DOCSLIB.ORG

Manifestopdf Cover2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Manifestopdf Cover2 A Manifesto for the Book Sarah Bodman and Tom Sowden A Manifesto for the Book Sarah Bodman and Tom Sowden with an edited selection of interviews, essays and case studies from the project What will be the canon for the artist’s book in the 21st Century? 1 A Manifesto for the Book Published by Impact Press at The Centre for Fine Print Research University of the West of England, Bristol February 2010 Free download from: http://www.bookarts.uwe.ac.uk/canon.htm This publication is a result of a project funded by the Arts and Humanities Research Council from March 2008 - February 2010: What will be the canon for the artist’s book in the 21st Century? The AHRC funds postgraduate training and research in the arts and humanities, from archaeology and English literature to design and dance. The quality and range of research supported not only provides social and cultural benefits but also contributes to the economic success of the UK. For further information on the AHRC, please see the website www.ahrc.ac.uk ISBN 978-1-906501-04-4 © 2010 Publication, Impact Press © 2010 Images, individual artists © 2010 Texts, individual authors Editors Sarah Bodman and Tom Sowden The views expressed within A Manifesto for the Book are not necessarily those of the editors or publisher. Impact Press, Centre for Fine Print Research UWE, Bristol School of Creative Arts Kennel Lodge Road, Bristol BS3 2JT United Kingdom Tel: +44 (0) 117 32 84915 Fax: +44 (0) 117 32 85865 www.bookarts.uwe.ac.uk [email protected] [email protected] 2 Contents Interview with Eriko Hirashima founder of LA LIBRERIA artists’ bookshop in Singapore 109 A Manifesto for the Book Sarah Bodman and Tom Sowden 5 Interview with John Risseeuw, proprietor of his own Cabbagehead Press and Director of ASU’s Pyracantha Interview with Radoslaw Nowakowski on publishing his own Press, Arizona State University, USA 113 books and artists’ books “non-describing the world” since the 70s in Dabrowa Dolna, Poland. 11 Case Study Interview with Antic-Ham, Artist, South Korea, October 2009 131 Imi Maufe’s ABTREE diagram 24 Case study interview with Tim Mosely, Artist, at Southern Interview with Jeff Rathermel - Artistic Director of the Cross University, Lismore, Australia 135 Minnesota Center for Book Arts (MCBA), Minneapolis, USA 25 Case study interview with Baysan Yüksel (also producing work as Bayananderson) 2nd Year Masters Fine Art (painting) Interview with Ulrike Stoltz, artist and Professor of student Marmara University, Istanbul, Turkey 139 Typography at the Hochschule für Bildende Künste Braunschweig, Germany 29 Case Study - Richard Price, Artist and Poet, UK 143 Interview with Dmitry Sayenko, Russia, who works with Lilla Duignan’s ABTREE diagram 145 colour woodcut and linocut, and binds his own books by hand. 39 Case Study - Caren Florance, Ampersand Duck Press/Publisher, Australia 147 Interview with L. Vandegrift Davala, based in Ireland, whose recent work has utilised interactive digital technologies in Case Study - Lina Hakim, Artist, Lebanon 151 the production of book works. 47 Case study interview with David Paton, Artist and Senior Possible Strategies For Exploiting Wikipedia For The Lecturer: Visual Art, University of Johannesburg, Dissemination and Profiling of Artists’ Books and Multiples South Africa 153 on the Internet - Francis Elliott 55 Case Study - Karen Hanmer, Artist and Designer Interview with Sally Alatalo, artist founder of Sara Bookbinder, USA 157 Ranchouse Publishing, Chicago, USA 59 Case Study - Fernanda Fedi and Gino Gini, Artists, Italy 161 Interview with Kyoko Tachibana, Sohon Studio, Sapporo, Japan 69 Case Study - John Bently, Artist, United Kingdom 164 Interview with Paulo Silveira, Brazil, with input from Maria Case Study - Andrew Eason, Artist, United Kingdom 165 Lucia Cattani about her recent work relating to the book ‘Quadrantes/Quadrants’ 73 Case Study - Horst Weierstall, Artist, Cyprus 169 Interview with Monica Langwe, Swedish book artist Case Study - Nancy Campbell, Dealer, UK 171 and bookbinder 81 Case Study - Judy Barrass, Artist, Australia 175 Ahlrich van Ohlen’s ABTREE diagram 85 Artists’ Books or Artists’ Publications? Interview with Maria White – Chief Cataloguer, Tate An edited selection of responses from the online forum: Britain, UK 87 21st Century Book Discussions at Artist Books 3.0 179 Artists’ Publications – Andi McGarry 91 Defining the Book An edited selection of responses from the online forum: Interview with Doro Böhme, Ramon Cartwright, Andrew 21st Century Book Discussions at Artist Books 3.0 181 Blackleyand Elissa Papendick at the Joan Flasch Artists’ Books Collection, The School of the Art Institute of Emma Powell’s ABTREE diagram 182 Chicago, USA 95 Bibliography / Further Reading 183 3 4 A Manifesto for the Book considered an artist’s book. We also requested that those Sarah Bodman and