situation and programming curating, designing we were plan. Nonetheless, someone else’s purpose in like art and our control; much properties beyond with discursive One, In Support of Art I Am a Curator, Support Structure: Phase Gavin Wade, pp. 116-125 to the you would consider with regard additions or reformulations this in mind are there any RES With Manifesto” dating from 2004? “Support Structure the is proactive in character, CC “Inasmuch as any manual possibilities to think of the summing-up does not attempt to provide a complete forward-looking, and It can exist. as those simply don’t ground them in established directions, nor is it able to with support, up f of possibilities in the hope of opening only suggest a range exclusions own its creates and wanting and lacking is inevitably approach an Such acting. and thinking of what has not been — of what has been left out or never found, the present institution probably never be done or written, given questions present here have not yet found answers, and we would like this work to be read as a collective answers, and we would questions present here have not yet found from, and passed o construction site, to be added to, subtracted manual to future practice, urging it be made by dedicating this these limitations, further demands can and alliances o to explore the political or economic motivations and stubbornly retain access how these elude representation, of promotion and repression and consider of support structures.” new uses for the practice to modes of production, continuing towards Gavin Wade, p. 8 Foreword, Support Structure: Céline Condorelli and of the “underpinnings” RES Henry Lefebvre, one of the first theoreticians argued for “feminine revolts” to save in and through space” according to him, have “no real existence space. Do you envision occur against “masculine virtues” dominating creating support structures? … It is the invisible that makes to hidden, et cetera CC “Support is what is behind, below, underneath, that carry on the condition of the impossible the transient which make things lasting, be present, I am Bataille ‘the informe’ (‘the formless’). Plato has called it ‘chora’, Irigaray ‘placenta’, possibility. calling it mother. aaa—atelier d’architecture auto-gerée—Doina Petrescu sentence ‘I love you’. ‘I love to you’ Luce Irigaray suggests the insertion of a ‘to’ into the ‘MUTUAL’ suggests a new social order of relations between two, where both as different subjects, rather than as subject and object.* TO YOU”! “ I SUPPORT (2006), p. 150. book Art and Architecture, I. B. Tauris * As read in Jane Rendell’s (public works, Kathrin Böhm) pp. 79-80 asks her listeners to dedicate the project of feminist Woolf Own, Virginia At the end of A Room of One’s but hasn’t a female writer who could and should have lived, sister, writing to the ghost of Shakespeare’s hat that may be, even though of course it may hat that may be, even though scribed by one’s own tastes and personality, scribed by one’s own tastes be constantly surprised by what people pontaneous decision. Although I don’t think Cage pontaneous decision. Although I don’t think Cage lement of tolerance towards its eventual what questions to ask, something he constantly what questions to ask, something he constantly to free himself, in the large part, from having to to free himself, in the large part, from having to ures would say and respond as a speaking work, ures would say and respond pport, a small homage to John Cage and his use pport, a small homage to inciple is to remove one’s own intention from the inciple is to remove one’s

CÉLINE CONDORELLI “Support Structure was a collaborative project intended from 2003 to 2009. We and myself, by Gavin Wade Support Structure to be a questioning structure that in turn answers. The produces more questions and also, of course, architects Alison defined their agenda and Peter Smithson have to raise the for the Economist Plaza as follows: ‘... We shifting individual items or elements above themselves, to the level that sideways the emphasis of their bare selves, as signs to help us know they recess together and subtly serve how to behave in our buildings, guide how we want to live as a society in our cities.’ desires of yours have been strengthened or weakened so far? desires of yours have been strengthened Apparently, you have put the ‘Support Structure’ project through a “learning process.” Could you you have put the ‘Support Structure’ RES Apparently, going through? Which thoughts and you are personally comment on what kind of a learning process NOTA BENE and su ‘Support Structures’ quite seriously as a guide I decided to use the book CÉLINE CONDORELLI of the I-Ching towards composition -of music, writing, life and art. The basic pr -of music, writing, life and art. The basic of the I-Ching towards composition circum to the oracle. Intention is always to some extent work and hand that over hear w trying to get the book to speak for itself and and in this case it was about Struct In a sense then, you can hear what Support speak through my own voice. by using it for every non-s much as you can see what kind of life it would create have an intention – he used it necessarily considered that the oracle itself may then became solely choosing choose. The artistic choice he reserved for himself questions are yours. emphasized the importance of. In this case, the (mis)use once it is in the public realm, and ensures that one can Support Structure was a tool provided and programmed by us but used exclusively by might do with it. others. The space and events that Support Structure enabled were not directly dictated by us but by the limitations and possibilities of what we called the architectural interface. As a system Support Structure eal collaborative Support Structure was devised according to function, and was the outcome of a r whole that whilst appearing working process. Each section was combined to create an unpredictable of aesthetic decisions. This lack to be a very aesthetic object has been designed without conscious preciousness towards a final result is essential in creating an e

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121 RES MARCH 2010 MARCH , only “demands that , only “demands , ‘the shape of things to come’ of things to come’ , ‘the shape ld have it), or the supporting system, ld have it), or the supporting about of intent as obsolete. Now we go for about aspiration. This might sound very about aspiration. This might sound very d willingly taking up the commitment d willingly taking up of thinking though does not have much of thinking though does not have much me almost taboo.” al control, and in the best possible case, al control, and in the we could look at support through the we could look at support Heidegger puts it Heidegger practice or just another form of “enframing” (Gestell) which, as of “enframing” (Gestell) just another form practice or nature be orderable as standing-reserve”? nature be is to come of the instance of what the question CC “This also raises and how they do so; we do always need to ask what the motivations behind support are. I believe that behind support are. the motivations need to ask what do so; we do always and how they case scenario, they can be forms of politic in the worst possible for change. triggers or reformulations and to define something in different ways, It is always possible wou the subject in need, as the welfare system supported object (or and defining support By looking the two. that support establishes between or through the relation away from supposed lacks or I hope to shift attention or could provide support, structures, which might and processes that might offer empowerment of creating possibilities for support, needs to processes an This does rely on consciously possibilities for emancipation. into the public. relationships these of such processes, and immediately throws and responsibility one states ‘I will deliver’, of intent: and agreement Bart De Baere: In law there are agreements of results, not about delivering, but and the other ‘I will aspire’. Support is to me. This way generic, but its intentionality is very important production, and results; in time is about output, as everything at this moment weight attached to it, and relegated rhetoric a movement that started in the mid- 1980s quantified, and measured — to what can be directly calculated, immediate gratification and results — intentionality have beco such an extent that nearly all kinds of Support for Culture, Céline Condorelli and Bart De Baere, pp. 195-196 from one thing you felt was lacking mentioned at the book launch in Istanbul that there was RES You that was the support of friendship. Can you expand on this idea and describe and ‘Support Structures’ look at a set of human relationships in a more theoretical how a future publication or project would from the Adventures of Pinocchio a lead into your next way? Is the closing image in ‘Support Structures’ period of research? CC “The specific political distinction, to be which political actions and notions can reduced, is the distinction between friend and enemy.” The implication of support is that of the politics of friendship, for to give or receive support is an allegiance, and establishes who and what one can count on. “Responsible for myself before the other, I am first of all and also responsible for [...] The aporetic the other before the other. question what can ‘to give in the name, to give to the name of the other’ mean could , which , to care . Support, unlike . Support, . We just need to . We nd in this way, generosity nd in this way, and revalue what it means to put rence against “preservation of the a heroic passage à l’acte without doubt a heroic passage à l’acte pported and supporting bodies.” h, of course, means that it is not to be is that generosity cannot be the basis of from the future. aring lies in the dedication itself aring lies in the dedication atitude and dependency e donor and the recipient I want to.’ A of that impossible care, in the awareness of that impossible care, in the awareness m the social side, the term support The crucial difference that this dedication makes — and the reason why the love expressed here might why the love expressed — and the reason dedication makes difference that this The crucial of all, that it is a demand — is, first and supply an economy of regulated enough to exceed be ridiculous If it but who is she? sister, It is Shakespeare’s whose names remains partly secret. dedication to someone or economical a strategic move within a given political the dedication would be were someone in power, is dedicated is still to come. You the person to which the effort of care also because it isn’t, system. This way, the transaction. For into an economical exist or something that does not presently cannot force someone you will have to rely need of an other that is still to come, you cannot fully know the same reason, however, for c The only explanation, the only mandate on your intuitions. yet. The dedication becomes an invocation. Through dedicating your work to her arrival, you summon her, her, her arrival, you summon your work to Through dedicating becomes an invocation. The dedication yet. past and arrive come back from the to allow her to call her forth, You describe your book as “…a manual for those things that encourage, give comfort, approval, approval, encourage, give comfort, describe your book as “…a manual for those things that RES You acknowledge the also of life.” You and the necessities and solace; that care for and provide consolation – aiming to “… understand “generosity” aspect of support structures reserve, but remains a gesture by a generous Generosity is without CC “Support is not a form of generosity. the relation between the two. Because the generous which is what structures subject to a needy subject, justice demands, whic subject is giving more, perhaps, than even into a system-enforcing, deceptive RES What would, in your opinion, prevent a support structure turning for Shakespeare’s sister, whoever this will be. This dedication will always fall short of a forceful declaration this will be. This dedication will always whoever sister, for Shakespeare’s open up est pro patria mori!’ — that would — no ‘dulce et decorum yet unknown. Still, this dedication and care will always remain the subject of your and hesitation. For In to act. position depriving you of the possibility force you into a melancholic moment of doubt doesn’t take on the burden the spirit of this dedication, you can indeed before that other person arrives.” and will have to surrender nonetheless that you might exhaust yourself Personal Support: How to Care? Jan Verwoert, p. 176 your philosophical supports, argued that “we Derrida, one of yourself in the service of others.” Notably, in order to obey give out of generosity, we should not should come to disjoin the gift from generosity… you expand on your understanding of generosity, Would that natural impulse, which we call generosity.” Can such a thought be reconciled with the from religious altruism? especially its differences, if any, becoming” and abhor Nietzschean “desire for destruction, change, weak”? giving you this because an act of justice, but a will to give: ‘I am terrible things like gr unfortunately brings in its train all these physical violence, but by giving gifts, and in doing so societies, who wage war not with think of Potlach create debt and gratitude, or just confusion. What these show us a social relation, but produces a continuous relation between th is always limited to money circulating a welfare system — where the support that one gives and receives within national economy — is politics specific. Looking at it fro requires a certain kind of clarification, even formalisation. at all, and in fact, sounds so very obvious, isn’t, nor does it or what Christians call charity, It is a complex notion, and should not relate to generosity, position. But it does rights to welfare, which are simply triggered by one’s come in the same way as one’s designate the sea of intermediate agencies, which include both su On Support, Mark Cousins, p. 68

