DOCSLIB.ORG

I'll Get Through

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1 Major press reports/Längere Presseartikel dpa, 17.08.98 Tagesanzeiger, Zurich, 8.06.98 Koelnische Rundschau, 18.08.98 1 Tagesanzeiger, Zurich, 8.06.98 Mannheimer Morgen, 18.08.98 2 Neue Zürcher Zeitung, 8.06.98 Fraenkischer Tag, 18.08.98 6 Neue Zürcher Zeitung, 8.06.98 Westfaelischer Anzeiger, 18.08.98 7 Basler Zeitung, 8.06.98 Die Welt, Berlin, 18.08.98 8 Berliner Zeitung, 9.06.98 Winsener Anzeiger, 11.09.98 13 Basellandschaftliche Zeitung, 9.06.98 dpa Landesdienst, 30.98.98 15 Frankfurter Rundschau, 9.06.98 Rhein-Zeitung, 1.10.98 17 Kölner Stadtanzeiger, 9.06.98 Schwarzwaelder Bote, 1.10.98 18 Erkelener Nachrichten, 9.06.98 Reutlinger General-Anzeiger, 1.10.98 19 Süddeutsche Zeitung, 9.06.98 Video Text, 1.10.98 20 Neue Zürcher Zeitung, 9.06.98 Hellweger Anzeiger, 1.10.98 21 In Memoriam Dieter Roth ???### NZZ??? Frankfurter Allgemeine Zeitung, 2.10.98 24 Tagesspiegel (Berlin), 9.06.98 Sueddeutsche Zeitung, 23.10.98 25 Rheinische Post, 9.06.98 ???#### 110 27 Stuttgarter Zeitung, 9.06.98 ????#### 110 29 Die Welt (Hamburg), 9.06.98 Laudatio for Dieter Roth on the award of 3th1e art Die Presse (Vienna), 9.06.98 multiple prize 1998 in Düsseld3o2rf Berliner Morgenpost, 9.06.98 34 Frankfurter Allgemeine Zeitung, 9.06.98 ###Mentions/Kurze Erwähnungen 37 Berner Zeitung, 9.06.98 39 Langenthaler Tagblatt, 9.06.98 Süddeutscher Zeitung, 12.06.98 42 Neue Nidwaldner Zeitung, 9.06.98 Frankfurter Allgemeine, 12.06.98 44 Westdeutsche Zeitung, 9.06.98 Frankfurter Rundschau, 19.06.98 46 Stuttgarter Nachrichten, 9.06.98 Blick, 25.06.98 47 HNA Hessische Allgemeine, 9.06.98 Nürnberger Nachrichten, 30.06.98 49 Mannheimer Morgen, 9.06.98 Sonntags Zeitung, 5.07.98 51 Appenzeller Zeitung, 9.06.98 Schweizer Monatshefte, 10.07.98 53 Alles für Wien, Vienna, 10.06.98 Der Standard, Vienna, 14.08.98 54 Neue Zürcher Zeitung, 10.06.98 Sonntags Zeitung, 23.08.98 55 Die Zeit, 10.06.98 dpa Landesdiest, Hamburg, 24.08.98 58 Tageszeitung, 10.06.98 Zürichsee-Zeitung, 26.08.98 59 SonntagsZeitung, 14.06.98 Aargauer Zeitung, 29.08.98 67 Jungle World, No. 25, 17.06.98. Berlin Neues Deutschland, 04.09.98 68 Basellandschaftliche Zeitung, 18.06.98 Der Bund, 14.09.98 72 Vorwärts, Zurich, 19.06.98 Die Rheinpfalz, 8.10.98 74 SonntagsZeitung, 21.06.98 Stuttgarter Zeitung, 09.10.98 75 Basler Zeitung, 26.06.98 Esslinger Zeitung, 11.11.98 76 Basellandschaftliche Zeitung, 27.06.98 Cash Invest, 13.11.98 78 Süddeutsche Zeitung, 30.06.98 79 HandelsZeitung, 8.07.98 Headlines - press agency reports/Überschrift8e3n - Hannoversche Allgemeine Zeitung, 9.07.98 Pressagenturmeldungen 85 Basellandschaftliche Zeitung, 23.07.98 87 Kunstzeitung, Zurich, No. 23, July 1998 Letters of condolence/Trauerbriefe### 89 Kunstbulletin 7/8, 1998 91 Basler Zeitung, 7.10.98 Conversation with Dieter Roth /Gespräch mit9 D3 ieter Wiener Kunsthefte, Vienna, No. 2, 1998 Roth 102 Falter, No. 24, Vienna, 1998 105 Art multiple 106 Malcolm Green - Dieter Roth Academy 2 Major press reports/Längere Presseartikel Tagesanzeiger, Zurich, 8.06.98 Painter-poet Roth has died Dieter Roth died unexpectedly last Friday evening in Basel at the age of 68. Switzerland has lost one of its most important artists. Although he never attained the popularity of a Tinguely, Roth was unquestionably one of the most innovative artists of his generation. He achieved international acclaim in the sixties when he began combining life and art in an enormous variety of ways. — TA Malcolm Green - Dieter Roth Academy 3 Tagesanzeiger, Zurich, 8.06.98 mouldering away. And probably the “Bar 2,” which for the last 6 months has been open once a week in the An insomniac Fabrikstrasse, Zurich, most clearly demonstrates the “gesamtkunstwerk” character of Dieter Roth’s work: Shortly after the opening of two acclaimed exhibitions in every beer bottle that is emptied there joins the others on Zurich, Dieter Roth died last Friday in Basel at the age the rows of shelves, to become part of the artwork. of 68. Switzerland has lost one of its most important Every snatch of conversation is recorded and archived. artists. Life and art were intimately linked for Dieter Roth. He even turned his sleep into art: in the 150 hours of video — By Simon Maurer that makes up his “Solo Scenes” (1997/98). He built himself a wooden table so that when he was suffering “My aim is to be able to die without suffering.” Dieter from insomnia, he could sit on the edge of his bed and Roth spoke these words to us just three weeks ago write: “Oh, if one need never take a nap and could during a lengthy interview (TA from 20 May). Our always stay awake, and keep a permanent look-out for question related in fact