Tom Sowden who took a diagram explored it and altered it according to how they would classify the subject. The response was Book - artist’s book - artist’s publication - book good and we received back many diagrams that art? had been changed according to taste. Ulises Carrión’s The New Art of Making Books begins with: What became apparent to us later, was that the diagram A book is a sequence of spaces. was already wrong. As a tree diagram it was too rigid and too concerned with process. There couldn’t be the If it is to be argued that a book has to be a sequence of cross-pollination that is often required as an artist - when pages inside a container, and if a container is considered you allow the content to drive the process, rather than as a physical entity – then as well as covers, a container the other way around. The diagram was missing the must also be able to be a computer monitor, a mobile links between areas that would inevitably be needed to phone screen, a room, a box, the Internet. A series of describe the working practice of many who produce pages can exist on paper or on a screen. On screens we books. Many who altered the diagram did just that, scroll through the pages reflecting an original, historical adding in connectors across, up and down to bring book format. The big mainstream publishing houses seemingly disparate disciplines together. have no problem terming screen-based works as books. Just look at the recent push for e-books from publishers We also curated three exhibitions as part of the project and hardware manufacturers alike. under the term ‘Artists’ Publishing’. Although the exhibitions were well-received, the term itself was not. One of the key points of this project was to try and Publishing was welcomed by many artists as a term include all the book related activity that artists engage which allows Internet and digital output, but their main with. To include work that was being produced on, and grievance with the term ‘publishing’ was that it removes exclusively for, digital technologies within the book arts the word ‘book’ from the subject area. We felt that field, and not leave it floundering uncomfortably on the ‘publishing’ would serve as an inclusive term for works edge, or given a different terminology altogether, if the produced with newer technologies, and works made artist considered what they were producing to be a book around the notion of the book. Artists can publish their then we felt it should be included. For example the artist work physically: paper, book, pamphlets, and virtually: L. Vandegrift Davala whose recent work has utilised e-books, mobile-phone based, bluetooth, blogs, websites, interactive digital technologies in the production of book and include multiples of ephemeral works such as works, and whose use of iPods is based upon a study of badges, stickers (for example the Wlepki stickers with ancient Ethiopian scroll books and the idea of portability short stories on them in Poland – see Case Study 31 (Investigating the artist’s book: L. Vandegrift Davala, Wojciech Wegrzynski at www.bookarts.uwe.ac.uk/canon. http://www.bookarts.uwe.ac.uk/canon.htm). htm). The most resistance to the term ‘publishing’ was from traditional book makers. They felt that the term At the start of this project we tried to draw a was too slanted towards digital and ephemeral works at classification diagram, ABTREE, for the discipline the expense of the physical, finely-produced book, and that is generally known as artists’ books. To be able to excluded them on the grounds that they did not ‘publish’ encompass some of those disciplines that relate to books art. This was perceived as diluting the field through a or hang around on the periphery, perhaps straddling deluge of e-publishing. more than one discipline; we felt that a more inclusive term was needed. Inevitably the classification was We too were slightly uncomfortable with the term drawn up based on process and working practice, rather Artists’ Publishing. As much as we appreciate work that than content. We tried to think of a title that was loose is ‘published’ by artists, it was not quite the inclusive enough to encompass the artists producing multiples, term that we had hoped. By its nature, publishing screen-based work and audio books, as well as fine tends to define work that is produced in multiple and press, livres d’artistes and just plain old books. In the distributed. For many, that is not what they do. Unique end we plumped for a term that was initially proposed and sculptural books are no small part of the artists’ via the online forum (http://artistbooks.ning.com/ books world and the term publishing does not appear group/21stcenturybook) ‘Artists’ Publishing’. to include these works. Neither does it seem a correct term for books produced in very small editions, which It was a quick diagram, done on the hoof and considered is again a significant theme within artists’ books.
