ART WORLD/
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RES NOVEMBER 2012 1 EDITOR’S INTRODUCTION EDITOR’S
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EDITOR’S INTRODUCTION Michele Robecchi enjoy the reading. will you Hope pages. the through is flipping just the rest to have do you to discover to issue. this All who contributed writers and artists of group the exceptional of afew only are Ida Applebroog and Obrist Ulrich Hans between Javier, the conversation and Geraldine of to introduction the work Tony practice, Godfrey’s conceptual Anastasi’s William of reading Weintraub’s Max Smith’s art, insight into Campbell’s Kiki Clayton readers. contents of to its variety the richest to its offering commitment confirms RES of issue this times, our of the creativity represent and to discuss the years over Bonito Oliva worked To palette the wide honour in. breaking than rather world awaythe institutional from to break aspiring meant curator independent an being when atime of reminiscing as well as refreshing, incredibly issue, this in are Paola Marino to he gave the interview in making exhibition and writing art status of the current on comments tart His freedom. of degree agreat him earned hand the other reputation, on and visibility of terms in something him cost hand the one on if that –amove minds independent of for the society instead going amuseum, in role a steady of directorial for the safety settled Bonito Oliva never at heart, spirit A free Paladino. Mimmo and Clemente, Nicola Cucchi, Maria De Enzo Francesco Chia, Sandro like artists of the talent consecrating domination, art conceptual of years following practice acceptable afully as painting of the return hailed that the publication/manifesto Transavantguarde’, Italian ‘The including subjects, of variety awide on for itself, he wrote to not mention the books many speaks the Venice Biennale, of edition 1980 at the section the Aperto Szeemann Harald 1970s with the mid in Rome in to co-creating Borghese Villa lot of the parking in ‘Contemporanea’ like exhibitions breaking ground organizing from goes that resume, His extraordinary years. 50 the past over has produced criticism art brains the finest is of one Bonito Oliva outside native his country, Achille of quarters many in Relatively unjustly) (and unknown
RES NOVEMBER 2012 3 the most interesting installation art is often made installation art is often made the most interesting from childhood or puberty. from childhood or puberty. has described herself as a story telling artist, but it would be more accurate to say she but it would be more accurate to say she has described herself as a story telling artist, of her paintings and creates narrative situations, or situations waiting for a narrative. Many recognition of some possible archetypal scene – often installations depend on the viewer’s We are presented not so much with a narrative as a situation. We don’t know what is going know what is going don’t are presented not so much with a narrative as a situation. We We When own story. on, so we have to try and put ourselves in the picture and make up our time in her life. She asked, she replies tersely that is a tense painting made at a difficult nursery frieze ducks hint both at something private and hidden, and a range of differing sensual of differing sensual nursery frieze ducks hint both at something private and hidden, and a range varying factures. experiences. Such a covert appeal to sensuality is heightened by the painting’s birds implies the shadow of death. However the girl’s pose is disturbing in other ways: is she in in pose is disturbing in other ways: is she the girl’s birds implies the shadow of death. However potato chip packet and reverie or post coital collapse? The weird juxtapositions of humming birds, These three themes are evident in a painting such as ‘Blackbird Singing (diptych)’ of 2008. It painting such as ‘Blackbird Singing (diptych)’ of 2008. It These three themes are evident in a crumpled pose and the blackness of the but the girl’s is a painting ostensibly about childhood not true of her – nor for that matter, of most Filipino artists. Rather, it is clear that her key themes themes it is clear that her key of most Filipino artists. Rather, not true of her – nor for that matter, obvious is that she is a profoundly sensuous artist are death and childhood. Less immediately tactility. engaging with the world’s and that her work has much to do with It is normally assumed that because the Philippines is so intensely Catholic all artists there are the Philippines is so intensely Catholic all artists there are It is normally assumed that because poverty and political corruption. However this cliché is obsessed with Catholicism – along with paintings are amongst the most sought after in South-East Asia paintings are amongst the most sought it may seems strange she should Are– all of which far less desired by the market. devote so much time to other media there materials? common themes underlying such diverse In the past few years Javier has made and exhibited collages, photographs, installations, and exhibited collages, photographs, installations, In the past few years Javier has made works, fabric works and produced a film. Given that her sculptural objects, prints, paper pulp Realism. Her paintings seem, if not realist, realistically painted and narrative; what she has taken painted and narrative; what she has taken realistically Realism. Her paintings seem, if not realist, semantic complexity and a taste for making odd objects and from conceptual art is less obvious: installations. the division is especially interesting. Her background like many of her contemporaries lies in in like many of her contemporaries lies interesting. Her background the division is especially of Filipino Conceptual Art the critique of art offered by the doyen the conflict between Roberto tendency of Filipino art in the Nineties, Social under whom she studied, and the dominant Chabet, not by sculptors or conceptual artists but by painters? The Filipina artist Geraldine Javier (b. (b. The Filipina artist Geraldine Javier conceptual artists but by painters? not by sculptors or where there is a big division between In a nation such as the Philippines 1970) is no exception. can move across any artist who like her, those who make conceptual works, those who paint and TONY GODFREY ASIA IN SOUTH-EAST WHY IS IT THAT
GERALDINE JAVIER GERALDINE RES NOVEMBER 2012
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Oil oncanvas,60.5x152cm. Blackbird Singing(diptych), 2008
RES NOVEMBER 2012 5 2013 2013 Yesterday’s Gone, We’re Waiting for Tomorrow (The Happy Bones), Yesterday’s Gone, We’re Waiting for Tomorrow (The Happy
Wood, resin, tatting lace, tree 213 x 91 x 122cm | Dog skeleton 61 x 91 x 61cm. | Human skeleton 91 x 46 x 46cm. Wood, resin, tatting lace, tree 213 x 91 x 122cm | Dog skeleton 2012 Interactive installation Red Fights Back, RES NOVEMBER 2012 6 vitrine wasentitled‘Frog PissingCompetition’. with embroideries,preservedinsects,branches,knick-knacks,andfrogskeletons.Typically one history andothercuriosities.Ontheshelvesofsixcabinetswerestackedoverfortyvitrinesfilled exiled fromEurope,settledinthePhilippinesandbuiltacollectionofethnography, natural who,making characters.A2011exhibitionrevolvedaroundawomanknownonlyasMadameA, Carter).Javierhasperhapsgonethatextrastepinactually(witness MarleneDumasorAngela Remaking fairytalessuchasRedRidingHoodisafamiliartropeforwomenartistsandwriters may beaseriousartistbutsheisneverpompous. also atleastparthumorous.Thestrainofquirkyhumourinherworkshouldnotbeneglected:she moment ofdecision:whoisRedabouttofight?With whatweapon?Whereshouldshego?Itwas with‘BlackbirdsSinging’thisseeminglypresentsorstagesaa complexformoflacemaking.)As wood, canvascoveredwithhammeredleaves.(Herfavouredwayofworkingfabricistatting, never quiteRedRidingHood),butalsotobeinaverytactile,sensuousenvironment:fabrics, was notjusttorole-play(andwhooneroleplayinguncertain:was,but a woodensnake.Red’s cloakwashoweveranelaboratelytattedgarment:tobeinandparticipate one) putonaredcloak,thenplayandposewithsucharchetypalobjectsassword,crucifix, ‘Red FightsBack’inwhichpeoplecouldenteraforestglade(or20squaremetresimulacrumof The desiretoinvolveandanimatetheviewerevenmoreledherin2012createanenvironment innocence, revenge, grief, resolution,acceptance,horror, humour.’ includethelossoffreedom, she recentlysaidleadstomany otherthemes.‘These as someonekickingandscreaming andbeingbasicallyscared.’Aconsideration of deathas with death.Thisexhibition isnotmetalkingaboutdeathassomethingtoaccept calmly, but for, that‘Ithinkthisismywayofputtinganexclamation marktothatbodyofworkdeals It maybe,assheherselfsays, speakingoftherecentexhibitionthatthispainting wasmade ground andbackground.For anartistwhonormallycallsforempathysucharefusalisuncanny. has made:whyshemadethemsodistantfromthe viewer?Thereisnoforeground,onlymiddle cloak? Thereissomethingstrangeaboutthescaleof figuresinthisthelargestpaintingshe underworld withthewatersofforgetfulnessorisitjust agoodbackdropfortheextraordinaryred interpretation. Whyforinstancearetheymeetingbeside adarkpool:isthistheentranceto or impropersuggestion?Theheldhandssuggestasurprising intimacy. Thereisnodefinitive Georges delaTour, theydiscussingmortality orhasMisterDeathmadealewd ElGrecoetc.)Are Mary Magdalenesittinginthedesertholdingaskullcontemplating sinanddeath(seeTitian, so muchascuriouscompany. Itisawonderfullywittydetournementofthefamiliartrope recent paintingofaskeletalDeathsittingchattingtoMaryMagdalenedoesnotsuggestgloom work asdarkandgothic,suchmorbidityisalwaysleavenedwithaperkysenseofhumour. A peoplehaveoftenassumedshehasanobsessionwithdeathandcharacterised herAlthough chaise longueandhangingsofcanvascoveredbyhammeredleaves. anold melancholic andfadedelegancewasenhancedbyaddinganoldportraitallegedlyofMadameA, third andfinalinstallationofthisworkinalatenineteenthcenturyManilatownhousetheeffect and birds.Lifenaturehereisbeingpresentedastheoppositetodarknessofdeath.In humorous, sometimespoeticensembles,constitutedineffectasixpartdecorativepaintingoftrees The backofthecabinets,asacontrasttothiscollectioncurious,sometimesmacabre,
RES NOVEMBER 2012 7 09 he lived and Until 2009 he lived and has written about contemporary art since 1979. His books include ‘Conceptual Art’ (1998) and ‘Painting Today’ (2009). Tony Godfrey Duchamp in South-East Asia’ and worked in London. Since then he has lived and worked in Singapore and Manila. Recent curatorial projects include ‘Marcel ‘Do you Believe in Angels?’. He is currently writing a book on painting in Indonesia. merely seen. As ever, there are lots of complex moods and memories involved – sometimes even and memories involved – sometimes even there are lots of complex moods merely seen. As ever, romantic feel is offset by the quirky quote the visionary, contradictory ones: in ‘Seven Nocturnes’, hear a good laugh’ from the HBO series ‘Deadwood’: ‘announcing your plans is a good way to The most recent paintings, in which she has used ink and hammered leaves rather than paint, she has used ink and hammered leaves rather than paint, The most recent paintings, in which a new medium, conceiving the landscape as something tangible, not exploring take this further, is always very avowedly sensuous. It offers both a critique of the visual and a celebration of the offers both a critique of the visual and a celebration of the is always very avowedly sensuous. It material world and act of making. attachment to the physical: cyber sex being the most apt symbol for such estrangement. By By being the most apt symbol for such estrangement. attachment to the physical: cyber sex adjacent to or as part of the painting she is re-instating the placing fabrics (and other material) seeing. Althoughact of touch and its connectedness to her work may rarely be sexually explicit it We often talk about having a feel for textiles but falsely not of having a feel for painting – the a feel for textiles but falsely not of having a feel for painting – the often talk about having We been privileged over the sensual – a bias that has been visual in an industrialised society has the visual happens without Today and the internet. massively increased in the age of photography As we have seen certain themes recur: death, the strange and the uncanny, childhood and childhood and As the uncanny, we have seen certain themes recur: death, the strange and is key to her work. craft and the decorative. The emphasis on making and touch play, memory, or dye.) Leaves, skeletonised so they will no longer rot or fade, fill the bottoms of the tents along will no longer rot or fade, fill the bottoms of the tents along or dye.) Leaves, skeletonised so they with assorted strange objects. and rationale. Although the exhibitions may seem diverse they increasingly merge installation and rationale. Although exhibitions may seem diverse they increasingly merge installation the exhibition at Arndt and objects with painting: in a recent each of five paintings was Berlin (Certain leaves when hammered hard exude coloured juice enclosed in a tent of hammered leaves. four layers of painting. four layers of painting. At who envisages each exhibition as an entity with its own mood heart she is a visionary artist rather than using the ubiquitous epidiascope or computer, grids up the canvas in 3 inch squares 3 inch squares grids up the canvas in the ubiquitous epidiascope or computer, rather than using But ‘copied’ is photographed for herself. she has purloined or increasingly had and copies images to adapted extensively through the three source materials are morphed and a misnomer as these When her paintings appear at auction they are invariably described as having ‘exquisite described as having ‘exquisite appear at auction they are invariably When her paintings her word – it would be better to describe sound feminine in the worst sense of brushwork’ – this she, by collage rather sketching but precise. Having been taught to compose painting as tough herself dressed as Red) she, when in working mode, both tats and paints each day. Here the Here the paints each day. mode, both tats and when in working as Red) she, herself dressed of the tree is entirely by her. delicately tufted surface for Tomorrow (The Happy Bones)’ she uses different types of tatting to make a work that mixes mixes to make a work that types of tatting she uses different (The Happy Bones)’ for Tomorrow beautiful. Although is, above all else, humour but that with Beckettian gothic horror she has behind Javier in ‘Red Fights Back’ (pictured above larger installations who tat for four assistants One could add beauty. In one of her more complex textile works ‘Yesterday’s Gone, We’re Waiting Waiting We’re Gone, ‘Yesterday’s textile works of her more complex In one add beauty. One could
RES NOVEMBER 2012 8 Hammered leaves,encausticoncanvas,ink onfabric,wood,150x150cm. Seven Nocturnes:ReadingtheStars, 2014
RES NOVEMBER 2012 9 It For a good hour he sits on the stage of the lecture room of the of the lecture room of the a good hour he sits on the stage For of the artist and how that appears behind all the actions and the distortion. of the artist and how that appears behind all the actions and the distortion. After 9/11, and the garage doors recently presented as picture panels on the gallery wall serve After 9/11, and the garage doors recently presented as picture panels on the gallery wall serve the invention of the as good examples). But what interests us here – one hundred years after and much more the attitude readymade – is less the transformation of everyday objects into art, It is of course tempting to link Slominski’s silence with that of Marcel Duchamp. Especially silence with that of Marcel Duchamp. Especially It is of course tempting to link Slominski’s and readymades also show up in since it was Duchamp who introduced the readymade into art, work (for which the fabric stack-pieces from 1987–88, the airplane cutlery of Before/ Slominski’s lecture hall also appears in a somewhat different light. Did he want to draw an arc between his silence Did he want to draw an arc between his silence lecture hall also appears in a somewhat different light. and the traps? Are they both examples of initiating and sustaining a form of “static action”? also in possession of a number of the artist’s drawings that portray a fictional trapper. If we draw a If we draw a drawings that portray a fictional trapper. artist’s also in possession of a number of the stage of the silent presence on the Slominski’s mental line that connects the artist with the poacher, in killing that the traps fulfil their destiny. The potential victim is lured, outwitted, vanquished. The potential in killing that the traps fulfil their destiny. through thing that, a conventional that the trap is an everyday object, is also worth noting, moreover, sculpture that is as casual as it is treacherous. The museum is Slominski, is given the character of a Arts of Hamburg and when are shown, they are shown in a state of tension. To exhibit these works exhibit these works Artsstate of tension. To of Hamburg and when are shown, they are shown in a Kramer also talks of the state of “static In an early catalogue, Mario is to prime them for prey. even or capturing, shut, snapping in is It happens. “it” before just moment the calm in The action”. (and other works) in the collection of the MMK, as has been the case for about two decades now: the MMK, as has been the case for about two decades now: (and other works) in the collection of 1984 to 1986, for example, to which hungry small game three small pieces from the period from about while he was still studying at the University of Fine might well fall victim. The traps came Andreas he simply irritated by the questions? Slominski arrogant? Is he looking to give a snub, or is Trap-Objects there are a good number of Slominski’s this scene is playing out, even as As ever, It is not difficult to imagine the atmosphere of the full lecture hall: the man talking is Mario Kramer, of the full lecture hall: the man talking is Mario Kramer, It is not difficult to imagine the atmosphere work, which the MMK has been collecting in Slominski’s the curator of the museum and an expert is saying nothing. Is because the artist there is no dialogue with the artist, since its foundation. Yet MMK website. Slominski’s act of silence, however, is missing. act of silence, however, MMK website. Slominski’s WAITING IN SUSPENSE a good starting point for thinking about Andreas Slominski and his art, even if it marks for thinking about Andreasa good starting point even if it marks Slominski and his art, the speech-focused announcement of unconventional diversion from the more than just an conversations are stored as film clips on the all the other artists’ institution. In any event, Museum for Modern Art in Frankfurt as part of a series of events called “MMK Talks”, which have which have of events called “MMK Talks”, Art as part of a series Museum for Modern in Frankfurt in attendance does though on this occasion, the artist conversations, artists’ been advertised as episode is nevertheless the Andnot make a sound. counts as a performer, although he hardly GRIT WEBER SILENT. STAYS THE ARTIST
NOVEMBER 2012
FROM ANDREAS SLOMINSKI ANDREAS FROM RES
WISE AND UNWISE MESSAGES UNWISE AND WISE
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Courtesy GalerieBärbelGrässlin,Frankfurt. MDF, wood,lacquer,98x6540cm,plinth:6090cm Coffin TransoxideBrown, 2013
RES NOVEMBER 2012 11 , 2013 Coffin Carbon Black MDF, wood, lacquer, 50 x 198 x 65 cm Courtesy Galerie Bärbel Grässlin, Frankfurt. 2014 Coffins, Exhibition view. Courtesy Galerie Bärbel Grässlin, Frankfurt.
RES NOVEMBER 2012 12 commissioned bythesystem(courtsociety, artsociety),hewillneverdissolveit. Ifheweretodo messing aroundwithitalittle.Since,however, theroleoffoolhasbeenacceptedoreven but worksonitfromtheoutside,openinglidaclosedsystemforjustmomentand In hisoriginalfunctionderivedfromthemiddleages,foolstandsoutsideexistingorder, the absurdtwistedactionwithinpiece,andhewhocookswholethingupisafool. Slominski confoundswithpicaresqueinterventions.We nolonger recognisewhatisstatic,butrather From thetrapperofyore,dealingwithcunning, tension,anddrawn-outwaiting,anewfigureemerges: The simplestprocessesareartificiallycomplicatedtothepointwheretheythemselvesbecomeart. assistants scrapedtheskiwaxfrombladesandmouldeditintoacandle. Serpentine Gallerysoaskiercouldcomeslitheringintotheexhibitionspace.Uponarrival, transporting aspoonfilledwithcoughmixture.Orheleftheapofsnowpiledupoutsidethe the pump.For theGermanGuggenheimmuseuminBerlin,hedevelopedaprecisionsystemfor to whichthepumpisnormallyattachedbeforebringingitintogalleryspacetogetherwith or bizarrecircuitousroutes.Soheswipedabicyclepump,andsawedoffthepartofframe study themintimately, andthencometobeanartworkthroughspecificshifts,elaboratedetours, His mostsuccessfulworksarethereforethosethatdedicatedtotheroutinesofothers, FROM TRAPPERTOFOOL the sametime exposes theyawninggulfbetween funeralritualand concealing adeadbodyand taking itunobservedfromAtoB,thecoffinitselfbecomes exposedandat construction, butalsotoshow thecheapmaterialoftheirmassmanufacture.Instead ofthecoffin coffin onalaunchingpadinto thebeyond.Hecutscoffinscrosswaystorevealtheir honeycomb out anothercoffintolooklike arocketinspace,whichbringstomindthesuddendynamism ofthe which isforwhateverreason alwaysornatelybaroque,andbroughtittothegallery wall. Hefitted point thatthepitifulbitremainedcouldalsoserveas ahandle.Heunscrewedtheusualhandle, started outascommercialcoffins.Slominskireducedthe lengthofthecoffinlidrightdownto Barbara Grässlin’s gallerywasrecentlyhosttoarowofidiosyncraticallypreparedobjectsthat had BETWEEN RITUALANDROUTINE thatiswhatsocheekyaboutit.waste, thisirrationalityisnotseenintheobject. And in alltheirsimplicity, theirmodestyasathing,inthefaceofanabsurdlyexaggeratedeffort. This exposure totheexternal.Theobjectsthemselvesunfurl theirfulleffectwhentheyareabletowork the holywater, thecandle wax–theyarecarriedintoaspacefromelsewhereandhighlightthat Slominski hasaproclivityfortheunseemlytransference ofthingsandsymbols–theairpump, principle: Christmasasatime-limitedphenomenon,thefonttransferortransmission. a newimpulse,sothattheviewerrecognisestheirroutines,aswelldistortionof waiting tocatchthewaterintheirhandsandcarryitinsidefont. Familiar ritualsaregiven an impressivestream,overtheroofofchurchtoothersidewherechildrenwereready circuitous asever, hadtheholywaterdeliveredbylocalfireservice:theysentitshootingin Mennekes’ churchofSt. PeterinCologne,Slominski, mostrecentSundayschoolserviceattheArt decoration fortheoutsidewallthatoperatesinspring,summerandautumn.For Friedhelm It wasfortheMMKinFrankfurt, onceagain,thattheartistproduced aluminousChristmas this, hewouldnolongerbeafool,butinsteadterrorist, orarevolutionary. funeralroutine.
