It’s nice to be nice, try it

Gregory S. Maass & Nayoungim see Castle A see construction absurd see Kacheln-Racing accompany see Mona Lisa overdrive agree see Tales of three kitties Alice in Wonderland, 72-75 see Toilet paper Still life see The mad hatter see Trucker’s restroom see Mad hatter’s tea party Arswipe Rocket see literature Toilet paper Still life, 84 ambiguity see architecture ambivalence see “Auto-Focus” anagama see Bridge see Freud, Sigmund see everyday life see K.iwi see photography see manual arts art fairs see Tomte Laerdal see Daegu An awkward moment, 102 see multiples see “Don’t hassle the hof” see photography see drawings see Seoul see kitchen foil schade articulate see Patrick Artspace DeFKa (department for see shine out philosophy and art), Assen, see Squarepants, Spongebob the Netherlands see “Two million years of art” see “The Handsome Tofu” analog see wall paper see construction Aspirin(1), 22-23 see manual arts see art fairs apropos see Aspirin tower architecture see legend see Aspirin tower see manual arts see baroque see multiples see Bearded door Aspirin tower, 42-43

(1) aspirin: Aspirin, or ace- trademark owned by Bayer, established that low doses of tinnitus, especially in higher cations in the world, with tylsalicylic acid (A.S.A.) is a the generic term is “A.S.A.” aspirin may be given imme- doses. In children under an estimated 40,000 metric salicylate drug, often used Aspirin also has an anti- diately after a heart attack 19 years of age, aspirin is tons of it being consumed as an analgesic to relieve platelet or “anti-clotting” ef- to reduce the risk of another no longer used to control each year. minor aches and pains, as fect and is used in long-term, heart attack or of the death flu-like symptoms or the an antipyretic to reduce low doses to prevent heart of cardiac tissue. symptoms of chickenpox, source: Wikipedia.org fever, and as an anti-inflam- attacks, strokes and blood The main undesirable due to the risk of Reye’s matory medication. clot formation in people side effects of aspirin are syndrome. In countries where at high risk for developing gastrointestinal—ulcers and Today, aspirin is one of Aspirin is a registered blood clots. It has also been stomach bleeding—and the most widely used medi-

 see architecture see “Don’t hassle the hof” see Superfly see K.iwi see “Auto-focus” see slogans see Visionary see Spike see manual arts see “Two million years of art” bread see Tomte Laerdal see “Oh, Baby I like it raw” Benjamin, Walter see Florida snowman Chan, Jackie attitude Bergen (Norway)(2) see food see legend “Auto-Focus” (exhibition), Gallery see Tofu see The mad hatter’s tea party see martial arts Shilla, Daegu, South Korea see Tofu meets Coca-cola “Bridge” (exhibition), Gana Art see Meals on wheels see “Oh, Baby I like it raw” see BIT Teatergarasjen Center (South Korea) see personality see Berlin (Germany) see Flow chart Busan (South Korea) see pop culture icons see wellness Chladni, Ernst Berlin (Germany) see Klangfiguren (sound-figures) B see architecture C cityscapes Banana-split delirium, 100 see “Oh, Baby I like it raw” Candle dog, 32 see architecture see “Auto-focus” see reappropriation see “Auto-focus” see “Auto-focus” see “Don’t hassle the hof” see Stadtmuseum Lichtenberg see cuteness see dimension see food see vintage see Scaffoldings see landscape see Squarepants, Spongebob The best small country in the world see vintage see Mona Lisa overdrive see “Two million years of art” see “Don’t hassle the hof” cartoons code baroque see slogans see diagrams computers (mainframe) see architecture see swiss made see manga see “Kim Kim Gallery” see manual arts see “Two million years of art” see Peanuts see punching card see martial arts see wellness see Tweety see Tofu computers see legend Beuys, Joseph(3) Castle, 24-25 see Zuse, Konrad Basket case, 42-43 billboards see architecture concept see “Auto-focus” see celebration see “Auto-focus” connect see “Oh, Baby I like it raw” see “Kim Kim Gallery” see legend construction see suiseki see pop culture icons see modeling contextual Be brave be nice, 90-91, 93, 95 bitter-sweetness see miniature coolness see “Don’t hassle the hof” see food see Scaffoldings crafty see slogans see Mad hatter’s tea party catchphrase creativity see “Two million years of art” see personality see billboards crème de la crème Bearded door, 58-59 bowling balls see slogans see baroque see architecture see Evolution revolution celebration see food see “Auto-focus” see Ebonite see billboards Crystals see baroque see Flying Eye see shine out see architecture see paintings see Global ceramics see “Auto-focus” see pin-up see Hammer see anagama see multiples see Tale of three kitties see Highlander see flow glaze see Scaffoldings Beaut Beauty Bewdie, 90-91, 93-95 see reappropriation see Golden turd see pure