to his artistic production. He safety’s sake!” In the end, the need to leave something related it to life. He related it to his death. We can only for posterity became increasingly great: “Fear of hope he reached his aim. perishing speechlessly (without leaving at least a few Dieter Roth was born of a Swiss father and a German words behind) and not reaching the paradise that mother in 1930 in Hanover, and witnessed the Second belongs (or so I imagine) to those who are listened to World War in Germany. When he began his after their deaths.” DR, we’re listening to you! apprenticeship as a graphic artist in Basel after the war, he viewed himself as a “tough” who was ready to —— “punch anyone in the face” if he got annoyed. Astonishingly enough, Roth’s first artistic works were Comments on the Death of Dieter Roth constructivist and geometrical, evidently because he thought that “it would go down well in Switzerland” — Ruthless an admission characteristic of Roth’s honesty. He discovered that his constructivist squares failed to get — by André Kamber him anywhere, so he began “daubing.” That proved more helpful for him — but made artistic acclaim all the Innocuous people called him a bugbear of the middle more difficult. class, spiteful people said that he was totally obnoxious, that he was insulting in every conceivable way and Collecting mania situation. He became the whipping boy of those who know all there is about art and artists. The media lapped The key feature of Roth’s creative production is the up such assertions. And now these self-righteous, accumulative principle. The sheer volume produced by grabbing people have lost the chance to make up for this work-happy artist, who spent his time alternating their overhastiness, for their lack of artistic sensibility. between Basel and Iceland, was without equal. He was Dieter Roth is dead. unable to throw anything away because it all seemed to If they had only had an open, sensible approach to D.R., have been designed in some way or other. Even rubbish. guided by their feelings and a positive approach to art, He collected his paper waste in 300 folders and in 1976 they would have realised that when this artist grew declared the collected rubbish to be an artwork. He abusive — and he could be abusive, obnoxious and published up to twelve books a year, wrote in order to brutal — it was out of protest. The protest of a highly soothe himself, kept diaries in order “to reply to a whole intelligent, highly sensitive person against the disregard cloud of sentences that keeps floating around you.” and abuse of art, not only his own. His installations likewise obeyed the principle of Consequently D.R. made life hard for himself, which ordering and accumulating. This is shown most made him suffer and left its mark. He talks about this impressively in a side room of the Museum für with ruthless honesty in his published diaries. He Gegenwartskunst in Basel, where the “Self Tower” and describes his fears of failure, of drying up artistically, the “Lion Tower” — also works in progress — have admits to his shame at losing the battle against alcohol, been constructed: shelf upon shelf of chocolate lions and how physical weakness hinders his creativity. He Malcolm Green - Dieter Roth Academy 4 talks, too, of his loneliness. I recall a conversation with Roth: “I came across the Meeting D.R., and above all trying to win his friendship, word redemption during a conversation with André was not easy; it followed a wavy line in which openness Thomkins. We were talking about why he did all he did, and affection alternated with brusqueness and refusal. why one keeps carrying on, keeps trying things out. Once his trust had been gained, however, there emerged Then I asked Thomkins: ‘Why do you think you keep a person who accepted closeness and generously starting again?’ And he replied: ‘I’m hoping for radiated warmth and sincerity. redemption.’” Apart from his family and friends, D.R. has left behind a large number of younger artists who have taken his work Dieter Schwarz is director of the Kunstmuseum and outlook as the stimulus for their own production. A Winterthur. lot has now to be done: the significance of D.R. for European art since the sixties is neither truly recognised, Also in Der Toggenburger, 9.06.98 nor has it been fully described. His unflagging efforts Literature first of all for other artists — both idealistically and materially — have scarcely been brought to public awareness. We lack an overview of all the many aspects of his vast work. It is sad that he will no longer be around to help, for he had indicated his readiness to work on this project.
Recommended publications
  • Mews Dealers