Load more

Recommended publications
  • View Sample Pages
    CHINA RESEARCH MONOGRAPH 51 F M" INSTITUTE OF EAST ASIAN STUDIES ~ '-J UNIVERSITY OF CALIFORNIA • BERKELEY c::<::s CENTER FOR CHINESE STUDIES Cross-Cultural Readings of Chineseness Narratives, Images, and Interpretations of the 1990s EDITED BY Wen-hsin Yeh A publication of the Institute of East Asian Studies, University of Califor­ nia, Berkeley. Although the Institute of East Asian Studies is responsible for the selection and acceptance of manuscripts in this series, responsibil­ ity for the opinions expressed and for the accuracy of statements rests with their authors. Correspondence and manuscripts may be sent to: Ms. Joanne Sandstrom, Managing Editor Institute of East Asian Studies University of California Berkeley, California 94720-2318 E-mail: [email protected] The China Research Monograph series is one of several publications series sponsored by the Institute of East Asian Studies in conjunction with its constituent units. The others include the Japan Research Monograph series, the Korea Research Monograph series, and the Research Papers and Policy Studies series. A list of recent publications appears at the back of the book. Library of Congress Cataloging-in-Publication Data Cross-cultural readings of Chineseness : narratives, images, and interpretations of the 1990s I edited by Wen-hsin Yeh. p. em. - (China research monograph; 51) Collection of papers presented at the conference "Theoretical Issues in Modern Chinese Literary and Cultural Studies". Includes bibliographical references ISBN 1-55729-064-4 1. Chinese literature-20th century-History and criticism Congresses. 2. Arts, Chinese-20th century Congresses. 3. Motion picture-History and criticism Congresses. 4. Postmodernism-China Congresses. I. Yeh, Wen-hsin.