RES NOVEMBER 2012 13 is a Frankfurt-based writer. Since 2006 she has been the editor in chief of ‘Artkaleidoscope’ and has contributed regularly to ‘Kunst 2014 Grit Weber Grit Bulletin’ and ‘Journal Frankfurt’. Courtesy Galerie Bärbel Grässlin, Frankfurt. Coffins, Exhibition view. also with goods for sale. As an established artist-rascal he receives recognition and money from also with goods for sale. Asreceives recognition and money from an established artist-rascal he is dealing with. This is the tension that Andreasthe very establishment that his work Slominski is get caught up in Ritual and Routines moving in, and hopefully he himself won’t them in public and there at least temporarily poke a stick in the works of the establishment. Yet Yet poke a stick in the works of the establishment. them in public and there at least temporarily he feeds not only with doses of confusion, but which he also plays a part in the establishment, Those who observe him, however, can never be quite sure if he is talking rubbish or telling the talking rubbish or telling the can never be quite sure if he is Those who observe him, however, playing, he is constructing. of things. But Slominski isn’t truth: unveiling the prevailing state thoroughly planned, before it is reasonable to appear with His fool pieces are well prepared, even The fools of tradition remind the man of power that despite his privilege, he is ‘just’ a man and a of power that despite his privilege, he is ‘just’ a man and a The fools of tradition remind the man which is to say that he plays games. fool does this foolishly, mortal creature into the bargain. The
RES NOVEMBER 2012 14 28 02 16 31 10 15 in Germany Modernist Women Kunsthalle Bielefeld
Empathy &
Artur-Ladebeck-Straße 5 Tue–Sun 11am–6pm supported by 33602 Bielefeld Wed 11am–9pm T +49 521 32999500 Sat 10am–6pm Abstraction kunsthalle-bielefeld.de Closed on Monday If the term ‘encyclopaedia’ is intended to define a cultural space where You’ve often been defined an ‘encyclopaedic’ critic. Why? Yes. I see art critics as Don Juans of knowledge – they have to be flexible in order to look I think we are all creative. Creativity is produced by a subjective impulse. We are all ‘healthy’ I started with poetry. I published two books, ‘Made in Mater’ (1967) and ‘Fiction Poems’ (1968) So critics should be militant? That’s when you introduced the ‘creative critic’ model… You started with poetry… art in the space. Then there’s ‘behavioural writing’, where critics deal with mass-media such as magazines and journals. There is ‘exhibiting writing’,carve where you a path express through an your exhibition point of view for and the benefit of a broad audience.replace This is words when artworks and you come up with motivations, explanations, and examinations that match the ABO at art with an investigative mind. Critics should express themselvesof writings. through There different is ‘survey levels writing’, where you develop ideas that are published in books, PM an artwork carrying a cultural luggage that goes beyond artsciences history like and psychoanalysis, embraces human anthropology and sociology,be while delivered being through aware that their all this writing. has to have a descriptive, partisan, orlegalistic attitude. I think criticsdevelopments should in interpret culture. They the constant have to be knowledgeable. They have to arrive to a meeting with and impersonal operators, but people equipped with a selective viewkillers that enables rather them than to be saviours. Critics have a moral responsibilitychoose. I want to embody too – they the have idea to pick of the up and critic with a strong identity. I don’t think critics should ABO narcissists. ‘Creative’ means bringing upfront the idea that art critics arenot neutral, distant, through the dialogue with artists. I fondly consider artists ‘my most intimate enemies’. PM ABO and took part to many exhibitions of sound and visual poetry. I movedthese on to art early criticism experiences after because I found a stronger source of inspiration there, especially PM practices inorder to recognize and address the complexity of our times,an encyclopaedic then yes, I guess critic. I am I have always adopted a trespassing, time-crossing,attitude. multi-disciplined ACHILLE BONITO OLIVA: different languages, categories and disciplines co-exist, and where one looks to multi-faceted PAOLA MARINO PAOLA MARINO:
INTERVIEW WITH ACHILLE BONITO OLIVA BONITO ACHILLE WITH INTERVIEW RES NOVEMBER 2012
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Courtesy IncontriInternazionali d’Arte,Rome. Installation viewatContemporanea,Parcheggio diVillaBorghese,Rome Environment Energia,1973 Wolfgang Vostell
RES NOVEMBER 2012 17 RES NOVEMBER 2012 18 Oscar TousquetsBlancaandRobertWilson Stazione Toledo,Naples,2012 Photo: PeppeAvallone. Courtesy ANP,Naples.
RES NOVEMBER 2012 19 Karim Rashid Stazione Università, Naples, 2011 Photo: Peppe Avallone Courtesy ANP, Naples.
RES NOVEMBER 2012 20 LeWitt, Daniel Daniel LeWitt, Sol Morris, Robert Twombly, Cy Johns, Jasper Andy Beuys, Rauschenberg, Joseph Robert example For Warhol, experiences. diverse public the through allowed pleasure It aesthetic an processual. and live to synthetic while –analytical, forms lines separate artistic three different connecting time first the for introduced It exhibition. exhibition. the in art the of arevolutionary some of was It chronology the and context public original the the let to with order in 1955, to back familiarize 1973 from artists, 90 over with art between adialogue American and establish and European together languages different in these Borghese all Villa Ibrought of lot where Rome, parking the I in Territory’ ‘Contemporanea’ of Magic writing’ ‘The of writing’ ‘exhibiting the to on ‘survey moved the From analysis. interdisciplinary amultimedia, transnational, shift, of idea an was there book that in Already discussed other. were the with relation in architecture one and photography, dance, music, film, theatre, art, like practices ABO Century… 20th the of most the of one exhibitions arguably important ‘Contemporanea’, organized you 1973 in Then, (1970). Rome in Negative’ PM way. authoritarian not but authoritative an in and theories communicating own while their bring and strategies technologies, new and debates, public newspapers, radio, TV, what could be done to fight the experimental stagnation of art. art. of stagnation experimental the fight to done be could what a from blocked non-linear, was It crisis, angeneral epistemological, economical and ideological crisis of knowledge. I signals. wondered opposite exact the future. sending was abetter history towards years moving those In history of idea aprogressive and a of result the experimentation, great of avant-gardes; time historical the from art, in evolution alinear of linguistic’ idea –the ideology ‘Darwinian of sort some of armed was avant-garde point that affected that until up and because science, art Human of and Marxism of crisis the was oil there of time price the same the and At up. went Israel, and Arabs between War Kippur the was there 1973 In Europe. in time ABO PM followed. that all for the matrix with the and was art 1500 in happened what contemporary that with idea starting reverse, in written was book That attitude. creative ABO PM Christo. by up with outside, wrapped the to Walls Borghese Aurelian Villa the of garage the from the was exhibition there Finally catacomb-like this of Abramovic. emersion Marina to Ontani Luigi from an week aperformance, every make where would Area’, artist ‘Open called aplace in section asmall all’opera’ Artwork), the to ‘Invito also was (Invitation There Vostell. Wolfgang There Ono, Yoko Paik, June exhibitions. Nam like artists international from were excluded normally movements art those and photography, for goes performance, Same architects. radical most Reich, younger, the Steve to up Glass, group, Philippe Anti-Farm the Reiner, Yvonne Brown, Gino Trisha Pisani, Wilson, Bob Vettor was There Acconci, Vito Dominicis… De Kounellis, Jannis Merz, Mario Pistoletto, Michelangelo Buren, ‘Vitality of the the of ‘Vitality and (1970) Montepulciano in Mio’ ‘Amore were curated you exhibitions first The Do you think that Modernism was rooted in Mannerism? in rooted was Modernism that think you Do Traitor’. the of Ideology ‘The book, second your by followed was That Well, you need to remember that that book was written in 1976. It coincided with a new critical critical anew with coincided It 1976. in written was book that that remember to need you Well, a‘lateral’ generated that crisis post-Renaissance of aperiod Mannerism, analyze to Iwanted different where Territory’, Magic ‘The book, first my Iwrote 1969 in that add to Iwant
RES NOVEMBER 2012 21 no longer relies on the discovery of new materials and technologies after the avant-garde Transavangarde was certainly a sort of neo-Mannerism – a transitory, transitional, new art I thought that exploring a model originated by Mannerism and a turbulent time like the 16th This analysis of Mannerism seems to anticipate Transavangarde, the movement you theorized in And you felt that that was your responsibility as a critic… with the idea of stylistical eclecticism, merging abstractionor monumental. and realism. It saved It wasn’t avant-garde superb by meshing it up with a tradition thatanthropological belonged to the domain of the artist. that module. It was about reviving a language that seemed doomed at the timein – painting. those days Painting was the representation of a deliberately ironic and voluble subjectivity; it played 1978. ABO theorized by Leonardo when he claimed that painting is a state of mind. PM Renaissance was replaced by memory and citationism. Theymake basically the present found more comfort acceptable. in the past Art to becomes more subjectivealready when it is based exists. on something It turns that into a meta-language, it finds new elaborations, it acquired those values Sack of Rome in 1527, Copernicus and Kepler’s findings about the earththe birth gravitating of modern finance around and the sun, Machiavelli’s political realism.quandary. Artists The principle were faced of with invention a creativeand progress that characterized the transition from Gothic to ABO Century was the best course to follow. After the Renaissanceruling exploit, the at the anthropocentric time was destroyed mentality by a series of events, including the discovery of America in 1492, the PM Oscar Tousquets Blanca and Oliviero Toscani Stazione Toledo Montecalvario, Naples, 2012 Photo: Peppe Avallone Courtesy ANP, Naples.
RES NOVEMBER 2012 22 Art in Chicago and the Los Angeles County Museum. Italian artists had an edge at the time time the at edge an had artists Italian Museum. County Angeles Los the and Contemporary of Chicago in Museum Art the York, New in Art Modern of Museum the the and like Museum museums and Guggenheim collectors American from interest an was import to There excited have. don’t always they are what –they honesty puritan American Belgium. in Hoet proverbial Jan the was There Netherlands, the in Fuchs Rudi Germany, in Kunz Martin Switzerland, in ABO it? do you did How dominating. was PM ignored. be was longer no there could that that Italy in recognize to forced a movement was system art global The an was ideas. 80’ my for ‘Aperto platform Kiefer. Anselm and international Schnabel Julian like others De and Nicola Cucchi, Paladino) Enzo Mimmo and Clemente, Maria Francesco Chia, (Sandro those including Transavanguarde painting, Italian in the from interested artists 45 with exhibition an organized We valid. were ABO becamewhere international… Transavanguarde PM Courtesy ANP,Naples. Photo: PeppeAvallone Stazione ToledoMontecalvario,Naples,2012 Oscar TousquetsBlancaandOlivieroToscani identity. iconographic afaraway strong from avery comes had It that time. art an to referred It memory. about was Transavanguarde because It mustn’t have been easy to break through the American scene, where conceptual minimalism minimalism conceptual where scene, American the through break to easy been have mustn’t It exhibition –the Biennale Venice the at 80’ ‘Aperto curated Szeemann Harald and you 1980 In It was a combination of factors. There was the support of people like Jean Christophe Amman Amman Christophe Jean like people of support the was There factors. of acombination was It theories my and Iproposed artists the that acknowledged He partner. agreat was Szeemann
RES NOVEMBER 2012 23 Courtesy ANP, Naples. Courtesy ANP, Naples. Karim Rashid Stazione Università, Naples, 2011 Photo: Peppe Avallone
RES NOVEMBER 2012 24 RES NOVEMBER 2012 25
Yes, ‘Aperto 93’ was the first exhibition to occupy the entire Arsenale. There were 105 Because it was a transnational, interdisciplinary, multimedia project. The Venice Biennale Were you the first curator to use all the spaces in the Arsenale? After the 1971 and 1985 editions of the Paris Biennale and the Biennial of Sydney in 1982, you Francesco Clemente, Stazione Montecalvario, Naples, 2013 Photo: Peppe Avallone Courtesy ANP, Naples. and many other great artists still not very well known to these days. In the catalogue every Oscar Tousquets Blanca and Francesco Clemente ABO emerging artists from all over the world. Helena Kontova and I invited Maurizio Cattelan Foundation and an exhibition of Francis Bacon at Museo Correr. PM aspect, I invited Wim Wenders to show his photographs and Pedro Almodovarinstallation. to work on anThere were other directors like Derek Jarman,organised Amos twelve Gitai, exhibitions Peter Greenaway… around I also the city, including a tribute to John Cage at the Guggenheim I started to dialogue with the curators of all the national pavilions,of showing and many artists accepted from the idea other countries, with Nam June Paik representingKosuth representing Germany, Hungary, Joseph and Julian Schnabel representing Italy. As for the multimedia products in a national pavilion. I thought it was a very antiquated approachart world. in a so-called If on the one hand global it’s important to preserve the identityother of every hand countries single country, can co-exist on the through a very fluid communication and information system. ABO was originally modelled after the Universal Expo in Paris, where every country presented their finally curated the Venice Biennale in 1993. The exhibitionthe was Four titled Cardinal ‘Cultural Points Nomadism of Art’. and these To days many curators and criticspoint. consider Why? it a reference PM
RES NOVEMBER 2012 26 PM one. active awaked, an If to state art. apassive from go contemporary can it through muscle consciousness a collective receive atrophied an public on The massage place. takes it which in society the individual an intercept and from comes art communicate to impulse contemporary and art, contemporary experiencing privileged for the is public terminal The it. view spectators and it, it, celebrate value media it, collectors it, historicize show museums gallerists it, about think critics art, professional create aspecific Artists table the to component. brings subject every where line assembling an is world art the ABO PM itself. in artwork an already is which Venice, project, like aplace to invasive an in layer another application adding apractical found even incontinency’ sites, ‘intellectual My archaeological ferries. the industrial spaces, unknown using venue, a gigantic into turning city ABO PM Wilson. Bob Lion and Golden Junger the with Ernest to assigned culminated that fest –acultural aphilosopher by introduced was exhibition Courtesy ANP,Naples. Photo: PeppeAvallone Francesco Clemente,StazioneMontecalvario,Naples,2013 Oscar TousquetsBlancaandFrancescoClemente Is art political? art Is public? the to relation in art of role the is think you do What balance… off Biennale the of setup traditional the throw to trying were You In a post-industrial age like ours, where intellectual practices tend to be viewed as separated, separated, as viewed be to tend practices intellectual where ours, like age apost-industrial In entire the with it, behind force main the was shifting and trespassing of principle The Yes.
RES NOVEMBER 2012 27 Courtesy ANP, Naples. Courtesy ANP, Naples. Karim Rashid Stazione Università, Naples, 2011 Photo: Peppe Avallone
RES NOVEMBER 2012 28 RES NOVEMBER 2012 29 I think the idea of ‘genius loci’ as anthropological identity has given a chance to emerge That’s because artists die but their art is here to stay. At the same time an artwork can be Plato thought that all men are ‘political animals’. Every act has a social impact. The If we accept the aforementioned idea that an artwork is the product of a creative, personal How about the theory of ‘genius loci’? You always express yourself through provoking concepts. You even went as far as saying Is art prophetic? Courtesy ANP, Naples. Courtesy ANP, Naples. Karim Rashid Stazione Università, Naples, 2011 Photo: Peppe Avallone to artists coming from geographically, politically and economically forgotten areas. Up until PM ABO creative force and forget their initial intentions. An artwork’sthe credit vision it deserves doesn’t necessarily in real time – it is often gets acknowledged later. ABO much more prophetic than the person who has made it. Artists tend to get distracted by their PM that artists are biological mistakes when compared to their work. present. They can imagine the future and paradoxically designbetween the past. different They can ages bridge and give the them gap a new life by contaminating them with forms from the present. ABO gesture, artists can use their Nomadism to dream and step out of the boundaries dictated by the perennial statement of life versustime, entropy, silence and death. It’s a continuous awakening. PM ABO creative process is generated by a spontaneous gesture. It’s the result of a biological breath, a
RES NOVEMBER 2012 30 influence over artists. There are no absolute parameters in post-modernism – economy –economy post-modernism in parameters absolute no are their There exercise artists. that over collectors influence trend-setting those for and auctions, and fairs of the of because proliferation important more become has market the Recently ideas. only their the it’s that realize to way know they because precisely money of importance the of aware deeply are ABO PM present. the future, about the or care past only the they about care don’t They aside. writing of idea the curators of brushed generations deliberately latest the but course, of exceptions afew are only they There artists. responsibility, assist from refrain they way; anon-interpretative in moment. operate the at They happening is what and contemporary is what on the of work one the only into Curators critic’ ‘total ‘curator’. the of figure the transformed have foundations, and museums ABO PM development. their blocked somehow with present the places but are history, These cultural appreciated. a strong been finally have Middle-East America, the and Latin Turkey like China, context India, different from artists identity, local of idea the to American of Thanks language culture. homogenized universal, the by imposed Itried loci’ internationalism the ‘genius fight to With Europe. and America North between acompetition was it 1970s the Courtesy ANP,Naples. Photo: LucianoRomano Stazione SalvatorRosa,Naples,2015 Atelier MendiniandPerino&Vele Do you think the market has more power over artists and critics than in the past? the in than critics and artists over power more has market the think you Do scenario? aglobal such in acritic be to difficult more is it think you Do The market has always been present in art. There are many contemporary artists that that artists contemporary many are There art. in present been always has market The of proliferation the with coupled 1990s, the in world art the of development global The
RES NOVEMBER 2012 31 Courtesy ANP, Naples Michele & Lorenzo Capobianco and Mario Merz Stazione Vanvitelli, Naples, 2003 Photo: Peppe Avallone
RES NOVEMBER 2012 32 RES NOVEMBER 2012 33 Oscar Tousquets Blanca Stazione Toledo, Naples, 2012 Photo: Peppe Avallone. Courtesy ANP, Naples.
RES NOVEMBER 2012 34 Courtesy ANP,Naples. Stazione Museo,Naples Glycon Ateniese,ErcoleFarnese,C.200AC. Design byGaeAulenti
RES NOVEMBER 2012 35 o market logics. As St. Augustine used to say, ‘Tempus extentio animae’. (Time isdimension a of the Soul) They are just doing maintenance. There are a few good ones, like Jean Hubert Martin, Hans Ulrich Your career has been defined by continuous adventures and challenges… Your latestproject is truly encyclopaedic – the five volumes series ‘Carrier of Time’. What is Do you think curators are less adventurous today? Stazione Dante, Naples, 2002 Photo: Luciano Romano Courtesy ANP, Naples. PM Gae Aulenti and Nicola De Maria ‘Interior Time’,about Freud and psychoanalysis; ‘Inclinedabout Wittengstein; Time’, about Einstein; and ‘Open ‘Full Time’, about Time’, Bauman. ABO Historically time is the perception of a dimension in movementactnext of resistance. to space. I think I found art five is an different times – ‘Comical Time’, about Nietsche and irrelevance; PM time in art? cultural themes parallel to their activism. Discussing artthe in only thematical way to establish terms a vision, is very and important. to give definition It’s to the mobility of contemporary art. ABO Obrist, Carolyn Christov Bakargiev, Massimiliano Gioni and Lorenzo Benedetti thatseek and develop responsible and not give in t PM and aesthetics are interrelated. That’s why it’simportant for critics and curators to be
RES NOVEMBER 2012 36 Paola Marino Marino Paola 1991. in critics, art for prize international an several d’Oro, awarded Valentino been the has He (1971). including Biennale Paris 7th recognitions, the and at Biennale Pavilion Venice prizes 45th Italian the the of directed He curator the 1998). was and York, New (2001), Center, and Biennale Art ‘Art Valencia 1st (1982), the Paris (1993), Contemporary (P.S.1 d’Industrie, et ‘Minimalia’ and d’Art 1984), Musée Venice, Tragedie’, Correr, Drame, (Museo Biennale, ‘Mythe, Venice 1982), Depression’ Rome, Szeemann, Harald Aureliane, with (Mura (together 1980’ Transavanguardia’ ‘Aperto 1974), ‘Avanguardia Rome, 1980), Borghese, (Villa ‘Contemporanea’ including exhibitions, many Oliva Bonito Achille possessive not but possessed I’m art, to my in comes it When space. exhibited not domestic they’re but artists favourite my by portraits afew Ihave home. comes he ABO PM travel they while art the see to forced are ‘Obligatory an passengers Icall as what Museum’, made have We now. artworks 160 like permanent something make to are There artists works. invited and stations, train the of some and design to Aulenti, Gae Mendini Fuksas, Alessandro Massimiliano Siza, like subway the architects like art Icommissioned public where through Naples, in even or RAI, for art contemporary on program TV the Frame), ABO Courtesy ANP,Naples. Design byAtelierMendini Stazione Materdei,Naples. Jam Session Stefano Giovannoni You collaborated with many artists. Do you collect any? collect you Do artists. many with collaborated You No, my house is art-free. I’m like a surgeon that doesn’t want to see blood on the wall when when wall the on blood see to want doesn’t that asurgeon like I’m art-free. is house my No, of (Out Quadro’ ‘Fuori like places, different in ideas my implement to tried always Ihave , 2003 is a journalist who writes regularly for publications such as ‘Gazzetta del Mezzogiorno’, ‘Max’, ‘Rolling Stone’ and ‘Rode’. and Stone’ ‘Rolling ‘Max’, Mezzogiorno’, del ‘Gazzetta as such publications for regularly writes who ajournalist is is a critic and curator based in Rome, where he is Professor of History of Art at Università La Sapienza. He has curated curated has He Sapienza. La Università at Art of History of Professor is he where Rome, in based curator and acritic is
RES NOVEMBER 2012 37 Courtesy ANP, Naples. Courtesy ANP, Naples. Photo: Peppe Avallone Stazione Montecalvario, Naples, 212 Oscar Tousquets Blanca and Shirin Neshat Courtesy ANP, Naples. Courtesy ANP, Naples. Gae Aulenti and Nicola De Maria Stazione Dante, Naples, 2002 Photo: Luciano Romano
RES NOVEMBER 2012 38 Instalation viewatStazioneRioneAlto,Naples. REM Bianco &Valente , 2002 Oscar TousquetsBlancaandShirinNeshat Stazione Montecalvario,Naples,212 Photo: PeppeAvallone Courtesy ANP,Naples.