(2) Bergen, Norway: Studio Room 3 at the Art settlement. makes this work one of the ent, when people see such The pilot was killed but the Tartars I would not be crash, when the German My friend was strapped in in fat to help it regenerate Where initial work on the Academy Düsseldorf with It was the second case in most famous of the artist’s. an experimental assembly Beuys was found by a alive today. They were the search parties had given and he was atomized on warmth, and wrapped it in Tofu Flow Chart took place. five Kg of butter. which an artwork of Beuys, The work was provocative in a museum.” German search commando nomads of the Crimea, in up. I was still unconscious impact — there was almost felt as an insulator to keep A cleaner of the Art wasn´t recognized as such to a large part of society and brought to a military what was then no man’s then and only came round nothing to be found of him warmth in.” (3) Beuys, Joseph: Academy Düsseldorf elimi- and destroyed. On November and led to controversies A singular moment hospital where he stayed land between the Russian completely after twelve afterwards. But I must have Although entering Beuys’ Major Inventions: nated the fat in 1986. 3, 1973 a Bathtub surfaced concerning the question of (Modern mythos), origin of from March 17 to April 7. and German fronts, and days or so, and by then I shot through the windscreen rhetoric somewhat later Fettecke: Fatcorner/Fatedge Johannes Stüttgen with sticking plaster and what could be considered creativity, induced through This incident, and Beuys’s favoured neither side. I had was back in a German field as it flew back at the same than some commentators The Fatcorner (1982/1989) claimed ownership of the gauze bandages was cleaned art. Beuys himself com- brain damage by embed- subsequent embellishment already struck up a good hospital. So the memories speed as the plane hit the have acknowledged, this was an artwork of the ger- artwork, because Beuys during a folksy evening of mented: “A Fatcorner is ded shrapnel and neural of it, is perhaps the most relationship with them, and I have of that time are ground and that saved me, story has served as a man artist Joseph Beuys. started this artwork with the local SPD-association not made to the effect of rewiring, through depres- controversial aspect of often wandered off to sit images that penetrated though I had bad skull and powerful myth of origins for Beuys installed it on the the words: “Johannes, jetzt Leverkusen-Alkenrath and greasing a table with fat, sion untill death. This is a his artistic persona. Beuys with them. ‘Du nix njemcky’ my consciousness. The last jaw injuries. Then the tail Beuys’ artistic identity, as 28th of April 1982, for mache ich dir endlich deine used otherwise. Also in this but a Fatcorner is made, in description of Joseph Beuys’ later recounted how he they would say, ‘du Tartar,’ thing I remember was that flipped over and I was com- well as providing an initial a planned reception for Fettecke” translating as: case an imdemnation of DM order to stand in opposition plane crash in WWII: had been rescued from the and try to persuade me it was too late to jump, too pletely buried in the snow. interpretive key to his use the following day of the “Johannes, now I finally 40.000 is heard to have been to other processes, which In 1942 Beuys was crash by Tartar tribesmen, to join their clan. Their late for the parachutes That’s how the Tartars found of unconventional materials Lama Sogyal Rinpoché, make a fatcorner for you.” It paid. This event was the sub- such a plastic, vulnerable stationed in the Crimea who had wrapped his bro- nomadic ways attracted to open. That must have me days later. I remember (amongst which felt and fat empowered by the Daila came to a lawsuit. The state ject of a TV advertisement material builds in space and and was a member of ken body in animal fat and me of course, although by been a couple of seconds voices saying ‘Voda’ (Water), were central). Lama in Europe, after which of North Rhine-Westphalia for a cleaning agent and is time, therefore these things various combat bomber felt and nursed him back that time their movements before hitting the ground. then the felt of their tents, a seminar of the FIU held paid indemnification in often mistaken with the de- with fat lay claim to theory. units. On 16 March 1944 to health. Beuys recounted had been restricted. Yet it Luckily I was not strapped and the dense pungent source: Wikipedia.org place, in round about 3 m court of second instance an struction of the Fatcorner. And this theory is maybe Beuys’ Ju 87 plane crashed the story in 1979: was they who discovered in — I always preferred free smell of cheese, fat and height in the corner of his amount of 40,000 DM as a The end of the Fatcorner naturally not always pres- on the Crimean Front. “Had it not been for me in the snow after the movement to safety belts… milk. They covered my body

  cuteness see “Don’t hassle the hof” explore see Freud, Sigmund see Candle dog see drawings everyday life see Licca-chan see Licca-chan see Duck/rabbit drawing see Mona Lisa overdrive see Spike see Sea lion see Gombrich, Ernst see photography see Snoopy Transfiguration see Rubber duck see Hasselhoff, David see still life see pin-up see Woodstock see Patrick see Toilet paper still life Filliou, Robert see Squarepants, Sponge see tourism see Fluxus see “Two million years of art” see wall paper see legend D see Wittgenstein, Ludwig see wellness see personality Daegu (South Korea) eyeballs see “Two million years of art” see “Auto-Focus” see bowling balls flexible Dango Bridge, 61 E see Flying Eye Florida Snowman, 86-87 see “Auto-Focus” Ebonite see Superfly see shaped shapelessness see cityscape see “Auto-focus” eye witness see snowman see dimension see bowling balls see Flying Eye see swiss plaited loaf decision tree learning see Spike see Licca-chan see tourism design see Superfly see Manga eye scheme evolution see “Two million years of art” detailed eighties (80’s) see Superfly flow diagrams see K2000 Flow chart(6), 66, 67 see cartoons see Hasselhof, David see “The handsome tofu” Dick, Phillip K.(4) see Chan, Jackie F see mind map diet elaborate fan see Tofu see wellness empirical see pop culture icons flow glaze see food entertainment Feng Shui(5) see ceramics see health Evolution revolution see suiseki see manual arts dimension see “Auto-focus” see installations see Spike display see bowling balls see in situ Fluxus distance see Superfly figured Flying Eye, 56-57, 60 “Don’t hassle the hof” (exhibition), exclusiveness figurine see bowling balls Galérie du jour Agnès b. (Paris, see Flow chart France) see Tofu see “Two million years of art” exhibitions (5) Feng Shui: Feng shui finding a burial site, along many sources that time, in figured large in Hongshan to create a plan to reach drawings see “Auto-focus” (traditional Chinese: 風 with agricultural planning. the form of astronomy and culture’s astronomy. And it a goal. Decision trees are 水; simplified Chinese: calendars, is at the heart of is this area of China that constructed in order to help see An awkward moment see “Bridge” 风水; pinyin: fēng shuǐ; The goal of feng shui as feng shui. is linked to Huangdi, the make decisions. A decision see Duck/rabbit drawing see Daegu Art Fair pronounced fehng-shway practiced today is to situate In Yaodian, the cardinal Yellow Emperor, who al- tree is a special form of in English) is an ancient the human built environ- directions are determined legedly invented the south- tree structure. Another use see Duck/rabbit ambiguity drawing see “Don’t hassle the hof” Chinese system of aesthetics ment on spots with good by the marker-stars of pointing spoon. of trees is as a descriptive see Ghost Snoopy see “The handsome tofu” believed to utilize the Laws qi. The “perfect spot” is a the mega-constellations means for calculating condi- of both heaven (astronomy) location and an axis in time. known as the Four Celestial source: Wikipedia.org tional probabilities. see K2000 see “Kim Kim at Rob-ert” and earth (geography) to Some areas are not suit- Animals: A pseudorandom Duchamp, Marcel see “Kim Kim Gallery” help one improve life by able for human settlement sequence of tetrominoes receiving positive Qi. The and should be left in their East: the Bluegreen Dragon (6) Flow chart: Decision (sometimes called “tetrads” see Fountain see Korean international Art Fair original designation for natural state. (Spring equinox) — Niao tree learning, used in data in older versions) — shapes see legend see “Two million years of art” the discipline is Kan Yu (Bird), α Hydrae mining and machine learn- composed of four square (traditional Chinese: 堪輿; ➷ ing, uses a decision tree as blocks each — fall down the see readymade see “Oh, Baby I like it raw” simplified Chinese:堪舆 ; Bagua (eight symbols) South: the Red Bird a predictive model which playing field. The object of Duck/rabbit ambiguity, 87, 98 see “ProveRommet” pinyin: kānyú; literally: Tao Two diagrams known as (Summer solstice) — Huo maps observations about an the game is to manipulate of heaven and earth). bagua (or pa kua) loom (Fire), α Scorpionis item to conclusions about these tetrominoes, by mov- The words ‘feng shui’ large in feng shui, and both the item’s target value. ing each one sideways and literally translates as “wind- predate their mentions in West: the White Tiger More descriptive names rotating it by 90 degree water”in English. This is a the Yijing or I Ching. The (Autumn equinox) — Xu for such tree models are units, with the aim of cultural shorthand taken Lo (River) Chart (Luoshu, or (Emptiness, Void), α classification trees or re- creating a horizontal line (4) Phillip K. Dick: On on his confusion of two implausible. “I experienced the initial visions as laser and elevated stroke risk, from the following passage Later Heaven Sequence) Aquarii, β Aquarii gression trees. In these tree of blocks without gaps. February 20, 1974, Dick related symbols, the ichthys an invasion of my mind by beams and geometric pat- Dick began seeking other of the Zhangshu (Book of and the River Chart (Hetu, structures, leaves represent When such a line is created, was recovering from the (two intersecting arcs a transcendentally rational terns, and, occasionally, rationalist and religious Burial) by Guo Pu of the Jin or Early Heaven Sequence) North: the Dark classifications and branches it disappears, and any effects of sodium pentothal delineating a fish in profile) mind, as if I had been brief pictures of Jesus and explanations for these expe- Dynasty: Qi rides the wind are linked to astronomical (Mysterious) Turtle (Winter represent conjunctions of block above the deleted administered for the extrac- that early Christians used insane all my life and sud- of ancient Rome. As the riences. He referred to the and scatters, but is retained events of the sixth millenni- solstice) — Mao (Hair), η features that lead to those line will fall. As the game tion of an impacted wisdom as a secret symbol, and the denly I had become sane,” visions increased in length “transcendentally rational when encountering water. um BCE, and with the Turtle Tauri (the Pleiades) classifications. progresses, the tetrominoes tooth. Answering the door vesica piscis. After the deliv- Dick told Charles Platt. and frequency, Dick mind” as “Zebra”, “God” Many modern enthusiasts Calendar from the time of In decision theory and fall faster, and the game to receive delivery of extra ery woman’s departure, Dick Throughout February and claimed he began to live a and, most often, “VALIS”. claim that feng shui is Yao. The Turtle Calendar, The bagua diagrams are decision analysis, a decision ends when the stack of analgesic, he noticed that began experiencing strange March 1974, he received a double life, one as himself, Dick wrote about the expe- the practice of arranging found in the Yaodian section also linked with the sifang tree is a graph or model tetrominoes reaches the top the delivery woman was visions. Although they may series of visions, which he “Philip K. Dick”, and one riences in the semi-autobio- objects (such as furniture) of the Shangshu or ‘Book (four directions) method of of decisions and their pos- of the playing field and no wearing a pendant with a have been initially attribut- referred to as “two-three- as “Thomas”, a Christian graphical novels VALIS and to help people achieve their of Documents’, dates to divination used during the sible consequences, new tetrominoes are able symbol that he called the able to the medication, seventy four” (2-3-74), persecuted by Romans in Radio Free Albemuth. goals. More traditionally, 2300 BCE, plus or minus Shang dynasty. The sifang including chance event to enter. “vesicle pisces”. This name after weeks of visions he shorthand for February- the 1st century A.D. Despite feng shui is important in 250 years. is much older, however. It outcomes, resource costs, seems to have been based considered this explanation March 1974. He described his history of drug use source: Wikipedia.org choosing a place to live and It seems clear from was used at Niuheliang, and and utility. It can be used source: Wikipedia.org

