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Publishers: Christophe Boutin & Mélanie Scarciglia Editor-in-chief: Richard Dailey Design: Christophe Boutin for executiveartists.com n° 2 Contributors: Mark Alizart, Philippe Buschinger, Christophe Chérix, Stefano Chiodi, afterart news Bettina Funcke, Maria Fusco, Benedikt Ledebur, 16, rue Trolley de Prévaux 75013 Paris France Cornelia Lauf, Tim Maul, Maria Muhle, www.afterartnews.com • info@afterartnews.com Claire Staebler, Rachel Ward © 2004 Images & text: afterart news, onestar press and the authors Printed by Reprotechnique, France www.afterartnews.com • summer 2004 • free • gratuit • this newspaper cannot be sold • ce journal ne peut être vendu DACK & le bureau des GILLICK’s 3 leon 2 mésarchitectures IDENTITY Didier Page Page Page Page 9 Page SPOT & Nancy Fuzia Faustino Barthélémy Toguo’s african roots & institutes old on to your head gear: philanthropy? A Camer- Toguo’s Institute of Visual oonian big man bitten by Arts is about to morph the art bug? Nope. The from two cinderblock Institute of visual Arts is structures in small Cam- the brainchild of Barté- Heroonian towns (Bandjoun, M’Balmayo) lémy Toguo, 36 years old, into one relatively grandiose structure in a self-made artist and , onestar press 2003 press , onestar Douala, a port city of 2 million people on a local guy made good. the Gulf of Guinea. In its new home the Toguo is a versatile artist Institute of Visual Arts will display work who uses sculpture, vid- not only by African artists but also by eo, photography, drawing such luminaries as Damien Hirst, Martha and performance to cre- Rosler, Marcel Dzama, Claude Lévêque, ate an artistic language A view of Barthélémy Toguo's Art Institue in Bandjoun EROTICOTOGUO Tania Bruguera... It will offer workshops, arising from encounters rican art is today entirely in the hands of lecture series, theatre/performance/ and voyages. He developed a profile in western institutions and collectors, and music, and an art library to the public. the mid 90s through a series of perfor- that contemporary “African” art is large- Perhaps the Institute’s groundbreaking mances in airports and public transit ly produced and collected in the west. move is the largess of the French gov- sites such as train stations and frontiers. That’s the reason he is investing his time rom the cover of of the cover rom ernment, you think? Private European Toguo has observed that traditional Af- F and energy in the Institute. Given the double loss for Africa of traditional and contemporary art, Toguo has decided to make sure that there is some place on the Man-made masses by Beat Streuli African continent where both Western and African artists can experience the he urban crowd in which Beat Streuli finds his faces; and although the rapidity with which the world of contemporary art world in a unique set- images, mostly portraits or partial portraits of light flitted before the window prevented me from casting ting. « I want to do something worthwhile with my modest means, » he explains. more than a glance upon each visage, still it seemed that, people, came into being more than a century Luckily in Cameroon you get a lot of bang and a half ago when Edgar Allan Poe gave this in my then peculiar mental state, I could frequently read, for your buck, so Toguo’s new Institute urban phenomenon its current geist in his short even in that brief interval of a glance, the history of long should be up and running in good time. It Tstory, The Man in the Crowd. Try reading Poe’s short story years.” Streuli’s photographs of the contemporary urban won’t have the immediate effect that, say, while looking at Streuli’s photographs. It’s almost like an the Guggenheim has had on Bilboa, but instuction manual, or a literary riff on Streuli’s images. afterart news is intrigued. We’ll be keep- Here, for example, is Poe’s narrator observing the passing ing you informed in future issues of our crowd in London as he gazes out a pub window: « At first paper on progress in Douala as the walls my observations took an abstract and generalizing turn. I go up, the roof goes on and the art goes in. Stay tuned. looked at the passengers in masses, and thought of them Richard Dailey in their aggregate relations. Soon, however, I descended to details, and regarded with minute interest the innumerable Barthélémy Toguo at the Musée d'Art Moderne de varieties of figure, dress, air, gait, visage, and expression of la Ville de Paris, 1999 countenance.” Can you get more Streuli than that? As with Poe, time and place count for Streuli. The video stills for his recent onestar press book 23/04/01 were made at the entry/exit of the Astor Place subway station in NYC on the title’s