RES NOVEMBER 2012 39 A few years ago I finally hadthe opportunity to see the Spiral Jetty after My interest with salt lakes began with my works in 1968 on the Mono Lake Is there a spot in particular where you feel the piece can be experienced at its best? I have to say that getting to see the actual sculpture was something else. The movie you What was about the reddish color that interested you? I don’t think it really matters where you are. You will always be faced with limits of some Well, yes. The movie just recapitulates the scale of the Spiral Jetty. Chemically speaking, our blood is analogous in composition to the primordial seas. RS kind. RS MC MC made about doesn’t prepare the viewer at all for what is actually out there. into the lake mirrored in the shape of spiral. a No sense wondering were there none. aboutcategories, classifications and waves and pulsations, and thelake remained rock still. Theof shore the sun, of the a boiling lake became curve, the edge an explosion rising into a fiery prominence. Matter collapsing the lake where the water comes right up to the mainland. It was a rotaryan that immense enclosed roundness. itself in My dialectics of site and nonsite whirled intowhere an indeterminate solid and liquid lost state, themselves in each other. It was as if the mainland oscillated with hut mounted on pilings could have been the habitation of ‘the missing link’.arose from great A seeing pleasure all those incoherent structures. Thisman-made site gave evidence systems of mired a succession in abandoned of hopes. The site selected I is one of the few places on Following the spiral steps we return to our origins, back to someeye pulpy adrift protoplasm, in an antediluvian a floating ocean. For forty or more years,of that people natural havetried tarpool. to get Pumps oil out coated with black stickiness rusted in the corrosive salt air. A MC RS Because of the remoteness of Bolivia and because Mono Lake lacked a reddishto investigate color, I decided the Great Salt Lake in Utah. ROBERT SMITHSON: Site-Nonsite in California. Later I read a book which described saltstages lakes of desiccation, in Bolivia in and all filled with micro bacteria that gave the water surface a red color. its re-emersion. Whatwas the process that led you to select the Greatideal Salt location Lake in for Utah the sculpture? as the MAURIZIO CATTELANMAURIZIO CATTELAN: MAURIZIO
ROBERT SMITHSON ROBERT RES NOVEMBER 2012
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Estate ofRobertSmithson. CourtesyoftheHolt/SmithsonFoundation, NewYork,andJamesCohanGallery, NewYorkandShanghai. Great SaltLake,Utah 1450 xø450m Rock, earth,saltcrystals,water,6.783tonnes earth Spiral Jetty, 1970
RES NOVEMBER 2012 41 1970 Yet a lot of artists and maybe even curators influenced by your work seem to be attracted So it was mostly about exploring the possibility of trespassing limited forms like galleries Were you deliberately trying to make something that would go beyond the visual There’s no way you can really break down limitations; it’s a kind of fantasy that you might Not really, no. In my case the piece is there in the museum too, abstract, and it’s there to I think that actually it’s not so much expanding into infinity, it’s that you are really have these limits to work against and actually, it’s more challenging that way. But I think RS have, that things are unlimited, but I think there’s greater freedom if you realize that you MC precisely by this romantic idea today – that you can actually break down limitations. is a place you can visit and it involves travel as an aspect too. But I think therediscrepancy is really no between the indoors and the outdoors once the dialecticplaces. is clear between two RS look at, but you are thrown off it. You are sort of spun out to the fringes of the site. The site MC or museums? expanding in terms of a finite situation. I mean there is no romantic something. or towards the never-land possibilities of the viewer? Like something that wouldexpand into infinity? RS MC © Estate of Robert Smithson. Courtesy of the Holt/Smithson Foundation, New York, and James Cohan Gallery, New York and Shanghai. New York, and James Cohan Gallery, © Estate of Robert Smithson. Courtesy of the Holt/Smithson Foundation, Spiral Jetty, Rock, earth, salt crystals, water, 6.783 tonnes earth 1450 x ø 450 m Great Salt Lake, Utah
RES NOVEMBER 2012 42 world and finally when I started making the Nonsites, the dialectic became very strong. These These strong. very became dialectic the Nonsites, the making Istarted when outside finally the to and world relationship their see to come Ihave more, and more any in Gradually, way. objects my isolating particular of thought Inever but So abstraction, towards abstractions. about atendency was notions there crystallized to related more were works the not Iwas works, minimal; early my for really As hopes. those on itself relieve to tends art Ithink exist. doesn’t RS same system? MC the beyond them walls of extend to confinement. how and space their of limits the about out think to have turning and They objects. garret some in working are artists that granted for it take just they and RS MC limitations. and other of clearly terms in very them them see expand they can and limitations strict of conscious very now are artists that © EstateofRobertSmithson.CourtesytheHolt/SmithsonFoundation,NewYork,andJamesCohanGallery, NewYorkandShanghai. Great SaltLake,Utah 1450 xø450m Rock, earth,saltcrystals,water,6.783tonnesearth Spiral Jetty, tendency. abstract apurist, subsume to began adialectical view and gallery, the outside world the in sites to pointed that maps became Nonsites First of all, system is a convenient word, like object. It is another abstract entity that that entity abstract another is It object. like word, aconvenient is system all, of First museum, their of conscious aren’t people museum most –Ithink thing sad the that’s No, Your early works were quite minimal though. Wouldn’t you consider them part of this very very this of part them consider you Wouldn’t though. minimal quite were works early Your museums? for as And 1970
RES NOVEMBER 2012 43 1973 Ø 46 m at top Ø 49-49 m at base Tecovas Lake, Texas New York and Shanghai. © Estate of Robert Smithson. Courtesy of the Holt/Smithson Foundation, New York, and James Cohan Gallery, Amarillo Ramp, Earth, Flint
RES NOVEMBER 2012 44 Greenberg is opting for high art or modernism from a more orthodox point of view, but but view, of point orthodox amore from modernism or art high for opting is Clement like Greenberg Somebody art. high called is what or painting with dissatisfied commonplace. seemed the He involved that pursuit spiritual of kind some into was he that seems It RS MC it. isolates then and process of out object an takes manufacturing he the when readymades the in itself production level. that transcend on to trying pervasive He’s quite is influence Duchamp’s stores. hardware in buy you that tools is Rosenquist transcending billboards, readymade. the Warhol of is transcending canned goods, transcending –the and too Jim Dine this is with transcending do to has Art mechanical Pop of Alot too. very is it and process work the of denial acomplete is It of goods. ageneration get you so manufactured objects, alienated for asanctification offer They made. ready RS adialectical have don’t space, view. agallery in object an putting by viewer the confronting like MC art against itself is a good possibility, an art that always returns to essential contradiction. contradiction. essential to returns always that art an An possibility, agood is itself frankly. it, with against bored art just Iam drag. in religion of akind as me strikes that this acult all form to transcends trying of notion whole this And us. with much very are bourgeois the and RS sense. much make doesn’t MC commercialism, by corrupted was industry, and bourgeois attitudes. everything that thinking religion, their up Dadaists the see, you setting But were uninteresting. are they worst, at and best their at fiction are they RS MC ‘Yes’. said, he And alchemy’. into are you see ‘I Isaid him, to RS MC very it find don’t Ijust And productive. level. asimple on developed attitude Cartesian and amachine be to wants linear he that this is saying Warhol Andy view. amechanistic and between view difference a dialectical agreat is There way. awitty call would you what in act sex the and try to mechanize attempt an be to seems which Glass, Large The Take but time. the all it mechanism of using was he notion whole this of suspicious was Duchamp view. It amechanistic absolute. as it like see is doesn’t He modernism. that with playful be to want to seems Duchamp I’m saying that his objects are just like relics, relics of the saint or something like that. that. like something or saint the of relics relics, like just are objects his that saying I’m the of reiteration the or making model of kind that in interested really not Iam Yes. Exactly. There’s no point in trying to transcend those realms. Industry, commercialism commercialism Industry, realms. those transcend to trying in point no There’s Exactly. and worlds dream just are systems of kinds Those occult. the in interested not I’m No, thing one said Ijust York. New in Gallery Cordier-Ekstrom the at 1963 in once him Imet Yes, Well, in their days it was probably true. But I agree that carrying that attitude today today attitude that carrying that Iagree But true. probably was it days their in Well, too? alchemy in interested you Were Duchamp? met ever you Have either? view adialectical have didn’t Duchamp that saying really you Are methodology, adifferent within working artists that imply to seem You interesting. is This
RES NOVEMBER 2012 45 or quietude, quietude, or Right. Still, most of these events don’t seem to have the effect they should have on Over the past few years there has been a dramatic sequence of natural disasters. Did the architects respond constructively to this stance? What was the transition from showing objects in museums to gigantic geological projects? Also, the eruptions outside of Iceland. An entire community was submerged in back ashes. No. Architects tend to be idealists, and not dialecticians. There is an association with Well, that may be something that’s human – that’s a human need. It seems that there’s almost Well, I first got involved in the earth project situation when I wascontracted to do some tranquility – through they somehow interact. interact. somehow they through – tranquility mean it fascinated me. There’s a kind of pleasure that one receives ondesire that level. for something Yet there is this more tranquil. But I suppose I’m more attractedand volcanic toward mining conditions regions – wastelands rather than the usual notion of scenery RS a hope for disaster you might say. There’s that desire of spectacle. I know whenused to I was love a kid to watch I the hurricanes come and blow the threes down and rip up the sidewalks. I people. Filtered by the constant media exposure, they almost seemhappening unreal, here as if they’re but somewhere not else. RS MC Earthquakes, Floods, Tsunamis… Earthquakes, Floods, from one situation to the next,there’s really no return. MC plan. And this seems to be true in economics too. Economics seem to be isolatedcontained and self- and conceived as cycles, so as to exclude the whole entropicstatic process. way of It’s looking a rather at things. I don’t think things go in cycles. I think things just change RS architecture and economics, and it seems that architects buildahistorical in an isolated, self-contained, way. They never seem to allow for any kind of relationships, outside of their grand MC that sort of just spun out and could only be seen from an airplane. I was sortdialogue of interested between in the the indoor and the outdoor and on my own, after gettingdeveloped involved a method or in a dialectic this way, I that involved what I call site and non-site. would involve low-level ground systems that would be placed at fringesthat you would of the see airport, from the air. This sculpture preoccupation with the outdoors wasof us very used to work stimulating. in a closed area Most space. Forinstance, I did a large spiral, triangular system with these architects from the ground up. As a result I found myselfmaterials surrounded I didn’t with know all these anything about – like aerial photographs,so in a sense I sort maps, large-scale of treated the airport systems, as a great complex, and out of that came a proposal that work foran architectural company as an artist consultant, and theysuggestions asked me to on give what to them do with sculpture and things like that. I felt it wassculpture wrong to consider asan object that you would track onto a building after the building is done, so I worked How didyou get there? RS Both are impossible. MC I’m sick of positivists, ontological hopes, and that sort of thing, even ontological despair.
RES NOVEMBER 2012 46 and Shanghai. York, andJamesCohanGallery,NewYork of theHolt/SmithsonFoundation,New © EstateofRobertSmithson.Courtesy The MapofBrokenGlass(Atlantis), Robert Smithsonatworkon and Shanghai. York, andJamesCohanGallery,NewYork of theHolt/SmithsonFoundation,New © EstateofRobertSmithson.Courtesy Emmen, theNetherlands Earth, topsoil,sand,ø23matbase Spiral Hill, 1971 1969
RES NOVEMBER 2012 47 1970 © Estate of Robert Smithson. Courtesy of the Holt/Smithson Foundation, New York, and James Cohan Gallery, New York and Shanghai. © Estate of Robert Smithson. Courtesy of the Holt/Smithson Foundation, New York, and James Cohan Gallery, Partially Buried Woodshed, Woodshed, 20 truckloads of earth 300 x 3300 x 1400 cm Kent, Ohio
RES NOVEMBER 2012 48 © EstateofRobertSmithson.CourtesytheHolt/Smithson Foundation,NewYork,andJamesCohanGallery, NewYorkandShanghai. Kent, Ohio 300 x33001400cm Woodshed, 20truckloadsofearth Partially BuriedWoodshed, 1970
RES NOVEMBER 2012 49 was an American artist who gained international recognition for his groundbreaking art which was not limited by is one of the best-known artists to have emerged in the 1990s. Renewed for his works that mock the art system, art So there’s no point in trying to create a structure for a better tomorrow? Really? So it’s hard to predict what’s gonna happen. What do you think should be done in order to preserve the environment? My question is, as someone deeply concerned with environmental issues, how do you view Here we go again, creating objects, creating systems, building a better tomorrow. I posit Absolutely. Actually it is the mistakes we make that result in something. There is no point Well, it’s very hard to predict anything. I mean even planning. Planning and chance seem It seems that when one is talking about preserving the environment or conserving energy There’s a conflict of interests. On one side you have the idealistic ecologist and on the genre or materials as well as for his critical writings that challengedknown traditional for his earthwork categories Spiral Jetty, ofart. A pioneer 1970, located of land art, Smithson in the Great is mostly Salt Lake well- in Utah. Maurizio Cattelan (b. 1960) history, and sometimes the artist himself, Cattelan has also been‘Toilet Paper’. involved in many editorial projets, including the magazines ‘Permanent Food’ and tolerable. Everythingtolerable. vanishes just Robert Smithson (1938-1973) RS that there is no tomorrow, nothing but a gap, a yawning gap. That seems sortwhat immediately of tragic, but relieves it is irony, which gives you a sense of humor that makes it all MC in trying to come up with the right answer because it is inevitably wrong.will Every turn against philosophy itself and it will always be refuted. MC RS RS to be the same thing. MC there’s an attempt to reverse entropy through the recyclingcollecting of garbage. People bottles going and around tin cans and whatnot and placing them in certainbe rather a problematic compounds seems situation. to Recycling is like looking for needless in haystacks. waste. Like if we want a biggerand better car we are going to have biggerproductions. and better waste So there’s a kind of equation there between the enjoymentProbably of life the and opposite waste. of waste is luxury. Both waste and luxury tends to be useless. Of course RS or recycling one inevitable gets to the question of waste. Waste andcoupled. enjoyment There’s are in a sense a certain kind of pleasure principle that comes out of preoccupation with MC other side youhave the profit desiring people and you getall kindslandscape of strange consciousness twists of from both. In other words two irreconcilablegoing over the situations same waterfall. hopelessly the current climate situation? What do you think people should do about it? RS MC
RES NOVEMBER 2012 50 Glue Pour (Destroyed), 1970 Glue Dimensions variable Vancouver © Estate of Robert Smithson. Courtesy of the Holt/Smithson Foundation, New York, and James Cohan Gallery, New York and Shanghai. 1992 Painted bronze 36 x 99 x 56 cm Blood Pool, Photo: Ellen Page Wilson. is an East Coast is an East Coast
© Kiki Smith. Courtesy Pace Gallery, New York. and personality in the firmament of her generation. and personality in the firmament of her industry it has become today. She traversed the era of the experimental non-profit ecosystem of arts experimental non-profit ecosystem of arts She traversed the era of the industry it has become today. she went the big time route and became an international collectives and alternative galleries, before has remained very much a singular voice that evolution she Within presence and collectible artist. then settled in New York City in 1976, where she is still based. Although an inveterate traveller, she is she is is still based. Although City in 1976, where she traveller, an inveterate York then settled in New as it evolved receiving from it during its golden age art world, taking and York a product of the New community to the enormous roiling international culture from the nucleus of a modernist post war girl who grew up as part of a generation of social and political art activists amidst the spectre of AIDS of AIDS art activists amidst the spectre part of a generation of social and political girl who grew up as sculptor Tony her father being family was art royalty of a sort, Her own and the energy of Feminism. Kiki went to Hartford Art School in 1974-5 Jane Lawrence the opera singer. Smith, and her mother CLAYTON CAMPBELL KIKI SMITH ARTIST AND NEW JERSEY BRED THE GERMAN-BORN
THE ART OF KIKI SMITH KIKI OF ART THE RES NOVEMBER 2012
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her intentionofmakingworkasinclusivepossible. Pace Galleryforelitecollectors.Thesearecontrasts,notcontradictions,andifanythingindicate multiples thatwereaccessibletoalargeraudienceyetmakeshighpricedindividualworkssoldat The materialsthemselvespointawayfromanartistwhoseekstobrandherself. Sheproduced prints, drawings,photographs,multiples,jewellery, artist’s books,andfilmvideoworks. understanding ofSmith.Sheworkswithplaster, bronze,paper, glass,porcelain,installations, tsunami overcomingthe21stcenturyartmarket, itisclearlythewrongwaytoapproachan themselves withabravurasignaturestylethatfitmarketimperativesandtheconsumerist artists,mostofthemmale,haveattemptedtobrandbronze. WhilemanyofthepostwarAmerican produced, usingmaterialsassociatedwithcraftstotraditionalandmoreexpensiveworksin to thecacophonysurroundingit. Herobjectsmovedfromthehandmadetoconventionally her workalwayshadpronouncedauthenticityandsenseofselfthatappearedtobeimpervious shedevelopedherpracticeinthealternativetrenchesofdowntownNewYorkAs artscene best knownasanindividualpractitioner. many ofartistshergeneration,arestillhighlyactivemakingartandsheperhapsisonethe like ‘Bomb’.SomeofherearliestworkwaswithseminalqueerartistDavidWojnarowicz. Smith,like important alternativespaceslikeABCNoRio,eventstheTimesSquareShow,ormagazines In the1980sSmithjoinedColab,orCollaborativeProjects,acollectivethatspawnednumberof in thecoreof the feminine,apartfrom externaldebasingofour own time.Itisapainatthe yet Ifeelthattheunformedor distressedsculpturalfiguresarerevelatoryofamuch occurring. Alotofsocialand politicalmeaningshavebeenprojectedontoSmith’s figuresofwomen, possibilities ofthefigureat first, unlessoneseesattunes tothepainofregenerationthatis When workisviewedlike‘Blood Pool’, apaintedbronzefrom 1992,itishardtoseetheregenerative the heartofherprojectcanbefoundbeliefinbody’s amazingabilitytohealitself. maintain, andthesacralelementstheycontain,nomatter howdegradeditmayappear. Intruth,at was exploringtheregenerationofbodybyproposing aquietconfidenceinthesacredspacesthey Smith’s investigation isabout. ButIfeel herworkisnotliteralinthatsenseandartofthistime apart, leakingfluidsandjustdisintegratingintopoolsoftissuematterseemsto parallel what was breathtaking.Ittheplagueyears.Beingaround peopledyingofAIDS,theirbodiesfalling I livedandworkedinNewYork atthesametime,andlossofentiregroupsfriendsovernight the artisticcommunalitiesinNewYork, SanFrancisco, LosAngeles, andelsewherelikeafirestorm. only afterthatdoesshegetconnectedtotheobvioussocial catastrophesthatweresweepingthrough Smith speaksofherworkinaninterviewwithCarloMcCormick firstasaninvestigationintoform,and the 1980sisoftenspokenaboutthroughcypherofAIDS.HersisterdiedAIDS,andmanyfriends. regeneration earnedbyfirstpullingapartandthenslowlypatchingitallbacktogether. Herworksof figure, ifoftenflayedanddistressed.Thisinterestintheentiretyofbodysuggestsabelief If Smith’s earliestpreoccupationwasgenerallywiththebodyandits partsthenlateritwasthewhole but oncloserinspectionareourgutsunravelled. A bitlateronin1992,is‘Intestine’,alongsinewycastbronzeworkthathugsthewalllikelanyard at onetimeoranotherandSmithdoesaswell,infactwasherstartingpointformanyearlyworks. They havethelookofillustrationsfromGrey’s Anatomy, thefamousbookwhichmostartistsreference ‘Uro-Genital System (DiptychMale&Female)’ itisawallsculpturemadeinbronzewithgreenpatina. exampleofherearliestworkdealswithapreoccupationthebodyandisfrom1986.Entitled An deeper suffering
RES NOVEMBER 2012 53 , 2000 107 x 36 x 142 cm (Wolf). Silica bronze with patina. 178 x 66 x 66 cm (Geneviéve); Geneviève and the May Wolf © Kiki Smith. Courtesy Pace Gallery, New York
RES NOVEMBER 2012 54 © KikiSmith.CourtesyPaceGallery,NewYork. Photo: Richard-MaxTremblay. 171 x15867cm Rapture, Bronze 2001
RES NOVEMBER 2012 55 relevant, and she simply stands alone as one and she simply stands alone as one relevant, of our most singular and inventive artists. Smith’s work and her sensibility has oft been has oft been work and her sensibility Smith’s because she accessed described as feminist, mediums normally not associated with or fine arts yet had been left aside as craft work. So clay derided as the stuff of women’s all of glass making, embroidery, and paper, as it this made their way into her practice, is would with the generation of women she this vein, but the She continues in part of. less designation with the years has become core of the planet channelled through a through a planet channelled core of the to both men unconscious available feminine and women. her exploration pervades Restlessness between narrative career that snakes body, visceral examinations of the whimsy, of unnamed spirituality, reveries in realms the paucity or the purity and poignancy in condition. In fact she that can be the human as enjoying living in does describe herself knowing not where she a state of confusion, to me seems the essence may be going. That taking. of a journey worth 1994 (2012). Portrayed communing with a wolf, St. Genevieve the Patron Saint of Paris took cover with its took cover with its Saint of Paris Genevieve the Patron St. communing with a wolf, (2012). Portrayed ‘Lying with the Wolf’. It revealed a number of works related to women and their coexistence with with with the Wolf’. It revealed a number of works related to women and their coexistence ‘Lying ‘Rapture’ (2001) or animals. There are references to Little Red Riding Hood, such as in the piece quite different altogether in ‘Sainte Genevieve and the May Wolf’ (2002), then something ‘Born’ imaginary with glimpses of history from cultures that join women together. an installation from 2001 at the International Center of Photography presented Tales’, ‘Telling In 1994 ‘Mother’s Coat’, a beautiful installation displayed a gold leafed figure rising above a felt Coat’, a beautiful installation displayed a gold leafed figure rising above a felt In 1994 ‘Mother’s narrative that would installation studded with stars. This signalled an ascension of sorts into the religious or spiritual with the mythological, and then just the purely link body and spirit, that is ancient, and contained within the substances made by healers, and occasionally, by by made by healers, and occasionally, and contained within the substances that is ancient, contemporary artists. was veering in the mystical and the celestial. And was veering in the mystical and the ways she is, and it reveals the work in some have shifted into a reading of cosmological phenomena. Her of a maturing artist whose interests wild women and spectral spirits attesting to knowledge project began to harken more to medieval In the 1990s her work shifted to be more narrative, involving parables of nature, and a fascination narrative, involving parables of nature, and a fascination In the 1990s her work shifted to be more work This led to numerous interpretations that Smith’s with historical symbols and histories. Mother’s Coat, Silver leaf over wax with felt and metal figure 127 x 38 x 23 cm. © Kiki Smith. Courtesy Pace Gallery, New York.