  see eye witness see Woodstock see ‘Bridge” the Netherlands) see Manga eye scheme evolution fun(7) gameplay(8) see diagram see reflection see entertainment see bowling balls see Flow chart see Superfly see game play see Licca-chan see food food see Infinite Jest see Tetris see The mad hatter’s tea party see Banana-split delirium funny see toy see Tofu shelf see bread furniture friendly gaps Hammer see Flow chart see Scaffoldings Genet, Jean see “Auto-focus” see Golden turd see Sofa genealogy see bowling balls see “The Handsome tofu” see Stone cold Kiwi gesture see Superfly see health Glasgow (Scotland) harvest see kiwi see Highlander see “Kim Kim Gallery” see Mad hatter’s tea party G see “Kim Kim Gallery” see food see manual arts gadget see Market Gallery see wall paper see Stone cold Kiwi Galérie du jour Agnès b. see suiseki see wellness see swiss plaited loaf (Paris, France) Global Hasselhoff, David see Tofu see “Don’t Hassle the Hof” see “Auto-focus” see David Hasselhoff ambiguity football socks galleries see bowling balls see “Don’t hassle the hof” see health artspace DeFKA, department see Superfly see personality see Sock dryer for philosophy and art see transglobal see pop culture icons found objects (objets trouvés) (Assen, the Netherlands) Ghost Snoopy, 36-37 see Squarepants, Spongebob Fountain BIT Teatergarasjen see drawings see “Two million years of art” see K.iwi (Bergen, Norway) see formlessness see vehicle see ceramics Galérie du jour Agnès b. see “Kim Kim at Rob-ert” health(9) see legend (Paris, France) see sibling see Flow chart see readymade Gallery Shilla Golden turd, 34-35 see food see reappropriation (Daegu, South Korea) see “Auto-focus” see Tofu formlessness Gana Art Center see ceramics see wellness see Golden turd (Seoul, South Korea) see food heterogeneous see Ghost Snoopy Kuenstlerhaus S11 see formlessness Highlander Freud, Sigmund, 20-21, 34 (Solothurn, Switzerland) see health see “Auto-focus” “Sometimes a Cigar is just a cigar.” Market Gallery see readymade see bowling balls see anagama (Glasgow, Scotland) see Scaffoldings see Glasgow see “Auto-Focus” rob-ert showroom Gombrich, Ernst see “Kim Kim Gallery” see manual arts (Berlin, Germany) see ambiguity see Superfly see personality stadthausmuseum Lichtenberg see Duck/rabbit drawing hobbies see pop culture icons (Berlin, Germany) goodness (stranger in a strange land) home system see podium seoul Station City Gallery see Flow chart home time friction (Seoul, South Korea) see Tofu HQ, head quarter friends Gallery Shilla (Daegu, South Korea) guerilla see Flow chart see Patrick see “Auto-focus” see “Kim Kim at Rob-ert” humour(10) see Squrepants, Spongebob Gana Art Center (Seoul, South Korea) see “Kim Kim Gallery” hyper-reality hypothetical