    Mews Dealers

    Bernard Villersbq. Didier hb%ieu. For sukrscrlption (2 issues a >.ear) for French-English edition in November and May, 120 FF for Europe and 160 FF outside the MEWS European Union. Send to the above address in Saint- Urieix-la-Perche, France. Eric Gilt Conference $i Exhibitions, to be heEd in Sokember 2000, at the Gni\ersits of Notre Dame ~ith The Cotnambia College Chicago Ceates for Bwk & ,a conference on Eric Gill and the Guild of St. Pager Arts has moved to 1104 So. Wabash, Znd flr., Dominic. There uall also be: esltaibi~onsat the Sniae Chicago, EL 60605. Phone: (3 12)3446630, fax: L",.~seua?.,of Art and the Sfesbazrgh Libra3 Specid (3 i2(343-8082, e-snail: Coilections. Call for Papers due in Msch 2000, and BookdPir~er2~u~mail.coltlm.edu and website: ihe fo11ouing web site: Iktt~:/h~~w,coham.edu/cenPemh~ii I:t!p:i ?t\~$%i.,nd ed-LLJ-jsinem~anlgiiiJ Ann 3foore has been named director of the Center for Library and Archi~talExhibitierras are now on the Web Book Am in New Uork City. She formerly was at the at &ttg:lIwwu.siP.si.cduiSliLP~tbEicaQiunsi~n1inc- Alien Memorial Apt Museum Ga31ery of OberIin EsAibitions/onlia~c-exhibitions-titIeehtis the site %iiai"i Coiiege in Oberlin, Ohio. 3SO-c links, DEALERS Reparation da: Poesie Artist Book #I 1. Send 100 Paul-Uon Bisson-Millet has a new list, available Ifom originzl pages or multiple. a ~sualart. rnaiiB art. \ isud Saarserassc 62, D-=69 I5 f. Ncckargemund, Germany. poetq, postcards, computer art, cop) apt.
  • PRESS RELEASE Art Into Life!

    PRESS RELEASE Art Into Life!

    Contact: Anne Niermann / Sonja Hempel Press and Public Relations Heinrich-Böll-Platz 50667 Cologne Tel + 49 221 221 23491 [email protected] [email protected] PRESS RELEASE Art into Life! Collector Wolfgang Hahn and the 60s June 24 – September 24, 2017 Press conference: Thursday, June 22, 11 a.m., preview starts at 10 a.m. Opening: Friday, June 23, 7 p.m. In the 1960s, the Rhineland was already an important center for a revolutionary occurrence in art: a new generation of artists with international networks rebelled against traditional art. They used everyday life as their source of inspiration and everyday objects as their material. They went out into their urban surroundings, challenging the limits of the art disciplines and collaborating with musicians, writers, filmmakers, and dancers. In touch with the latest trends of this exciting period, the Cologne painting restorer Wolfgang Hahn (1924–1987) began acquiring this new art and created a multifaceted collection of works of Nouveau Réalisme, Fluxus, Happening, Pop Art, and Conceptual Art. Wolfgang Hahn was head of the conservation department at the Wallraf Richartz Museum and the Museum Ludwig. This perspective influenced his view of contemporary art. He realized that the new art from around 1960 was quintessentially processual and performative, and from the very beginning he visited the events of new music, Fluxus events, and Happenings. He initiated works such as Daniel Spoerri’s Hahns Abendmahl (Hahn’s Supper) of 1964, implemented Lawrence Weiner’s concept A SQUARE REMOVAL FROM A RUG IN USE of 1969 in his living room, and not only purchased concepts and scores from artists, but also video works and 16mm films.
  • Dear Reader. Don't Read

