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Multiplied-Editionmat-Selections 0 EdMAT_Covr_Final_FINAL.indd 1 11/22/19 2:29 PM EDITION Edited by Meredith Malone Contributions by Sam Adams, Ágnes Berecz, Magdalena Holzhey, Marina Isgro, Alexander Kau man, Meredith Malone, Molly Moog Reprinted texts by Claus Bremer, Karl Gerstner, Wies Smals, Daniel Spoerri, Katerina Vatsella Mildred Lane Kemper Art Museum Washington University in St. Louis EdMAT_Guts_Final_FINAL_RL.indd 3 25.11.19 11:48 PDF zur Ansicht, mit der Bitte um schnellstmögliche Druckfreigabe! Begeisterung für Bücher Seite 3 Hirmer_14410666_Multiplied_Edition_MAT Contents 6 Director’s Foreword Sabine Eckmann 7 Acknowledgments Meredith Malone 9 Introduction Meredith Malone 15 Edition MAT and the Transformable Work of Art: A History Meredith Malone 46 “Lured out of Passive Enjoyment”: Edition MAT at the Kaiser Wilhelm Museum in Krefeld Magdalena Holzhey 56 Consumed by Play: The Politics of the Transformable Work of Art Ágnes Berecz EdMAT_Guts_Final_FINAL_RL.indd 4 25.11.19 11:48 PDF zur Ansicht, mit der Bitte um schnellstmögliche Druckfreigabe! Begeisterung für Bücher Seite 4 Hirmer_14410666_Multiplied_Edition_MAT Entries Appendix COLLECTION 1959 212 Examples of Dynamic Theater (1959; excerpt) [MLM] 73 Yaacov Agam Claus Bremer / Daniel Spoerri 75 Josef Albers [MLM] 77 Bo Ek [MLM] 215 Edition MAT: Multiplication of Artworks (1959) 81 Pol Bury [MI] Daniel Spoerri 83 Marcel Duchamp [AK] 87 Karl Gerstner [MLM] 217 The Multiplied Work of Art (1960) 89 Heinz Mack [MI] Daniel Spoerri 91 Frank J. Malina [MLM] 219 Press Release (1964) 93 Man Ray [AK] 97 Enzo Mari [MI] 221 Press Release (1965) 99 Bruno Munari [MI] 101 Dieter Roth [SA] 223 What Should Art Cost? (1965; excerpt) 105 Jesús Rafael Soto [MI] Karl Gerstner 109 Jean Tinguely [MI] 111 Victor Vasarely [MLM] 224 MAT: A Conversation with Spoerri and Gerstner (1970) COLLECTION 1964 Wies Smals 117 Arman [MI] 228 Interview with Daniel Spoerri (1995; excerpt) 121 Jean Arp [MI] Katerina Vatsella 129 Arnulf Rainer [MCM] 133 Niki de Saint Phalle [MI] 139 Daniel Spoerri [SA] 236 Works in the Exhibition 143 Paul Talman [MI] 243 Lenders to the Exhibition 147 Jacques Villeglé [MLM] 244 Selected Bibliography COLLECTION 1965 248 Contributors 153 Enrico Baj [MI] 249 Photography and Copyright Credits 157 Davide Boriani [MI] 250 Index 163 Christo [MLM] 167 Gabriele De Vecchi [MI] 171 Julio Le Parc [MLM] 175 Roy Lichtenstein [MI] 179 François Morellet [MI] MAT MOT 189 George Brecht [SA] 193 Robert Filliou [SA] 195 Maurice Henry [MCM] 199 Christian Megert [MI] 205 André Thomkins [SA] 209 Emmett Williams [SA] Authors Sam Adams [SA] Marina Isgro [MI] Alexander Kauman [AK] Meredith Malone [MLM] Molly Moog [MCM] EdMAT_Guts_Final_FINAL_RL.indd 5 25.11.19 11:48 PDF zur Ansicht, mit der Bitte um schnellstmögliche Druckfreigabe! Begeisterung für Bücher Seite 5 Hirmer_14410666_Multiplied_Edition_MAT Director’s Foreword Sabine Eckmann, PhD William T. Kemper Director and Chief Curator Following the enormous devastations of World War II, the project also occupied a position of critical reection; these 1950s to the early 1970s witnessed an unprecedented arbitrary, playful, and “purposeless” transformable objects expansion of production and consumption—a period known stood in stark contrast to the purposeful movements of mid- as the golden age of economic growth, especially in Western century consumer society. Europe. During that time people became increasingly inter- The Mildred Lane Kemper Art Museum has over the ested in objects of leisure and design, from automobiles and last decade explored this midcentury moment both through color televisions to artworks that would decorate their stylish exhibitions and art acquisitions. In 2009 Associate Curator new homes. The uncomfortable past was quickly buried and Meredith Malone presented Chance Aesthetics, which forgotten, and in its place a rapidly changing present took brought together postwar artworks and some early prede- shape. New technologies, mass tourism, popular forms of cessors that employed chance in the creative process and as entertainment, and the desire for luxury goods lled newly such took a critical avant-garde stance toward self-su¤cient available hours as workdays and workweeks became shorter. artistic authorship. Since then the Museum has acquired Yet amid this sudden prosperity hung the shadow of the Cold artworks by Arman, Marcel Duchamp, Karl Gerstner, Julio War that had divided East and West, communist regimes Le Park, Man Ray, Jacques Villeglé, and importantly Daniel and democratic societies, in radical ways. Spoerri, among others, all of which contribute to a history Unsurprisingly, the arts responded in decisive ways to of modern art shaped by experimentation, chance opera- this burgeoning yet politically vulnerable era. Many