(7) FUN (infinite jest): A few pairments. In some cultures for S. All are capable of into tight spots, clearing shape. Prior to The Tetris H individuals view recreation and religions, recreation is single and double clears. triples.) Company’s standardization “The Handsome Tofu” (exhibition), I as largely non-produc- encouraged on certain days I, J, and L are able to clear in the early 2000s, those tive, even trivial. Excessive and discouraged on others. triples. Only the I tetromino Colors of tetrominoes: colors varied from imple- artspace DeFKa (Assen, ideas recreation is not considered has the capacity to clear Alexey Pajitnov’s (original mentation to implementa- healthy, and may be labeled four lines simultaneously, designer) prototype for tion. For example, the cyan as escapism. However, (8) gameplay, tetris: and this is referred to as a the Elektronika 60 used piece is a different shape in research has shown that Tetris game manuals refer “tetris.” (This may vary de- green brackets to represent nearly every version of the (9) Health: A strong Genetics is also a major fac- (10) Humour: A way and that recognition of this (11) Illusion, Illusions: recreation contributes to to the seven one-sided pending on the rotation and blocks. Versions of Tetris game. This means that the indicator of the health of tor in people’s height. The of dealing with pain, sort is rewarded with the see Der Schein des Scheins, life satisfaction, quality of tetrominoes in Tetris as I, compensation rules of each on the original Game Boy common habit of referring populations is height, which study of human growth, its frequently contains an unex- experience of the humor- Friedrich Nietzsche life, health and wellness, J, L, O, S, T, and Z — due to specific Tetris implementa- and on most dedicated to pieces by color is not is generally increased by regulators, and its implica- pected, often sudden, shift ous response, an element and that the use of recre- their resemblance to letters tion. For instance, in the handheld games also use very sensible, except among improving nutrition and tions is known as Auxology. in perspective, effectively it of which is broadcast as ation as a diversion may of the alphabet — but play- Super Rotation System used monochrome or grayscale players of a particular health care, and is also explains that humour occurs laughter have clinical applications ers sometimes use other in many recent implementa- graphics. But most popular version. influenced by the standard source: Wikipedia.org when the brain recognizes to individuals with chronic names for the pieces, such tions, certain rare situations versions use a separate of living and quality of life. a pattern that surprises it, source: Wikipedia.org pain and other health im- as “stick” for I or “snake” allow T, S and Z to ‘snap’ color for each distinct source: Wikipedia.org

  illuminator see galleries see Infinite jest martial arts illusion, illusions(11) see www.kimkimgallery.com logic see Chan, Jackie imagination “Kim Kim Gallery” (exhibition), see architecture see Manga eye scheme evolution incongruity Market Gallery (Glasgow, Scotland) see manual arts see legend independent mind see billboards logo meaninglessness Infinite Jest see leftovers see “Kim Kim Gallery” mental health(14) see literature see www.kimkimgallery.com see promotion metaphorical status information science see promotion look (looking) method installation(s) (In situ) K.iwi, 29, 31, 34 see “Auto-focus” methodology intentional see anagama see eye witness mild interpretation see “Auto-focus” see Manga eye scheme evolution see Flow chart inventor see Fountain see Superfly see Tofu see Chan, Jackie see Scaffoldings see Flying Eye see wellness see Shulgin, Alexander see reproduction lost formats milieu see Tesler, Nicola kiwi miniatures see Zuse, Konrad see food see “Don’t hassle the hof” irony(12) see Flow chart M see “Two million years of art” Klangfiguren (sound-figures) The mad hatter(13) Minimalism see Chladni, Ernst see Alice in Wonderland mirror J Kuenstlerhaus S11 Solothurn see figurine see “Auto-focus” juxtapose (Switzerland) see manual arts see kitchen foil shade see “Two million years of art” see personality see pin-up see galleries see readymade see reflection K Mad hatter’s tea party, 72-74 see Wheels on meals K2000, 101 see Alice in wonderland misreadings see Hasselhoff, David L see food see readings see “Don’t hassle the hof” landscapes see “The handsome tofu” modeling see drawings language see sweet-bitterness Mona Lisa overdrive, 76-83 see kitchen foil shade laughter manga see architecture see Squarepants, Spongebob see Freud, Sigmund Manga eye scheme evolution, 51-53 see construction see Patrick see the unconscious “Matter is plastic in the face see cityscapes Kacheln-Racing, 50-51 leftovers of the mind” see landscape see architecture legend see “Auto-focus” see personality see “Auto-Focus” see Aspirin see legend see reappropriation see vehicle see baroque see Licca-chan see science fiction kitchen foil shade letters manual arts see Seoul see An awkward moment Levinas, Emmanuel see anagama see Seoul Station City Gallery see Duck/rabbit ambiguity drawing Licca-chan see food see shelving see drawings see “Auto-focus” see baroque see silhouette see K2000 see Beaut Beauty Bewdie see “Kim Kim Gallery” see cuteness

see manual arts see eye witness (13) The mad hatter: (Likewise, the chapter in that time itself was indeed of mental health. Cultural stress, maintain satisfying see mirror see legend Historically, the use of which he first appears, “A “murdered” differences, subjective as- relationships, and lead an quicksilver in hat manufac- Mad Tea-Party”, is often sessments, and competing independent life; and being kitty see Manga eye scheme evolution turing led to insanity among erroneously called “The (14) Mental Health: professional theories all able to “bounce back,” or see cuteness see pure hatters. The Hatter is a Mad Hatter’s Tea Party” but Mental health refers to a affect how “mental health” recover from difficult situa- fictional character initially in fact it takes place in the human individual’s emo- is defined. In general, most tions, are all signs of mental see Tale of three kitties see toy encountered at a tea party garden of the March Hare.) tional and psychological experts agree that “mental health. “Kim Kim at Rob-ert” (exhibition), literature in Lewis Carroll’s Alice’s The Hatter explains well-being. Merriam-Web- health” and “mental illness” Encompassing your emo- Adventures in Wonderland to Alice that he and the ster defines mental health are not opposites. In other tional, social, and—most rob-ert showroom (Berlin, Germany) see Alice in Wonderland and later again as “Hatta” March Hare are always as “A state of emotional and words, the absence of a importantly—your mental in the story’s sequel, having tea because, when psychological well-being in recognized mental disorder well-being; All these as- Through the Looking Glass. he tried to sing for the which an individual is able is not necessarily an indica- pects—emotional, physical, He is popularly referred to Queen of Hearts at a to use his or her cognitive tor of mental health. and social—must function as the “Mad Hatter,” but is celebration of hers, she and emotional capabilities, One way to think about together to achieve overall never called by this name sentenced him to death function in society, and mental health is by looking health. (12) Irony: The different derstanding of reality, or an in Carroll’s book although for “murdering the time”. meet the ordinary demands at how effectively and senses of irony revolve expectation of a reality, and the Cheshire Cat does For reasons that are never of everyday life.” successfully a person source: Wikipedia.org around the perceived notion what actually happens. warn Alice that he is mad, explained, he escaped According to the World functions. Feeling capable of an incongruity between and the Hatter’s eccentric decapitation, but he Health Organization, there and competent; being able what is said and what is source: Wikipedia.org behavior supports this. comes to the conclusion is no one “official” definition to handle normal levels of meant; or between an un-