date. The artist caught people, with a Sony Beat Streuli, from “23-04-01”, onestar press 2001 PC100 placed on a nearby parade provoke the same feelings of irresolvable curiosity onestar onestar press, 2003 , café table, rising to the day and tantalizing intuitions as those felt by Poe’s narrator; light or descending into the the same to and fro between “aggregate relations” and subway, highlighted against detail; the same compulsion to explore the unknowable. the darker background: Poe got it right too when he compared the urban crowd (from The Man in the to a certain German book that “er lasst sich nicht lessen” Lawrence Weiner Crowd) “The wild effects of – does not permit itself to be read. Good thing then that aanews the light enchained me to Beat Streuli has given us his pictures to look at, striking “Deep blue sky / Light blue sky” onestar (s) #2 an examination of individual enigmas of the man-made masses. Richard Dailey See www.afterartnews.com 1 Architects Arise! You have nothing to lose but your chains! idier Faustino is a French architect game to blur the line between art and architecture, suffering the effects of success. Nice Kiesler and Moholy-Magy did it; but there’s one problem to have, you might think. He’s thing you can bet on with Faustino: like them, in his mid-30s and his work is all over he isn’t going to trade his artistic freedom for 15 the place, both literally (works up or minutes of fame and a couple of euros. Maybe it’s Din progress in several European countries) and his name: Little Faust. His white angel is freedom of figuratively (everything from video to sculpture). expression, his black angel is public money to build. His Bureau Des Mesarchitectures in Paris is the Everybody knows architecture, like film, can require center of operations for this plumber/punk turned compromise simply because of the sums involved. architect. Open the door to his « firm » in the quiet But when such ideas (see www.mesarchitecture. courtyard off rue Montorgueil and prepare yourself com) as the Stairway to Heaven, One Square for the strains of Marilyn Manson over the hum Meter House, Body in Transit, Casa Nostra, and of architectural activity. Didier, skull rings on his Love Me Tender are being engendered, why not fingers, will welcome you with the bemused look of let the shit fly and see what sticks to the walls? As someone who suddenly finds himself on the way to Motorhead says, “I wanna feel a little danger, feel a the top of the heap. little stranger, Angel City tonight!”. Richard Dailey So what could possibly be wrong? Well, no one Check out his onestar press book, Stairway to Heaven, seems to know which heap he is going to the top a good place to think about identity, freedom and the of, the architecture heap or the art heap. It’s an old making of an independent brand. www.beatstreuli.com www.christellelheureux.com www.sittes.net www.harveybenge.com www.christopheboutin.com www.revolver-books.de www.buschinger.com www.chrisplytas.com www.jrp-editions.com www.parasite-pogacar.si www.lizvegas.com www.new-territories.com www.manetas.com www.mesarchitecture.com www.newrafael.com www.alainsechas.com clickwww.angeloplessas.com www.laboratories.com www.afterart.com www.continuousproject.com www.nskstate.com www.aabronson.com www.herrmann-studio.com www.vier5.de www.ganahl.info www.anthologyfilmarchives.org www.franckscurti.net www.philippecazal.com www.sechas.net www.galarosastables.com herewww.stephenvitiello.com www.artistbookarchive.com ere’s afterart news #2. Welcome back, and thanks for the warm reception you gave our first issue. Turns out culture vultures of many stripes are hungry for a quality art paper that’s free, doesn’t spout party line and focuses on developing international cultural and social tendencies. As you can see, we’re most excited by hybrid styles, borderline activities, fried brains, crossover artists, networks, the Hconstantly mutating potential of the internet and the frontier of public and private spheres. We’re in English because any project like afterart news with international distribution has to be in English, unless you can afford an army of translators. We’re based on the onestar press network because it provides us with what is actually a meta-network of pre-existing artists’ networks, like a multi-galaxy universe with exponentially infinite possibilities. Want to make it into the pages of afterart news? It’s simple: publish a book with onestar press. Everybody else did, or knows someone who did. We would like to dedicate afterart news 2 to Rudolf Schmid. He’s dead, and you won’t find his name in any art book, but in 1953 the Viennese “stunt man” lived in a bottle for 365 days, making an exhibition tour of 100 European cities.