    Dear Reader. Don't Read

    1 Guy Schraenen Ulises Carrión Dear reader. Don’t read. The revolution engendered by access to knowledge on the Internet brings to the fore certain artistic projects of the past that seem to resonate with the present, as a kind of wake-up call or an invitation to reflect. This is the case, for instance, of the heterodox, multiform oeuvre of the artist, writer, and publisher Ulises Carrión. Right from its title, the exhibition Dear reader. Don’t read raises a paradox in the form of a negative imperative: it reminds us of the need to approach written text, literature, and hence culture as an ambiguous and contra- dictory field full of latent meanings that may perhaps even surface through their negation. The exhibition, which takes the thought-provoking form of a large exhibited—or “published”—archive, inquires into what a museum can contain, beyond traditional formats. It also explores what an art institution can do in the sense of giving voice to groups of thoughts that have been hidden by the veil of time and by the material complexity of the media in which they are expressed. The Ulises Carrión exhibition and publication are presented at a time when both the Museo Reina Sofía and its foundation are paying close attention to archives, particularly those related to Latin America’s cultural scene. Due to their very nature, these groups of units of knowledge are at risk of disappearing, either literally in the physical sense or by succumbing to oblivion and neglect, to the point where they can no longer be read or interpreted.
  • René Block Curating: Politics and Display René Block Interviewed by Sylvia Ruttimann and Karin Seinsoth

    René Block Curating: Politics and Display René Block Interviewed by Sylvia Ruttimann and Karin Seinsoth

    Interview with René Block Curating: politics and display René Block interviewed by Sylvia Ruttimann and Karin Seinsoth I. Gallery and Fair / Art and Capital Lueg and KH Hödicke had just left the academy; KP Brehmer and Sigmar Polke were still students, as Sylvia Ruttimann & Karin Seinsoth: In 1964, were Palermo, Knoebel and Ruthenbeck. All of them at the age of twenty-two, you founded your own started in the mid-sixties from point zero, like gallery in Berlin and went down in the history of the myself. We started together and we grew up together. art world for doing so. What inspired you to take that Wolf Vostell and, naturally, Joseph Beuys represented risk? the older generation, but hardly anyone was taking notice of their work back then. Th is made them René Block: Well, to begin with, it wasn’t a risk equal to the artists of the young generation from the at all but simply a necessity. From the time I was point of commerce. Even though artistically they seventeen, when I was a student at the Werkkunsts- have been more experienced. Th at was the “German chule (school of applied arts) Krefeld, I had the programme”. At the same time, I was also interested opportunity to experience close up how the museum in the boundary-transcending activities of the inter- director Paul Wember realized a unique avant-garde national Fluxus movement. Nam June Paik, George exhibition programme at the Museum Hans Lange, Brecht, Arthur Køpcke, Dick Higgins, Allison and also how he purchased works from those exhibi- Knowles, Emmet Williams, Dieter Roth, Robert tions for his museum.
  • Selected Bibliography Cabanne, Pierre