RES NOVEMBER 2012 56 work communesnotwiththeuniverse,butuniversal.Thereissomethingveryspecial and tobehonouredrespected.Nomorepowerfulmessagecanofferedatthistime.Her and forSmith,IfeelshemustourworldisoneofWonder, andourmomenthere,precarious are madeofwarpandweftthreadsemploynoprinting.Theirpresencebeautyisstriking, looms. Threelargetapestriesmeasuring290x190cmareentitled‘Earth,SkyandUnderground’ Visionary Sugar thatfeaturedJacquardtapestries,apunchcardsystemfroman18thcentury encountered, Ifinallywanttomentionsomeofhermostrecentworkfrom2012intheshow There issuchavolumeofworkinSmith’s overallproject, andabreadthofthemesshehas scientific, maybemoremasculineandorderedforoutputquantifiableoutcome. opposite ofthelaboratorystudiosetup,perhapsoneIwouldcharacterizeasmorecerebraland presents itselfandtrustingittoleadsomewhereasdecisionswillbemadealongtheway. Itisthe with tonsofunconsciousrawmaterial,followingwhateverinvestigationillogicallyorlogically all ofapiece,andoutthischaosemergesherwork.It’s aprocessotherartistsemploy, starting it isablurofactivity. Whichiswhysheworksat“home”,anddoesnothaveaseparatestudio.It Smith isamaker. Sheisalwaysatworkandtherenoseparationbetweenherlife, and animals. skin, wasbornfromitswomb,embodyingthecomplex,symbolicrelationshipsbetweenhumans Between 1995–2010 he was the Co-Director of the 18th Street Arts Center in Santa Monica. Santa in Center Arts Street 18th the of world. Co-Director the the was he around venues at 1995–2010 exhibited Between been has 9/11, Since Learned Have We Words project, recent most His Campbell Clayton Sacred, theEternal,andDivine certain lightness,asifsomethingissaying,witheachbreathwearelovedandsupportedbythe happening whenyouspendtimewithSmith’s artbecauseyoucan begintofeelinherworka is a cultural producer, visual artist, curator, administrator, fundraiser, consultant, and writer. writer. and consultant, fundraiser, administrator, curator, artist, visual producer, acultural is Photo: KerryRyanMcFate.©KikiSmith. Courtesy PaceGallery,NewYork. 100 x25661cm Born Bronze , 2002
RES NOVEMBER 2012 57 2012 Sky, Jacquard tapestry 303 x 194 cm. © Kiki Smith. Courtesy Magnolia Editions, Oakland, and Pace Gallery, New York.
, 2012
© Kiki Smith. Courtesy Magnolia Editions, Oakland, and Pace Gallery, New York. © Kiki Smith. Courtesy Magnolia Editions, Oakland, and Pace Gallery, 295 x 192 cm. Jacquard tapestry Earth RES NOVEMBER 2012 58 Courtesy MagnoliaEditions, Oakland,andPaceGallery,NewYork. 303 cmx198cm.©KikiSmith. Jacquard tapestry Underground, 2012
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OF THEDESKTOPAESTHETICS COPY+PASTE: THECOLLAGISTICQUALITIES Motherwell wasrecentlyonviewattheGuggenheiminNewYork; Kurt Schwitters,whoinvented artistRobertcollages fromthe1950-60s;anexhibitionofearlybyAmerican video games,highstreetadvertising,andpopularmagazinesasaresponsetoEduardoPaolozzi’s withartistscreatingprintsusingfamiliariconographyfromHuman: CollageintheDigitalAge’, travel toMoMAinNewYork; anewHaywardGallerytouringexhibitioniscalled‘Pre-Pop toPost- only tobereplacedbyadifferentblockbustershow–HenriMatisse’s cuts-outs,whichwillsoon Hamilton’s retrospective,whichfilledTate ModernwiththedaddyofBritpop’s variouscollages, closed attheWhitechapelGalleryinLondon.Onviewrecently, alsoinLondon,wasRichard than ayearagoHannahHöch’s retrospective,whichfocusedonherpoliticallycriticalcollages, LATELY, ITSEEMSAS THOUGHCOLLAGEHAS TAKEN OVERTHEART WORLD. KEREN GOLDBERG maker Sergei Eisenstein’s notionof‘montage’iswell knownforitsconcatenation ofshortshots Of course,everyactofediting amovingimagecanbedescribedascollage.TheRussian film assembling, theircontentis basedonacopy+pastetradition. theirtechniquemaynot necessarilyinvolvephysicalcuttingandincoherent narrative.Although as collagistic.Theirworksare floodedwithvariousimages,usuallylooselyconnected byan an entirelyvirtualworld,butallcombinesoundandvisual layersinawaythatcanbedescribed traditional filmingtechnique,othersusesophisticated 3Dhyperrealistanimationstoproduce internet videoart’,whichincludescountlesspractices andstyles.Someoftheseartistsuse can becalled‘DesktopAesthetics’. Theseartistshaveinheritedtheproblematicdefinition ‘post withholds becamethemajorpreoccupationofmanyyoung artists,whoseworkdrawsonwhat the artisticsphere,itisempoweredbynewmeanings, asthevisualandaestheticalqualitiesit However, thishyperactivevirtual dynamicisnotjustabarrierthatneedstoberemoved.In written especiallyfortheInternet. the needsofadvertisingstrategies,and‘long-reads’, meaninglongerandmorein-depthtexts,are visual andliteralinformation.For example,theterm‘economyofattention’ wasappropriatedfor surrounded byanon-goingcollage.Manyeffortshavebeenmadetoovercomesuchexcessof feeds andtalkbacksarethevisualtextureofoureverydaylives,forbetterworst. We are influenced bytheInternet. Multiplewindows,uncontrollableadds,tabs,hyperlinks,files,folders, classical collagecametobetterunderstandthiscontemporarypractice,whichisundoubtedly adopting techniquesandaestheticsbasedonthismedium.Maybere-examinationofthe This newinterestinthemediumofcollageisnotcoincidental.Today, manyyoungartistsare year andahalfago. assemblage pieces,wasthesubjectofalongoverdueretrospectiveatTate BritaininLondonjusta the term‘Mertz’toillustrateprincipleofusinganymaterialandisknownforhiscollages Less
RES NOVEMBER 2012 61 allow viewers to feel as if they are caressing the objects. Paradoxically, Marten uses High-Tec Marten uses High-Tec allow viewers to feel as if they are caressing the objects. Paradoxically, emphasises the technology to examine the materiality of non-existing objects. The animation sensuality of the flavour-lacking, blandless digital world. As Marten says: artichokes, orchids, fruit, small animals, and furniture, all brightly coloured and perfect small animals, and furniture, all brightly coloured and perfect artichokes, orchids, fruit, are the aspects in their rendition. The physicality and sensuality of surfaces and materials seem to be designed to Marten is most interested in. The way the non-existing camera moves hyper realistic objects, thus plunging into the heart of computer aesthetic. Her work was Her work was hyper realistic objects, thus plunging into the heart of computer aesthetic. world. In her films, described as producing the three-dimensional drag version of the real objects – little pees, different environments slowly unravel, and the frame focuses on various At the same Venice Biennale a new work by British artist Helen Marten, ‘Orchids, or a a Biennale a new work by British artist Helen Marten, ‘Orchids, or At the same Venice who uses mostly found exhibited. Unlike Henrot, Hemispherical Bottom’ (2013) was also animation to create footage or traditional filming techniques, Marten employs digital HD fatal fault happens, was unavoidable. ago, Henrot translated the video into an installation at the Chisenhale gallery in London. The an installation at the Chisenhale gallery in London. The ago, Henrot translated the video into and masses of objects and images were speared through whole space was covered with blue, death’, which appears on a computer screen when a The association with the ‘blue screen of it. space, becomes the backdrop of all humanity and the universe it inhabits. The soundtrack humanity and the universe it inhabits. The soundtrack space, becomes the backdrop of all word piece, which combines different narratives and accompanying the images is a spoken universe, into a nonsensical remix. Less than a year myths, describing the creation of the desktop windows, showing stuffed birds from the museum collection, hands pilling dotted birds from the museum collection, hands pilling dotted desktop windows, showing stuffed blocking each other pop up one after another, among rest, eggs, or sea turtles running to sea, The desktop, which usually functions as a personal and accumulating on top of one another. Venice Biennale. The video is the outcome of an extensive research period at the Smithsonian is the outcome of an extensive research period at the Smithsonian Biennale. The video Venice of decision to focus on two themes – the creation artist’s Institution in Boston, leading to the a visual overflow of images: endless Henrot created the universe and the history of humanity. Perhaps the most representative work of this new tendency is Camille Henrot’s ‘Grosse ‘Grosse of this new tendency is Camille Henrot’s Perhaps the most representative work young artist at the last (2013), who won the Silver Lion for the most promising Fatigue’ However, in the work of contemporary artists such as Camille Henrot, Helen Marten, Ed Atkins, Helen Marten, Ed Atkins, as Camille Henrot, the work of contemporary artists such in However, a video art and collage possesses Benedict Drew, the relationship between James Richards, and different meaning. defining the former as the spatial and temporal extensions of the latter. Handhart focuses in focuses in Handhart of the latter. as the spatial and temporal extensions defining the former place in the 1960s-70s, and the criticism employment of TV sets that took particular on the artistic Vostell. and Wolf as Nam June Paik by pioneering video artists such of this new technology Indeed, in his essay ‘De-Collage/Collage: Notes Towards a Re-examination of the Origins of Video the Origins of Video a Re-examination of ‘De-Collage/Collage: Notes Towards Indeed, in his essay Art’, of collage, is historically based on the language G. Hanhardt claims that video art John to infinitely reproduce the images, as well as the fact that on the editing software’s timeline, timeline, editing software’s the fact that on the images, as well as reproduce the to infinitely of the collage creation thus accumulating an archaeology always present, previous layers are process. face of the viewer. Parallel to the Höch retrospective at the Whitechapel, the gallery hosted a a the gallery hosted at the Whitechapel, Höch retrospective to the Parallel viewer. face of the Elizabeth British video artist of the speakers, Expanded’. One called ‘Collage panel discussion the ability temporal collage, central to the of rhythm that becomes the factor Price, mentioned in order to condense places, times, and meanings. The effect was described as a punch in the in the described as a punch The effect was times, and meanings. condense places, in order to
RES NOVEMBER 2012 62 Courtesy theartist © ADAGPCami Space Museum Museum ofNaturalHistory, andtheSmithsonianNationalAir Smithsonian Archivesof AmericanArt,theSmithsonianNational Remerciements particuliers aux/Specialthanksto:the Smithsonian ArtistResearchFellowshipProgram, Washington,D.C. Projet déve Biennale, 2013 Lion d’argent-55eBiennaledeVenise/Silver Lion -55thVenice Production: with the additional support of : Fonds de dotation Famille Moulin, Paris Producteur /Pr with JacobBromberg Texte écritencollaborationavec/ Voix /VoicebyAkweteyOrraca-Tetteh Musique originalede/OriginalmusicbyJoakim Vidéo (couleur,sonore)/Video(color,sound)13min Grosse Fatigue Camille Henrot loppé danslecadredu/Projectconductedaspart ofthe Silex Films lle Henrot oducer : kamel mennour, Paris ; avec le soutien du / oducer :kamelmennour,Paris;aveclesoutiendu/ , 2013 , Silex Filmsandkamel mennour, Paris Textwrittenincollaboration
RES NOVEMBER 2012 63 2013 London, Greene Naftali, New York, Johann König, Berlin and T293, Rome / Naples Helen Marten Orchids, or a hemispherical bottom, Animation video, sound 19 min 24 sec, loop. Courtesy of the Artist, Sadie Coles HQ,
RES NOVEMBER 2012 64 and createsinstallations andsculptures thatlooklikethe3Dversions ofherfilms. drawing incontourlines.Marten, likeHenrot, alsoaddresses atangibleaspectinherpractice, colours, inwhichthecolours becomeamaterialinitself, whilethetoplayerseemsasaminimal with referencestoarthistory, as sometimesthelowerlayerseemsastilllifepainting inoil look likeadigitalversionof aMondrianpainting,covertheframe.Herworksare indeedloaded of thinblacklines,abitcomic-like innature,orflatsolidcoloursquaresandrectangles, which Sometimes, anotherflatlayeroverlaysMarten’s perfectthree-dimensionalimage.Drawings made of weight. SoI’mthinkingaboutthickmakeup,ceramicglazeandstickerson fruit.’ squashing andsitting,sothefundamentalactionofplacing onethingatopanotherisaproblem wonderful ideathatimagesaremorebruised.They’re asked tobemorevocalabouttheverbsof ideasofcollage andinlayarethingsI’vebeenthinkingaboutalot. Incollagethere’s‘The this Johann König,BerlinandT293,Rome/Naples Animation video,sound 28min45.CourtesyoftheArtist,SadieColesHQ,London, Evian Disease, Helen Marten 2012
RES NOVEMBER 2012 65 (2014) Ed Atkins Courtesy of CABINET Ed Atkins Courtesy © 2014 London and Galerie Isabella Bortolozzi, Berlin Bortolozzi, and Galerie Isabella London Stills from the three-channel HD video Ribbons HD video three-channel from the Stills
RES NOVEMBER 2012 66 each timetheimagefadesawaytobeaggressivelyreplacedbyabstractlines,shapes,and show, afloatingheadapproachesthescreen,lookingasifitwantstosaysomething,but dimensional worldandtheunmediatedactofdrawing.InonevideoworksinAtkin’s andMartenexperienceatensionbetweenthecreationofmeticulousuncanny three- Atkins skin of‘Dave’,theartist’s virtualavatar, whostarredinthevideoworks.Itseemsthatboth against thewalls.Theyalsoappearedintattoo-likemarks,drawnonperfectlytoned of black,thindoddles,thatsurroundedtextsprintedonlargecoulisseswereplaced linear dimension,similartotheblackdrawingsinMarten’s films.Itappearedintheshape In Atkins’ recentsoloshowattheSerpentineGallery inLondon,headdressedadifferentflat, context anddisplacementintoanewone. in collageisthere-contextualisingofvariouselements,estrangementfromtheiroriginal floating inthedigitalendlessspace,onflatsurfaceofscreen.Onemajoraspects images changeonthescreeninatemporalcollage.Thevariouselementsaredisconnected, paradoxically turningtodeadness.Theycommunicateanincoherentdialogue,whilethe the foreskin.Thecharactersareuncannilyhyperrealists,withtheirexcessiveliveliness two floatingheadsarediscussingthecoincidentalrevelationofaneyelashunderneath physiological materialitytakeover. Inthetwo-channelvideo‘UsDeadTalk Love’(2012), Other artistsusesimilaranimationtechniques.InBritishartistEdAtkins’ filmsthe accompanying them. operate onthesamelevel, thusduplicatingthecollagisticrhythmofimages inthewords ‘Grosse Fatigue’, whichdescribe thecreationofuniverseinarathernonsensical fashion, similar tothepoeticandphilosophical useoflanguage.Thewordsaccompanying Henrot’s laws ofgrammarandbreaks thenormalconcatenationofsentencesandwords –aprocess the collaginggesturecreates anewsyntaxfromexistingwords,that challengesthe Much hasbeensaidaboutthecomparisonbetweencollage andlanguage.Inlinguisticterms, should appear, inthebottom oftheframe,toformvisualtranslationmainimage. construction ofsubtitles–occasionallyheplantsa visualimagewherethesubtitlestext oftenredefinesthe interesting aspectintheseworksistheuseoflanguage.Atkins Another editing processesandpresentthemaspartofthefinal work. andRichardsutilizetheseinterferencesintheir likeAtkins simultaneous actions.Artists Today, ourimmateriallabourinfrontofacomputeriscontinuously disruptedbymultiple, browsing onlinegenerally. ButIdofeelguiltyaboutthatexperience.’ to render, listeningtomusic.Thereisthisperpetualdriftthewaywework,whichechoes ‘We bothworkinawaywherewearesimultaneouslyansweringemails, waitingforthings working processesaresimilar. remarked: Inajoint-interviewwithRichards,Atkins butbothartistsfeastonInternetaesthetic, andtheir are muchlessprocessedthanthoseofAtkins, into dream-like,poeticshorttemporalcollagesthatreflectthematerialityofimage.Hisimages possible sourceformovingimages.HecombinesfootagefromoldVHScassettes,DVDsorYouTube clips aesthetically completelydifferent. A2014Turner Prizefinalist, Richardsfindsinspirationinany Atkins’ formerstudiopartner, JamesRichards,createsfilmsthatareconceptuallysimilar, although drawings.
RES NOVEMBER 2012 67 by scenes of a fabricated TV weather forecast and various iconic culture images of water. The The images of water. by scenes of a fabricated TV weather forecast and various iconic culture ‘Liquidity’ that has gone images juxtaposed and create the feeling of a Google search for the word out of control. of Contemporary Art in London, she presented the video work ‘Liquidity Inc.’ (2014), which of Contemporary Art in London, she presented the video work ‘Liquidity Inc.’ (2014), which The story of a young American being that of water or money. investigates the subject of liquidity, arts is interspersed banker who lost his job in the recent financial crisis and turned to fighting former generation of artists from that of the ones mentioned above, are characterized by a collage characterized by a collage former generation of artists from that of the ones mentioned above, are sensitivity as well. Although she differs formally and conceptually from the above mentioned at the Institute artists, she does share their internet aesthetic. In her recent exhibition The recent video works by the acclaimed German artist Hito Steyerl, who can be associated with a can be associated with a The recent video works by the acclaimed German artist Hito Steyerl, who representation of the current phase of the ‘cut and paste’ action – the editorial sensitivity and of the ‘cut and paste’ action – the editorial sensitivity and representation of the current phase through the light touch of fingertips on keyboards the efficiency of the method are expressed or sterilized mouse clicking. the other hand, are ‘real’, filmed hands. They assume the function of pedestals, holding the They assume the function of pedestals, holding the the other hand, are ‘real’, filmed hands. flipping through the pages of history books. Carefully filmed objects, presenting them, or to match the colour of the image, they are the ultimate cured, with nail polish neatly applied idealistic, as for example in ‘Evian Disease’ (2012). They hold a pencil and draw black lines Disease’ (2012). They hold a pencil and draw black lines idealistic, as for example in ‘Evian of the frame, as if they wish or reach out to hold the edges over the three dimensional layer, on hands, image and uncover its true flatness. Henrot’s to disrupt the illusion of the virtual audio maximization to examine capitalistic consumption. audio maximization to examine capitalistic clean, and and always look perfect, case, hands are computer-generated, In Marten’s close up, massaging an abject liquid material, until their ‘handiness’ is no longer recognizable. is no longer recognizable. material, until their ‘handiness’ close up, massaging an abject liquid images and found film footage, and is overloaded with His work combines computer-generated experimental music background, uses a visual and Drew, coming from an images, sound, and text. Benedict Drew, another young British artist, is also interested in physiological materiality. is also interested in physiological materiality. artist, Benedict Drew, another young British They’re often visible in from the rest of the body. Hands in his video works are also disconnected gets detached from the hand, or falls back deflated, in a cynical, phallocentric act, whereas other whereas other a cynical, phallocentric act, the hand, or falls back deflated, in gets detached from from – the most debated missing function down, expressing a harsh ‘unlike’ times the fist turns Facebook. Paradoxically, in most of the video works by these artists, who operate in a keyboard/mouse who operate in a keyboard/mouse most of the video works by these artists, in Paradoxically, In sense, images of hands are recurrent. not get their hands dirty in a classic dimension and do thumb is raising up until it fist with an approving (2013), a Facebook-like ‘Even Pricks’ Atkins’s subtitles, which reappear in different colours in various areas of the frame. In this sense, Price is Price is areas of the frame. In this sense, in different colours in various subtitles, which reappear twentieth century Dadaists collages. way to that present in the early using words in a similar interviews with the survivors and footage of dance or church choirs singing, all accompanied singing, all accompanied or church choirs and footage of dance with the survivors interviews coincide with the editing of the images. rhythmic clapping sound, timed to by a minimalistic, by and their words are presented only testimonies are soundless with the survivors’ Fragments Choir of 1979’ (2012) for which the artist won the Turner Prize, moves from an architectural from an architectural Prize, moves Turner the artist won the (2012) for which Choir of 1979’ destroyed the big fire that with buildings to a preoccupation research on church academic of original footage in 1979. Price mixed in Manchester Department Store the Woolsworth In Elizabeth Price’s work, words occupy an equally central position. Her film ‘The Woolworths Her film ‘The central position. occupy an equally work, words Woolworths Price’s In Elizabeth
RES NOVEMBER 2012 68 Image courtesyof theartistand Matt’sGallery, London. Video still. 261.6x200.7 cm. ‘Heads May Roll’ Benedict Drew , 2014
RES NOVEMBER 2012 69 2014 Hito Steyerl Still from Liquidity Inc., Courtesy the artist.