RES MARCH 2010 120 aiYA-NewsPaper-03-190x250mmOutline.pdf 1 1/19/10 2:52 PM

translate into the question of the decision, the event, the exception, sovereignty, and so on. To give in the name of, to give to the name of, the other is what frees responsibility from knowledge [...] For yet again, one must certainly know, one must know it, knowledge is necessary if one is to assume responsibility, but the decisive or deciding moment of responsibility supposes a leap by which an act takes off, ceasing in that instant to follow the consequences of what is — that is, of that which can be determined by science or consciousness — and thereby frees itself (this is what is called freedom), by the act of its act, of what is therefore heterogeneous to it, that is, knowledge. In sum, decision is unconscious — insane as it may seem it involves the unconscious and nevertheless remains responsible.” Both quotes: The Politics of Friendship, Jacques Derrida

But another answer to this question is: “How can there be no philosophy of friendship that includes women?” Directions for Use, Céline Condorelli, pp. 15-16, p. 10

RES With regard to your own practice, which is hard to pin down as it floats between the realms of architecture, art and theory; are there any three-dimensional proposals such as the earlier ‘I am a Curator’ project at the Chisenhale Gallery in 2003, that you envisage becoming as a result, or a response to your work on the publication?

C CC “It is important for me to create a mobile and adaptable, mediating interface, that has the M permanence, scale, and weight of a liveable architecture. The combining of ad-hoc temporary surfaces Y and structures together to form a more permanent system generates a strange composite utilitarian form that offers future pathways for developing elements into a multitude of temporary and permanent CM support structures. It is not my intention to design or represent in my practice something that is MY

strange but one of my objectives is to stimulate and aid reconsideration of existing spaces as an CY

impulse for future change. The unfamiliar, which could be termed as strange, is one of the tools in CMY providing that impulse. Such a practice is a prompt to act and transform, and it enables through K containing both familiar and unfamiliar elements, or recognizable elements in unfamiliar arrangement, size, or form, which is what creates an unknown aspect, its slight ‘monstrosity’.” Support Structure: Phase One, In Support of Art I Am a Curator, Chisenhale Gallery, 2003, p. 125

Céline Condorelli, Support Structures Edited by Céline Condorelli, published by Sternberg Press, Co-produced with Support Structure: Céline Condorelli and Gavin Wade, and James Langdon, with support from Platform Garanti CAC

“We do not work for gain” answered the Fox, “We only work to enrich others.” “To enrich others!” repeated the Cat. RES “What good people,”

MARCH 2010 thought Pinocchio to himself. And forgetting his father, the new coat, the A-B-C book,

122 and all his good resolutions, he said to the Fox and Cat: “Let us go. I am with you.”

125 RES MARCH 2010 MARCH pts to reflect upon various modes pts to reflect upon various . t , become for Condorelli the very Condorelli the very , become for adaption to circumstances. artists Adam and Oliver Broomberg ed in 2002. Scaffolding, which was Scaffolding, which ed in 2002. constant cultural awareness, which is f into a “site” of an old and precious f into a “site” of an old es define the relationship between es define the relationship in Milo, a small Sicilian town located small Sicilian town in Milo, a f support takes place between Bart de walls and frontiers, from scaffoldings to walls and frontiers, from scaffoldings . Drawing on his personal experiences of cultural of experiences personal his on Drawing . Support for Culture for Support it holds. The section opens with a series of photographs taken by a series of photographs section opens with it holds. The Condorelli’s wooden scaffolding. by façades held up buildings, their that show small town Chanarin taken in 2004 photographs were text explains that the following that occur a severe earthquake of Mount Etna, after on the slopes demolishment and protect them from the buildings up built to hold is what produces the scaffolding and its strength. Accordingmanifestation of support to the author, itsel building by transforming the building cultural value of the site, eligible for funding status to that of a tax-exempt construction and its jurisdictional artefact, focus of politicians. These support structur applications and the in which they exist. of the space politics surrounding context and thus the very the building and its the cost of its labor value is to be measured by no more than says, the structures’ Therefore, the author relation to what it props up. and its function in attem in the book are conceived as individual The following chapters under the title of Modes, value. Collected own in which they come to define their of support and the ways One which draws on the subject. theoretical framing the commissioned essays provide a multifaceted under the title On Support. The is provided by Mark Cousins on the psychoanalitic function of support from the notion of negotiation a complex discourse running reader is fluently led by Cousins through paradoxes to to the political and the ethical, from architectural bodies to physical forms of support. and finally from the dependency of buildings on other systems, and the meaning o A discussion on the role of culture in society title the under Condorelli and Baere The publication also gathers the ten projects which were realized between 2003-2009 by Condorelli and Wade and the as Entries to the subject, editorial agenda draws upon various manifestations of support in actuality. Diversity of contexts, issues, resources, methods and products of these manifestations point out the pragmatic nature of support at work. Included as part of the References and sprinkled throughout the book are a selection of slick statements that Lawrence Weiner’s here provide inspiring artistic enquiries and moments of pause. institutions and politics, de Baere discusses the importance of a institutions and politics, de Baere discusses in society and an to be raised by means of a repeated embedment Another Doing Democracy, an accurate reflection on the essay worth mentioning is Andrea Phillips’ this end Phillips To forms of democracy. its institutions exercise ways in which cultural production and discourse in Support Structure as “an analytic tool” and builds her critical uses Condorelli and Wade’s Mouffe, Nancy and Lefor light of a set of theories by Plato, Ranciere, Support Structures s self-perception, to Support Structures as a material on the subject; as in a book their collaborative ations, movements and moments. tance or simply taken for granted the art world has turned into an an into turned has world art the of the art world’ from different perspectives. an eclectic collection of theory ; the result establishes the subject gle to look at such a broad area of hive, a miscellany of ‘works, actions Support Structures claims support as Support Structures has something particularly OVER THE activity; LASThigh-visibility expanding rapidly and international TENexclusive, YEARS, of components fundamental the of one constitues which system a is it architecture and art Contemporary picture. socio-economic entire the urban our of feel the construct which practices spatial two are place. take activities these where setting the set and environments on self-reflection comprehensive is, it though needed Increasingly day. this to lack largely practices these e In her inceptive essay Exergue, Condorelli defines what “support” is intended for and what valu generate a constructive discourse in countering the increasing commoditization of culture. generate a constructive discourse in countering the increasing REVIEW BY NAZLI GÜRLEK REVIEW BY NAZLI GÜRLEK Now, there is a book that sets out to introduce an interesting an Now, there is a book that sets out to introduce Celine Condorelli, production. Edited by architect/curator and provides the primary function of both art and architecture, Condorelli and her long- and practice to the discourse. In their foreword to the publication, Celine outline the rationale behind Wade term collaborator artist/curator Gavin as, the urge to finalizing “culmination of several endeavours,” such as a response to Condorelli’s Support Structure, that has been underway since 2003; project, total absence of written critical investigation which found an almost As for support. function as a manual well as conceiving a book that would itself of an example result is a research arc interdisciplinary modes of working, the a group of producers in the field, including architects, artists, theoreticians by and manifestations’ different geographies, gener and curators, most of whom pertain to Alongside long-term project Support Structure, are 8 commissioned essays the 10 phases of the Matta-Clark, Filippo Gordon authors Lawrence Weiner, and nearly 40 existing works (including Erek) Banu Cennetoğlu and Cevdet Can Altay, El Lissitzky, Vonnegut, Kurt Gander, Brunelleschi, Ryan engage with the subject which altogether offer the possibility to Anti-commoditization gestures are nothing new, but draws attention to what is often ignored, considered of little impor secondary elements of the picture when it comes to contemporary creative practices. Those so-called are finally delivered a bibliography and an archive of their own On the other hand, by reflecting upon the labor and other underlying as a field of research in itself. systems behind such practices, this publication employs details substantial and timely about it. By extending the prospect from end product to background material substantial and timely about it. structures of decision-making, props, collaborations etc.), process, context, (labor,