artists tions, production in series, and the unusual use of everyday continued to explore abstract painting as a counter to the materials. In short, these works put a critical stamp on art as a ideological co-option of realism and as a phenomenological singular, skillful, independent creation. My congratulations to experience of the push and pull between pure matter and Meredith for her persistence in following this strain of postwar artistic choice. Yet toward the end of the 1950s, the art worlds art over the years and bringing its importance to the fore in Europe and the United States also featured a revival of through the catalog in hand and the accompanying exhibition. early twentieth-century avant-garde practices that engaged This project would not have been possible without the non-art materials and interdisciplinary approaches, includ- signi cant support of the Andy Warhol Foundation for the ing the interplay of performance, music, and the visual arts, Visual Arts, which awarded both a curatorial research grant particularly works that involved movement and light. It was and a very generous exhibition grant. Lead support for the within this experimental and nontraditional context that the publication was provided by the Carl & Marilynn Thoma peripatetic Swiss artist Daniel Spoerri began focusing on the Foundation. Additional support for the exhibition was provided multiple in the form of series of three-dimensional objects by the William T. Kemper Foundation, the National Endowment that physically or optically generated movement or could be for the Arts, the Swiss Arts Council Pro Helvetia, and the altered. In the decisive year of 1959, which saw the institu- Hortense Lewin Art Fund, as well as by members of the tionalization of abstract painting and the appearance of new Kemper Art Museum. We are especially grateful to Elissa and realisms at Documenta 2, Spoerri launched Edition MAT Paul Cahn, Nancy and Ken Kranzberg, and Emily and Teddy (multiplication d’art transformable) at the Paris-based Galerie Greenspan. We are very pleased to be collaborating with the Edouard Loeb. Well-known artists such as Marcel Duchamp Bechtler Museum of Modern Art and its president and CEO, and Man Ray joined newcomers Dieter Roth and Jean John Boyer, on this important project, and we look forward Tinguely, among others, in contributing artworks to Spoerri’s to seeing the exhibition there in the summer of 2020, after its commercial adventure. In altered form and with a varying set initial presentation at the Mildred Lane Kemper Art Museum. of participating artists, Spoerri produced successive editions At Washington University my deep appreciation goes in 1964 and 1965. to Carmon Colangelo, Ralph J. Nagel Dean of the Sam Fox In retrospect Spoerri’s project struck a nerve, imbuing School of Design & Visual Arts, for his commitment to the Edition MAT with historic gravity. His undertaking mirrored Museum and its programs. I would also like to express my Western prosperity—the objects transformed, or appeared genuine gratitude to Henry S. (Hank) Webber, executive to transform, as did contemporary society. In addition, they vice chancellor & chief administrative o¤cer; Holden Thorp, were not reserved for the wealthy elite but were aordable former provost; Mark Wrighton, chancellor emeritus; and for many who were pro ting from the socioeconomic climate. Andrew Martin, chancellor, for their essential support not (Nevertheless, as with other attempts to democratize modern only of the Museum but also of the pursuit of excellence in art for a broader audience, it was the fate of Edition MAT to be research and education across campus and beyond. acquired by a rather small group of collectors.) By highlight- ing the object as such and its consumerist allure, Spoerri’s 6 EdMAT_Guts_Final_FINAL_RL.indd 6 25.11.19 11:48 PDF zur Ansicht, mit der Bitte um schnellstmögliche Druckfreigabe! Begeisterung für Bücher Seite 6 Hirmer_14410666_Multiplied_Edition_MAT Acknowledgments Meredith Malone, PhD Associate Curator I have long been fascinated by post–World War II European who made this comprehensive presentation of Edition MAT avant-garde art and Daniel Spoerri’s unique role as both a possible. In Europe I thank Katia Baudin and Magdalena prominent artistic practitioner and a key connector within Holzhey at Kunstmuseen Krefeld, Germany; Beate the historical context of the expanded arts emerging at this Reifenscheid and Suzana Leu at Ludwig Museum, Koblenz, time. Spoerri is perhaps best known as a Nouveau Réaliste Germany; Jonas Kern, Großmaischeid, Germany; Werner artist and the creator of tableaux-pièges (“trap pictures”) Hillmann at Galerie Der Spiegel, Cologne; Denis Kilian, Clara in the early 1960s. However, his wide-ranging career has Samson, and Catherine
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