10 11 see Snoopy see Tofu see found objects see pop culture icons more methods personality see promotion reference library multiples see Chan, Jackie see Tofu reflection see Aspirin see Hasselhof, David see Tofu meets Coca-cola see “Auto-focus” see art fairs see Filliou, Robert Psychic gold-foiled silhoutte, 71 see kitchen foil shade see Crystals see Freud, Sigmund see celebration see “Kim Kim Gallery” see Golden turd see Licca-chan see “The handsome tofu” see mirror see Squarepants, Spongebob see legend see Wheels on meals see Patrick see shine out reform N see Snoopy see Tofu shelf reproduction Neo-Dada see Spike pun(15) see K.iwi neglectable (negligible) see Zuse, Konrad punching card see Tomte Laerdal niceness perspective see computers reservoir of imaginary meanings niche philosophical investigation see “Kim Kim Gallery” riddles Nietszche, Friedrich photography see wall paper ritual Not coming straight to the point, 90- see Arswipe rocket, Toilet paper pure(16) Ritter, Johann 91, 93, 95 still life see Licca-chan (Light-Figures, Fire-Script) see “Don’t hassle the hof” see everyday life see Tofu R.MUTT see slogans pin-up see Fountain see “Two million years of art” see pop culture icons see K.iwi Novalis see Beard door Q Rob-ert (Berlin, Germany) nutritious see Tale of three kitties Qi(17) see guerilla see Flow chart see Wheels on meals see martial arts see “Kim Kim Gallery” see food Planck, Max questions see “Kim Kim at Rob-ert” see Tofu playful see presentation podium Rubber duck, 27 see Scaffoldings R see “Auto-focus” O see Sofa Rancière, Jacques see Candle dog “Oh, Baby I like it raw” see Freud, Sigmund readings see cuteness (exhibition), Pop Art see image reading see Scaffoldings stadtmuseum Lichtenberg (Berlin, pop culture icons see misreadings see Sea lion Germany) see references reality(18) see vintage Open space Bae (Busan, South Korea) see Chan, Jackie reappear organize see Hasselhoff, David reappraise oscillations power wrestling reappropriation S see health see bowling balls satellites see martial arts see Mona Lisa overdrive De Saussure, Ferdinand P practical see “Auto-focus” Scaffoldings, 30-31, 34-35 painting see schnell-schnell reason see architecture see Bearded door see reappropriation recycling see “Auto-focus” see Tale of three kitties presentation references see Candle dog Paris (France) profile Patrick projection see “Don´t Hassle the Hof” promotion see friends see logo (17) Qi: In traditional universal concepts: “Within qi 氣 inevitably flows from noxious vapors that would his death in 479 B.C.), “qi” chinese: 氣 in simplified the framework of Chinese their brushes.” in due time arise from a can mean “breath”, and it see Spongebob Squarepants see pop culture icons Chinese: 气 thought no notion may References to things corpse were it not buried can be combined with the In traditional Chinese attain to such a degree of analogous to the qi or “flow” at a sufficient depth. He Chinese word for blood see Hasselhoff, David see Tofu meets Coca-cola culture, qi (氣; Pinyin qì, abstraction from empirical of energy that sustains living reported that early civilized (making 血氣, xue-qi, see “Two million years of art” ProveRommet Wade-Giles ch’i Jyutping hei; data as to correspond beings are found in many humans learned how to live blood and breath) and that Japanese ki; Korean gi) is perfectly to one of our belief systems, especially in in houses to protect their qi concept can be used to peacefulness see Bergen, Norway an active principle forming modern universal concepts. Asia. Philosophical concep- from the moisture that had account for motivational see Licca-chan see Flow chart part of any living thing. Nevertheless the term qi tions of qi date from the troubled them when they characteristics. It is frequently translated comes as close as possible earliest recorded times in lived in caves. He also as- as “energy flow”, and is to constituting a generic Chinese thinking. sociated maintaining one’s source: Wikipedia.org often compared to Western designation equivalent to These early texts give an qi with providing oneself notions of energeia or élan our word ‘energy’. When indication of how the con- adequate nutrition. (18) reality: La raie alitée vital (vitalism) as well as the Chinese thinkers are cept developed. The phi- In the “Analects of d’effets speaks both of the (15) Pun: A low form of (16) PurE: The absence of yogic notion of prana. unwilling or unable to fix losopher Mo Di (also known Confucius”, (composed homophonic “reality” and humour impurity in a substance. Manfred Porkert de- the quality of an energetic as Mo Zi or “Master Mo”) from the notes of individual the literal “line confined to scribed relations to Western phenomenon, the character used the word qi to refer to students sometime after its bed” (raie alitée). see Castle shelf, shelving Sofa, 48-49 Solothurn, Soleure, Solezza see construction see Scaffoldings see “Auto-focus” (Switzerland) see Golden turd see Tofu shelf see furniture friendly see The best small country in see K.iwi She’ll be right, 90-91, 92, 95 see miniatures the world see Rubber duck see “Don’t hassle the hof” see shade see Florida snowman see Sea lion see slogans see wellness Squarepants, Spongebob see Spike see “Two million years of art” solutions see “Spongebob the Movie” see Tomte Laerdal shine out Spike(20), 30, 33, 35 still life scenography see Castle see “Auto-focus” see everyday life schema see Crystals see Ebonite see photography schnell-schnell see Golden turd see cartoons Stone Cold Kiwi, 40-41 see practical see “Kim Kim Gallery” see flow glaze see “Auto-focus” scale see kitchen foil shade see found objects see Basket Case science fiction Shulgin, Alexander(19) see Peanuts see “Oh, Baby I like it raw” sculptures see inventor see personality see power wrestling Sea lion, 26-27 see personality see sibling see suiseki see “Auto-focus” see Psychic gold-foiled silhoutte Spongebob Delirium see Stone cold Paris see Candle dog sign system see “Don’t hassle the hof” Stone cold Paris, 60 see cuteness silhouette see kitchen foil shade see “Auto-focus” see Rubber duck see Mona Lisa overdrive see Patrick see Basket Case see Scaffoldings see Psychic gold-foiled silhoutte see Squarepants, Spongebob see “Oh, Baby I like it raw” seeing in thinking singularity Spongebob jumping from the hairy see suiseki seismic zone slogans leg of David Hasselhoff, while see Stone cold Paris Seriously easy going, 90-91, 92, 95-96 Snoopy escaping from the cartoon sublime see “Don’t hassle the hof” see Peanuts headhunter subtitle see slogans see cartoons see “Don’t hassle the hof” suggestion see “Two million years of art” see personality see landscape suiseki Seoul (South Korea) see pop culture icons see sculptures see Basket Case see “Bridge” see sibling see Squarepants, Spongebob see landscape see Gana Art Center Snoopy Transfiguration, 38-39 see “Two million years of art” see scale see Mona Lisa overdrive see “Auto-Focus” “Spongebob the Movie” see Stone Cold Kiwi see Seoul city gallery see formlessness see cartoons see Stone cold Paris shape-shifting see “Oh, Baby I like it raw” see Hasselhoff, David see Superfly shaped shapelessness snow man see Patrick super modernity see Ghost Snoopy see Florida snowman see pop culture icons superstrings(21) see Snoopy Transfiguration see shaped shapelessness see Squarepants, Spongebob Superfly, 46-47 see Tofu shelf see Trucker’s restroom see Tofu computers Sock dryer (Seoul version), 84-85 shared see “Bridge” shades see everyday life (20) SPIKE: His appearance unlike bosonic string theory, because the observed between observation and 2, or 2+1 dimensions to a is similar to that of Snoopy, it is the version of string consequences of “Big theory is resolved by making human scientist). This, in see kichen foil shades see Football socks but he has a perpetually theory that incorporates fer- Crunches” never reach zero the unobserved dimensions turn, raises the question of see shine out see furniture friendly sleepy look, and sports a mions and supersymmetry. size. In fact, should the uni- compactified. whether models that rely long, droopy mustache The basic idea is that the verse begin a “big crunch” on such abstract modelling see Sofa see reform and a fedora. He is called fundamental constituents sort of process, string theory ➷ (and potentially impossibly Snoopy’s older brother. of reality are strings of dictates that the universe Extra-dimensions: Our huge experimental ap- Spike lives alone in the des- the Planck length (about could never be smaller than minds have difficulty visual- paratus) can be considered ert near Needles, California. 10−33 cm) which vibrate at the size of a string, at which izing higher dimensions scientific. Six-dimensional resonant frequencies. Every point it would actually begin because we can only move Calabi-Yau shapes can (21) Superstrings: string in theory has a unique expanding. Our physical in three spatial dimen- account for the additional (19) Alexander Shulgin: for psychopharmaceutical is currently continuing his that everything he saw and deny its existence, but it is Superstring theory is an resonance, or harmonic. space is observed to have sions. One way of dealing dimensions required by su- Alexander “Sasha” Shulgin use and the treatment of work at home in Lafayette, thought “had been brought indeed there inside us, and attempt to explain all of the Another key insight only three large dimensions with this limitation is not perstring theory. The theory (b. June 17, 1925 in depression and post-trau- California, and is writing a about by a fraction of a there are chemicals that can particles and fundamen- provided by the theory is and—taken together with to try to visualize higher states that every point in Berkeley, California) is a matic stress disorder. In new comprehensive psyche- gram of a white solid, but catalyze its availability.” tal forces of nature in that no measurable dif- time as the fourth dimen- dimensions at all, but just space (or whatever we had Russian-American pharma- subsequent years, Shulgin delic drug index. that in no way whatsoever Shulgin developed more one theory by modelling ferences can be detected sion—a physical theory to think of them as extra previously considered a cologist, chemist and drug discovered, synthesized, It was in the late 50’s could it be argued that than 230 psycho-active them as vibrations of tiny between strings that wrap must take this into account. numbers in the equations point) is in fact a very small developer. and bioassayed over 230 that Shulgin had a series these memories had been drugs, some of which make supersymmetric strings. It around dimensions smaller However, nothing prevents that describe the way the manifold where each extra Shulgin is credited psychoactive compounds. of psychedelic experiences contained within the white LSD look like an aspirin. is considered one of the than themselves and those a theory from including world works. This opens dimension has a size on the with the popularization of In 1991 and 1997, he that helped to shape his solid... I understood that our most promising candidate that move along larger more than 4 dimensions, the question of whether order of the Planck length. Methylenedioxymethamphet and his wife Ann Shulgin further goals and research, entire universe is contained source: Wikipedia.org theories of quantum grav- dimensions (i.e., effects in per se. In the case of string these ‘extra numbers’ can amine (MDMA—also known authored the books PiHKAL beginning with an experi- in the mind and the spirit. ity. Superstring theory is a a dimension of size R equal theory, consistency requires be investigated directly in source: Wikipedia.org as Ecstasy) in the late 1970s and TiHKAL on the topic ence with mescaline. We may choose not to find shorthand for supersymmet- those whose size is 1/R). spacetime to have 10, 11 or any experiment (which must and early 1980s, especially of psychoactive drugs. He He would later write access to it, we may even ric string theory because Singularities are avoided 26 dimensions. The conflict show different results in 1,

