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Jonathan Monk That Seeks to Examine “The Conditions of an Exhibition”

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SPECIAL REPORTS Earplugs required for Douglas Gordon’s Bound to Hurt performance plus more Basel gossip Life imitates art, beer bellies magnified in Unlimited installation, and so much more by THE ART NEWSPAPER | 17 June 2016 Navel-gazing of the highest order There is no shortage of shows in the Art Basel institutional orbit, but should you tire of those, might an exhibition on exhibitions be of interest? The Kunsthaus Baselland is showing Exhibit Model One, a conceptual meta-exhibition by the UK artist Jonathan Monk that seeks to examine “the conditions of an exhibition”. There are no works in Monk’s presentation, just giant black-and- white representations of installation views from previous shows his work was in, such as Less Is More Than One Hundred Indian Bicycles, at the Kunstraum Dornbirn in 2013. “My show might have the feel of walking through the pages of a crudely photo- copied book,” Monk says in the catalogue. (True.) “I’m hoping the lack of objects will allow the viewer to focus on the spaces seen within the space.” Indeed, one comes away with a strong sense of the exhibition aesthetic: pacific, white and idiosyncratic in familiar and clearly defined ways. Surely such a show is not on during Art Basel by accident. “Special Reports: Jonathan Monk”, The Art Newspaper, June 17, 2016 ATP DIARY Interview with Jonathan Monk – Claymation, Museo Zauli Matteo Mottin October 3, 2015 Jonathan Monk. Claymation - Residenza Museo Zauli, Faenza 2015 - Work in progress On October 5 Museo Carlo Zauli in Faenza will present Claymation, solo show by Jonathan Monk curated by Guido Molinari. The exhibition features ceramic artworks designed by Monk during his June residency for the XII edition of the project Residenza d’Artista. We asked some questions to Jonathan Monk to know more about this project. ATP: Could you introduce us to your residency? How did you manage your time in Faenza? Jonathan Monk: I managed it very well. It was quite short and reasonably intense. I haven’t really worked in ceramics since I was in high school, so it was really a chance to explore the media again. In the end I came out with two different things, and the third was just an attempt, or an experiment. From my experience at high school, I remember that there was a clay bin in the corner of the space. It was there to recycle failed attempts. Once students made an object and they were not happy with it, the clay was just recycled. It was a big bucket that was full of water that people would throw their mistakes into, so the clay can be used again. I took this idea and actually made a one to one copy of a dustbin, that would be painted outside black, like the plastic bin it’s been taken from, and the inside just shows the clay and my fingerprints how they were pushed into the mould. This is one of the pieces that were made. The other piece is actually quite hard to explain, and even when you see it it’s hard to imagine, but it was a vase, or it is a vase, or hopefully it will be a vase if it survives the journey through the kiln. It’s based on my hands, I used them as the negative space inside the vase, so it’s possible to put ten flowers in it. Each stem of the flower goes into what would be the negative of my fingers. It looks kind of crude, but hopefully it will work. It was very complicated to make. I’m not involved in that process, we just used my hands. ATP: In Faenza did you discovered new or traditional techniques that inspired you for other works? JM: Maybe more about the process of how you can work with clay became interesting during the days that I was here. Being such an old and traditional material, to be honest I’ve not really explored it greatly, but it was nice to come here and thing about the possibilities of using clay in different ways. I had ideas for other things that I could make in the future, maybe with other ceramicists from this area. We’ll see it if it goes any further. ATP: What are these ideas about? JM: I want to copy an existing sculpture by someone else, and then find this moment, which I’m not really sure exists, where the clay is not dry exactly but it’s possible to take it out of the mould, and cut it in half, or bend it slightly. I don’t know if it’s even possible. We made another cast yesterday and we took it out of the mould today, and I think there must be a moment when you can still play around with the clay before it’s dry, and then hope- fully fire