RES MARCH 2010 BY CÉLINE CONDORELLI CONDORELLI BY CÉLINE

SUPPORT STRUCTURES STRUCTURES SUPPORT 124

127 RES MARCH 2010 MARCH The Economist magazine; Curtain, archive, sign, offices (2004) Support Structure: Celine Condorelli and Gavin Wade, Support Structure: Celine Condorelli birch plywood bench, 40 years of Silk, hessian and cotton curtain; with MDF blackboard; portable office, steel frame cupboard on wheels formica, insulation board, MDF, felt, rubber. steel frame constructions on wheels,

RES MARCH 2010 126 K CMY CY MY CM Y M C Composite IM HK FUN 19X25 con.fh11 1/5/10 10:21 AM Page 1 AM Page 1/5/10 10:21 con.fh11 FUN 19X25 IM HK rts a complex self-reflexive and provoking a complex self-reflexive orial lows on from formal and discursive formal and discursive lows on from by Radim Pesko, recalls one of the Pesko, recalls one SOL by Radim ICA the the

n MFA in key and influence and its re-elaboration. influence Museo D’Arte Moderna di

Venice Biennale in 2008-2009. rd • essential moments of the creative process as a type of support: process as a type moments of the creative essential frames and fol as one which role can be interpreted The editorial with both deliberately engaged is position that manages a middle Condorelli meanwhile enquiries. the other authors with yet provides and and the reasons behind her selections, her research material a meaningful whole in and methodologies are combined into Diverse practices space and visibility. create and interests are “propped up”to which interlaced themes mental map. abroad. and Paolo Chiasera. Among her Bologna in 2006 for the solo exhibitions Ryan Gander, Building Transmissions (co-edited with IM projects), and editorial activities are the 2009 Autumun Issue of Circa Art Magazine publication A Fine Red Line: A Curatorial Miscellany (IM press, in association with International Project Space, newspapers and art magazines in Tur 2008.) She writes about contemporary art for books, catalogues, departments of Tate Modern in 2007 for the exhibition Global Cities, and MAMBo - departments of Tate Modern in 2007 for the exhibition Global (b. 1981, Istanbul) is an independent curator and writer based in Istanbul. She obtained a Nazl› Gürlek (b. 1981, Istanbul) is an independent curator and writer based Céline Condorelli, Support Structures Céline Condorelli, Support published by Sternberg Press, Edited by Céline Condorelli, Structure: Céline Condorelli and Gavin Wade, Co-produced with Support support from Platform Garanti CAC and James Langdon, with Curating at Goldsmiths, University of London, and a BA in Painting and Art History at the Academy of Fine A Curating at Goldsmiths, University of London, and a BA in Painting Turkey at the 53 of Florence. She worked as Assistant Curator for the Pavilion of Another design project work, the Sol LeWitt-inspired conceptual She is a co-founder of the publishing collective IM projects, and a member of the Board of Directors of A She is a co-founder of the publishing collective IM projects, and Multiple Intimacy, Turkey. Her curatorial projects include A Fine Red Line – Live at 176 Project Space, London; others. She collaborated with the curat parallel event to the 10th International Istanbul Biennial, among

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131 RES MARCH 2010 MARCH , authority, and a , authority, s exhibition, yet this time the yet this time the s exhibition, , it can be classified by codes of , it can be classified and persuade the viewers, however and persuade the viewers, der to avoid any potential, and indeed any potential, and der to avoid the films she attempts to challenge he contemporary politician in a playful he contemporary politician rait proposes power n Macuga’ war, ironically while standing in in front of the hidden anti-war piece. The tapestry, which was hung at which was piece. The tapestry, of the hidden anti-war standing in in front ironically while war, covered up in or since 1985, was Nations Headquarters the United the tapestry i is hung next to A blue curtain justified, criticism. behind the work. curtain is AnotherAccording bust. exhibition is a bronze politically engaged work within the to the historical a port civilizations, the representation of art traditions of early gives of Colin Powell as a symbol of propaganda. The bust as well as functioning cult of personality, identity and without knowledge of its the same timeless impression sculpture German expressionism, or cubist It may relate to socio-realist art, modernist sculpture. audience can connect that the enough the dialogue between the works is strong forms. Nevertheless, and a considerably absurd moment The bust illustrates a very ironic the context. the pieces and grasp evidence; a test tube, to justify the presenting the so-called expression; Colin Powell with an unsettling impress Iraq. The pose appears to attempt to Coalition invasion in t those political decisions. She portrays for Macuga, it criticizes Applying highlights the link to Guernica and to relating to Picasso, she light. a specifically cubist style the memory of the gallery once more. opposite the bust of Colin Powell. are shown in the corner Different film works, selected by Macuga, other politically engaged artists, particularly include works by These films, which are rotated monthly, to reinforce the concept of her exhibition, and in This helps Macuga ones with an anti-war viewpoint. exhibition. By including a sense, it allows her to curate her own film shown in November 2009, The context. exhibition’s as well as intensifying the the role of the artist, a pair of young American Soldier” recounts the experience of titled “Winter soldiers serving in the life conference in It is footage from a real attempts to show the true colors of war. and War, Vietnam it describes their the human face of the war effort, Collective. Showing 1972, produced by the Winterfilm killing machines - a role they were and ultimately becoming journey from voluntarily joining the army ill Guernica . Rather than a , Guernica (the original was t this point, there is a clear t this point, Guernica, a life-size tapestry tural installation and contrary to a food ship from East London. W ascism and to promote a Communist e original work could have been a t history to the history of The Whitechapel to the history of The ar [1].” A F by ‘a famous Spanish painter’ to help to be active participants; not in terms to be active participants; blishment? onsumed by the viewer ’ and local organizations used the gallery ’ and local organizations used the gallery , Goshka Macuga’s intention is to question not intention is to question , Goshka Macuga’s titled The Nature of the Beast only the roles of the artist and the spectator, but also the notion of contemporary democracy. Bringing also the notion of contemporary democracy. but artist and the spectator, only the roles of the ar iconic works related to politics in modern back one of the most DİDEM YAZICI WITH HER EXHIBITION exhibited in 1939 at the Whitechapel Gallery), is both a reference the Whitechapel Gallery), is both a reference exhibited in 1939 at suggestion propaganda and politics. Macuga’s of art, space, as well as to the current relation Gallery’s art includes inviting the spectators to rethink socially engaged of an attitude of protest that the exhibition but in terms of being a part of creating the work physically, for discussion groups. Through this the gallery space will be open demands. Over the course of a year, to examine the function of the gallery an attempt is made provision of a space for debates and meetings, one piece of work, an architec space. The entire exhibition stands as not exist to be visually c traditional exhibition methods, it does a video projection, a portrait sculpture, a meeting room featuring typical white cube space, it resembles are these However, and a tapestry. as a round table, a carpet newspapers, architectural elements such to disturb the esta merely decorative objects, or is the intention Accompanying the Guernica was exhibited at the Whitechapel Gallery. Seventy years ago, Picasso’s and children are starving in Spain. On to the public: “Women exhibition invitation was a call for help million pennies will send their struggle depends your freedom. One with an open call to context, Guernica was displayed in a strong socio-political you help?” Remarkably, artist Commission invited Turner-nominated when The Bloomberg later, Seventy years the spectator. inspired by the history Gallery, artwork at the Whitechapel Macuga to create the annual site-specific politically engaged exhibition, relating it to today’s Picasso’s of the location, she cleverly focused on of being presented as a great work of art, “Instead issues. In her own words, she argues that, mission had always been a political symbol. The Whitechapel’s had immediately been appropriated as people of the East End ‘to bring the finest art in the world to the Union Council this case, the event had been organized by the Stepney Trade In as a cultural center. who approached the gallery for help with their ambition to fight spirit within the working classes. They wanted to use a painting enlist volunteers for the Republican cause in the Spanish Civil W contemporary attitude, politically engaged exhibitions and the historical reference to the gallery’s these two exhibitions have a parallel approach, both emphasizing a context of Guernica. Comparably, This time, instead of re-exhibiting the original strong political context. of the work [2] has been included in the exhibition. Re-showing th what makes then and now. However, repetitive action, rather than one which questions links between essed one of the most the Guernica Tapestry a suitable choice is its previous location. The tapestry witn In occasion. the for drawn curtain blue bright a behind albeit decade, last the of speeches political tragic held a press conference in favor of the Iraq 2003, the former United States secretary of state Colin Powell