RES NOVEMBER 2012 70 Courtesy the artist. Still fromLiquidityInc., Hito Steyerl 2014 developing herthesisonParafiction intoabook Art MA inCriticalWriting London,andiscurrently inartandDesignattheRoyalCollegeofArt, international artmagazinessuchas‘ArtReview’ and‘Mousse’.Shehasrecentlygraduatedher Keren GoldbergisanIsraeliartcriticandwriterbasedinLondon.Shewritesregularlytovarious making senseofnotsense. and therationalityofirrationalprocesses.Theyconstructaestheticsnewcollage– meticulous process,whichresultsinimagesinvestigatingthematerialityofinexistentobjects here donotwishtoimitatethesedynamics.Onthecontrary, theyrelyonamostcalculatedand space whilesurfingtheweb,aremostoftimescompletelycoincidental.Theworksmentioned The collagecreatedonourcomputerdesktop,orthemontageaccumulatedovertimeandvirtual the preoccupationwithfragmentedwayinwhichwespend(orwaste)mostofourtime. in commonistheemploymentofdaytoinformationexcess,userapidediting,and approach towebimagery. Examplesarenumerous,andstylescontentsvary. Whattheyhave look likeanepilepticepisodeofarealityTVshow,andJordanWolfson, whosharesacomical Of course,inthiscontext, one couldalsomentionartistssuchasRyan Trecartin, whosefilms Ed Atkins, in an interview with James Richard and Oliver Basciano, in; Art Review;, December 2012, http://artreview.com/features/ 2012, December Review;, Art in; december_2012_feature_ed_atkins_and_james_richards/ Basciano, Oliver and Richard James with interview an in Atkins, Ed chisenhale.org.uk/archive/exhibitions/images/HMarten_Sheet.pdf 1990. Marten, Helen Coalition, Video Area Bay the with association in Francisco, San (eds.), Fifer Aperture, Jo Sally and Art’, Hall Doug Video in to Guide Art’, Video of Essential An Origins the of Video: ‘Illuminating aReexamination Towards Notes ‘De-Collage/Collage: developing Hanhardt, G. John currently is and London, Art, of abook. into College Art Royal the at Design and Parafiction on art in thesis her Writing Critical in MA her graduated recently has She ‘Mousse’. and GoldbergKeren from an interview with Katie Guggenheim in the text for the exhibition ‘Plank Salad’, Chisenhale Gallery, London, 2013, http://www. 2013, London, Gallery, Chisenhale Salad’, ‘Plank exhibition the for text the in Guggenheim Katie with interview an from is an Israeli art critic and writer based in London. She writes regularly to various international art magazines such as ‘ArtReview’ ‘ArtReview’ as such magazines art international various to regularly writes She London. in based writer and critic art Israeli an is
RES NOVEMBER 2012 71 06/08/2015 15:34
W
www.wysingartscentre.org For details of events and artists' opportunities visit visit opportunities artists' and events of details For
HEATHER PHILLIPSON HEATHER PURGAS PAUL ERICA SCOURTI
ESSI KAUSALAINEN ESSI
THE RESIDENCIES MULTIVERSE 9 NOVEMBER – 20 DECEMBER20 – 9 NOVEMBER 2015
Cambridge, UK Wysing ArtsWysing Centre
RES NOVEMBER 2012
72 WAC-Advert RES Art World-2.indd 1 WAC-Advert RES ArtWorld-2.indd 1 Wysing Arts Centre Centre Wysing Arts Cambridge, UK Cambridge, ERICA SCOURTI ERICA PAUL PURGAS HEATHER PHILLIPSON ESSI KAUSALAINEN 20159 NOVEMBER –20 DECEMBER MULTIVERSE RESIDENCIES THE W www.wysingartscentre.org For details of events and artists' opportunities visit
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RES NOVEMBER 2012 73 ‘Invent the Future with with ‘Invent the Future as performance. It is in this dichotomy that the strange Venice vs. Zurich connection of this show vs. Zurich connection of this show as performance. It is in this dichotomy that the strange Venice but his idea of experiencing place with alternative and chanced based notions is most apparent, hangs equally thick in both. especially old world European destinations, are often chained to being experienced through through especially old world European destinations, are often chained to being experienced expanded the work by offering his own walking tour of Zurich one established storylines. Tschopp the physicality of his walk Spring afternoon, pushing the construction of a well made film against phone. Almost entirely service provider titles beginning with WLAN or NET (why don’t people get get people phone. Almost entirely service provider titles beginning with WLAN or NET (why don’t through constructed texts that exist in the ether creative with these any more?), it traces Venice that environments, around us. By making a firm ahistorical stance the work questions the ways Navid Tschopp’s ‘Squatbox’, is a film showing tourists lazily riding through the canals of Venice of Venice ‘Squatbox’, is a film showing tourists lazily riding through the canals Navid Tschopp’s scroll on his as their gondolier reads off the names of the wireless connections that continuously true information depicted, save for the title which translates in English to ‘bush’, the works are title which translates in English to ‘bush’, the works are true information depicted, save for the irrational art. comfortable in the childhood home of are the key to experiencing the project most fully. The interior entrance is flanked by boozy interior entrance is flanked by boozy The most fully. are the key to experiencing the project ‘Gebüsch’ (all works in the exhibition 2015), a film that will painted posters for Stefan Burger’s little, if any, run. With towards the end of the show’s premiere with a screening in the space The vaulted stone basement of the Cabaret Voltaire serves as the exhibitions headquarters, serves as the exhibitions headquarters, Voltaire The vaulted stone basement of the Cabaret display of artworks, but also the maps and schedules that holding not only a more traditional Dominique Gonzalez-Foerster and Philippe Parreno to name a few) to create works, performances works, performances to name a few) to create and Philippe Parreno Dominique Gonzalez-Foerster acts as a high-powered and influential urbane twin to this exhibition’s project and talks, Obrist’s more scrappy and local adaptation. younger, Obrist’s curated retrospective of Burckhardt presented at the Swiss Pavilion of the Venice Biennale Biennale the Venice of Pavilion of Burckhardt presented at the Swiss curated retrospective Obrist’s residencies. Inviting well known of Architecture during the months of this projects artist’s ideas (Dan Graham, Liam Gillick, reflection in Burckhardt’s international artists whose works find calls to furthered projects and exploration than as a fixed result. than as a fixed result. calls to furthered projects and exploration relation to ‘a stroll through a fun palace’, Hans Ulrich This sense stems from its genealogical known for his founding of strollology, which sought to incorporate an understanding of walking of walking which sought to incorporate an understanding of strollology, known for his founding The resulting works, in the exhibition method for urban environments. in a scientific planning are difficult to see as a whole and act more as their own and as related events and performances, Elements of the Past’, the sprawling city wide exhibition headquartered at Zurich’s Cabaret Cabaret at Zurich’s city wide exhibition headquartered the sprawling Elements of the Past’, Curated by Adrian the project sent 12 Dadaist haunt, Notz, the director of the legendary Voltaire. best sociologist Lucius Burckhardt, the late Swiss to research the ideas of artists to Venice Swiss MITCHELL ANDERSON NUCLEUS OF THE AT RESEARCH SPINS A NON-SYSTEMATIC
ELEMENTS OF THE PAST OF ELEMENTS NOVEMBER 2012
INVENT THE FUTURE WITH FUTURE THE INVENT RES
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Courtesy oftheartistandCabaretVoltaire,Zurich. Squat Box, Navid Tschopp 2015
RES NOVEMBER 2012 75 RES NOVEMBER 2012 76 RES NOVEMBER 2012 77 2015 Paul Polaris Tohu wa bohu, Courtesy of the artist and Cabaret Voltaire, Zurich.
RES NOVEMBER 2012 78 Another Saturday afternoon found a crowd surrounding five helium-filled spheres in front of the Kunsthaus for Paul Polaris’ ‘Tohu wâ bohu’. The gigantic balloons each featured brightly colored forms of a different bodily organ; lungs, kidneys, livers etc. From there a procession formed through Zurich’s Old Town, those individuals holding tightly to the ropes mixing in with the larger group fluidly. The balls, though separate, formed a beaded caterpillar, like the dotted line of a pirate’s map made temporarily physical in hovered space. Viewed from outside the group the negative space of urban transportation momentarily became viewable.
Paul Polaris Tohu wa bohu, 2015 Courtesy of the artist and Cabaret Voltaire, Zurich. 2015 is an artist living in Zurich where he runs the project space Plymouth Rock. Paul Polaris Tohu wa bohu, Courtesy of the artist and Cabaret Voltaire, Zurich. Mitchell Anderson work and ideas of Burckhardt. Literally taking the recent past for a future exhibition exposes an Literally taking the recent past for a future exhibition exposes an work and ideas of Burckhardt. and the definitive interest in continuing research and experimentation over the fixed art object points of view exhibition. Here we see how loosely walking around ideas opens up continuous In contributing a title to this exhibition, Obrist adapted a previous press quote for his Venice quote for his Venice In contributing a title to this exhibition, Obrist adapted a previous press The efficiency iteration. While seemingly easy to dismiss it does hold a clue to understanding. up closely with the of the gesture and its connecting the projects over time and location lines
RES NOVEMBER 2012 80 RES AD..indd 1 15/7/29 下午6:02 a series a series also evident in his early sculptures, as for example ‘Sink’. Made in 1963, the same year of the the same year of the also evident in his early sculptures, as for example ‘Sink’. Made in 1963, Conceptualism. drawings is The preoccupation with the vagaries of chance procedures evident in Anastasi’s career but, more profoundly, an artistic career that would be defined by his relentless and an artistic career that would be defined by his relentless and more profoundly, career but, making. Andunorthodox investigations into the status and conditions of art and art it was of American his work from the 1960s that makes him one of the key figures in the development environment. environment. drawings marked not only the beginning of an artistic ‘Constellation’ In many ways, Anastasi’s creative acts, Anastasi indeterminacy as productive forces, introduced into his art chance and relationship to its and radically reconsidered the conditions of artistic agency and the body’s decidedly somatic process of unexpected invention and uncertain outcomes, and which marked invention and uncertain outcomes, and which marked decidedly somatic process of unexpected and the experience of his body in time. More specifically, not simply the experience of time but imposed sets of conditions to delimit his in relying on externally perhaps more important, By allowing the procedures and parameters of his art to be realized by way of such variable of his art to be realized by way of such variable By allowing the procedures and parameters of his drawing activities could not be foreseen. His was a circumstances, the aesthetic results conditions and factors – a musical performance’s duration, the movement of his body while duration, the movement of his body while conditions and factors – a musical performance’s the swaying and lurching of as in his most celebrated series of such drawings, walking around or, next. City subway car while travelling from one location to the a New York named because he executed them with his eyes closed, blindfolded or otherwise with his sight his eyes closed, blindfolded or otherwise with his sight named because he executed them with Anastasi yielded drew. By producing them in this manner, averted from the paper upon which he to the unpredictable effects of external measures, conscious, creative control of his mark-making titled after the individual fugue or prelude. drawings, so ‘blind’ or unsighted drawings were the first of Anastasi’s These ‘Constellation’ activity would last, Anastasi started each ‘Constellation’ drawing when the particular fugue drawing when the particular fugue Anastasiactivity would last, started each ‘Constellation’ began and ended when the music stopped. The resulting or prelude to which he was listening each of dots of varying size, shape, and density, drawings consist of clustered configurations preludes and forty-eight fugues – Anastasi closed his eyes and, deliberately keeping the rhythm fugues – Anastasipreludes and forty-eight keeping the rhythm closed his eyes and, deliberately tapped his performance, dispassionately out of sync with that of Landowska’s of his mark-making his drawing music to delimit the period of time that Using Bach’s pen point onto a sheet of paper. of India-ink drawings titled ‘Constellations’, which he composed while listening to a recording of to a recording of which he composed while listening titled ‘Constellations’, of India-ink drawings Landowska. harpsichordist Wanda by the Polish Clavier Well-Tempered Bach’s Johann Sebastian forty-eight of Bach’s in the series – one drawing for each each of the ninety-six drawings make To MAX WEINTRAUB PRODUCED TWENTY-NINE, WILLIAM ANASTASI THE AGE OF IN 1963, AT
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CONCEPTUAL INTENTIONS CONCEPTUAL
Courtesy GalerieWolff, Paris. Graphite andfelt-tippenonpaper28.5x19 cm,Unique Without Title(ConstellationDrawing,5.31.12) 2012
RES NOVEMBER 2012 83 Photo: Hunter College, New York Courtesy of Galerie Wolff, Paris. Microphone, 1963 Microphone, sound 19 x 40.6 x 30.5 cm 2/3 that would evolve into a friendship lasting until Cage’s death in 1992. The first of four important death in 1992. The first of four important that would evolve into a friendship lasting until Cage’s ‘Microphone’’s complicated use of ambient sound might also be seen as foreshadowing Anastasi’s complicated use of ambient sound might also be seen as foreshadowing Anastasi’s ‘Microphone’’s deep engagement with the ideas of composer John Cage. Anastasi first met Cage while preparing – an initial encounter for his 1966 exhibition ’Sound Objects‘ at the Dwan Gallery in New York simple yet conceptually rigorous, ‘Microphone’ heralded the central role tautological propositions tautological propositions simple yet conceptually rigorous, ‘Microphone’ heralded the central role would play in the emergent American Conceptual art movement. tape recorder and used the machine’s own reel-to-reel recorder to record the sounds it made while own reel-to-reel recorder to record the sounds it made while tape recorder and used the machine’s recorder played back the resulting audiotape, which operating. When exhibited, the Tandberg Anastasi has described as ‘a recording of the recorder recording the recorder’. Breathtakingly concerns, ‘Microphone’, another of Anastasi’s works from 1963, marked a decidedly more works from 1963, marked a decidedly more concerns, ‘Microphone’, another of Anastasi’s a closet in his apartment on the lower east side of New conceptual turn in his practice. Using Model 5 room, Anastasi as a makeshift soundproof a microphone above a Tandberg hung York If ‘Sink’ might be considered a critique of Minimalism’s hard-edged, geometric forms and hard-edged, geometric forms and of Minimalism’s If ‘Sink’ might be considered a critique instance of many of the elements and concerns that have become the hallmarks of Anastasi’s concerns that have become the hallmarks of Anastasi’s instance of many of the elements and effects of time and the generative possibilities of including the contingencies of chance, the art, natural and external forces and conditions. owner to pour water directly onto the slab’s surface. Each time the water evaporates new water is is surface. Each time the water evaporates new water slab’s owner to pour water directly onto the ‘Sink’ has become pitted by rust – its once solid, geometric to be added to the surface. Over time The sculpture is another early corrosive effects. imperceptibly altered by oxidation’s form slowly, ‘Constellation’ drawings, ‘Sink’ consists of a thick steel plate and the artist’s instruction for its instruction for its the artist’s drawings, ‘Sink’ consists of a thick steel plate and ‘Constellation’
RES NOVEMBER 2012 84 Sound Object (Jackhammer), Sound Object (Deflated Tire), 1964-2013 1964-2013. Pneumatic drill, Inner tube, speaker, recording asphalt, speakers, recording dimensions variable 2/3 + 1 A.P. 96.52 x 38.1 x 38.1 cm Photo: Nicolas Consuegra dimensions variable 2/3 + 1 A.P. Courtesy of Galerie Wolff, Paris. Photo: Nasim Weiler Courtesy of Galerie Wolff, Paris.
Sound Object (Radiator),1964-2013 Sound Object (Fan), 1964-2013 Heater, speakers, recording Fan, speaker, recording dimensions variable 2/3 + 1 A.P. Fan: 43 x 40 x 25 cm / 17 x 16 x 10 Photo: Adam Reich inches Pedestal:119 x 53 x 53 cm / Courtesy of Galerie Wolff, Paris 47 x 53 x 53 inches 2/3 + 1 A.P. Photo: Hunter College, New York Courtesy of Galerie Wolff, Paris. 2014 Without Title (Sound Drawing, 5.11.14, 2106), Graphite on paper, digital voice recorder, plexiglas, clipboard 33.5 x 22.5 cm, Unique Photo: François Doury Courtesy of Galerie Wolff, Paris.
RES NOVEMBER 2012 86 Courtesy ofGalerieWolff, Paris. Photo: FrançoisDoury 33.5 x22.5cm,Unique Graphite onpaper,digitalvoicerecorder,plexiglas, clipboard Without Title(SoundDrawing,5.11.14,2106), 2014
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exhibitions of Anastasi’s work at Virginia Dwan’s gallery between 1966 and 1970, ‘Sound gallery between 1966 and 1970, ‘Sound Dwan’s work at Virginia exhibitions of Anastasi’s symphony of urban sounds. Indeed, perhaps nowhere else in Anastasi’s oeuvre are John Cage’s oeuvre are John Cage’s symphony of urban sounds. Indeed, perhaps nowhere else in Anastasi’s that he heard wafting in through his apartment window over the course of a day – muffled of a day – muffled that he heard wafting in through his apartment window over the course other noises conversations, dogs barking, emergency sirens wailing, and the innumerable City in 1964. The noises produced a veritable Cageian that made up the din of New York from his Lower East Side apartment, complete with wooden window frame, window shade complete with wooden window frame, window shade from his Lower East Side apartment, hidden behind and several square meters of stuccoed wall. Emanating from a tape player the windowsill was a twelve-hour recording that Anastasi had made of all of the sounds The centrepiece of the 1966 Dwan exhibition, however, was the large sculptural installation was the large sculptural installation The centrepiece of the 1966 Dwan exhibition, however, on the Airshaft’ (1964), where Anastasi‘Window reconstructed an entire section of the window listener’s own knowledge, memory and imagination as much as by the objects and sounds memory and imagination as much as by the objects and sounds own knowledge, listener’s as a meditation on the intimate relationship themselves, the overall ensemble functioning between apperception and apprehension. tire tube with the noise of rushing air made while it deflated. The combination of sounds and air made while it deflated. The combination of sounds and tire tube with the noise of rushing durational aesthetic experience informed by each sources created an evocative and decidedly Objects’ featured familiar, everyday items accompanied by recordings of the sounds that by recordings of the sounds that everyday items accompanied featured familiar, Objects’ its hissing and clanking, a pneumatic drill with the they make, including a radiator with a fan with its gentle whirring, and a drilling asphalt, percussive rhythms produced while 1977 Polaroids 21.5 x 28 cm Unique Courtesy of Galerie Wolff, Paris. solo Four one to one photographs of a papered wall at the Bradshaw residence, Four one to one photographs of a papered wall at the Bradshaw 436 E. 88th St, NYC, Jan 27, 1977
RES NOVEMBER 2012 88 the body, timeandcontext, andtestifytohispivotalroleintheemergingartmovementsof conditions ofartandartisticagency. Hisradicalinventionsanticipatedpostmoderninterestsin to signify, therelationshipbetweenanobjectanditscontext, andthevariabledurational that hadbytheendof1960sbecomecentraltohisart–powersoundanditscapacity wouldcontinuetointerrogatetheconceptualconcernsThroughout the1970sand1980sAnastasi diminishing gapbetweentherealanditsrepresentation. anticipatedsubsequentgenerations’silkscreened representation,Anastasi concernswiththe confounded inunprecedentedways.Furthermore, bycoveringoverthegallery’s wallswiththeir reproduced, therelationshipbetweenartanditsenvironmentwassuddenlycomplicated l’oeil electricalsockets,ventsandotherfixtures–weremountedontheverywallsthatthey the walls.Whenthesephotographicsimulacrumsofgallerywalls–completewithtrompe- gallery’s silkscreenedontocanvasesabout90%thescaleof sixemptywalls,whichAnastasi conceptualart. Entitled‘SixSites’,American itrevolvedaroundaseriesofphotographsthe Anastasi’s nextexhibition attheDawnGalleryin1967cementedhislegacyasapioneerof of sounds‘SoundObjects’. of listeninginfosteringanawarenessone’s environmentmoreevidentthaninthetableau ideas concerningthegenerativepossibilitiesofambientsoundandimportanceact 1960s andbeyond Courtesy ofGalerieWolff,Paris. Polaroids 31x28.5cmUnique Without Title(Roof), Photo: Perlino 1977
RES NOVEMBER 2012 89 1977 Courtesy of Galerie Wolff, Paris Without Title (Snow), Polaroids 33 x 33 cm Unique Photo: Perlino
RES NOVEMBER 2012 90 Courtesy ofGalerieWolff,Paris. Photo: Perlino Polaroids 26x30cmUnique Without Title(Rust), 1977
RES NOVEMBER 2012 91 Tell me about ‘The Ethics of Desire’, me about ‘The Desire’, Ethics of Tell The title of the show comes from Plato, comes from Plato, The title of the show What do you like about drawing? You must have gone through a lot of physical image must have gone through a lot of physical image You Where does the idea of the marching figures come figures come Where does the idea of the marching My first films were done with the use of shadow of shadow My first films were done with the use my life. It gives I have been an image scavenger all HUO from? Are they connected to your early film work? IA of those early puppets. I will actually be showing one figures do 1978 video tapes in this show. The marching take on the same feel of animation. HUO scavenging. IA me direct access to my subconscious. HANS ULRICH OBRIST in New at Hauser & Wirth your upcoming exhibition York. IDA APPLEBROOG fashion ‘The of Desire’. In our culture today, Ethics desires, and the plays a large role in dealing with our best represent that site of catwalks fashion shows’ desire. HUO HANS ULRICH OBRIST 2015 Was that your entry in the digital age? Was Yes - and I have been hooked ever since. [laughs] It’s just another way of making art. ever since. [laughs] It’s - and I have been hooked Yes Drawing to me is so immediate. But the process really changed when I started to work digitally. to work digitally. Drawing to me is so immediate. But the process really changed when I started HUO IA months to get that particular effect he got it in just a few minutes. He just pushed some buttons pushed some buttons months to get that particular effect he got it in just a few minutes. He just and voila! I was all there! I became a believer. Things opened up differently for me. Originally, I was a confirmed dinosaur. I would never use a I would never use a I was a confirmed dinosaur. Things opened up differently for me. Originally, with one of their printmakers But by 2001, I was scheduled to do a digital print at Pace computer. gave him my drawing, and saw him do what would have taken me three I sat next to this guy, IA ‘The Ethics of Desire’, Installation view Hauser & Wirth New York, 18th Street © Ida Applebroog Courtesy the artist and Hauser & Wirth Photo: Abby Robinson
IDA APPLEBROOG IDA RES NOVEMBER 2012
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Claes Oldenburgsallovertheplace. Every studenttherefeltthesamewaythatIdid–wewouldcovereverythingwithlatexandmake IA HUO evenings andweekendsIcouldworkathomedomyownwork. I didn’t gettododrawings–Itwaslayoutsandlettering.notgreatworkingthere.But IA HUO away whateveritisIdon’t want, andmanipulatetheresults.Theprintoutactsasawetcanvas. as theycomeoutoftheprinter, stillwet, Icangointothemwithbrushesandmyfingers,wipe simple beforeIputthemintobedigitized.nowknowwhatitisthatcangetdigitally. soon As incorporate anewmediumintomywork.Itstillallstartswithdrawings.Thedrawingsarevery IA HUO printing, and technology. They’rebased onphotosanddealwithgenetics intermsofhowIput IA HUO responses wereunexpectedly overwhelming,eventhenegativeones. other MuseuminLondonstarted towritemeabouteverybookthatwassenthim.And Albert a few,Iendedupwithmailinglistofabout500people. RobertKennedyfromtheVictoria & work Iliked,andthenotherpeopleasked,‘Would youputmeonyourmailinglist?’Sofromjust go tothepostoffice,andbulk-mailthem.WhenIfirst started out, Isentthemto peoplewhose IA HUO That’s when Istartedthebooks.They’relikediaries. incredible. Remember, we’re talkingabouttwonunswritingtotheirfatherwhoabandonedthem. He hadtwodaughtersthatwerenuns,andtheirletterstohimreallyblewmeaway–they Galileo atthetime.TherearewonderfullettersfromGalileo’s daughter, Virginia, whowasanun. first books.Theywere16pagers,called‘GalileoWorks’. Iwasverysteepedininformationabout and Ididn’t soIcametodomy reallyknowanyone.Istartedjustdrawing,drawing.And IA HUO IA HUO WhenIstartedoutinthe1950s,wasagraphicartist. Istartedworkingforanadagency. Ididn’t thinktherewasabasicchangeatall,frankly. WhatdidchangewasthatIableto Thenamedealswiththeprocess ofinterbreedingphotography, sculpture,drawing, painting, Yes. beingprinted,enveloped,andaddressed,Iwouldputthemintomyshoppingcart, After 1974tobeexact. IleftNewYork in1956andcamebacktoNewYork almost twenty yearslater Chicago,IwenttoSanDiegoandtaughtatUCSDworkedinmystudio. After Institute,theonlypersonwhoinspiredmewasClaesOldenburg. WhenIwasattheChicagoArt SowhathappenedafterChicago? Didyouhaveartistswhoinspiredyou? Iknowyoustartedveryearlywithart. Hasdrawingalwaysbeenthere? Doyouthinkyourworkchangedwiththeintroductionofcomputers? Let’s talkaboutthe‘Photogenetics’ series.Wheredoes thenamecomefrom? Haveyourbooksbeenself-publishedandthenmailed out? theninthe1970syoucametoNewYork? And
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Photo: Abby Robinson Photo: Abby Robinson © Ida Applebroog Courtesy the artist and Hauser & Wirth © Ida Applebroog Courtesy the artist and Hauser & Wirth Hauser & Wirth New York, 18th Street Installation view ‘The Ethics of Desire’, RES NOVEMBER 2012 94 RES NOVEMBER 2012 95 , 2014 Photo: Emily Poole Photo: Emily Poole Chairs Oil and acrylic on steel folding chair 96.5 x 46.4 x 5.1 cm / 38 x 18 1/4 x 2 in - folded size 74.9 x 46.4 x 51.4 cm / 29 1/2 x 18 1/4 x 20 1/4 in - open size
RES NOVEMBER 2012 96 Photo: EmilyPoole 144.8 x40.621.6cm/571681/2in Tag board,metalsrodsandwoodpedestal;1puppet Goodbye , 1977 Photo: EmilyPoole 143.2 x63.549.5cm/563/825191/2in Tag board,metalsrodsandwoodpedestals;2puppets Sometimes APersonNeverComesBack , 1977
RES NOVEMBER 2012 97 , 2014 The Ethics of Desire Acrylic and ultrachrome ink on mylar 301.3 x 106.7 cm / 118 5/8 x 42 in Photo: Genevieve Hanson
RES NOVEMBER 2012 98 Photo: GenevieveHanson 295.6 x106.7cm/1163/842in Oil andultrachromeinkonmylar The EthicsofDesire , 2014
RES NOVEMBER 2012 99 , 2013 Have you had other people whose portrait you’ve made so obsessively? Have you had other people whose portrait Have you ever met him? Have you ever met Yes.