    [Show full text]
  • The Quint : an Interdisciplinary Quarterly from the North 1
    the quint : an interdisciplinary quarterly from the north 1 Editorial Advisory Board the quint volume ten issue two Moshen Ashtiany, Columbia University Ying Kong, University College of the North Brenda Austin-Smith, University of Martin Kuester, University of Marburg an interdisciplinary quarterly from Manitoba Ronald Marken, Professor Emeritus, Keith Batterbe. University of Turku University of Saskatchewan the north Donald Beecher, Carleton University Camille McCutcheon, University of South Melanie Belmore, University College of the Carolina Upstate ISSN 1920-1028 North Lorraine Meyer, Brandon University editor Gerald Bowler, Independent Scholar Ray Merlock, University of South Carolina Sue Matheson Robert Budde, University Northern British Upstate Columbia Antonia Mills, Professor Emeritus, John Butler, Independent Scholar University of Northern British Columbia David Carpenter, Professor Emeritus, Ikuko Mizunoe, Professor Emeritus, the quint welcomes submissions. See our guidelines University of Saskatchewan Kyoritsu Women’s University or contact us at: Terrence Craig, Mount Allison University Avis Mysyk, Cape Breton University the quint Lynn Echevarria, Yukon College Hisam Nakamura, Tenri University University College of the North Andrew Patrick Nelson, University of P.O. Box 3000 Erwin Erdhardt, III, University of Montana The Pas, Manitoba Cincinnati Canada R9A 1K7 Peter Falconer, University of Bristol Julie Pelletier, University of Winnipeg Vincent Pitturo, Denver University We cannot be held responsible for unsolicited Peter Geller,
    [Show full text]
  • DECEMBER 2005 WINTER ISSUE Special Feature on Hong Kong By
    DECEMBER 2005 WINTER ISSUE INSIDE Special Feature on Hong Kong by Tobias Berger, John Millichap, Lee Weng Choy, Eliza Patten, Norman Ford, Sean Chen Monumentality and Anti—Monumentality in Gu Wenda’s Forest of Stone Steles-A Retranslation and Rewriting of Tang Poetry Zhang Dali: The Face of China A Visual Koan: Xu Bing's Dynamic Desktop Interviews with Oscar Ho, Uli Sigg, Xu Bing About the Chinese Presentation at the 2005 Yokohama Triennale US$12.00 NT$350.00 US$10.00 NT$350.00 Art & Collection Editor’s Note Contributors Hong Kong SAR: Special Art Region Tobias Berger p. 16 The Problem with Politics: An Interview with Oscar Ho John Millichap Tomorrow’s Local Library: The Asia Art Archive in Context Lee Weng Choy 24 Report on “Re: Wanchai—Hong Kong International Artists’ Workshop” Eliza Patten Do “(Hong Kong) Chinese” Artists Dream of Electric Sheep? p. 29 Norman Ford When Art Clashes in the Public Sphere— Pan Xing Lei’s Strike of Freedom Knocking on the Door of Democracy in Hong Kong Shieh-wen Chen Monumentality and Anti-Monumentality in Gu Wenda’s Forest of Stone Steles—A Retranslation and Rewriting of Tang Poetry Wu Hung From Glittering “Stars” to Shining El Dorado, or, the p. 54 “adequate attitude of art would be that with closed eyes and clenched teeth” Martina Köppel-Yang Zhang Dali: The Face of China Patricia Eichenbaum Karetzky Collecting Elsewhere: An Interview with Uli Sigg Biljana Ciric A Dialogue on Contemporary Chinese Art: The One-Day Workshop “Meaning, Image, and Word” Tsao Hsingyuan p.
    [Show full text]
  • Artist: Period/Style: Patron: Material/Technique: Form
    TITLE:Vietnam Veterans Memorial LOCATION: Washington, D.C., U.S. DATE: . 1982 C.E. ARTIST: Maya Lin PERIOD/STYLE: Minimalism PATRON: The Commision of Fine Arts MATERIAL/TECHNIQUE: Granite FORM: Highly reflective black granite with incised names of 58,000 names ofVietnam Veterans who sacrificed their lives during the conflict. The name is an abstraction that means more to the family and friends than a pictorial representation. The two walls start very short and get progressively taller until they meet at an oblique angle at the monument’s center. One wall points towards the Washington Monument; the other points to the Lincoln Memorial. FUNCTION: It functions as a memorial to the soldiers that died during the Vietnam War. It is an ideal place for people to come and spend quiet time reflecting on the names and perhaps leaving mementos to the deceased. CONTENT: The walls are made of a dark igneous rock called gabbro, a type of granite, which is highly reflective when polished.The surface of the monument is etched with the 58,195 names of the Americans who died or remained missing in action in the Vietnam War. The names are listed in the order in which they were reported killed or missing in action. This makes the names harder to find, and re- quires a listing and numeric system of organization for visitors. CONTEXT: There were 1400 anonymous entries for this commission. There was a real backlash once her identity was known because of latent racism in the post Vietnam era. She defended her design in front of the United States Congress, who eventually reached a compro- mise: A group of more “traditional” sculptures, called “The Three Soldiers,” was erected near the monument.