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APRIL 5, 2009 - APRIL 18 2010, WHITECHAPEL GALLERY 18 2010, WHITECHAPEL 2009 - APRIL APRIL 5, GOSHKA MACUGA MACUGA GOSHKA ART PROPAGANDA AND POLITICS: POLITICS: AND PROPAGANDA ART 130

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required to adopt. From start to end, it shows how inspired the exhibition’s design. This time however, the central table is accessible to the public, it is free MARCH 2010 the volunteers’ views change along the way. of charge, and open for discussion groups. The only requirement of those that use the table is to send RES At the foot of the video lies a carpet, a seemingly recordings and photographs of their meeting(s) to the gallery for its archive. decorative element in the room that almost creates a little space of its own in the exhibition. The round table presents itself as the epicenter of the exhibition. Apart from being a part of the Complementary to the video, the carpet is in installation, it also functions as a separate exhibition space. The tabletop is a glass case, where assorted fact an Afghan rug with a weave that depicts documents are displayed. Pamphlets from the 1930’s that describe how to make reactionary art, as well a map of Iraq, American weapons and the text, as various contemporary fliers and posters from independent activist groups, present a brief history of “Welcome United Nations in Iraq” dated 2003. art as propaganda. Norman King’s leaflets for the Watney Street Propaganda Art Course from 1938, which Although its composition resembles a traditional included a poster design, pictorial banners and typography, reveal the teaching methods for visual rug design, it includes modern war machinery propaganda of the communist party as well as photographs of political demonstrations in East London such as cars, battle tanks, rockets and rifles. from 1938. The exhibition deals with the relationship of art and politics, from the time of Guernica to the The same gesture captured in the Colin Powell present day. It also reveals the history of Guernica through a number of photographs such as those of a portrait can also be found within the carpet, protest of Art Worker’s Coalition and the Guerrilla Art Action Group in front of Guernica at the Museum which combines modernist or conventional of Modern Art in New York, 1970, and photographs of students using the image of Guernica on anti-war media and methods, with contemporary placards in 2003. In terms of site-specificity, the exhibition has a link with the history of the building notions. These war rugs are originally made in and the photographs, poems, and facsimiles that lie within the circular glass tabletop evoke the idea of Afghanistan as folk art for tourists and they a library. A response perhaps to the gallery’s previous tenant – the local Whitechapel public library, so actually have a big market. However, the carpet that the Guernica Tapestry, and the method of exhibiting printed matter in the glass case, refer to the chosen by Macuga is distinctly different from memory of the site. • the other works in the exhibition, in that it is ironically welcoming the United Nation invasion in Iraq and its designers are serving the ideology of the war. These types of rugs are mostly hung on NOTES [1] Spira, A (2009) ‘A Conversation Between Goshka Macuga and Anthony Spira (Curator at Whitechapel Gallery), interior walls, but also sometimes in public where they function as billboards. This makes them notably Goshka Macuga: The Nature Of The Beast, March, pp. 3-8. practical tools in the propaganda effort of the Iraq war. However, the way it is used and the position of [2] Guernica Tapestry was created in collaboration with Picasso, by weaver Jacqueline de la Baume Dürrbach, in the Durrbach Atelier in Paris, 1955 and commissioned by Nelson Rockefeller. the carpet in the exhibition decontextualizes it and makes it critical. Watching the documentary film [3] Julia Guest’s diary and report format e-mails about her Iraq visit in 2003, can be found at the website of about the UN invasion in Iraq Baghdad Stories, while standing by the carpet; creates a perfect contrast. Campaign Against Sanctions on Iraq, http://www.casi.org.uk/ Baghdad Stories was made by Julia Guest[3] in 2004. She uses images of the Iraqi people and urban scenes of Baghdad, while autobiographically describing her reasons for visiting the war-torn country. Goschka Macuga was born in Warsaw in 1967, she is based in London. She explains that she wished to satisfy her own curiosity and see the situation on the ground for herself. The film shows a group of young Iraqi Journalists in the process of establishing a newspaper soon after Didem Yazıcı (b.1986) holds a B.A in Art History from Mimar Sinan Fine Arts University, Istanbul. She attended the occupation of Baghdad in 2003. Apart from this, the film chiefly focuses on the image of the city; a the M.A program in Art History at Istanbul Technical University for one year. Recently, she worked as an intern and co-curator at Galerie Anita Beckers, Frankfurt, and completed an internship as a researcher at the city which has been bombed, with hospitals full of critically wounded people, with a huge shortage of Exhibitions Department, Whitechapel Art Gallery, London. She has been working as an art critic since her doctors, and inadequate equipments. It offers a tragic image wherein “art” might be considered a luxury. undergraduate degree. Her articles have been published in the Turkish newspaper Radikal and the İstanbul based art journal, Sanat Dünyamız. Perhaps, this is one of the motives behind installing a big round table in the center of the exhibition room: to provide a space to discuss political issues relating to war, art and aesthetics or in fact for housing any kind of cultural debate.

The exhibition room has its own strong character; with the round oak table, video projection, leather chairs, carpet, dark blue curtain and bust. All these objects occur as typical decoration for a conventional meeting room, a place where significant decisions are made by those in authority. Without any theoretical and conceptual engagement, at first glance it may appear to be a meeting room for the gallery’s staff. Yet, it is strongly reminiscent of the United Nations Security Council Chamber and appears to be a space symbolic with power. However, all the exhibited works propose an attitude of All images RES protest against the political authority. The duality of this antagonism interpenetrates each element in The Bloomberg Commission: Goshka Macuga: The Nature of the Beast, 2009 Photo: Patrick Lears MARCH 2010 an artistic language. The layout of the Spanish Pavilion in 1937, and the UN Security Council Chamber, Courtesy Whitechapel Gallery

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135 RES MARCH 2010 MARCH Whitechapel Gallery façade, 2009 Photo credit: Gavin Jackson making? ing modern art? . It has something to do with es, or have a more varied conversation. I as one of the important aspects of the as one of the important nd often over-emphasized, as we all work comes part of an exhibition, and it should comes part of an exhibition, and it should t go beyond the one reading which you t go beyond the one reading which you In an interview with Hans Ulrich Obrist, Harald Szeemann suggested that the curator has to be Harald Szeemann suggested Hans Ulrich Obrist, In an interview with D‹DEM YAZICI I think it’s true to an extent that you have to be flexible, and that this changes with to be flexible, and that this changes with true to an extent that you have I think it’s ACHIM BORCHARDT-HUME I see every artist you work with. But what every project and with flexible; that the curator acts sometimes as a servant, as an assistant, a coordinator or an inventor. How a coordinator or an inventor. as an assistant, acts sometimes as a servant, flexible; that the curator the role of the curator? would you describe If you are working with an institution you have to be ABH I think the dynamics are slightly different. mindful of the program, and weave it to address different audienc In your opinion, what is absolutely necessary in terms of exhibition DY In your opinion, what is absolutely necessary must be experiential The other key thing for me is that exhibitions Modern, the Hayward at Tate curatorial background is very institutional; you have worked DY Your Does being an institutional curator Gallery. the Serpentine Gallery and now the Whitechapel Gallery, differences between these two working claim? What are the have disadvantages as independent curators methods? artists of modern art history such as exhibitions which included key curated many important DY You What was your main motivation for these Mark Rothko, Josef Albers, László Moholy-Nagy and Per Kirkeby. exhibitions, and what is the importance of showing and reconsider job is to secure a certain degree of criticality, so that you position the work in a wider context or against so that you job is to secure a certain degree of criticality, dialogue with both the artist and the work, and examine the reading of the work, and maintain a history, an audience. then make this dialogue transparent to One is that an exhibition, one another. out in a dynamic with ABH There are two things that really stand be more than just the accumulation of works. The and it should to my mind, must have an argument, by the way in which it be perception of a work should be altered for interpretations tha be done in a way that is open and allows might propose. the most I think it’s of that encounter. face, and the uniqueness encountering the work in space, face to my mind the reason for making an to and that is but also the one most easily forgotten, basic element, just make books. exhibition, because otherwise you could line isn’t your own authorship, though the think if you are an independent curator you are more driven by as clearly divided. The idea of independence is always relative a reliant on networks on exchanges. within practical parameters and as human beings are necessarily