14 15 see “Auto-Focus” Tofu shelves, 70 see Filliou, Robert see Artspace DeFKa see bowling balls see “The handsome tofu” see slogans see “Kim Kim Gallery” see eye witness see food see punching card see Flying eye see Scaffoldings see wellness surfaces see shelving U wellness Surprise surprise, 103 Tomte Laerdal(23), 28-29, 31, 34 uncertain Wheels on Meals(26), 44-45, 54-55 see “Don’t hassle the hof” see anagama Uncertainty principle(24) see Auto-Focus see drawings see “Auto-focus” (Unschärfenrelation D) see Chan, Jackie see kitchen foil shade see Bergen (Norway) unconnected see food see Squarepants, Spongebob see peacefulness unexpected see pop culture icons see Patrick see reproduction universal language see vehicle see personality see Scaffoldings Wittgenstein, Ludwig see sibling see vehicle see duck-rabbit ambiguity swiss plaited loaf (Butterzopf) tourism V see universal language see bread see vehicle variable Woodstock see Florida snowman see wellness vehicle see Peanuts see food toy see Tomte Laerdal see sibling see swissmade see computers see tourism see Snoopy swiss made see Licca-chan see toy see Snoopy Transfiguration see The best small country in see Tetris see Wheels on meals Woody Allen story (apocryphal)(27) the world see snowman vice versa words see cuteness see Tomte Laerdal see sibling see wellness Track see reproduction symbol see “Auto-focus” vintage Y see bowling balls see Tomte Laerdal Yes Way, 90-91, 93-94 see Superfly visible without being legible see “Don’t hassle the hof” T see Wheels on meals Visionary(25) see slogans Tale of three kitties, 58 transfer see “Auto-focus” see “Two million years of art” see architecture transfiguration see bowling balls You had me at Hello, 90-91, 93-94 see “Auto-focus” transforming see inventor see “Don’t hassle the hof” see Bearded door transglobal see Flying eye see slogans see cuteness see tourism see Shulgin, Alexander see “Two million years of art” see paintings see vehicle see Superfly see Woody Allen story (apocryphal) see pin-up transmitting see Tesla, Nicolas tasteful tastelessness Trucker’s restroom, 62-63 see Zuse, Konrad see Tofu see architecture visions Z the tea party (as theme) see “Auto-focus” visitant Zen see bitter-sweetness see “Oh, Baby I like it raw” see Tofu see food see manual arts see peacefulness see wellness see snowman W see wellness Tesla, Nicola see scale wall paper see inventor Tweety see personality see cartoons (24) Uncertainty is the wavelength. Neither position. So in quantum future. Certain people are is incorrectly assumed to Tetris see cuteness principle (Unschärfen- the position nor the velocity mechanics, there are no capable of going into the be from a Woody Allen film relation D): In quantum is precisely defined; the states which describe a visionary state via medita- (Annie Hall), uttered by a see game play see Florida snowman physics, the Heisenberg position is uncertain to particle with both a definite tion, drugs, lucid dreams, nymphomaniac whose erotic Tofu Meets Coca-cola(22), 68-69 see “Two million years of art” uncertainty principle states the degree that the wave position and a definite day dreams, or art. fantasy is to be raped by that locating a particle in is spread out, and the mo- momentum. The narrower strangers while canvassing see BIT Teatergarasjen (Norway) “Two million years of Art” a small region of space mentum is uncertain to the the probability distribution source: Wikipedia.org New York apartment build- see food (exhibition), Kuenstlehaus S11 makes the momentum of degree that the wavelength is for the position, the wider ings for cash donations to the particle uncertain; and is ill-defined. it is in momentum. (26) Wheels on Meals: the Salvation Army. The see pop culture icons (Solothurn, Switzerland) conversely, that measuring The only kind of wave Wheels on meals is a 1984 phrase is actually uttered in see promotion see “Don’t hassle the hof” the momentum of a particle with a definite position is source: Wikipedia.org Hong Kong action film the 1996 film,Jerry Maguire. precisely makes the position concentrated at one point, directed by Sammo Hung. The dialogue is: uncertain. and such a wave has no (25) Visionary (subcat- Jackie Chan and Yuen Biao In quantum mechanics, wavelength. Conversely, egory: Inventor): Defined play cousins who run a fast Jerry Maguire: I love you. the particle is described the only kind of wave with narrowly, a visionary is one food van in Barcelona. You... you complete me. And by a wave. The position is a definite wavelength is an who experiences a vision I just... (22) Tofu Meets Coca- fridge, Coca-Cola cup curious shapes), mainframe (23) Tomte LAERDAL: toys in the 1960s and early where the wave is concen- infinite regular periodic or apparition connected to (27) Woody Allen Story cola: Small Tofus built sign (stolen), not neutral, computers to, suprematist Tomte Laerdal was a 1970s. Laerdal was based trated and the momentum, oscillation over all space, the supernatural. At times (Apocryphal) “You had Dorothy: Shut up, just shut out of paper, Coca-Cola panopticum (collection of architecture manufacturer of plastic in Stavanger, Norway. a measure of the velocity, which has no definite this involves seeing into the me at Hello”: The phrase up. You had me at “hello”.