the clay when it’s been manipulated slightly. ATP: Could you tell me further about your interest in the process? JM: I guess with clay and ceramics you’re always following almost the same process, and then every ceramicist over the centuries added their own touch of magic – not that I feel that I have any magic touches, but you can see what other people have done and maybe twist the process slightly, hopefully changing it and adding things that have not been added before, which I’m sure it’s very difficult, if not impossible. I also like the idea that in the last minutes or the last seconds of a piece being made, if you have air bubbles in the clay, it can still actually explode in the kiln. I guess it’s like when you make a film on real film and you’re not sure until it gets processed of what’s on the actual film. It’s something that I still find interesting, the excitement whether the things actually gonna work. You can spend months creating something with the idea that it could be destroyed when you try to finish it. ATP: Why did you decide to call the exhibition Claymation? Is it also the title of one of the pieces? JM: Maybe not. I didn’t really have a title, I have to say, but I quite like this idea of claymation. Wallace and Gromit, you know? That’s not clay, but it’s some material that they animate with stop motions, and these char- acters come alive. I guess the idea of claymation is speaking about what essentially is just soil and that you can give it life – up to a point, I mean, it doesn’t appear to be alive but you give it another life, so that’s why I thought claymation might makes sense, even if it’s not really Wallace and Gromit. (laughs) It’s funny, but it makes sense. Jonathan Monk. Claymation – Residenza Museo Zauli, Faenza 2015 – Work in progress Jonathan Monk. Claymation – Residenza Museo Zauli, Faenza 2015 – Work in progress Jonathan Monk. Claymation – Residenza Museo Zauli, Faenza 2015 – Work in progress Mottin, Mateo, “Interview with Jonathan Monk – Claymation, Museo Zauli”, ATP Diary (Online), 2015 Why Philadelphia Is Commissioning Skateable Public Art The city hopes to engage young people in its downtown parks and museum plazas by installing skateable sculptures. One of Jonathan Monk's "skateable sculptures" (Facebook/City of Philadelphia's Mural Arts Program) Philadelphia kicked off its new public outdoor-arts exhibition Open Source: Engaging Audiences in Pub- lic Space on Friday with two sculptures made for skateboarding on. The artist Jonathan Monk installed the “Skateable Sculptures” in Paine’s Park, a publicly funded skate park built in 2013, not far from the downtown Philadelphia Museum of Art. Monk’s sculptures appropriate, in some ways, some of Sol LeWitt’s public art- works found in the museum’s sculpture garden. In an effort to “explore and illuminate Philadelphia’s diverse urban identity,” additional pieces built for public interaction will be created through October by a range of artists, including Shepard Fairey and immigrants-rights activist and artist Michelle Angela Ortiz. The project as a whole is part of Philadelphia’s famed Mural Arts Program. Monk discussed his minimal approach to designing the sculptures in an interview with Gregston Hurdle at Green Label: [Hurdle]: Your approach to your work is similar to a skateboarder’s approach to their environment. You take what is established or "not to be touched" and make it your own. Has this ever occurred to you before? Was it the reason your pieces for Open Source incorporate skateboarding and skateboarders? [Monk]: Perhaps. But in this case I was specifically invited to make a skateable sculpture for Philadel- phia. The skate park's location helped, so I drew direct parallels to the Philadelphia Museum of Art's small sculpture park, a short skate from Paine's Park. Monk will add more “skateable sculptures” over the next few months, but says his exhibit won’t be com- plete until skaters actually start using them. It was just six years ago that skating in Philly’s parks was il- legal, with police sometimes enforcing the ban through excessive force. Monk’s collaboration with the city seems, in part, an effort to renegotiate that downtown space so that its youth can co-exist with tourism and basic city leisure without the tension of aggressive police oversight. Said Monk to Green Label about skating on his sculptures, “I just hope nobody hurts themselves. It does seem to be pretty dangerous.” Mock, Brentin, “Why Philadelphia is Commissioning Skateable Public Art”, CityLab (online), June 15, 2015.
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