RES MARCH 2010 ACHIM BORCHARDT-HUME ACHIM

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ABH One thing I find hugely gratifying about what exhibitions can do is that you can show people can do, I think it would obviously be very limited, because there is always a symbolic exchange value MARCH 2010 something that they think they know, yet in a different light. People may arrive with a certain set of rather than an actual exchange value. I think what is perhaps most important is that art can still create RES expectations, and a certain degree of familiarity. One can add a different layer to this. For example, a space for thinking and debate, and an openness of thinking, which otherwise is quite rare because we in the case of Rothko, until the exhibition at Tate Modern no one had looked at his later work. Here is live in a society which is geared towards an instantaneous fulfillment of desire, as that is what drives an artist whose work is very popular, a poster artist and no one was doing any serious art historical capitalism. So it’s quite interesting for art to create something which wasn’t there before, and thus by research into Rothko anymore. Then, in the exhibition, there was a body of work which, most of the creating this new open space, it again makes you more aware of what it is to be in the world. It also audience actually didn’t know, and this changed their perception of Rothko. The same goes for Albers depends on the circumstances in which the works are shown. For example, in the last Istanbul Biennial and Moholy-Nagy; here are two people who had worked at an important moment in Germany before in 2009 there were some truly extraordinary works, and many of them had very clear political points of the Second World War, at the Bauhaus. Both of them went to the States, and became hugely influential view. The ones that interest me most are those that create a space of ambiguity. teachers, almost more influential as teachers than artists. So to compare, you have to ask; what are the two different ideas, what are the links between Europe and America, and how do ideas travel. DY The Whitechapel Gallery is exhibiting 150 Years of Photography from India, Pakistan and Bangladesh. Many artists of a younger generation have a great interest in the beginnings of modernism, and into What do you think about the tackling of international local issues in non-western contemporary art? exploring what of that legacy is valuable to them, and where the potential lies, rather than simply talking in terms of the modernist utopia having failed. ABH That exhibition is not so much of an issue-based exhibition. It is really a survey of a particular medium, of photography. What is interesting is that one can clearly trace the history of that medium in DY The Whitehapel Gallery is currently presenting an exhibition titled Social Sculpture, which is not in India, Pakistan and Bangladesh from the moment when it first arrived, and yet it never becomes quite any particular gallery space, but is rather a series sculptural works installed throughout the building. democratized to the degree we assume - as cameras were too expensive. So there is a question as to who For instance, Franz West’s piece, Diwan welcomes the audience at the entrance to the building. The can look at whom, and what is actually pictured. It is as much about image-making and the possibility audience is invited to experience contemporary art as a part of everyday life, what was the idea behind of image-making when it becomes available to you. Artists are very good at grasping new technologies, this exhibition? or new forms of expression, when they become available, and at putting them to use. It is interesting that one can trace this, and by doing so, we then get a sense of how practitioners in those territories see ABH The idea was that the whole building should be penetrated by art, that art should be everywhere and themselves when they direct the camera onto their own countries. not just confined to the gallery environment; the exhibition space weaves its way into the building, so that some of the objects which also fulfill a practical function were originated by artists. DY Apart from this exhibition, what do you think about the treatment of local issues in non-western contemporary art? You mentioned that you saw the 11th International Istanbul Biennial last year, what DY Can you tell us more about Goshka Macuga’s exhibition, which also questions the exhibition space? did you think about it?

ABH Goshka’s was a slightly different proposition. As part of the expansion, there is a new gallery ABH I think ultimately everything is local, and this is easily forgotten. The most interesting works of space which is open to hosting an annual commission. Goshka’s is the first, and she drew on a art may be rooted in a very particular local setting, and can be read in that setting, but also begin to seminal moment in the Whitechapel Gallery’s history, when Picasso’s Guernica was shown, as a piece transcend their locality in the way they can communicate above and beyond it. This is not to argue that of propaganda rather than art. For her exhibition she turned the entire commissioned space into a there is such a thing as universal art, but it is a question of degrees. What I personally found difficult meeting room, and therefore into a space for discussion and debate, with the tapestry of Guernica as a when I came to see the Istanbul Biennial, was that I always see the central areas of the city, and get background. What she was interested in was how the meanings of works of art are altered by context, a very particular flavor of the city from this perspective, so a lot of the issues that were being talked how they sit within history, how they are being read as pure art or as something else, and if so what about were very difficult for me to grasp. At some point I almost wished that it were an exhibition which that something else could be. I think these are all pertinent questions. was engaged with the surrounding context, and that I would actually be taken to some of these places and see more of what they are like. I realise that this is very difficult, and that you do not want to take DY You studied the relationship between art and politics in Italy during Fascism when you were a PhD exhibitions as a vehicle for sight-seeing. It’s a curious dynamic. At the same time, I think exhibition student. What do you think about politically engaged art of today? spaces do have a responsibility towards local artists, and providing opportunities for them to show their work. I can also very well understand that where the opportunity arises, and one knows that there is a ABH This is a difficult one, as my PhD was not specifically about propaganda art, but about the question large international audience, one grasps that opportunity. of how a strong political current may affect artistic practice, and how this can be dealt with by our exhibition making, acquisitions, and critical discourse. In a way this can be applied to everything, DY I would like to ask you about the upcoming exhibitions at the Whitechapel Gallery. It has been though that was a particular historical circumstance. I also think that to a certain degree every work of announced that Athens-based collector Dimitris Daskalopoulos’s collection will be exhibited in June. art is political, because the act of making is political. Work that is explicitly ideological, I always find The collection includes artists such as Louise Bourgeois, Marcel Duchamp, Robert Gober and David RES quite difficult; something which puts forward one very circumscribed idea, because I don’t know where Hammons. The exhibition is going to be in four consecutive chapters. Can you tell us more about this MARCH 2010 the space for the viewer remains. As for the question of how much it can actually function, or what it specific exhibition method and your curatorial practice?

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ABH The key thing about working with a collection is that in a way you are working in hindsight. You It is more than just material ownership, though that is of course a part of it, but collecting also has to do MARCH 2010 read an accumulation of objects after they have come together, so when I looked at the collection I tried with what happens to the works when they enter this different dynamic with one another. You may read RES to work out what I saw as the highlights, the strengths, and the themes running through, and I arrived a work that you think you know very well, in a different way, depending on what it is shown with. • at the idea of the real and reality as captured through materiality. This is something one can trace from the 1980’s to today. This series of four micro-exhibitions will explore these ideas through a sequence of displays with each one responding to what came before.. Achim Borchardt-Hume is Chief Curator of the Whitechapel Gallery, London. German-born, Borchardt-Hume has been living and working as an art historian and Curator in London for the past 18 years. He previously held positions at the Serpentine Gallery and Tate Modern where, amongst other projects and collection displays, he We have a space for collection exhibitions, so the first one will happen, then the next, and so on. curated the eighth commission in the Unilever series by Doris Salcedo, Shibboleth and Rothko: The Late Series. He is currently preparing a series of displays from the D. Daskalopoulos Collection, Greece for display at the The ideal scenario will be that people come to see every single one, and that they understand that Whitechapel Gallery from June onwards as well as the first major UK presentation of works by US-Lebanese the second one has something to do and is in response to the first one, and the third one again to artist, Walid Raad for autumn 2010. the second one. It does not necessarily have to work in that way, you can see them as stand-alone exhibitions, but it is conceived very much as a sequence.

DY Can you tell us about the idea of “the micro exhibition” within the exhibition?

ABH Rather than just simply showing highlights of the collection, the idea is much more to treat it as an opportunity to work with these extraordinary works of art, and to make the fact that they come from this private collection one aspect of it, as well as what the works tell you and how they could benefit from interaction, if they are shown together in certain configurations. Then came the themes, and then out of that came this idea of making four micro exhibitions; each one would take an aspect of the central theme of the real, and play that out in a particular way.

DY The main concept of the exhibition is “reality” in terms of physical, material, psychological or political as a reference to Hal Foster’s “The Return Of The Real.”