Never. He was the only one that really obsessed me. I was sorry to learn that he was who he was. one that really obsessed me. I was sorry to learn that he was who he was. He was the only Never. I met him, interestingly. I was at the Whitney Biennial opening many years back, and someone opening many years back, and someone I was at the Whitney Biennial I met him, interestingly. I fell madly in love with his face. I would change the features with everybody else that I did, with everybody else that I did, with his face. I would change the features I fell madly in love
I wish he’d been someone anonymous. HUO IA tapped me on my shoulder and said ‘Ida?’ and I turned around and he said his name, and then ‘Ida?’ and I turned around and he said his name, and then tapped me on my shoulder and said [laughs] That was it. walked away. HUO IA room in my studio was filled with ‘Tobiases’ from top to bottom. At that point, I still could not stop not stop top to bottom. At I still could from that point, was filled with ‘Tobiases’ room in my studio know the man nor did I care. was my muse, although I didn’t doing his image. He IA and a whole Tobias, his face. I produced a book of just touch etc. but I just couldn’t redo the hair, Meyer. You know of him? You Meyer. HUO the ‘New Yorker’. It was beautiful, a lovely face. It was sort of Anglican and boyish. It was just of Anglican face. It was sort was beautiful, a lovely It It was just and boyish. the ‘New Yorker’. And so I clipped it out. and that point, into the profile at I went that held my interest, something Tobias of Sotheby’s, the new director and he’s is he?’ I take a look, thinking, ‘Who because I’m them together. One of the pieces consists of a long figure based on a face that I came across in in came across that I on a face based a long figure of consists of the pieces One together. them
Photo: Genevieve Hanson 151.8 x 326.1 cm / 59 3/4 x 128 3/8 in Installation size (approx.) Ultrachrome ink on mylar, 3 panels The Ethics of Desire (detail) RES NOVEMBER 2012 100 his recent publications include ‘Ai Weiwei Speaks’ (Penguin, London, 2011) and ‘A Brief History of New Music’ (JRP Ringier, Zurich, 2014). Zurich, Ringier, (JRP Music’ New of History projects; Brief ‘A and book 2011) 200 over London, to (Penguin, contributed Speaks’ has and Weiwei ‘Ai Obrist 2007. in include Bourgeois Louise started publications nig Kö Richter, recent his Walther by Gerhard of published writings books includethe conversation these of aseries and &George, accomplishments; Gilbert editorial (2008-11). his are Highway’ ‘Indian projects and 2007), and curatorial (2005 1991, Obrist’s Biennale since Moscow 2nd and 1st Accompanying exhibitions 50 the over (1999), co-curated has ‘Laboratorium’ Obrist (1998), 2001. to Biennale 1993 Berlin 1st from the Vienna, including Progress, in Museum the of curator as well as 2006, to 2000 from Obrist Design. of Ulrich School Hans Research/Parsons Social for School Art New Arts, Distinguished Fine of Association Doctorate Art College Honorary an the Grant, Genius Achievement, Fellowship Modern Lifetime of for Museum Award MacArthur the Francisco San including the and honors multiple Minneapolis, of in Center recipient the Art been Walker has She the Art. Museum, Art Denver the Art, of Museum Metropolitan the including Applebroog Ida there. Hecalledthem‘word-salads’ Kraepelin books.Theyareallaboutschizophreniaandoneofmyjournalsistakenstraightfrom IA HUO IA HUO Itplaysabigrole.Ireallylikerandomness.Earlyinmylifestartedtoreadsomeoftheold OnlysinceIcamebacktoNewYork in1974. Haveyoualwayskeptadiary? What’s theroleofchanceinyourwork? (b. New York in 1929) is an artist based in New York. Her works can be found in numerous public collections in the United States States United the in collections public numerous in found be can works Her York. New in based artist an is 1929) in York New (b. is Co-Director of the Serpentine Galleries in London. Prior to this he was curator of the Musée d’Art Moderne de la Ville de Paris Paris de Ville la de Moderne d’Art Musée the of curator was he this to Prior London. in Galleries Serpentine the of Co-Director is 299.2 x652.8cm/1173/4257inapprox.installationsize Ultrachrome inkonmylar;6panels The EthicsofDesire(detail) Photo: GenevieveHanson , 2013
RES NOVEMBER 2012 101 ‘Project Cancer’ (2013), the documentary film you made about your battle with Filming it was a rather intense experience. I was on heavy cancer treatment, doing The difference is that in these past occasions, like the episode you just described in In your life and previous work, you often put yourself in situations that pushed you to I think so. I think showing your vulnerability can be a demonstration of power sometimes. MR my limits rather than trying to fool myself and all the people aroundam a superstar. me into thinking It’s just not that my thing. I attitude in life. Our usual social behaviour is not about being vulnerableopposite – it’s about but the being exact strong. And I’m getting tired of it. My body is notanymore in great shape but I like it better now. I’d rather live with an odd, aching body, openly displaying but eventually I was able to use my vulnerability to protect some ofShowing the people around your vulnerability me. can make for quite a strong statement.an element of Of risk course involved. there is always We all are vulnerable but we have been taught to have a different between some squatters and the police. It was war, absolute war. I saw it on televisionit wasn’t far and from where I lived, so I stripped off my clothes, hopped on my bike,into it. and I was jumped right there and nobody hit me – nobody. They must have thought I was a nutcase, U Let me give you an example. A couple of years ago, in Amsterdam, there was a major clash explore your psychological and physical vulnerability.with Do you the think disease? it helped you dealing dealt with it. MR each projection, most of the questions weren’t about art, they wereand chemo. about the Every stigma third of cancer person in the Western World is somehow affectedup talking by it. So so I didn’t much about end the film but more about how my experience with cancer and how I terminal cancer patient thinking about my predicament alllast the time minutes and of worrying my life. The film about is great, the I must say. Damjan Kozole is a though directorwas also fun but he to work with. I was very sceptical at the beginning, but atthe Q&A that followed Mediterranean Sea. Working on the film took my attention away fromI actually being a really call sick it a therapy man. film – it helped me developing a philosophicaldisease, attitude the illness, towards the the whole ordeal. I think it was very important for me notto be another ULAY chemo and other things. They told me I had six months to live so I startedNew York, travelling. Berlin, Amsterdam, I went to Ljubljana. I went to Piran – this beautiful Slovenian town on the a disease initially diagnosed as terminal, touches on a veryHow personal did you feel and about delicate it during subject. filming? MICHELE ROBECCHI MICHELE ROBECCHI
RES NOVEMBER 2012 102 ULAY Courtesy oftheartistandMOTInternationalLondon&Brussels 8.5 x10.5cmeach Polaroid type108 Auto-Portraits fromtheseriesRenaissense, 1974
RES NOVEMBER 2012 103 circumstances that I found myself in, voluntarily 1972 – 1975 It seems to me that from the very beginning your work was designed to escape definition. Yes, that is a big difference. One is self wantedyou – put yourself in a situation willing
51.5 x 63.5 cm Courtesy of the artist and MOT International London & Brussels Polaroid Aphorisms series, Collages made of original Polaroids type 107 MR or involuntarily, eventually made me what I am – an extremely openheartedbe honest and straightforward person. I try to as much as I can. adversities pretty early on in life, because I was on my own by the time I wasexperience 15. My doesn’t quite conform with what a lot of people went through.say that I don’t I’m mean special to or anything, but the brain really thinks about this connection because the left andyour the right brain hemisphere communicate of exclusively between them almost 90 percentare not of busy the time with – they you. It’s a funny idea but it’s a scientific fact. I have learned to survive In a way I have prepared myself for the time where I got sick. And it’s a mentalas a physical as much thing. The combination of my mental and physical abilitiesgood match. seems You know, to be a body and mind are connected, but there is no way to know what the very strong man. They somehow affected my biology, my body and brainthey cells, have whatever; shaped me into a different person because what I have done is rather unusual. to deal with all the consequencesand – the other one just falls on you,as and terminal. it’s presented It was a different type of ordeal but I do believe thatin the the works past, being I have done performances, bodyworks or even trips to remote places, made me a battling a situation you fondyourself in against your will. U Amsterdam, you deliberately put yourself in danger, whereas in ‘Project Cancer’ you are
RES NOVEMBER 2012 104 a handshake. This is so beautiful. I really envy him. That’s the way to do it. And he gets paid paid gets he And it. do to [laughs] way it! the for That’s him. envy Ireally beautiful. so is need This just you acontract, a handshake. need don’t –you ephemeral so is work His a made Amsterdam. recently in He piece about. be great should art performance everything are pieces his me to but U well. as categories MR fault. my now not is It it’s but action. artwork an as ademonstrative credited was Kunst’ der in Berührung kriminelle eine ist ‘Da art. of U MR it. with away got and 1976 in Berlin in Nationalgalerie Neue only the at escaped apainting Istole Iliterally when once, things. of picture my intentions, my suit don’t just They more –it’s avoidance. escaping like really not It’s stardom. and market art the escaped Ihave me. with did he U Courtesy oftheartistandMOTInternationalLondon&Brussels 51.5 x63.5cm Collages madeoforiginalPolaroidstype107 Polaroid Aphorismsseries, on… clothes no with performance the before minutes office museum the to went you MR Absolutely. He’s so good at what he does. I know he doesn’t consider them to be performances performances be to them consider doesn’t he Iknow does. he what at good so He’s Absolutely. works and actions, demonstrative actions, performances, between distinguish to Itend interview an for used Johnson Dominic title the That’s Artist. Escape The actually Iam Yes, I heard a great story about ‘Imponderabilia’ in Bologna in 1978 where, in order to get paid, paid, get to order in where, 1978 in Bologna in ‘Imponderabilia’ about story agreat Iheard escaping someone be to seems He Sehgal. Tino like artist an like you why that’s Iguess art. of awork not and action an was it that insisted you time the At 1972 –1975
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1975 8.5 x 10.8 cm each, unframed 8.5 x 10.8 cm each, unframed Each unique Courtesy of the artist and MOT International London & Brussels Retouching Bruises (detail), Polaroid photography Installation, 100 pieces
RES NOVEMBER 2012 106 RES NOVEMBER 2012 107
1975 Polaroid photography pieces Installation, 100 unframed 8.5 x 10.8 cm each, Each unique London & Brussels artist and MOT International Courtesy of the Bruises, Retouching
RES NOVEMBER 2012 108 RES NOVEMBER 2012 109 mous is good, especially for somebody who is very renewed. I hate ate your life. Being anony is absolutely a value. Anonymity doesn’t put any pressure on you. Unlike fame, it doesn’t It can certainly be a value. Wheredo you think this necessity of avoidance ultimately come from? Your first solo exhibition in Amsterdam in 1974 turned out to be a rather traumatic experience, Yes, I went to the office stark naked and I said ‘I want my money’. I got what I wanted but I It I think it’s about wanting to maintain some form of anonymity. Do you think that particular episode played a part in your desire to be anonymous? MR to the point of prompting you to declare that you would never show your work publicly again. U domin the word ‘famous’, I never use it, but for a renewed artist, anonymity is like going on holidays. MR U them up after the performance was done. MR U didn’t know where to put them. I had to hide them in the toilet in a water container and pick
RES NOVEMBER 2012 110 Imponderabilia, 1977 Performance Galeria Arte Moderna, Bologna Courtesy the artists
U I think so. I was already working on my Polaroid self-identity research at the time. They were pretty far out pictures. Really far out. There was a commercial gallery called Seriaal in Amsterdam. They used to work with great artists like Sigmar Polke and Richard Hamilton but they wanted to do something else and do performance, actions, films, etc. They asked me to show my Polaroids. I refused three times but they kept insisting so eventually I said yes. I was a bit hesitant, you know. They’re very intimate, private and personal images but they are also about disability, marginalization, transgenderism, all sort of things. We installed the show and it was amazing. We covered the whole space and put each Polaroid into an empty Polaroid cassette with magnets on the clips on the wall. They looked like sentences in a book. Then there was the opening of course, and they sent out an invitation saying ‘The artist will be present’. At the time it was customary to say ‘The artist will be present’. Even later, when MA [Marina Abramovic] and me were working together, doing live performances, the invitation card would say ‘The artists will be present’. Isn’t that funny? Anyway, I was present, and the reaction of the crowd at the gallery the day of the opening was so bad, I promised myself I would never, ever, make an exhibition again. I walked away from that experience with a little scar. I might be a performer but I’m not an entertainer.
1977 72 x 52 cm each film stills, P.E prints, hand-coloured (18 pieces) Courtesy of the artist and MOT International London & Brussels First Act – There is a Criminal Touch To Art (Berlin Action Series),
RES NOVEMBER 2012 112 private life, we were together. It was a bit schizophrenic. schizophrenic. abit in was It but together. opponents, were we were we life, private performances, our during that is thing a interesting changing The like not It’s t-shirt. difficult. is intensity of degree that off performances the Dropping and intense. so were togetherness, the collaboration, The unavoidable. just in was It Iwas that tell abyss. an clearly Ican but great, look they Ithink now, images those Isee Actually, it. whenever of out Icame then And avacuum. in Iwas like Ifelt period, adark Ihad early the in works. like abit photography, performative was it Still, it. at good Iwas and mine of U own? your on MR awful. is events those attending public the that saying just of I’m quality the about performance, the talking not I’m hours. for waiting line in up stand to they why close be to want That’s her. people And respect. that in job amazing an doing is she And star. art an is U MR They’re just different worlds. worlds. different way. just same the in They’re photography analogue and digital about think can’t You far. so digital photography analysing theoretically time my of minute a single spent of Ihaven’t but history the and photography, photography with involved deeply into Iwas it. of out pressured feel something They making images. life than larger gigantic, these digital making with are involved photography artists many so why explains this Perhaps cannot You picture. adigital touch different. very is it with have you relationship physical the but immediate, U It’s image. aunique anlike object. generates aPolaroid that is difference The results. immediate you Po MR linear. not is Progress linear. not is Life linear. not is linearity. of History kind that trust don’t Ijust time. whole the have asshole an of abit Iwould Iwas help, it. done Pislak’s never Lena for wasn’t it if and process the disliked Itremendously the for book. Ineeded what out get to order in ages in touched Ihaven’t boxes and and crates back go to open Ihad lane. memory down atrip take to Ihad my on year, last Iworked Ulay’ on When ‘Ulay art. book make you if aparadox, that’s And recognizable. very is anonymity, work Ienjoy the although that is Ido what about thing funny The like looked panorama. installation a beautiful whole The images. single-framed 100 of made It’s sequence. entire U time? right the was it think you MR Digital photography is fabulous. You can do it very economically – cameras are clean, clean, are –cameras economically very it do can You fabulous. is photography Digital the never but before, there and here Bruises’ ‘Retouching from images single Iexhibited favourite time old an was it because photography to Ireturned time some For easy. wasn’t It She star. the meet to wanted They glam. the for came They awful. was audience the Ithink What do you think of Marina’s performance ‘The Artist is Present’? Present’? is Artist ‘The performance Marina’s of think you do What I think it’s interesting in this sense to compare what you were doing in the early days with with days early the in doing were you what compare to sense this in interesting it’s Ithink made What Basel. in June last time first the for (1975) Bruises’ ‘Retouching exhibited You again start to had you Marina, with collaboration of years 12 after when, feel you did How laroids with the state of photography today. Both Polaroids and digital cameras give give cameras digital and Polaroids Both today. photography of state the with laroids
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1973 Do you think the awareness of not being able to easily rectify mistakes could contribute One thing I findfascinating aboutdigital photography is the possibility of editing out Yes. It’s the same as with analogue photography. You need to work on your compositional My biggest pleasure is to use the delete key on my computer and cell phone. That’s the only Courtesy of the artist and MOT International London & Brussels Courtesy of the artist and MOT International London & Brussels S’he, Auto-portraits from the series Renais sense Polaroid type 107 8.5 x 10.5 cm each photography, all this becomes meaningless. You get the wrong picture, you just erase it U abilities, you need to train, you need to know a lot about how it works. With digital MR some sort of mental clarity? In the old days, when we were using typewriters and the clatterrhythm, would provide I wouldn’t this erase beautiful anything. I would just type over againlike or that, on the side. with I’m two still fingers typing hitting the keyboard really hard. U power I have over it. We don’t have that option as people. Everythinglife, we have whether experienced dramatic in or pleasurable, is stored in our memory. The delete button is fantastic. images you are unhappy with on the spot. With analogue photography,have those to mistakes be printed out would anyway, occasionally turning into something unexpected and special. MR
RES NOVEMBER 2012 114 MR emerges. and zero, pioneers of from start you generations then a new And redefined. be would disciplines know. these Idon’t all if great painting, be for As would It redefined. be to has Art redefined. be to has photography I think – ago years Thomas two McEvilley. away passed has it done have could that Iknew person courage only the The has that? Who say to that? do to intelligence the has who But itself. reinvent probably should U then? back painting to remotely is happened media, what to the with comparable relationship their renegotiate to photographers forcing accessibility and images of proliferation the with today, photography with on going is what think you MR U away. walk and apicture the at take just looking would even They without painting. Ring’ Pearl the with Girl ‘The Vermeer’s of front in themselves MR scene... the of part themselves hold make to They sticks those somewhere. been have they that home at friends reason their only prove The to is it face] do his of they why front in phone imaginary an [Holds that. like walking world time, the the all around them see You selfies. taking people these all at look And again. try and That’s a difficult question. I like the idea of photography reinventing itself. Art as a whole awhole as Art itself. reinventing photography of idea the Ilike question. adifficult That’s ego. their for abackdrop than more nothing is painting The Yes. Don’t you see yourself as part of a generation of pioneers? pioneers? of ageneration of part as yourself see you Don’t Do itself. reinvent to painting forced 1900s early the in photography of introduction The of pictures taking were tourists and recently Hague The in Mauritius the at Iwas Iknow. London &Brussels Courtesy oftheartistandMOTInternational 8.5 x10.5cmeach Polaroid type107 Auto-portraits fromtheseriesRenaissense S’he, 1973
RES NOVEMBER 2012 115 is a writer and curator a based in London. (b. Frank Laysiepen in Solingenin 1943) is a visual artist. Formally trained as a photographer, he transitioned to performance art in the early That’s a very nice metaphor. If one looksat ‘Skeletons in the Closet’, ‘Project Cancer’, the Earth Water Catalogue (2002), You recently returned to performance with ‘Skeleton in the Closet’ (2015) at the Stedelijk Maybe. Maybe the day I will have a retrospective, someone will say that I helped That’s my metaphor about identity. I think you’re right thoughif – I look at it now, the whole Unfortunately not too many people, if any at all, question their own identity. They see We all have skeletons in the closet. We all hide something. I haven’t disclosed what I was
Michele Robecchi Michele 1970s, eventually forming a successful partnership witharound Marina the Abramovic world, including from the 1976 Stedejlik to 1988. Museum His work in Amsterdam, is featured in many CentreAfter institutional several Pompidou Paris long-term collections and the Museum art projects of Modern Art in India, in New Australia York. Hochschule and China, für and a professorship Gestaltung in Karlsruhe, of Performance Ulay currently and New Media Art lives at and the works Staatliche in Amsterdam and Ljubljana. Ulay typical product of the 1960s generation and the Provo movement.Don’t Be be this, free. Don’t don’t follow be that, just leaders. be yourself. Don’t hurt anybody. Don’t take anythinganybody. Just stay from out of it. And I think I managed until today U identity issue hasn’t been worked out yet. I think ithas to do with my personal history. I’m a ocean with an anchor the size of a tanker. MR schools, systematization of young people that don’t voluntarilyjust adopt gets their forced identity into them. and it If you can walk away from it and accept yourthere status is as no an need outsider, to push it. I think identity is a very frail, elegant, tiny sailing boat on a big U identity as a national flag. It is something that has to do with education, nationalism, MR down to the early Polaroids, it seems that the quest to find your ownmuch identity going on. is still Do yousee very itas a life long project? U hiding in this caseyet, and I don’t think I ever will. MR Museum. Where does the title come from? redefining performance and photography. That would be the biggestcould ever compliment pay me. anybody U
RES NOVEMBER 2012 116 CMY CY MY CM K Y M C dirimart_19x25.pdf 124/07/1516:59
RES NOVEMBER 2012 117 The sculptures in the ‘Red Memory’ series look very realistic. It’s as if they The sculptures in the ‘Red Memory’ series are biographical works. I was born I have seen you working with fibreglass, bronze and stainless steel. Do you have a You also like to be critical with your work. It is pretty visible in ‘What You See Might Not In contemporary art, material is not the core part. The spiritual direction and ideas Good, actually there are some answers in you question. Artists generally are not the best sort of old and traditional materials can be used to create works to express some form of CW expressed by the work are more important. I only use a few materials. I believe that all AEÖ preference in terms of materials? symbolof worshipping property. It looks like a miniature of fetishism.a reflection It is of also Chinese a review society. and It’s unconsciously influencedarmy, by Qin butShi the inbeing Huang’s Terracotta is far away. interpreters of their own work. I try hard to make my work openthe and audience. provide The a broad Pig vision is a symbol to of wealth in Chinese traditionalare culture. proud of having Nowadays material people rather than spiritual wealth.The pig sculpture I created is a CW march at command, the face of the pigs display feelings of anxietyHuang’s and paranoia feelings similar towards to human mortality. Do you think you havefear restated in a contemporary a 2000 years form? old figures around a similar feeling/reality of paranoia andin ‘God power-related of Materialism’ anxiety. the small Even though pigs are positioned around the giantworshippers pig as intoxicated and the soldiers of the Terracotta army arealigned straightforward ready to be Real’ and ‘God of Materialism’. However ‘God of Materialism’reminded evokes a different me of Qin Shi Huang’s emotion. Terracotta It army, primarily duelarge to the power population of representing of any kind with a an artwork but most importantly due to the organization of vehicle where one’s soul is able to breathe and perform. AEÖ people were very poor at the time – there was a significant shortagethings of basic goods. cannot Yet, defeat these the innocent happiness of a child. I try to expressnature when humanity’s faced by adversities virtuous through my childhood experience. My work provides a CHEN WENLING during Mao’s cultural revolution and as such I have vivid memories of red politics. Chinese inhabit the environment – they are a mixture of organic andmost conceptual of the times react living. to such The work viewer’s by touching them, miming them or interactingas if they were with real. them Was this something you wanted to accomplish when you begun? ALP ERİM ÖZERDEM ALP ERİM ÖZERDEM
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art. About a year ago I got seriously ill, but I have recovered thanks to my strong will and and will strong my to thanks recovered Ihave but ill, of seriously Igot ago foundation ayear the are About art. creation and Freedom constraint. means planning Sometimes work. CW AEÖ language. universal Chinese an develop to oriental, order more in elements towards lean should it respect, and favour art international contemporary earn to wants Chinese If years. ten past the over entity an independent became and art autonomous contemporary Chinese West. the in would existed already artists what imitate Initially, mainly phenomenon. old years athirty practically is Chinese art swing. full in contemporary were movements art modern Western when art traditional in CW nowadays? world the in heading is art AEÖ personal satisfy to expression. necessary tools only are Materials artists nowadays. many but materials to artists, the slaves to become slaves be should Materials art. contemporary in spirituality optimism. The series of works called ‘Tree of Life’ and ‘The Paradise’ I am working on at the the at on working Iam Paradise’ ‘The and Life’ of ‘Tree called works of series The optimism. My future plan is no plans. Having no plans is my plan. I like to be surprised by my own own my by surprised be to Ilike plan. my is plans no Having plans. no is plan future My rooted still was art modern Chinese china. in artists modern afew only are There What are your plans for future? Are you working on anything specific at the moment? moment? the at specific anything on working you Are future? for plans your are What contemporary Chinese think you do Where China? for art modern of vision your is What What YouSeeisnotNecessarilyTrue, Bronze, H:600×L:1100W:500cm Courtesy oftheartist. 2009.