16 17

Freud, Sigmund 2008 15cm x 15cm x 35cm Ceramic fired in an Anagama kiln “Auto-focus” painted wood base Gallery Shilla 20 Daegu Korea

Freud, Sigmund 2008 15cm x 15cm x 35cm Ceramic fired in an Anagama kiln “Auto-focus” painted wood base Gallery Shilla 21 Daegu Korea Aspirin 2008 26cm x 26cm x 6cm plaster “Korean international Art Fair” Coex 22 Seoul Korea

“Daegu Art Fair” Exco Daegu Korea

Aspirin 2008 26cm x 26cm x 6cm plaster “Korean international Art Fair” Coex 23 Seoul Korea

“Daegu Art Fair” Exco Daegu Korea Castle (detail) 2008 40cm x 30cm x 26cm paper “Auto-focus” silver paint Gallery Shilla 24 mixed media Daegu Korea

“Oh, Baby I like it raw” Stadtmuseum Lichtenberg Berlin Germany

Castle (detail) 2008 40cm x 30cm x 26cm paper “Auto-focus” silver paint Gallery Shilla 25 mixed media Daegu Korea

“Oh, Baby I like it raw” Stadtmuseum Lichtenberg Berlin Germany Sea lion 2008 16cm x 16cm x 16cm glass “Auto-focus” colored candle Gallery Shilla 26 Daegu Korea

Sea lion 2008 16cm x 16cm x 16cm glass [all] colored candle “Auto-focus” 27 Gallery Shilla Rubber duck 2008 16cm x 16cm x 16cm glass Daegu colored candle Korea Tomte Laerdal 2008 25cm x 15cm x 13cm ceramic fired in an Anagama kiln “Auto-focus” Gallery Shilla 28 Daegu Korea