ABH I would call it more the “real” than “reality.” It was very much seen in terms of looking at one major current in the art produced over the past 20 to 30 years, and the one that seems to be most strongly captured by this collection was this notion of the real, rather than works that engage with a conceptual idea. There is very little painting, and it’s not minimalist so it’s not so much about the interaction between the work and the space or the viewer, and it seemed much more to consist of objects that have a strong sense of their own physicality, their own material reality. To me this is interesting -how does this start again in the 1980’s and become so dominant? There is a lot of work from this period that has to do with the corporeal or the body, and how we react to that, we may very quickly relate it with something very abject when in fact it is just a reminder of what is really happening. I also think it is an interesting counterpart to view this kind of work from our position today, because we talk so much about the virtual and we don’t have a sense of reality anymore. Actually I think it is precisely works of art with physical presence, that create those instances where you get a strong sense of the fact that things are real.

DY Do you think this exhibition’s curatorial approach moves beyond an art historical basis?

ABH It’s curious because it comes out of a very confined pool, which is what one person decided to collect, but within that you can trace a story. I think one of the things I am interested in is to convey the whole idea of collecting. Every collection is particular, whether it is a private collection or a museum RES collection, and all collections imply value judgments at a particular moment of time. People have MARCH 2010 different strategies about this. So it would be nice to convey a sense of what it actually means to collect.

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asked to those who stay for longer than a few months, and try to become Berliners! Haiser Fragt: “Who MARCH 2010 has moved to Berlin and who has applied to get insurance support from Künstler Sozial Kasse in this RES room?” I didn’t raise my left hand then, but I am one of them. I have to send my papers back to Künstler Sozial Kasse soon, and I hope I will be officially registered by the time this text is printed.

In my view, we have been discussing Berlin in this context because it is a good example for investigating the local ADNAN YILDIZ impacts of global transformation. In response to a question by Brian Sholis, [2] Michael Elmgreen & Ingar Dragset “der Durst meldet sich stets und nennt sich nicht! und das heisst die Jugend, ich mag jung zu sein...” [1] refer to Berlin as “a new or rather re-born capital that Taken from a Facebook profile status was undergoing a transition that gave the city a specific dynamic: it was probably triggered by a general confusion I have been based in Berlin for a while. There are many reasons for this, but they are primarily practical among the decision-makers since no one really knew what ones. It is a friendly city for outsiders, somehow it is still going through a transformation -so the city to do with a city that had doubled in size overnight. It was remains interesting and open, and of course, affordable. As our mayor says: “it is POOR but SEXY!” as if the regular control mechanisms had broken down. However, now, as I started writing this text and allowed myself to really think about it, I have realized Even today the city planning is rather out of control in that being based in Berlin was never a conscious or planned decision; it just happened. After two years both good and bad ways. Many temporary spaces have spent travelling throughout Europe, I still felt the need to spend more time in Europe rather than made important contributions to the cultural landscape returning to Turkey. Maybe the change of scenery was good for me, or maybe it was love at first sight. here; venues open, close, and move to other locations all New friends were supportive and I believe the main reason for wanting to stay was related to my need to the time. These nomadic tendencies have certainly had an find the possibility for another form of life... impact on our work and on our ideas of a more flexible public infrastructure.” During a discussion panel that took place at the Program Gallery (Invalidenstr. 115 Berlin), moderated by Jörg Haiser (editor in chief, Frieze magazine) along with the contributions of Carson Chan (curator, At this point, considering Jennifer Allora & Guillermo Program e.V., Berlin), Eva Grubinger (artist), Stefan Heidenreich (writer), -and someone else whose Calzadilla’s Berlin solo show at the Temporäre Kunsthalle name I cannot recall, who replaced Rebekka Ladewig when she could not make it- there was a moment can add another layer to this discussion. Allora & Calzadilla that triggered an introspective process for me in terms of re-considering my relationship with the horizontally divided the Kunsthalle -a space which has been city of Berlin. The discussion was based on whether Berlin can still provide cheap rent, availability temporarily moved to the touristic area where the Berliner of space, a relatively liberal and secure environment, and the manifold cultural scene that has been Dom, museums, weihnachtsmarkt, and a big carousel nearby created after the significant and continuous flux of an incoming artist community. The main question Alexanderplatz all reside- reducing the grand exhibition hall was formulated around the notion of sustainability: “Can Berlin continue as a ‘mere’ safe haven from to less than one third of its original size, so the visitors can the dreadmills of London or New York? Or will it transform into a dreadmill of its own? Or is there a only hear the sound of a dance performance just above their third option, a different kind of socio-economic environment that will differ from the models of the big head coming from an invisible upper level in the space. financial centers?” This empty volume, full of sound from upstairs, can be compared to Berlin itself in our minds; it looks like somebody I was one of two Turkish guys in the room, and I did not take it personally when the discussion turned else’s story, but it’s nobody’s land. As a more direct reference to migration politics and talk of the German politicians who don’t want more Turkish girls wearing to the historicity of Berlin, Allora & Calzadilla’s video work headscarves or ghetto-boys around; and think that Turks should only sell cigarettes or döner kebab. I How to Appear Invisible (2009) displays a German Shepherd am personally not very satisfied with what I have heard about Merkel’s cultural politics and strategies; running around a construction area where the Palast der however, I don’t want to talk about that nine letter word; M-I-G-R-A-T-I-O-N, here. I also did not want to Republik was once located. The dog has a collar with a KFC talk about it during the discussion panel, so I raised my hand and asked what the guests thought about (Kentucky Fried Chicken) logo on it. The video and the the audience; in terms of positioning Berlin as a cool, hyped or dream city for the art world. I wanted to performance work together like a ballad written for the see how the local audience would respond. Or, do we even care about the local context? Mr. Haiser asked yesterday, today and tomorrow of the Temporäre Kunsthalle a smart question in order to restructure the ongoing discussion that was somehow stuck on how “great” Berlin, which itself is a gigantic container with cutting RES Berlin is. Maybe it is because of MDMA, but mostly people have good feelings about the city of Berlin edge design elements and a contemporary art atmosphere,

MARCH 2010 Jennifer Allora & Guillermo Calzadilla when they are on a short stay. On the other hand, as Haiser mentioned, the same question should be a place where everyone is/has to be cool and stylish. How to Appear Invisible 2009

140 Images from the video installation at Temporäre Kunsthalle Berlin Photo credit: Adnan Yıldız

143 RES MARCH 2010 MARCH 2009 Mauermob Berlin Pablo Zuleta Zahr Courtesy Pablo Zuleta Zahr

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145 RES MARCH 2010 MARCH Ming Wong Angst Essen / Eat Fear 2008 Digital video installation, 27 mins Courtesy Ming Wong ar ong, who reconstructed ong, who reconstructed all; people came together on all; people came together . Now, when looking at the shots looking at the shots . Now, when [3] that was organized as Mauer Mob [3] that was organized dy Berlin W ive about Ming W where all that is solid melts a stage, where all ogical climates caused by Cold W lication, ted e unconscious of a city that was divided e unconscious of a city s well nt through framing the gestures and ity of the transformation that Elmgreen ity of the transformation , (selected Stockholm (2006-

Hot-Desking (Curatorlab) for Manifesta 7 (2008). at HISK, Gent, Belgium (winner proposal for of contemporary art. He co-curated the video of contemporary art. He co-curated the video

(2007), and

for the 10th Istanbul Biennial is a Berlin based curator and writer. He participated in Curatorlab/Konstfack, Upcoming projects include Fantasy & Island (March 2010, Frac Corse), The Collective Coral Colony

as Time-Challenger, an exhibition about critical reconstruction the Curator Curator Project, an open-call organized by Enough Room for Space). Yıldız is mainly interes in the transformation of the audience, public imagination, and the critical forms of contextual/performat Recently, he curated the exhibition There is no audience, an exhibition about public imagination proposal for the Curator Grant 2009 from 400 applications) at Montehermoso, Vitoria-Gasteiz, Spain, a curating. (October 2010, tensta Konsthall), Correct me if I am critical! (Berlin, Fall 2010) Adnan Yıldız 2008); co-edited the first 5 issues of Muhtelif, an Istanbul based English-Turkish contemporary art pub and is a member of IKT -International association of curators program Nightcomers