    [Show full text]
  • Les Nouveaux Realistes
    LES NOUVEAUX REALISTES Le mouvement Nouveau Réalisme a été fondé en octobre 1960 par une déclaration commune dont les signataires sont Yves KLEIN, ARMAN, François DUFRÊNE, Raymond HAINS, Martial RAYSSE, Pierre RESTANY, Daniel SPOERRI, Jean TINGUELY, Jacques de LA VILLEGLE ; auxquels s’ajoutent CESAR, Mimmo ROTELLA, puis Niki de SAINT PHALLE et Gérard DESCHAMPS en 1961. Ces artistes affirment s’être réunis sur la base de la prise de conscience de leur «singularité collective». En effet, dans la diversité de leur langage plastique, ils perçoivent un lieu commun à leur travail, à savoir une méthode d’appropriation directe du réel, laquelle équivaut, pour reprendre les termes de Pierre RESTANY, en un « recyclage poétique du réel urbain, industriel, publicitaire» (60/90. Trente ans de Nouveau Réalisme, édition La Différence, 1990, p. 76). Leur travail collectif: des expositions élaborées ensemble, s’étend de 1960 à 1963, mais l’histoire du Nouveau Réalisme se poursuit au moins jusqu’en 1970, année du dixième anniversaire du groupe marquée par l’organisation de grandes manifestations. Pour autant, si cette prise de conscience d’une « singularité collective» est déterminante, leur regroupement se voit motivé par l’intervention et l’apport théorique du critique d’art Pierre RESTANY, lequel, d’abord intéressé par l’art abstrait, se tourne vers l’élaboration d’une esthétique sociologique après sa rencontre avec Yves KLEIN en 1958, et assume en grande partie la justification théorique du groupe. Le terme de Nouveau Réalisme a été forgé par Pierre RESTANY à l’occasion d’une première exposition collective en mai 1960. En reprenant l’appellation de « réalisme», il se réfère au mouvement artistique et littéraire né au 19e siècle qui entendait décrire, sans la magnifier, une réalité banale et quotidienne.
    [Show full text]
  • Raja Ravi Varma 145
    viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art.
    [Show full text]
  • Impeded Language in EE Cummings' Poetry and Xu
    Western Washington University Western CEDAR WWU Honors Program Senior Projects WWU Graduate and Undergraduate Scholarship Spring 1995 Extraordinary Language: Impeded Language in E.E. Cummings’ Poetry and Xu Bing’s Book from the Sky Anna Neher Western Washington University Follow this and additional works at: https://cedar.wwu.edu/wwu_honors Part of the Arts and Humanities Commons Recommended Citation Neher, Anna, "Extraordinary Language: Impeded Language in E.E. Cummings’ Poetry and Xu Bing’s Book from the Sky" (1995). WWU Honors Program Senior Projects. 262. https://cedar.wwu.edu/wwu_honors/262 This Project is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Honors Program Senior Projects by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. WESTERN WASHINGTON UNIVERSITY An equal opportunity university Honors■ Program HONORS THESIS In presenting this Honors paper in partial requirements for a bachelor ’s degree at Western Washington University, 1 agree that the Library shall make its copies freely available for inspection. I further agree that extensive copying of this thesis is allowable only for scholarly purposes. It is understood that any publication of this thesis for commercial purposes or for financial 2 ain shall not be allowed without mv written permission. Signature Date G- Anna Neher 1 Anna Neher Dr. Melissa Walt Honors Senior Project June 10, 2005 Extraordinary Language: Impeded Language in E.E. Cummings’ Poetry and Xu Bing’s Book from the Sky ”In the twentieth century as never before, form calls attention to itself..