    Selected Bibliography Cabanne, Pierre

    selected bibliography Cabanne, Pierre. Dialogues with Marcel Gigerenzer, Gerd, et al. The Empire of Duchamp. Trans. Ron Padgett. New York: Chance: How Probability Changed Science Da Capo Press, 1987. and Everyday Life. Cambridge: Cambridge University Press, 1989. Cage, John. Silence. Middletown, CT: Wesleyan University Press, 1961. Hacking, Ian. The Taming of Chance. Cambridge: Cambridge University Caillois, Roger. Man, Play, and Games Press, 1990. (1958). Trans. Meyer Barash. New York: Free Press of Glencoe, 1961. Hamilton, Ross. Accident: A Philosophical and Literary History. Chicago: University Caws, Mary Ann, ed. Surrealist Painters BOOKS Bourriaud, Nicolas, François Bon, and of Chicago Press, 2007. and Poets: An Anthology. Cambridge, MA: Kaira Marie Cabanas. Villeglé: Jacques Vil- Ades, Dawn, ed. The Dada Reader: A MIT Press, 2001. Henderson, Linda Dalrymple. Duchamp leglé. Paris: Flammarion, 2007. Critical Anthology. Chicago: University of in Context: Science and Technology in the Dalí, Salvador. Conquest of the Irrational. Chicago Press, 2006. Brecht, George. Chance-Imagery. New Large Glass and Related Works. Princeton, Trans. David Gascoyne. New York: Julien York: Great Bear Pamphlet / Something NJ: Princeton University Press, 1998. Andreotti, Libero, and Xavier Costa, Levy Gallery, 1935. Else Press, 1966. eds. Theory of the Dérive and other Situation- Hendricks, Jon. Fluxus Codex. Detroit: Diaz, Eva. “Chance and Design: Experi- ist Writings on the City. Barcelona: Museu Breton, André. Conversations: The Gilbert and Lila Silverman Fluxus Collec- mentation at Black Mountain College.” d’Art Contemporani de Barcelona, 1996. Autobiography of Surrealism. Trans. Mark tion; New York: Harry N. Abrams, 1988. PhD diss., Princeton University, 2008. Polizzotti. New York: Paragon House, Arp, Jean (Hans).
  • Artistsg BOOKS: News and Reviews

    Artistsg BOOKS: News and Reviews

    ARTISTSgBOOKS: news and reviews narrative fiction, pop montage, comics and social docu- NEWS ments, and intermedia, all by Zelevansky while Kostelanetz Artists' Books '83 was an exhibition held in July at Soker reviewed a recent show of Books by Artists sponsored by Kaseman Gallery in San Francisco. The show, curated by Art Metropole. Howard Munson, included 108 works by 69 artists from The Artist's & Critics Forum (Vol. 2, no. 3) subtitled the United States, Mexico, Europe and Japan. Among the "Invisible Books" is a series of essays by art critics about artists who are new to the media of book art and who were what books they consider necessary to be published and showing outstanding work for the first time were Elisa can never be published and why. Among these essays is Gitting's And We Ourselves Are Only The Rock's Words... , one by Peter Frank concerning what happened to Colla- a book of photo etchings on delicate Japanese paper of a tion and why. For more information on this important female form flowing in and out of rock formations strange- newsletter, write to A & CF, Box 1885, Grand Central ly resembling the same female form; Paul Kwan's Indian Station, New York, NY 10163 ($10.00 per year for 4). Journal, an accordion-style book of collage fabrics, beads, and unusual curios picked up during his travels in India; The USIA has begun what it hopes to be a long-running Keiko Nelson-Tsukamoto's Diary of Inner Life, a beauti- series of exhibits of American books at information cen- ful all hand-made paper accordion-style book with flowing ters at book fairs around the world.
  • Bauhaus Utopia in Crisis

    Bauhaus Utopia in Crisis

    BAUHAUS: UTOPIA IN CRISIS SYMPOSIUM Image: Keeping Up with Kraze, Phoebe Ackers, Camberwell College of Arts, UAL. Photo by David Poultney THURSDAY, 24 OCTOBER 2019 CAMBERWELL COLLEGE OF ARTS This one-day symposium will explore and debate the Bauhaus’ legacy for contemporary artists and designers. Convened by UAL Professor in Painting Daniel Sturgis, and coinciding with the Bauhaus: Utopia in Crisis exhibition at Camberwell Space, the conference looks at how contemporary artists and academics have found inspiration through interrogating the social and political histories associated with the original design school. The symposium brings together speakers from across Europe and the USA and is structured around three panels that explore: how contemporary artists have responded and inhabited the Bauhaus’ historical archive; how artists and curators have sought to reengage with the political context of the Bauhaus to decolonise its history; and how Bauhaus performance is being reassessed as a pedagogical tool. #UALOurHaus #OurHaus SCHEDULE: 09.30-10.00 Registration 10.00-10.30 Welcome and introduction Daniel Sturgis 1: RESPONDING TO THE BAUHAUS ARCHIVES 10.30-11.15 Judith Raum Zombie fabrics Lecture-performance 11.15-11.40 Eva Sajovic The role of the artist in a world of imminent climate breakdown 11.40-12.05 Helen Robertson Pleasure in suspense 12.05-12.30 Panel discussion Chaired by Ben Luke (The Art Newspaper) 12.30-13.30 Lunch 2: DECOLONISING & POLITICISING THE BAUHAUS 13.30-13.55 Grant Watson bauhaus imaginista 13.55-14.20 Sebastian Helm
  • Dorothy Iannone