RES NOVEMBER 2012 119 2010 Courtesy of the artist. Courtesy of the artist. The Suspense Part, Bronze, H:490 x L:830 x W:230 cm.
RES NOVEMBER 2012 120 RES NOVEMBER 2012 121 2006 Who were your influences when you started? Does the issue of the audience concern you?Who is your ideal viewer? My father and my grandfather. Opinions from like-minded people can be revelatory to me, but I tend to ignore the majority Valiant Struggle, Bronze, H:750x L:480 x W:210 cm Courtesy of the artist. CW AEÖ thinking about what the public will say, the work’s value and the socialinevitably significance descent. of it If you think about it, all great literary mind. in readership works weren’t made with a specific point of view. How to express your inner spirit is the most importantwho thing. is my ideal I don’t audience. know My work is not made with anyone specific in mind, when you work CW of comments on my work. There is no right or wrong in art, and everyone has his/her own be made aware of how uncertain and important life is. AEÖ moment are about the transformation and sublimation of my experience.my life experience I try to transform into a universal experience of social or evenmemorial human nature. as well as It a wake is a pain up call for me. I hope that through these works the public can
RES NOVEMBER 2012 122 Alp Erim Özerdem Erim Alp Biennale International Beijing the (2010). (2002): Biennale Museum Busan the Art and (2009) Guangzhou at Biennale Taipei Triennial the many in Art China (2003); exhibited First been the has work including His Beijing. in exhibitions, Arts Fine of renewed Academy Central internationally the at Department Sculpture the in study the completed and Ling Wen Chen universal and personal both CW AEÖ far. go will it hopefully and begun just has and style career art My different of future. the in thousands forms see might You pratfalls. doing of afraid favourite my weren’t are They Richter artists. Gerhard and Picasso year. every works also many Iam –Icreate symbols. prolific quite artistic existing protect to Ihave like feel Idon’t doctrine, any to belong don’t CW AEÖ That’s right, my work is a biography of my spiritual life. I hope this biography will prove to be be to prove will biography this Ihope life. spiritual my of abiography is work my right, That’s I field. awide on move –they works my in themes different many are there because it’s Ithink You mentioned early on that your work is biographical… is work your that on early mentioned You successful? so is work your think you do Why (born in Fujian in 1969) is a Chinese artist based in Beijing. He graduated from Xiamen Academy of Art and Design in 1991 1991 in Design and Art of Academy Xiamen from graduated He Beijing. in based artist aChinese is 1969) in Fujian in (born lives and works in İstanbul. in works and lives Bronze, H:200×L:365W:252cm God ofMaterialism, Courtesy oftheartist. 2008
RES NOVEMBER 2012 123 2010 Bronze, plastic bottles Bronze, plastic × W:220 cm H:210 × L:280 artist. Courtesy of the Childhood: Horizon, Childhood:
RES NOVEMBER 2012 124 RES NOVEMBER 2012 125 2002 Bronze, H:163 × L:40 × W:38 cm Courtesy of the artist. Red Memory: Shy Boy,
RES NOVEMBER 2012 126 Courtesy oftheartist Red Memory:Smile, Bronze, H:270×L: 1 50 ×W:220cm 2007 .
RES NOVEMBER 2012 127 2014 Courtesy of the artist. Courtesy of the artist. Community N. 1, Bronze, H:242 x L:442 x W:138 cm
RES NOVEMBER 2012 128 Courtesy oftheartist. Bronze, H:405×L:748W:460cm Ark ofTranscendence, Courtesy oftheartist Bronze, H:600×L:920W:282cm Reincarnation ofMammoth, . 2012 2012
RES NOVEMBER 2012 129 2014 Community N. 3, Courtesy of the artist. Courtesy of the artist. Bronze, H:242 x L:442 x W:138 cm . 2012 Bronze, H:406 × L:1305 × W:258 cm Courtesy of the artist The City Bull,
RES NOVEMBER 2012 130 Courtesy oftheartist. Bronze, H:77×L:171W:107cm Heterogeneous Space , 2012 Bronze, H:255×L:828W:725cm Building theGarden Courtesy oftheartist. , 2012
RES NOVEMBER 2012 131 French. You have a multinational background. You were born in Asia, and grew up in Paris, but but were born in Asia, and grew up in Paris, a multinational background. You have You Why did you decide to open a gallery rather than going into an institutional context? Why did you decide to open a gallery rather than going into an institutional Information was more limited and gallerists were sourcing their programs from where they were sourcing their programs from where they Information was more limited and gallerists It makes sense that the backbone of your gallery’s program reflects this trail because galleries, program reflects this trail because galleries, your gallery’s It makes sense that the backbone of You did an internship at the Whitechapel Art Gallery in London around the same time. Was that that did an internship at the Whitechapel ArtWas Gallery in London around the same time. You You began your career in Cologne in the 1980s, but then returned to France to attend one of the to attend one of the but then returned to France your career in Cologne in the 1980s, began You The school at Grenoble wanted to open itself up to all the new possibilities in contemporary art, in contemporary art, The school at Grenoble wanted to open itself up to all the new possibilities Yes. And then I decided to open a gallery. I arrived in Cologne in the early 1980s, when I had I arrived in Cologne in the early 1980s, when I had And I decided to open a gallery. then Yes. Absolutely. Yes. People tend to think that I’m German but I didn’t speak German until I was 19. speak German until I was 19. People tend to think that I’m German but I didn’t Yes. he was taking over as head of I was there in 1987 when he received his announcement that Yes. and how it had been transformed since the 1970s. Conceptual artists required different ways of different ways of and how it had been transformed since the 1970s. Conceptual artists required MP ES courses. It just happened that Dominique Gonzalez-Foerster and Philippe Parreno were studying were studying and Philippe Parreno courses. It just happened that Dominique Gonzalez-Foerster at the Beaux Arts in Grenoble, and we all met each other within a year and a half or two years. But I was just somebody sitting there answering the phone. It wasn’t like it is for the people who like it is for the people who But I was just somebody sitting there answering the phone. It wasn’t onto the course at are now working for me. And because I was invited then I went back to France du Magasin, which was a precursor of all the current postgraduate curating Grenoble, at L’École ES opened her gallery. just finished high school, and started to work for Monika Sprüth when she happened to be. I take it you met Philippe Parreno while you were studying in France and Liam and Liam you were studying in France while Parreno happened to be. I take it you met Philippe Gillick while you were interning in London. ES MP MP at least in the 1990s, were very place-specific. ES the Tate. MP when Nicholas Serota was the director? ES MP the time, in Grenoble. few curating courses that existed at your parents are Dutch. What is your first language? your parents are Dutch. ESTHER SCHIPPER MARK PRINCE MARK PRINCE
INTERVIEW WITH ESTHER SCHIPPER ESTHER WITH INTERVIEW RES NOVEMBER 2012
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Photos: ©Andrea Rossetti Courtesy: The artistandEstherSchipper, Berlin Karin Sander,H=400 cm,EstherSchipper,Berlin,2012 Edition of3+1artist’s proof(KS079) Pre-existing wallVariable Umgelegt, 2012 Karin Sander
RES NOVEMBER 2012 133 Photos: © Andrea Rossetti Pre-existing wall Variable Edition of 3 + 1 artist’s proof (KS 079) Karin Sander, H = 400 cm, Esther Schipper, Berlin, 2012 Courtesy: The artist and Esther Schipper, Berlin Karin Sander Umgelegt, 2012
RES NOVEMBER 2012 134 RES NOVEMBER 2012 135 2013 Gallery programs then tended to be place-specific. You discovered your artists on the ground, discovered your artists on the ground, Gallery programs then tended to be place-specific. You But that could have happened in an institutional context? But that could have happened in an My feeling is that many things are changing right now with information travelling faster but travelling faster but My feeling is that many things are changing right now with information There are some exceptions, the most famous of which is probably Kasper König, but at the end famous of which is probably Kasper König, but at the end There are some exceptions, the most the 1980s in France or Germany it was generally impossible without an academic background. or Germany it was generally impossible without an academic background. the 1980s in France Courtesy: The artist and Esther Schipper, Berlin Photos: © Andrea Rossetti Ugo Rondinone Primal, Esther Schipper, Berlin believe in, you can’t now open a gallery in Paris or London. a gallery in Paris now open believe in, you can’t ES a bunch of artists you also with working possibilities. If you have no financial background, only where you happened to be, as Tim Neuger met many of the artists that he was going to represent was going to represent where you happened to be, as Tim Neuger met many of the artists that he that everything has while working for Max Hetzler in California. Has that pattern changed now become so visible on the internet? profession as an independent curator. Today, the function of curator has been entirely assimilated. the function of curator Today, profession as an independent curator. MP ES of And there was so much more challenge and openness in the market at that time. There was no such MP very different skills than a classic art historian’s upbringing. At some point there was a need for a upbringing. At some point there was a need for a historian’s very different skills than a classic art kinds of format and technique. skilled person who could deal with different working. There was time-based art, artists working with film and video. These practices asked for with film and video. These practices asked for artists working working. There was time-based art,
RES NOVEMBER 2012 136 of theartistsInowworkwitharemakingephemeralorperformance-basedwork.Previously, of anewpractice.Itwasimportanttoestablishmarketforveryunconventionalwork.Many ES you awarethattheworkwereshowingchallengedconventionalroleofgallerist? the gallerist. Shewouldnotbemerelyadealer, butacollaborator, afacilitator, aproducer. Were being whattheexhibitioncontained.Iassumethatmusthavemeantanexpansionofrole MP step, amovement, sothat itwasaboutcreatingamarketfordifferentkindofwork. ES MP you candoitwithoutsubstantialbacking. althoughit’sway around.And verydifficultinBerlin,Ithinkit’s stilloneofthefewplaceswhere ES MP Photos: ©AndreaRossetti Courtesy: TheartistandEstherSchipper,Berlin Esther Schipper,Berlin Primal, Ugo Rondinone Yes, thatwaswhatmadeitsointerestingforme.Itlikebeingapartnerinthedevelopment Yes, wewerelookingtodealers,suchasKonrad Fischer, whoseprogramsignifiedahistorical Ithinkit’s easiernowtoopenagalleryifyouhavethemoneybutnotartiststhanother Intheworkyouwereshowing,exhibitionbecamemedium,ratherthanmedium Were youconsciousofattemptingtodevelopaprogramwithcoherentnarrative? Buthavingtheartistsisfirstprerequisite,isn’t it? 2013
RES NOVEMBER 2012 137 2011 Pierre Huyghe Umwelt, Ants, Spiders Variable Unique (PH 049) Pierre Huyghe, Influants, Esther Schipper, Berlin, 2011 Courtesy: The artist and Esther Schipper, Berlin Photos: © Andrea Rossetti
RES NOVEMBER 2012 138 Schipper’s Berlingallery, oneoftheartworksstipulatedthatgalleryworkersbe MP you sellanidea. there’s nomarketforit. Decommodifyingdoesnotmeanyoucan’t sellanidea.Thequestionishow ES artists inordertoextendthelifeofwork? work. For thedealer, isn’t thereacontradictionindenyingtheanti-commercialintentof MP ES work wouldnothavesurvivedtogaintheinfluenceithashad. dematerialised artwhichwouldevadeitscommodification,butiftheyhadfullysucceededthe MP uncommercial. there wasnevermuchthoughtofsuchworkbeingforsale.Itconsideredtobeinherently MP society. for yourthreebananas.While we’resurroundedbyarapidlychangingnon-physical-based ES MP industry, weareapartof, isantique. presences. We multiplyourselvesinspaceandtimedigitally. But the market, andindeedthe ES political, Icanseethatit’s criticalofitscontext, andevenofyouyourrole. all whatisavirusbutsomethingthatcontagious,which escapesitsform.Sowhenyousayit’s MP They gottheflu. work inthegallery, acoupleofpeoplesaidthattheyweresickafterhavingvisitedthegallery. someone whohasbeendeclaredthecarrierofavirusinanenvironment. Whenweshowedthis For me,it’s apoliticalwork.Itmakesyouthinkaboutwhatitmeanstocontainvirus,be would sellyouaprotocolandhavethechoiceofhowwanttoworkexhibited. entrance announcingthenameofeachvisitor.] Butifyoucameand wantedtobuytheviruswe workintheexhibitionconsistedofsomeonefromgallery’s[Another staffstandingatthe ES infected withavirus.] That’s aworkwehavenotsold,butsoldthenameannouncertwice fromthatexhibition. It’s aninterestingthought. Ithinkthedematerialisationofartworkdoesnotimplythat Butalotoftheseartistsdidn’t haveamarketatall. And onphysicaltrade.Ihaveanobjectandyou givemesomethinginreturn.Myfivepotatoes And We areliving inaglobaldigitalerawhichweareincreasinglytalkingaboutnon-physical Adematerialisedsociety. Whichmakestheearlyconceptualistsseemprescient. Basedonobjects? Thepieceisametaphorforevadingcommodification, evadingbeingcontained,becauseafter SuchasthevirusofPierreHuyghe,forexample.[For Huyghe’s mostrecentexhibitionat Butitsomehowsurvivedandfoundawaytobepropagated.Therehadwayssellthe Itisoneoftheparadoxesearlyconceptualartthatartistsintendedtomakea
RES NOVEMBER 2012 139 2011 Umwelt, Ants, Spiders Variable Unique (PH 049) Pierre Huyghe, Influants, Esther Schipper, Berlin, 2011 Courtesy: The artist and Esther Schipper, Berlin Photos: © Andrea Rossetti Pierre Huyghe
RES NOVEMBER 2012 140 RES NOVEMBER 2012 141 As a Super-8 film is not made to be copied. that contradict the nature of the Doesn’t Because the idea we still have of the still have of the Because the idea we No, the virus is an edition of one, or maybe maybe No, the virus is an edition of one, or And you could make a digital film which is Yes, and I think all these ideas we these ideas we and I think all Yes, of reproduction, is still essentially about still essentially about of reproduction, is saying that you’re uniqueness. You’re that working with artists who are challenging assumption? ES two. And we had a conversation with Philippe not so long ago about making unique Parreno films. MP ES would have different copies and it unique. You the same could be shown around the world at time, but only one person owns it. MP digital? ES the idea with concern how are dealing special, is or something of uniqueness, making a I mean we are not exchanged. to see a fresco house to someone’s pilgrimage with something created on a wall, but to live be a situation, or a by an idea, or it could is rare and special but film. Something which involve this aspect of physical maybe doesn’t exchange. MP despite the despite editions, art object, theory image, despite Benjamin’s Warholian , 2013 Esther Schipper, Berlin, 2013 Social ... quasi social ... solitary ... spiders ... Social ... quasi social ... solitary ... spiders ... Well, there’s a single root, and that is what matters. a single root, there’s Well, But surely as soon as it’s been distributed it becomes potentially capable of being distributed been distributed it becomes potentially capable of being distributed But surely as soon as it’s There’s a root. There are so many works we are dealing with that you can see on YouTube. It’s not not It’s can see on YouTube. There are so many works we are dealing with that you a root. There’s Yes, but the quality deteriorates. Yes, No, you distribute the film but you are the only owner of it. No, you distribute the film but you on hybrid cosmic webs, Courtesy: The artist and Esther Schipper, Berlin Photos: © Andrea Rossetti Comet 11 Cyrtophora citricola Spider web, carbon fibre, dedolight 650 Watt, Manfroto tripod 90 x 90 x 90 cm Unique (TS035) Tomás Saraceno, Tomás Saraceno comparable to the experience you would have in going somewhere to see the film. comparable to the experience you would have in going somewhere to see MP ES ES MP the producer of a piece of a million times, so you’re up against the same problems of ownership as music in the current culture of file sharing. ES
RES NOVEMBER 2012 142 years agomayproducemuchlessincomenow.Ithinkit’s alarge partofourresponsibilitytosee whomadethegallerymostincometendifficult. Butthesethingsalsotendtochange.Artists program suchasminethereareartistswhobestsellersandothersforwhomitismuchmore sales wemake.We don’t receiveanysubsidies,wedon’t provideanyservices.We sellart. Soina ES that entailmoreresponsibilityforyou,andifsowhatformdoesittake? exhibitions byemergingartists.Itseemsthatgalleristshaveincreasinginfluenceandpower. Does Now’ roomatTate Britain,whichlookslikeanoff-spacerunbyagallery, andhasaprogramofsolo institutions arebehavingmorelikegallerists,exhibitingyoungerartists,openingspacesthe‘Art with institutions,suchasmakinghistoricalandresearch-basedexhibitions.Simultaneously, gallery spaces,occupyinglargerpremises,andeventakingontherolethatistraditionallyassociated the questionofwhatitmeanstobeagalleristnow.Galleristsseemexpanding,openingsecond MP to experienceit. ES MP artists whoareeventuallyverymuchindemandandotherslesssobutwebelieve all oftheseartistsatexactlythesamelevel.We havetoaprogram thatisbalancedbetween Absolutely. We onlylivefromthemarket, wearerunningabusinessthatisbasedonthe No,it’s theexhibition.Theexhibitionasamediummeansthatyouhavetobein Soit’s aquestionofprimaryexperience,whichisalsocontrarytoreproduction.I’dlikereturn Thehigherresolutionissynonymouswiththeoriginal. Social ...quasisocialsolitaryspidersonhybridcosmicwebs Esther Schipper,Berlin,2013 Tomás Saraceno
RES NOVEMBER 2012 143 I think of you as a gallerist for whom the site must be very specific. When you moved into very specific. When you moved into gallerist for whom the site must be I think of you as a No, it’s not a contradiction. It’s a bit like merchandising. It also brings us a lot pleasure to to a bit like merchandising. It also brings us a lot pleasure It’s not a contradiction. No, it’s Esther Schipper, Art Basel, 2015 Parreno, Thomas Demand, Roman Ondák, Ugo Rondinone, Angela Bulloch & Liam Gillick Works by: Liam Gillick, Tomás Saraceno, Pierre Huyghe, Philippe Courtesy: The artist and Esther Schipper, Berlin Photos: © Andrea Rossetti Two years ago at Art Basel we showed a work by Pierre Huyghe called ‘L’Ecrivain Publique’ (1995), Publique’ (1995), years ago at Art Basel we showed a work by Pierre Huyghe called ‘L’Ecrivain Two write down his experience at an opening. They might tell a which consists of a writer you hire to conceive these booths. We always have a theme and try to find a good balance. The fair context is is always have a theme and try to find a good balance. The fair context conceive these booths. We it can be interesting to pervert its expectations, but so evidently only a marketplace. Sometimes trying to work through the ideas on another level. We’re in the end you have to play the game. in anonymous spaces? ES the space. Ugo Rondinone altered the space quite radically for his most recent show. So it seems seems for his most recent show. So it altered the space quite radically the space. Ugo Rondinone to It is therefore frustrating to have occasion-specific program. you’re creating a site-specific, your artists in a generic environment, art fairs as they proliferate, and present exhibit at to more your current premises at Schöneberger Ufer, you converted the space with an architect to your to your you converted the space with an architect at Schöneberger Ufer, your current premises how your artists work. They have been and this specificity corresponds to own specifications, gutted his canvas. Karin Sander actually the space as a painter might alter interested in adapting work can bring us. work can MP that a gallery should be constructed like any other trade company, and the fact that what we are that what we are and the fact other trade company, like any should be constructed that a gallery other trading different from any this might make it it an exception, art does not make trading is money the about how much work before we think to think about the because we have company, important. So our approach must be about the work, not about the market. Although I tend to say Although to say I tend about the market. about the work, not approach must be So our important.