NOTES is what it means to be young, I like being [1] “Thirst continuously pops up, yet remains nameless. And this young...” Taken from a Facebook profile status Miscellaneous publications [2] Interview with Elmgreen & Dragset; June 1st, 2003, Art, Interview, http://www.briansholis.com/interview-michael-elmgreen-and-ingar-dragset/ [3] http://www.mauer-mob.com/home.php Falling into Berlin is a bit like falling into everything about yesterday –which makes today. yesterday into Berlin is a bit like falling into everything about Falling the streets of Berlin, holding hands and recreating the collectiv the streets of Berlin, a long time, into two ideol into two territories of control for such photographed the process through a Zuleta Zahr, , Pablo politics. One of the initiators of the Mauer Mob massive physical impact of its crowd, on the panorama or the performative gaze. Rather than focusing in this public eve he investigated the limits of private moments us in time and give us an idea of what This might connect close relationships between its participants. is a song, Lust for Life from David Bowie who shared an apartment it could be to fall into Berlin; maybe it at a Berlin operatic aria he used to sing or Klaus Nomi’s during the late 70’s in Schöneberg with Iggy Pop “the Bridge of the Golden Horn”… Sevgi Özdamar’s gay discothèque, Kleist Casino, or Emine It was not permitted to take photographs at the Kunsthalle, but when something is prohibited- as you when something is but at the Kunsthalle, permitted to take photographs It was not our area of stu story- it becomes well from the old apple know very When the stage becomes the object of discussion, we should talk the object of discussion, we should When the stage becomes I have taken with my mobile phone, I see myself in the middle of phone, I see myself with my mobile I have taken . into thin air of Emmi, an elderly cleaning (1973.) It tells the story movie Angst essen Seele auf the Fassbinder worker named Ali. immigrant Moroccan who falls in love with a much younger woman from Munich, five characters from the titled as Angst Essen/Eat Fear. Ming re-performs the In video format it is or nationality) while speaking an age various identities (defined by gender, movie, switching between drama from 70’s of Fassbinder’s parody This post-conceptual and performative approximate German. real reflects the historicity of the social Germany -on the move- It is a pity that I missed the in a different way. and Dragset mention of the 20th anniversary to celebrate the fall an open event for the

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147 RES MARCH 2010 MARCH . You’ve got to start . You’ve . a true collector erit h is the exorbitant prices achieved by these h is the exorbitant e collectors whom only attend the fairs and whom only attend e collectors What is the first question you ask when someone expresses interest in starting a collection? interest in starting you ask when someone expresses RES What is the first question to learn where their interest came from. AS I am always curious collector? RES Is there a piece of advice you give to every be afraid of zone and don’t Make that first acquisition. Make it within your comfort go for it. AS Yes, and shows you are outgrowing this initial selection. It is natural somewhere. Installation view of The Female Gaze at Cheim & Read, New York 25 June – 19 September 2009 How do you feel about art fairs? RES How do you and part of necessities and educational commercial they are both are better than others, AS While some there are som shame however that process. It is a the collecting of our artists. I bet works by many the fact that they own despite gallery, never visited our literally have a gallery show altogether. some have never seen artists? about the rising interest in work by non-western RES What do you think is a big world we live in. What I find toug AS This is wonderful- it m based on speculation and not artistic artists at auction simply s , and I love it. artworks?

the work of these artists and build their the work of these artists y keep the studios in production. y keep the studios in e are certainly being reevaluated in today’ k as I was going to get

How would you describe your job? How would you describe What do you take into consideration when you are determining the price of What do you take into consideration when you are determining

People more than ever are looking for what determines value in contemporary art. I think an artist’s I think an artist’s in contemporary art. AS People more than ever are looking for what determines value track record speaks for itself and those with historical relevanc What were the trends over the past three to five years in the art market? How are they changing now? art market? How are they changing RES What were the trends over the past three to five years in the We consider facets of the primary and secondary market, supply and demand, and what we feel the supply and demand, and what we consider facets of the primary and secondary market, AS We market can bear given current economic conditions. market. determined? Can you describe your gallery ethos? determined? Can you describe your gallery also communicate manage their careers. I gallery artists on a daily basis to ADAM SHEFFER I work closely with critics and curators in order to promote with museum directors, RES I learned very quickly that I was assistant. as an artist’s AS I had studied painting in college and worked when being a work than making my own so that’s artists’ much better at being an advocate for other it was as close to the mar gallerist really clicked. I realized that careers over time. Sales are indeed a part of this function as the are indeed a part of this function careers over time. Sales RES How did you get started in the art world? position? How is the genre of work that is exhibited at your gallery RES Could you talk about Cheim & Read’s RES I am not going to say that a bubble has burst, but let’s just say that a lot of the air has been let out of it. let’s but burst, AS I am not going to say that a bubble has What is the current situation in the art market? RES What is the current situation in the art We will only ask an artist to join the gallery when we have watched the work over a long period of time. to join the gallery when we have watched will only ask an artist AS We would making a marriage proposal. We it makes sense to court one another before along the lines of why It’s in that there are currents works have a relationship to one another, also like to believe that the artists’ for the artists, and the group then is It makes it comfortable or themes that run throughout the program. of I cannot fathom running out and feeling the need to add one sort understood in a more cogent manner. as we take a long would never function that way, is in vogue. We artist or another simply because that style term position with our commitments.

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CONVERSATION WITH ADAM SHEFFER ADAM WITH CONVERSATION 146

www.b-a-s.info Nuri Ziya Sokak No 7 Beyo€lu Istanbul TR Artists’ books and printed matter

you do when a collector you do when

. I own a number of wonderful artist at Cheim & Read? involved in the process when

e me as well to get out of bed each focus? an neon, a Roni Horn sculpture, a into the equation to present the best show into the equation to connoisseur ree in s respect I am quite fortunate. While York artists?

show?

What is the ideal relationship between a museum and a gallery, are you a museum and a gallery, What is the ideal relationship between To what degree do you intervene when you organize the solo show of an show organize the solo degree do you intervene when you what To To what extent are you involved in informing/education a collector, what do a collector, in informing/education are you involved what extent To

studio art, he moved to New York to work as an artist’s assistant. He served at several estimable New galleries, and joined Cheim & Read in 2004. Adam Sheffer was born and raised in Boston, Massachusetts. After graduating from college with a deg I don’t think I could select just one. I am in daily awe of the genius that is Jenny Holzer. So if it were that is Jenny Holzer. one. I am in daily awe of the genius think I could select just AS I don’t MAMAN spider is perhaps Louise Bourgeois’s possible to own one of her xenon projections, it would be that. so that too. But now I sound very greedy! the grandest sculpture of the twentieth century,

Yes, we can complement museums and vice versa. It is all part of the art of presentation and promotion. of the art of presentation we can complement museums and vice versa. It is all part AS Yes, does it have a specific RES Do you have a personal collection? if yes, the word. I am more a AS I am not a collector in the true sense of

Some of the most worthwhile part of what we do is working with museum directors and curators. we do is working with AS Some of the most worthwhile part of what than we do, work differently someone who perhaps sees an artist’s It is fascinating to have a dialogue with or who offers another perspective. responsibility? RES Do you think galleries have a curatorial a gallery artist is approached for a museum RES offer advice. take their direction and exhibitions. We with the museums in organizing cooperate AS We collaboration bringing all sorts of expertise It is a true sense of for an artist. It is at the very core of what we do. AS It is at the very core

What is the role of the gallery in enhancing the career of an artist? an the gallery in enhancing the career of RES What is the role of needs guidance outside the sphere of your gallery of your gallery outside the sphere needs guidance significant with in order to build work whom we passionate collectors a group of wonderful, AS There are sort of should have some collection to them. One’s meaningful that are also personally collections an automobile showroom. life. It need not resemble relationship to one’s RES things that I love and feel in some way enrich my life and in thi things that I love and feel in some way I also have a Bruce Naum the majority are by our gallery artists, installation that inspir Julie Mehretu painting and a David Hammons morning. which artists would they be, and why? RES If you could acquire the work of any contemporary artist, RES