    [Show full text]
  • The Sculpted Voice an Exploration of Voice in Sound Art
    The Sculpted Voice an exploration of voice in sound art Author: Olivia Louvel Institution: Digital Music and Sound Art. University of Brighton, U.K. Supervised by Dr Kersten Glandien 2019. Table of Contents 1- The plastic dimension of voice ................................................................................... 2 2- The spatialisation of voice .......................................................................................... 5 3- The extended voice in performing art ........................................................................16 4- Reclaiming the voice ................................................................................................20 Bibliography ....................................................................................................................22 List of audio-visual materials ............................................................................................26 List of works ....................................................................................................................27 List of figures...................................................................................................................28 Cover image: Barbara Hepworth, Pierced Form, 1931. Photographer Paul Laib ©Witt Library Courtauld Institute of Art London. 1 1- The plastic dimension of voice My practice is built upon a long-standing exploration of the voice, sung and spoken and its manipulation through digital technology. My interest lies in sculpting vocal sounds as a compositional
    [Show full text]
  • Oscar Masotta, El Helicóptero—The Helicopter, Buenos Aires, 1967
    Oscar Masotta, El Helicóptero—The Helicopter, Buenos Aires, 1967. © Cloe Masotta y—and Susana Lijtmaer [Cat. 63] Publicado con motivo de la exposición Oscar Masotta. La teoría como acción (27 de abril al 13 de agosto de 2017) MUAC, Museo Universitario Arte Contem- poráneo. UNAM, Universidad Nacional Autónoma de México, Ciudad de México. — Published on occasion of the exhibition Oscar Masotta. Theory as Action (April 27th, to August 13rd, 2017) MUAC, Museo Universitario Arte Contemporáneo. UNAM, Universidad Nacional Autónoma de México, Mexico City. Textos—Texts Olivier Debroise † Manuel Hernández Ana Longoni Cloe Masotta Oscar Masotta Traducción—Translation Elizabeth Coles Brian Holmes Daniel Saldaña París Edición—Editor Ekaterina Álvarez Romero ∙ MUAC Coordinación editorial—Editorial Coordination Ana Xanic López ∙ MUAC Asistente editorial—Editorial Assistant Elena Coll Guzmán Adrián Martínez Caballero Maritere Martínez Román Corrección—Proofreading Ekaterina Álvarez Romero ∙ MUAC Elizabeth Coles Adán Delgado Ana Xanic López ∙ MUAC Martha Ordaz Diseño—Design Cristina Paoli ∙ Periferia Asistente de formación—Layout Assistant Krystal Mejía Primera edición 2017—First edition 2017 D.R. © MUAC, Museo Universitario Arte Contemporáneo, UNAM, Insurgentes Sur 3000, Centro Cultural Universitario, C.P. 04510, Ciudad de México D.R. © de los textos, sus autores—the authors for the texts D.R. © de la traducción, sus autores—the translators for the translations D.R. © de las imágenes, sus autores—the authors for the images © 2017, Editorial RM, S.A. de C. V., Río Pánuco 141, colonia Cuauhtémoc, 06500, Ciudad de México © RM Verlag S.L.C/Loreto 13-15 Local B, 08029, Barcelona, España www.editorialrm.com #319 ISBN RM Verlag 978-84-17047-16-0 ISBN 978-607-02-9244-6 Todos los derechos reservados.