    Dorothy Iannone

    Dorothy Iannone Air de Paris www.airdeparis.com [email protected] Dorothy Iannone, Berlin, 2009. © Jason Schmidt Air de Paris www.airdeparis.com [email protected] Dorothy Iannone was born in Boston, Massachusetts in 1933. She attended Boston University and Brandeis University where she majored in Literature. In 1961 she successfully sued the U.S. Government on behalf of Henry Miller's "Tropic of Cancer", which until then was censured in the U.S., to allow its importation into the country. She begins painting in 1959 and travels extensively with her husband to Europe and the Far East. From 1963 until 1967, she runs a co-operative gallery on Tenth Street. New York together with her husband. In 1966 they live for some months in the South of France where she begins a close friendship with Robert Filliou and other artists from Fluxus. She meets and falls in love with German- Swiss artist Dieter Roth during a journey to Reykjavik and will share his life in different European cities until 1974. Two years later Iannone moves to Berlin after receiving a grant from the DAAD Berlin Artists' Program. She still lives and works in Berlin, where she pursues her artistic production. Since the beginning of her career in the 1960's, Dorothy Iannone has been making vibrant paintings, drawings, prints, films, objects and books, all with a markedly narrative and overtly autobiographical visual feel. Her oeuvre is likean exhilarating ode to an unbridled sexuality and celebration of ecstatic unity, unconditional love, and a singular attachment to Eros as a philosophical concept.
  • Exhibition Checklist

    Exhibition Checklist

    Exhibition Checklist Dieter Roth Born 1930, Hannover, Germany. Died June 1998. Ohne Titel [roter Klee] (Untitled [Red clover]) 1944 Pencil and watercolor on paper 11 5/8 x 8 1/4" (29.5 x 21 cm) Kunstmuseum Bern, Toni Gerber Collection, Bern. Gift, 1983 Ohne Titel (farbiger Entwurf) (Untitled [Color design]) 1944 Pencil and watercolor on paper 8 3/16 x 5 13/16" (20.8 x 14.7 cm) Kunstmuseum Bern, Toni Gerber Collection, Bern. Gift, 1983 Selbstbildnis (Self-portrait) 1946 Enamel and charcoal on paper and frottage 9 9/16 x 9 13/16" (24.2 x 25 cm) Kunstmuseum Bern, Toni Gerber Collection, Bern. Gift, 1983 Aareufer in Solothurn (Bank of the Aare in Solothurn) 1947–48 Ink and oil on pressboard panel 13 x 18 7/8" (33 x 48 cm) Dieter Roth Foundation, Hamburg Pimpfe mit Fahne (Cubs with flag) 1947 Linocut 7 15/16 x 6 5/8" (20.2 x 16.8 cm) Kunstmuseum Bern, Toni Gerber Collection, Bern. Gift, 1983 In Bellach 1948 Watercolor on paper 6 5/16 x 9 13/16" (16 x 25 cm) (irreg.) Dieter Roth Foundation, Hamburg Stilleben (Still Life) 1948 Gouache on pressboard panel 5 3/4 x 7 5/16" (14.5 x 18.5 cm) Dieter Roth Foundation, Hamburg Druckstock (Electrotype) 1949 Chip carving in tea-box plywood 17 1/8 x 17 1/8" (43.5 x 43.5 cm) Dieter Roth Foundation, Hamburg Katze (Cat) 1950 Distemper on canvas 24 x 15 9/16" (61 x 39.5 cm) Dieter Roth Foundation, Hamburg Musikplakat (Music poster) c.
  • The German Pavilion Team Welcomes You at the 52Nd International Art Exhibition La Biennale Di Venezia 2007

    The German Pavilion Team Welcomes You at the 52Nd International Art Exhibition La Biennale Di Venezia 2007