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151 RES MARCH 2010 MARCH , not ’t fly like it , like Richard . In this way there’s been a been . In this way there’s . Nickas’s book is an extension book is . Nickas’s • . e visually s new about the new abstraction is s like the crucial issue that unites fiction.” This is another, less cynical is another, fiction.” This to generate another painting combine ave acquired a kind of disposability ave acquired their autonomy).” Mosset is right; to work their autonomy).” Mosset d be read as a refusal to generate more as a refusal to generate d be read t written by Nickas and a selection of t written by Nickas fore. “I paint what I feel” doesn fore. “I paint what I possibility is to consider whose paintings the handmade and imperfect more as deviant narrators with sharp art more as deviant narrators to the ether to six sections that could be interpreted to six sections that n itself what’ Aldrich’s, and work like Odili Donald Odita’s that feels controlled and calculated. Josh Smith’s routine of Josh Smith’s that feels controlled and calculated. work like Odili Donald Odita’s and Aldrich’s, canvas against his palette making a painting and then pressing a all of the above. the emblematic practice that makes him feel like about Smith’s a thrift and an anti-grandiosity There’s even feel like Afterpainter of this heterogeneous “movement.” often doesn’t all, contemporary painting hybrid objects, incidental palette paintings, Phillipe Decrauzat’s a real category of art-making; Smith’s notions of painting and yet made Nickas’s optical silkscreens all defy traditional or R.H. Quaytman’s of categorization seem cut without feeling out of place. This problem every artist could categories are plausible systems, but it also seems that almost these artists. Nickas’s of sections. Clearly these artists have junked the dialectic book’s have appeared in just about any of the abstraction/representation. Is there anything to replace it? One Is a “pure” abstract art one that escapes are translating something (often a photograph) and whose are not. show. staked to an extent at The Kitchen picturing? Not according to Nickas, although this position was Again,What about painting as handling versus painting as rendering? Nickas includes “handlers” like Guyton. Humphries, Amy or Wade Sillman, or Karin Davie as well as “renderers” like Baudevin, Ruth Root, Unmonumental exhibition seemed to accurately set forth the In a similar way to how the New Museum’s the same for abstract painting. It is book does Nickas’s current generation of sculptural methodology, form is allowed by an exhibition in book overwhelmingly inclusive and heterogeneous, but the patience the dialogue that accompanies the current necessary to demonstrate that for all its recent popularity, generation of painters is just beginning, still just an abstractio are cited as extending or deviating from in Painting Abstraction are cited as extending or deviating from did 50 years ago, so many of the artists the connection may be opaqu abstract or conceptual lineages, even if battle with or against history and reference has largely status as pariah. Its renegotiation of abstraction’s sloughing off its problematical connotations of transcendence. But it’s a way of it’s become its content, these 80 painters; part of difficult to generalize too much about Alexanderhow little any of it has to do with the others. Ross and John Armleder show how it can be base or inventive it can be; Carrie Moyer Jacqueline Humphries, and Mike Cloud, how formally funny; Monika Baer, Julie Mehretu, and Alan how abstract can be referential; Lisa Beck, Baudevin, it Uglow, how and Francis is work that prioritizes can be scientific or diagrammatic. There Nick Stillman is an artist and writer. He is managing editor of BOMB. writes, “Maybe abstract painting has become a form of imaginative of imaginative has become a form abstract painting writes, “Maybe globally to digital era has matured in the to images societal relationship for its comeback. The argument things—h of identifiable where representation—pictures the point abstractly coul decision to work mistrustfulness. The to mention dissolves in another opinion that disposability or easily legible in practice, and he groups the painters of his prolific curatorial a tex shows, with each artist represented by as individual group recent images. Abstract from Greenberg: been weighed down by clichés derived painting has historically groupings texts and painting of human intuition. Nickas’s the pure landscape, it’s it maps the interior them painters from this tradition, locating try to distance these historical pedigrees. “These Mosset quotes the venerable painter: The entry on Olivier days, painting is almost always a on art (formal solutions still keeping conceptual work reflecting did be language in ways it never abstractly in 2010 necessitates Cave the decade, excess and Besides, of the trends ; Exit Art’s New ; Exit Art’s nevitable, but as conservative and hackneyed. But Painting Abstraction: New Elements in Painting Abstraction: New Elements in ressive or patriarchic. What had recently ressive or patriarchic. What had recently Pre-crash, herds of eager buyers probably simmered to its boiling point for most of n one way or another) abstract idiom, Nickas may their historicizing commence. A decade’s commence. A decade’s may their historicizing THE 2000’S ARE it is i bookend of an era is as fraught as utility as a meaningful OVER; during art clearly glimmered and ebbed several trends in western be associated with embarrassing financial one that will eternally Accumulative, labor-intensive preemptive war. catastrophically mismanaged moment their polished filmic installations have seen sculpture and highly have come and gone. One pass, and a train of neos (goth, psych) painting. still burgeoning is abstract that picked up steam mid-decade and is polemical there has been the Kitchen’s Just recently in New York the Ready-Made Gesture With, Against, and Yet: Abstraction and ; major solo shows by Mary Heilmann, Mirrors: Painting in a Transparent World among others; and the Bob Nickas-curated Josh Smith, and Kristin Baker, Painting, 40 painters in a musty Chelsea basement. to the point where painting’s “abstraction” can be, to the point where painting’s shows just how pluralistic the notion of REVIEW BY NICK STILLMAN subplot of mid- and late 20th century art theory, beginning with Abstract beginning theory, Dogfights over painting were the subplot of mid- and late 20th century art brought it back, but made Pop removing the subject from the painting. transgression: Expressionism’s artists largely young to the mid-1980’s the early 1970’s From painting controversially unpainterly. it), considering it reg eschewed painting (or outright denounced It’s difficult to discuss painting without discussing money. Viewed at its basest, painting is a luxury at its basest, Viewed difficult to discuss painting without discussing money. It’s its recent and the uptick in It sells better than other types of art, commodity and is usually priced like it. visibility needs to be placed in the context of an art market that In the introduction to his survey of 80 painters working in an (i seemed radical—art without a picture—speedily came to be judged seemed radical—art without a picture—speedily were characterized by The 2000’s mostly absent the spats. painting has been back for some time now, abstraction is fractured in its intent and means—not and even if current their lack of controversy in art, a mercurial live-and-let-live ethos about contemporary painting. How to mention how it looks—there’s in his hefty new book did painting stop pissing people off? Nickas, Abstract Painting longer accurately conveys how painters think or work and figurative—no traditional vernacular—abstract, feels desperate for revision. the decade before the global financial crash that began in 2007. likewise burst of the art market bubble made for dealers eager to show them painting, and the subsequent when it been historically reliable, even encouraged dealers to gravitate toward the commodity that has that these conditions have had a qualitative effect on painting, but to an to argue was maligned. This isn’t extent they explain why we’re seeing so much of it.

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PUBLISHED BY PHAIDON PRESS, 2009 BY PHAIDON PUBLISHED IN ABSTRACT PAINTING BY BOB NICKAS BY PAINTING IN ABSTRACT PAINTING ABSTRACTION: NEW ELEMENTS ELEMENTS NEW ABSTRACTION: PAINTING 150

153 RES MARCH 2010 MARCH Chuck Webster Gannet 2008 Oil on panel cm 24 20 in / 61 x 51 and ZieherSmith, New York Courtesy the artist Francis Baudevin Movement 2000 Acrylic on canvas 121 cm 47 x 47 in /120 x and Skopia Gallery, Geneva Courtesy the artist

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155 RES MARCH 2010 MARCH

Xylor Jane Sick Heart 2008 Oil on panel 29 x 31 in / 74 x 79 cm

Courtesy Max Protetch Gallery, New York Courtesy Max Protetch 96 x 96 in / 244 x 244 cm 96 x 96 in / 244 Oil and clothes on canvas with stretcher bars Oil and clothes 2007 Purple Circle Geometric Quilt Purple Circle Geometric Mike Cloud RES MARCH 2010 154

157 RES MARCH 2010 MARCH

Monika Baer Weißes Netz 2009 aluminium on cut canvas Oil, pencil, and

59 x 59 in / 150 x 150 cm 59 x 59 in / 150 Acrylic and resin on canvas Acrylic and resin 2008 Camino Bernard Frize Bernard RES MARCH 2010 156 24.07.2009 15:40:33

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Image Courtesy Greene Naftali, New York Image Courtesy 72 x 78 in / 183 x 198 cm 72 x 78 in / 183 Oil on linen 2008 Gaslight Jacqueline Humphries RES MARCH 2010 158 © Dirimart, 2010 CONTENTS COVER (detail) Richard Wright, Untitled (02.03.09) INTERVIEW WITH YÜKSEL ARSLAN HANS ULRICH OBRIST © Richard Wright ABSTRACTION IN THE 21ST CENTURY SABINE BOEHL Courtesy of Gagosian Gallery, London/New York, The Modern Institute/Toby Webster Ltd, Glasgow, and BQ, Berlin INTERVIEW WITH RICHARD WRIGHT RES Photo credit: Prudence Cuming Associates Ltd. THE TWO ART CENTERS OF ROMANIA: CLUJ JANE NEAL THE TWO ART CENTERS OF ROMANIA: BUCHAREST RALUCA VOINEA A LOOK AT THE HUGO BOSS PRIZE 2010 KATHY BATTISTA THE ABRAAJ CAPITAL ART PRIZE ZEYNEP ÖZ THE DESTE PRIZE RES IANNIS XENAKIS: COMPOSER, ARCHITECT, VISIONARY AMY OWENS A CONVERSATION WITH CÉLINE CONDORELLI RES ON SUPPORT STRUCTURES NAZLI GÜRLEK ART PROPAGANDA AND POLITICS: GOSHKA MACUGA D‹DEM YAZICI INTERVIEW WITH ACHIM BORCHARDT-HUME D‹DEM YAZICI FALLING INTO BERLIN ADNAN YILDIZ INTERVIEW WITH ADAM SHEFFER RES BOOK REVIEW: PAINTING ABSTRACTION NICK STILLMAN

RES Art World / World Art

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Not for sale Review biannual Not to be cited without permission of the author/s and RES Art World / World Art ISBN 978-605-5815-11-0

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