RES NOVEMBER 2012 144 inventing ways todothat. MP clear thattheyarepurchasable works. ES fair wherethingshavetobecomemoreobjectified.But that’s notthecase. There’s thegallerywhereyouareabletoshowmoreephemeral,site-specificworks,andart MP ES MP been exhibited. time theyshowtheircollectionorlendthework,toaccumulate writingsabouteverytimeithas suddenly understoodhowtheycouldbuyaworkthatonlyexistsonpaperbutallowsthem,every shown previouslyinaretrospectiveandvariousinstitutionalexhibitions–becausecollectors We hadalotofsuccesswiththisworkwhenweshoweditinanartfair context–theworkwas completely differentstory, butsofartheyhavewrittenaboutwhatareseeingandhearing. Photos: ©AndreaRossetti Courtesy: TheartistandEstherSchipper,Berlin Works by:MattiBraun,PhilippeParreno,DanielSteegmannMangrané,TomásSaraceno,ThomasDemand,AngelaBulloch&LiamGillick Esther Schipper, Itis,butifyoushowworks whicharemoreephemeralintheartfaircontextitmay become Likeabook,likerecording. Sothecontextspursyouto findwaystomaketheephemeralsellable.It’s anoccasionfor Iassumedthatby‘merchandising’youmeantthe faircontextcreatesatwo-tiersystem. Likeaprovenancelistthatispartofthework. Art Basel, 2015
RES NOVEMBER 2012 145 I’ve been mainly following one path for a long time. Working with Jörg allows me to add some with Jörg allows me to add some for a long time. Working I’ve been mainly following one path There’s a term that’s often applied to artists of a certain age – ‘mid-career artists’. Perhaps Perhaps of a certain age – ‘mid-career artists’. often applied to artists a term that’s There’s It could also be a means of redefining your program? It could also be a means of redefining Speaking of the program’s spectrum, you are currently in the process of merging with Jörg spectrum, you are currently in the process of merging with Jörg Speaking of the program’s In which corner? to abstract the setting and imagine of the space allows the collector So the generic nature
Some artists who may not seem superficially to fit in the program, when you come to know to fit in the program, when you come to know Some artists who may not seem superficially Yes. And we make very few group exhibitions in the gallery, so art fairs are where we allow we allow so art fairs are where And exhibitions in the gallery, we make very few group Yes. I mean in the corner here, for instance [points into a corner of her apartment]. a corner of her apartment]. here, for instance [points into I mean in the corner Yes. For our Tomas Saraceno exhibition, the gallery was painted black and it was difficult difficult black and it was the gallery was painted exhibition, Saraceno our Tomas For Yes. to your program. How has your approach to taking on new recruits changed? to your program. How has your approach to taking on new recruits changed? is that they stop expanding their program; another is that they try reaching out to a younger out to a younger is that they stop expanding their program; another is that they try reaching did to their own, and generation to which they have a less instinctive connection than they last gallery show was of a young Brazilian artist who is new the results can be awkward. Your one could say that you’re a mid-career gallerist. Gallerists at the beginning of their careers Gallerists at the beginning of their careers one could say that you’re a mid-career gallerist. how they build that’s often have a close relationship to artists of their own generation and their programs. As they get older and become more successful, several things can happen. One me to rethink. MP of the artists I work with, in teaching us to apprehend things differently. Jörg also has several Jörg also has several us to apprehend things differently. of the artists I work with, in teaching Honert is an artist I am only discovering now. It is also a positions which are very unique. Martin this process will allow way of opening things up for me. The gallery is reaching a certain age and close to those of artists I have always been working with. It’s a chance to bring a generation a chance to bring a generation been working with. It’s close to those of artists I have always not only to me but to many is an artist who has been extremely important, Jeff Wall together. ES artists from the 1990s or early 2000s, which are very positions, especially some very important the work better, you see there are dialogues. the work better, MP avoid dilution? ES Is it a concern for you that if you were to absorb another program there would be certain to absorb another program there would be certain Is it a concern for you that if you were Graham – which might fit very well in your or Rodney artists – perhaps Anri Sala or Jeff Wall Does that involve you in an awkward selection process to existing program, but others less so. MP building for 25 years. What does this mean for the program you have been gallery. Johnen’s ES read kinds of work allows you to and the juxtaposition of different work to form a dialogue, them differently. the work in their own space, which would be more difficult for them through the site- own space, which would be more difficult the work in their installation? specificity of a gallery ES MP MP for visitors to abstract from the setting and identify every spider cube as an object one could one could cube as an object identify every spider the setting and to abstract from for visitors it properly, light the work booth black and corner of an art fair If you paint the purchase. in that corner. have a spider cube clear that you can makes it ES
RES NOVEMBER 2012 146 Photo ©AndreaRossetti Courtesy theartistandEstherSchipper,Berlin electrical system,wireandplug, magnifyingglass,opalescentacrylicglasspodium,LEDlights,6plugs. Various heliuminflatablefloatballoonsin the shapeoffish,electricalplugsandadapters,lampwithArneJacobsenlampshade, Disklavier Piano, Quasi Objects:MyRoomisaFishBowl,AC/DC Snakes,HappyEnding,IlTempodelPostino,Opalescentacrylicglasspodium, Flickering Labels, Philippe ParrenoexhibitionatEstherSchipper: 2014 2013
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At the end of the 1990s, you were one of the first of many gallerists to move to Berlin. of a relatively high The Berlin contemporary art world was then small but concentrated and This is a difficult question. What we had here in the 1990s was very exceptional. There was There was This is a difficult question. What we had here in the 1990s was very exceptional. We moved at the end of 1996 and opened in 1997. moved at the end of 1996 and opened in 1997. We I’ve been busier over the past two or three years with structure, organisation, strategy. How How three years with structure, organisation, strategy. I’ve been busier over the past two or has changed tremendously and really not only for the better. A lot for the worse. Nevertheless, A lot for the worse. Nevertheless, has changed tremendously and really not only for the better. ES art world, not only the space for anybody who arrived with great ideas and nothing else. The city, MP have been here throughout the period standard. There were only three or four good galleries. You since then, as it has expanded. How do you feel about how Berlin has changed? ES life period, I will return to that. MP would probably have been much more alert. I hope that those times will come around again. But hope that those times will come around again. But I alert. would probably have been much more I am more involved in structural and gallery, with the step of taking on Jörg’s at the moment, mid- ones. But I hope very much that after the mid-career, management questions than in artistic only be as good as you are in this business if you have good people behind you. So there are if you have good people behind you. So there are only be as good as you are in this business years ago I have to look at this, this is something for you’. Ten people who will say to me, ‘You ES company without betraying the work of the artists we to transform us into a highly performing can team. You had so much time for discovering artists. But I have a great I haven’t represent. Jörg Johnen and Esther Schipper Photo © Regina Schmeken Courtesy: Esther Schipper, Berlin / Johnen Galerie, Berlin
RES NOVEMBER 2012 148 ES gallerists havebeendoing?Haveyouconsideredthat? MP are alsoplaceswhichhaveaverystrongsupportingcommunity. Butthere’s nowhereinEurope. art dealerslivingfromtheplacetheyareoperatingisNewYork. ProbablyJapanandSouthKorea not onlyaproblemhere.Ithinkoneofthefewplaceinworldwhereyouhavecommunity we’re making,butwecan’t makeourlivingfromthat. Butwearelivinginaglobalsociety. it’s And support ofpeoplecomingtoenjoytheexhibitions,openings,beingpartwhat traces ofwhatwe’vedonehere.Becausewedon’t havethesupportofourcommunity. Ihavethe ES where youarebasedisverynon-place-specific. MP for mysalary. making moneyhere.Whatwearesellingtothiscityorevencountrywouldnotpay it’s stillaverygoodplaceforartiststoliveandwork,alsodealers,evenifnoneofusis Mark Prince with aplantomergeinshortcomingfuture. Berlin Contemporary),shealsoservedontheArtBaselcommitteefortenyears.In2015 SchippertookoverthemajorityofJörgJohnen’sgalleryshares establishing herselfasaoneofthedrivingforcesbehindbloomingpost-BerlinWall artscene.Aco-founderofBerlin’sGalleryweekendandABC(Art Esther Schipper substance, ratherthantryingtohaveafoothereandplacethere.Butwe’llsee ES MP ES MP No,ItookonJörg’s gallery. Yes, alot. Ifthisdoesn’t change,whenyoulookbackinfiftyyearstime,therewillnotbeany historical Yes. Iwasinterestedintryingtobuildupsomethingherefirst, somethingofanothersizeand Butthat’s here. Butyouhaven’t doneit. Doesthatinclineyoutorelocate,oropenasecondgalleryinanothercity, asmanyother We talkedabouttheplace-specificityofgallerist. Butinbusinesstermsyourrelationto isanEnglishwriterlivinginBerlin.Hewritesaboutcontemporaryartforvariouspublications. isagalleristbasedinBerlin.AfteropeningherfirstgalleryCologne1989,shemovedoperationstoBerlin1997,quickly
RES NOVEMBER 2012 149 MOCA Yinchuan is located in the Huaxia-Hetu Eco-Town in the Ningxia Hui Can you tell me about the origins of MOCA Yinchuan and thepeople involved in The Islam of Ningxia has played a very important role in China’s cultural MOCA Yinchuan is located in China’s only autonomous region for the Hui ethnic group. Could you elaborate on the connection between Ningxia and Turkey, particularly MOCA Yinchuan has a particular focus on artists from Islamic countries. Could you The architectural design of the museum is very interesting. How did the WAA project development. Istanbul is the largest city in Turkey. It’s so full of history – a symbol of the Istanbul and Anatolia? HSC platform for exchange between China and Islamic countries. RL after the fall of the Western Xia dynasty. By the Qing dynasty, Ningxialargest had Hui become autonomous the region. Throughout history, Yinchuanportal has been for an important East-West exchange along the Silk Road, leading us to define the museum as a HSC Historically, the Hui people were a large group of Muslim Chinese who migrated to Ningxia RL explain why? consists of roughly 1600 independently produced GRC (Glass fibrepanels, Reinforced which will Concrete) take on traces of the dry, windy environment over time. flow of time and the accumulation of history. The rippling lines arebetween the result the of accumulating a clash surface exterior sediment building’s The and elements. the Yellow geographic and River. historic these This architecturalincorporates design come about? HSC It was inspired by the layered texture of sedimentary rocks, which tell us of the director, and of course the indispensable support of the local government and art scene. RL finally completed in June 2015. Thepeople involved include Liu Wenjin,primary who is both investor the and director of the museum, architect ZhangAnonymous), Di from WAA who designed (We Architech the museum, curator and consultant Lu Peng, me as artistic Autonomous Region. The museum is supported by theNingxia Minshengit is, in essence, Culture‘public/private’ a Fund, but project. With an overall investmenttwo years of of planning, 349 million andRMB, three years of construction, this was a long project. It was this project? HSIEH SU CHEN RICCARDO LISI RICCARDO LISI
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/ HSIEH SU CHEN HSIEH SU /
MoCA Yinchuan,externalview, 2015 Very ContemporaryJordan:TheArtinJordan, Exhibition view.CuratedbySuchenXie. 2015
RES NOVEMBER 2012 151 RES NOVEMBER 2012 152 Exhibiton view.Curated byLuPeng. Between EastandWest:ChineseIslamic ContemporaryArt , 2015.
RES NOVEMBER 2012 153 2015 The large time span covered by the museum’s collection is not a strategy to attract Some of the works presented in the museum are quite old, but others were made over the visitors. Our objective is to be a window onto exchange between Eastern and Western this is a key point of the museum’s appeal? HSC RL past few years. Do you think it is important to link ancient and modern art? Do you think to both Eastern and Western civilization. Rooted in these two connections,more sparks in the we hope current to see age of civilization and more connectionspresenting with Turkish the diversity culture, of Islamic art on a global scale. splendour of the Ottoman Empire. Anatolia is the Asian part of Turkey.times, Since it has prehistoric served as the bridge between Europe and Asia, enablinghas also served cultural as a hub fusion. linking It Chinese and Western culture, and has always been open The Outline of Territory: Historical Maps Collection, Exhibition view. Curated by Guo Liang.
RES NOVEMBER 2012 154 between 30,000 to 50,000 years ago, in the middle of the Paleolithic Era. Hetao is an is Hetao Era. Paleolithic the of middle the in ago, years 50,000 to 30,000 between HSC CouldDangxiang. why? you explain RL collection. cast to museum’s the order of in diversity foundation the on a light ahistorical requires West and East of between theme The exchange art. cultural contemporary of research the for the reference and and China aguide as between serves West exchange cultural of roots the of presentation Chinese in This gaps fill to history. and art culture Western and Eastern of research the in present to achievements sources historical as painting oil dynasty 16th Qing late and exhibit We maps art. century Islamic and Chinese between exchanges present to and culture, MOCA Yinchuan also deals with other cultures, such as Western Xia, Hetao and and Hetao Xia, Western as such cultures, other with deals also Yinchuan MOCA To answer this question, we must go back in history. The Hetao Culture occurred occurred Culture Hetao The history. in back go must we question, this To answer
RES NOVEMBER 2012 155 2015 Our future exhibitions will always be linked to the museum’s mission. The current What are your exhibition plans for the next few months? models for interaction between Chinese artists and the art of Western China between exhibition will be on view until December 6, 2015. After this,artists we will be into bringing Western China, Chinese because Western China doesn’t haveat the much moment. of an art In scene order to promote closer ties with the locals, we will be working on RL HSC Hetao, Dangxiang and Western Xia cultures are integral partsdevelopment. of China’s civilizational Western Xia dynasty. This dynasty had Yinchuan as its capital,day and Ningxiacovered as well present- as parts of Qinghai, Gansu, Inner Mongoliaone and of Shaanxi. the three major powers It was of the time, alongside the Song and Liao dynasties. The historical tides shifted, they got together with other peoples.Dangxiang A thousand people years founded ago, the the first dynasty of China’s middle antiquity period – the civilization. Dangxiang was one of the ethnic groups in Northerntimes. China It arose along in ancient the Yellow River in what is now the South Eastern QinghaiThe Dangxiang Province. people were pastoralists at first, but gradually, as political and important part of the Yellow River region. Hetao Culture arosethe at the cultures confluence of the of Yellow River and the Steppe, an amalgam of agrarian and pastoral Exhibition view. Curated by Suchen Xie. Exhibition view. Curated by Suchen Xie. Tale of Dolls: Magic Hall of Mirrors,
RES NOVEMBER 2012 156 HSC exhibitions? touring organizing about institutions other with conversation RL the from visitors more local population. attracting of hope the with workshops, and artist events art lectures, with forums, them providing schools, local of resources the the on draw outreach, will and museum education In museums. art private international from famous speakers several feature and museums art private 140 by attended be will which Development Forum, Museum Art Private China the hosting be 19 will museum the September year, From this 22 to art. contemporary of form the in presented be Islamic will which various and China countries, from artists by calligraphy and photography of planning are we that, exhibitions After community. this of focus which October, environmental the next to corresponds triennial art environmental international an by animation and followed artists art, women on exhibitions see will from year Next China, Guizhou. to western across Xinjiang from artists young by artworks use resent to will and opportunity this collection, China of Museum Art National the from masters of atouring exhibition hosting be also will We calendar. lunar Chinese the of months 2nd and 12th the Exhibition view.CuratedbySuchenXie. Re-Folk: TransformedTraditionalElementsinContemporaryArt, What is MOCA Yinchuan’s strategy for exchange with its collection? Are you in you Are collection? its with exchange for strategy Yinchuan’s MOCA is What The museum’s current collection exchange and collection goals are focused on focused are goals collection and exchange collection current museum’s The 2015
RES NOVEMBER 2012 157 2015. 2015. Yinchuan is relatively lacking in the field of cultural arts, but the natural scenery What are your views on the current state of cultural arts in Yinchuan? Do youthink Accomodation of Vision: Early Chinese Western-Style Paintings, Exhibition view. Curated by Lu Peng. cultural development of Yinchuan. The museum’s attendance figuresnews, and have our educational already made activities have been met with much enthusiasm among the HSC of the Yellow River has made it into a quite enchanting place. We hope to create notan architectural just sitebut a vibrant cultural organization that can catalyze the overall RL the museum can assist in the city’s development? more comprehensive research, to establish an institution exhibitions. exclusivelytouring dedicated to consists of only 400 artworks. We hope to establish a more comprehensiveforartistic platform exchange between China and Islam, while alsopaintings bringing and our antique late Qing maps oil to more cities for touring exhibitions. We hope, through contemporary art from China and some Islamic countries. Our collection currently
RES NOVEMBER 2012 158 2001 to 2007 he was Artistic Director of La Fabbrica in Losone. He has penned catalog essays for artists such as Vanessa Beecroft, Enzo Cucchi, Cucchi, periodicals. Enzo and Beecroft, magazines to Vanessa as regularly such artists for contributes and essays Soldini, Ivo and catalog penned Giacomelli has He Mario Losone. in Fabbrica La of Director Artistic was he 2007 to 2001 Lisi Riccardo Museum, Academy Central Beijing. in China the at Museum Art posts Today the and directorial held also Foundation has Art Chen Su Arts. Hsieh the Mountain of the Kaohsiung, in University Museum National Mountain Taipei and the of in Director University Arts Chien Fine of Deputy Shih of Design Academy Formerly Central China Communications and the at Fashion of History Art of Institute aPhD the and at London in taught has she Beijing, University Goldsmiths the at Administration Art and Curatorship Chen Su Hsieh city agateway as in part Yinchuan asmall play to shaping government, the of support the with hoping, its are We of future the development. shape and life cultural city’s the to contribution we apositive make residents, can local of participation active the and media the of help Yinchuan in the with and everyone proud, make can Yinchuan MOCA that believe firmly We residents. local is a curator and critic based in Switzerland, where he is Artistic Director of the Contemporary Art Centre of La Rada in Locarno. From From Locarno. in Rada La of Centre Art Contemporary the of Director Artistic is he where Switzerland, in based critic and acurator is (born in 1964 in Kaohsiung, Taipei) is Artistic Director of the Museum of Contemporary Art of Yinchuan. After Obtaining a MA in aMA Obtaining After Yinchuan. of Art Contemporary of Museum the of Director Artistic is Taipei) Kaohsiung, in 1964 in (born
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kind of air – qián. Take a breath to be equipped with what is equipped with what is a breath to be Take you are in a required of any diver because in water and state of encounter - of get together after some time in silence and motionlessness let go of a different
his breath... fills this aquarium. fills this aquarium. So what seems to be a surprise in this empty room is only the So what seems to be a surprise in this empty room is only the absence of the expected exhalation – artificial fish missing in fully equipped aquarium. Andyet this empty diving are we as and hear we together get and encounters of state watery this in make the sounds of the missing fish and their amplification his air of her n we walk into this room in expectation. room in expectation. n we walk into this û breath of
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FATUMA OSMAN
AN ENCOUNTER WITH HANNAH WEINBERGER’S SHOW AT KUNSTHAUS BREGEN AT KUNSTHAUS SHOW WEINBERGER’S WITH HANNAH AN ENCOUNTER ROOMS OF CHANGES ROOMS KUN AND QIÁN IN AN AQUARIUM– AN IN QIÁN AND KUN RES NOVEMBER 2012
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get togetheroutsidewhilek they create the underwaterworld of encounters and we hearthesubaqueous sounds of qiánandagain expected inside and through their humming again through theirhummingweseetheartificialfish and automatedclassificationtheyremindus Don’t leave the aquarium in reduced expectation Stones University of Zürich. From 2011 to 2013 she co-hosted the cinema and exhibition space AP news in Zurich together with friends. with together Zurich in news AP space exhibition and cinema the co-hosted she 2013 to 2011 From Zürich. of University Osman Fatuma Courtesy oftheartist Image (Filmstill), All images:HannahWeinberger foundlingsunculturedyetcarryingtracesof is a writer and curator currently based in Zurich and Galkayo. She studied Art History, Philosophy and Comparative Literature at the the at Literature Comparative and Philosophy History, Art studied She Galkayo. and Zurich in based currently curator and awriter is 2014 . û n inhales. to find-lemoidutoimoi. always choosebutwhereyouhavetobreathe the parallaxofpresentwhereyoucan preferences andawillbutneverrestricting k You createaspaceabovetheqiánand û n equippedforpotentialityallowing primordia l exhalation.
RES NOVEMBER 2012 161 28/08/2015 16:20 17 October 2015 17 October – London Park Regent’s 14 Preview 13 October Preview friezelondon.com at Tickets
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162 FL15 RES FP.indd 2 FL15 RES FP.indd 2 Tickets at friezelondon.com Preview 13October 14 Regent’s Park London – 17 October17 2015 28/08/2015 16:20
RES NOVEMBER 2012 163 Chen Wenling, 2002 Red Memory: Shy Boy Courtesy of the artist Courtesy of the artist Bronze, H:163 × L:40 × W:38 cm Bronze, H:163 × L:40 × W:38 KUN AND QIAN IN AQUARIUM – ROOMS OF CHANGES CHEN WENLING INTERVIEW WITH ESTHER SCHIPPER HSIEH SU CHEN MUSEUM OF CONTEMPORARY ART YINCHUAN / IDA APPLEBROOG ULAY COPY+PASTE: THE COLLAGISTIC QUALITIES OF THE DESKTOP AESTHETICS COPY+PASTE: THE COLLAGISTIC ELEMENTS OF THE PAST INVENT THE FUTURE WITH INTENTIONS WILLIAM ANASTASI: RADICAL INVENTIONS, CONCEPTUAL INTERVIEW WITH ACHILLE BONITO OLIVA INTERVIEW WITH ACHILLE ROBERT SMITHSON THE ART OF KIKI SMITH GERALDINE JAVIER FROM ANDREAS SLOMINSKI WISE AND UNWISE MESSAGES
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