    Welcome! The German Pavilion team welcomes you at the 52nd International Art Exhibition La Biennale di Venezia 2007. Our press kit comprises following information: • Press information • Information in brief • Isa Genzken´s work “Oil” for the German Pavilion • Conversation between Isa Genzken and Nicolaus Schafhausen • Biography of the artist Isa Genzken • Biography of the curator Nicolaus Schafhausen • Background information of the German Pavilion • Press information of the commissioner Federal Foreign Office (Auswärtiges Amt) • Press information of the collaborator Institute of Foreign Cultural Relations (ifa) • Press information of the main sponsor Deutsche Bank • Press information of the sponsor AXA Art Kunstversicherung • Press information of the media partner DW-TV – Deutsche Welle • Press information of the catalogue partner DuMont Literatur und Kunst Verlag • “Vogue Special German Pavilion” of the media partner Vogue Germany Thank you for your interest in the German Pavilion. We wish you a pleasant and in- spiring stay at Venice! Press Information Isa Genzken Oil German Pavilion La Biennale di Venezia 2007 Isa Genzken is the artist of the German contribution to the 52nd International Art Exhi- bition of the Biennale in Venice. The curator is Nicolaus Schafhausen, director of the Witte de With, Center for Contemporary Art in Rotterdam. For more than thirty years, Genzken (born in 1948) has been producing a diverse oeuvre that is continually being refined with new twists. Her extensive body of work includes sculpture and installations as well as photographs, collages and films. Genzken is creating an exhibition for the German Pavilion in Venice that envelops the architecture of the building, which is steeped in history, and presents it in a mise-en- scène that also comments that history.
  • Multiples in Late Modern Sculpture: Influences Within and Beyond

    Multiples in Late Modern Sculpture: Influences Within and Beyond

    South Dakota State University Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange Faculty Publications School of Design 6-2015 Multiples in Late Modern Sculpture: Influences Within and Beyond Daniel Spoerri’s 1959 Edition MAT Leda Cempellin South Dakota State University, [email protected] Follow this and additional works at: http://openprairie.sdstate.edu/design_pubs Part of the Art and Design Commons Recommended Citation Cempellin, Leda. “Multiples in Late Modernism: Influences Within and Beyond Daniel Spoerri’s 1959 Edition MAT.” Nierika: Revista de Estudios de Arte (Ibero Publicaciones), vol. 7, special issue Las piezas múltiples en la escultura (June 2015): 58-73. This Article is brought to you for free and open access by the School of Design at Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. 58 Multiples in Late Modern nierikaARTÍCULOS ATEMÁTICOSRTÍCULOS TEMÁTICOS Sculpture: Influences Within and Beyond Daniel Spoerri’s 1959 Edition MAT 1 1 Acknowledgments: Daniel Spoerri and Leda Cempellin Barbara Räderscheidt; South Dakota State University Corinne Beutler and the [email protected] Daniel Spoerri Archives at the Swiss National Library; Hilton M. Briggs Library, South Dakota State University; Adamo Cempellin, Severina Armida Sparavier, Mary Harden, Danilo Restiotto. Fig. 1: Daniel Spoerri, Claus and Nusch Bremer reading concrete poems at the Galerie Schmela in Düsseldorf, 1959. Cour- tesy Daniel Spoerri. Abstract The firstEdition MAT was founded by Daniel Spoerri in 1959 and recreated in collaboration with Karl Gerstner in 1964 and 1965, with a special Edition MAT Mot the same year.
  • BA Project in Fine Art

    BA Project in Fine Art

    BA Project in Fine Art Statement and Thesis Joe Keys BA Project in Fine Art – Statement and Thesis Supervisor: Jóhannes Dagsson Iceland Academy of the Arts Department of Fine Art Spring 2021 Notice Joe Keys BA Project in Fine Art – Statement Supervisors of BA Project: Hekla Dögg Jónsdóttir, Ólöf Nordal and Páll Haukur Björnsson Supervisor of Statement: Jóhannes Dagsson Iceland Academy of the Arts Department of Fine Art Spring 2021 This statement is about a 16 ECTS final project for a BA-degree in Fine Art at the Iceland Academy of the Arts. It is not allowed to copy this statement in any way without author’s consent. The installation ‘Notice’ revolves around a playful compromise of ´usefulness´ in found objects. This is something I rely on in my practice; by starting out with used material I establish a beginning place where to play with composition, aesthetics and function. I am looking to accentuate useful aspects of objects, so much so that they gain a new and awkward logic. The wheeled corner table is adjusted to clumsily fit around a column, the notice board is built with a corner, perhaps made for particular size notes or a specific amount of notes. The magazine holders become an object that has to be held by wooden rods coming from the column. These three sculptures were made in reference to each other and speak directly to a place of work, not a specific work environment, just somewhere mundane and empty. The enlarged printed sudoku is unsolved and framed and speaks to this emptiness.