    [Show full text]
  • ABGABE Letztfassung IV
    DIPLOMARBEIT Titel der Diplomarbeit „Kunst basteln. Die Wurstserie von Fischli und Weiss im Kontext der Zürcher Szene 1979/80“ Verfasserin Simone Mathys-Parnreiter angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil.) Wien, 2010 Studienkennzahl lt. Studienblatt: A315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuer: Prof. Friedrich Teja Bach Thanks to the Walker Art Center, Minneapolis, for kindly providing me with photographic images of the Wurstserie . Dank an Bice Curiger für Ihre Zeit und ihr grosszügiges Zurverfügungstellen von Dokumentationsmaterial ihrer Ausstellung „Saus und Braus. Stadtkunst“ und Dank an Dora Imhof von der Universität Zürich für die Möglichkeit an Künstlerinterviews im Rahmen des Oral History Projektes teilzunehmen. 2 INHALTSVERZEICHNIS 1) EINLEITUNG .......................................................................................................................5 2) WURSTSERIE (1979) ..........................................................................................................8 2.1 Bricolage und Dilettantismus .......................................................................................28 2.2 Verortung im Gesamtwerk ...........................................................................................40 3) KONTEXT: ZÜRCHER SZENE 1979/1980 ....................................................................47 3.1 Punk und seine Bedeutung für Fischli/Weiss ..............................................................48 3.1.1 Das Projekt Migro (um 1980)
    [Show full text]
  • 'Kurt Schwitters in England', Baltic, No 4, Gateshea
    1 KURT SCHWITTERS IN ENGLAND, Sarah Wilson, Courtauld Institute of Art, ‘Kurt Schwitters in England', Baltic, no 4, Gateshead, np, 1999 (unfootnoted version); ‘Kurt Schwitters en Inglaterra el "Anglismo" o la dialéctica del exilio’, Kurt Schwitters, IVAM Centre Julio González, Valencia, pp. 318-335, 1995 ‘Kurt Schwitters en Angleterre’, Kurt Schwitters, retrospective, Centre Georges Pompidou, Paris, pp. 296-309 `ANGLISM': THE DIALECTICS OF EXILE' Three orthodoxies have dictated previous accounts of the life of Kurt Schwitters in England: that England was simply `exile', a cultural desert, that he was lonely, unappreciated, that his late figurative work is too embarrassing to be displayed in any authoritative retrospective. Scholars ask `What if?' What if Schwitters had got a passport to United States and had joined other artists in exile? He would have continued making Merz with American material. He would have had no `need' to paint figuratively.1 Would he have fitted his past into an even more `modernist' mould like his friend Naum Gabo, to please the New Yorkers?2 Surely not. `Emigration is the best school of dialectics' declared Bertold Brecht.3 Schwitters' last period must be investigated not in terms of `exile' but the dialectics of exile: as a future which cuts off a past which lives on through it all the more intensely in memory, repetition, recreation. `Exile' moreover is a purely negative term, foreclosing all the inspirational possibilities of a new `genius loci', a spirit of place: England. The Germany Schwitters knew was disfigured, disintegrating, self-destructing. His longing was for place which was no more. His Merzbau was destroyed by Allied bombing in 1943; Helma died in 1944: `Hanover a heap of ruins, Berlin destroyed, and you're not allowed to say how you feel.'4 The English period was a both a death and a birth, a question of identity through time, of new and old languages.
    [Show full text]
  • S to P Pa in Tin G
    STOP PAINTING STOP PAINTING PETER FISCHLI When I was young the Zeitgeist was claiming that “painting is dead.” Jörg Immendorff’s well- known, paradoxical, fast-scrawled painting Hört auf zu malen, half-correctly translated as “Stop painting,” obviously crossed my mind. It was already announcing that its funeral would most likely be postponed, since it had the character of a command refuse. I thought of some of the older funeral anno- uncements, starting with Paul Delaroche’s famous quote: “From today, painting is dead.” [...] While the ones who believed in the end of painting were mourning at the funeral procession, a very lively knock knock knock came out of the black painted coffin. As time passed, I began to imagine what a pan- optic exhibition of these artistic positions might look like. [...] I imagined a show that would be a kaleido- scope of repudiated gestures, including the critique of those repudiated gestures: the narration of the end of painting and the end of the narration of the end of painting. I was looking for a story that gives you the spacious and comfortable feeling of simpli- fication and, as a side dish, the justified suspicion of reducing complexity. Something like “the five crises of painting” could work — could make sense and pretend to make sense at the same time. Rupture 1. I started with Delaroche’s desper- ation and collapse at seeing photography coming into the world, which took away the determination of representation from painting. Why make a painting of Napoleon crossing the Alps if one could produce an image with an apparatus? [...] Within the new media surroundings, painting had to find new ways of posi- tioning itself, refusing an ending in a coffin.
    [Show full text]