Tomte Laerdal 2008 25cm x 15cm x 13cm ceramic fired in an Anagama kiln [all] “Auto-focus” 29 K.iwi 2008 17cm x 30cm x 18cm ceramic fired in an Anagama kiln Gallery Shilla Daegu Korea Scaffoldings 2008 200cm x 200cm x 300cm plywood “Auto-focus” variable steel Gallery Shilla 30 laminate Daegu neon lights Korea small sculptures

Scaffoldings 2008 200cm x 200cm x 300cm plywood “Auto-focus” variable steel Gallery Shilla 31 laminate Daegu neon lights Korea small sculptures Candle dog 2008 20cm x 13cm x 13cm glass “Auto-focus” colored candle Gallery Shilla 32 Daegu Korea

Spike 2008 22cm x 15cm x 15cm ceramic “Auto-focus” flow glaze Gallery Shilla 33 straw hat Daegu fake hair Korea

“Kim Kim at Rob-ert” Rob-ert show-room Berlin Germany

* Spike lives alone in the desert near Needles, California, only occasionally interacting with the principal characters in the strip, generally in visiting Snoopy. His friends are mostly inanimate saguaro cacti. As the only saguaros in California are in the Whipple Mountains fifty miles south of Needles, Spike must live somewhere in this wilderness area. Scaffoldings 2008 200cm x 200cm x 300cm plywood “Auto-focus” variable steel Gallery Shilla 34 laminate Daegu neon lights Korea small sculptures

Scaffoldings 2008 200cm x 200cm x 300cm plywood “Auto-focus” variable steel Gallery Shilla 35 laminate Daegu neon lights Korea small sculptures Ghost Snoopy 2008 21cm x 29.7cm pencil on paper “Kim Kim at Rob-ert” Rob-ert show-room Berlin 36 Germany

Ghost Snoopy 2008 21cm x 29.7cm pencil on paper “Kim Kim at Rob-ert” Rob-ert show-room 37 Berlin Germany Snoopy Transfiguration 2008 42cm x 44cm x 38cm plaster “Oh, Baby I like it raw” steel Stadtmuseum Lichtenberg 38 aluminum Berlin plastic toy Germany

Snoopy Transfiguration 2008 42cm x 44cm x 38cm plaster “Oh, Baby I like it raw” steel Stadtmuseum Lichtenberg 39 aluminum Berlin plastic toy Germany Stone cold Kiwi 2008 50cm x 48cm x 42cm wood “Auto-focus” steel Gallery Shilla 40 paint Daegu Korea

“Oh, Baby I like it raw” Stadtmuseum Lichtenberg Berlin Germany

Stone cold Kiwi 2008 50cm x 48cm x 42cm wood “Auto-focus” steel Gallery Shilla 41 paint Daegu Korea

“Oh, Baby I like it raw” Stadtmuseum Lichtenberg Berlin Germany Basket Case 2008 90cm x 70cm x 50 cm steel “Auto-Focus” paint Gallery Shilla 42 concrete Daegu stones Korea

“Oh, Baby I like it raw” Stadtmuseum Lichtenberg Berlin Germany

Stone cold Kiwi 2008 50cm x 48cm x 42cm wood [all] steel 43 paint “Auto-Focus” Gallery Shilla Aspirin Tower 2008 49cm x 49cm x 118cm plaster Daegu Korea electric motor tiles “Oh, Baby I like it raw” mixed media Stadtmuseum Lichtenberg Berlin Bridge 2008 80cm x 96cm x 80cm wood Germany steel paint

Castle 2008 40cm x 30cm x 26cm paper silver paint mixed media

Basket Case 2008 90cm x 70cm x 50cm steel paint concrete stones Wheels on meals 2008 48cm x 28cm x 30cm wood “Auto-focus” glass Gallery Shilla 44 plaster Daegu light Korea paint

Wheels on meals 2008 48cm x 28cm x 30cm wood “Auto-focus” glass Gallery Shilla 45 plaster Daegu light Korea paint Superfly 2008 133cm x 133cm x 60cm bowling ball “Auto-focus” floor paneling Gallery Shilla 46 PVC Daegu plexi-glas Korea

Superfly 2008 133cm x 133cm x 60cm bowling ball “Auto-focus” floor paneling Gallery Shilla 47 PVC Daegu plexi-glas Korea Sofa 2008 65cm x 64cm x 102cm miniature furniture “Auto-focus” sunglasses Gallery Shilla 48 tiles Daegu foamboard Korea

Sofa 2008 65cm x 64cm x 102cm miniature furniture “Auto-focus” sunglasses Gallery Shilla 49 tiles Daegu foamboard Korea Kacheln-Racing 2008 125cm x 15cm x 170cm wood “Auto-focus” tiles Gallery Shilla Daegu 50 Korea

Kacheln-Racing 2008 125cm x 15cm x 170cm wood [all] tiles “Auto-focus” Gallery Shilla 51 Manga eye scheme evolution 2008 105cm x 170cm stencil on plastic Daegu “Matter is plastic in the face of Korea the mind” Manga eye scheme evolution 2008 105cm x 170cm stencil on plastic “Auto-focus” “Matter is plastic in the face of Gallery Shilla 52 the mind” Daegu Korea

Manga eye scheme evolution 2008 105cm x 170cm stencil on plastic “Auto-focus” “Matter is plastic in the face of Gallery Shilla 53 the mind” Daegu Korea Pin-up, Wheels on meals 2008 17cm x 20cm x 1cm steel “Auto-focus” mirrored plastic Gallery Shilla 54 Daegu Korea

Wheels on meals 2008 158cm x 326cm x 54cm steel “Auto-focus” plastic Gallery Shilla 55 wood Daegu fabric Korea chromeplates Flying eye 2008 45cm x 90cm x 45cm bowling ball “Auto-focus” plexi-glass Gallery Shilla steel Daegu 56 Korea

Flying eye 2008 45cm x 90cm x 45cm bowling ball “Auto-focus” plexi-glass Gallery Shilla 57 steel Daegu Korea Tale of three kitties 2008 212cm x 82cm x 4cm acryl color on canvas “Auto-focus” painted door Gallery Shilla Daegu 58 Korea

Bearded door 2008 240cm x 90cm x 4cm acryl color on canvas “Auto-focus” painted door Gallery Shilla 59 Daegu Korea Flying eye 2008 45cm x 90cm x 45cm bowling ball “Auto-focus” plexi-glass Gallery Shilla 60 steel Daegu Korea

Stone cold Paris 2008 186cm x 45cm x 42cm steel “Auto-focus” wood Gallery Shilla paint Daegu Korea

“Oh, Baby I like it raw” Stadtmuseum Lichtenberg Berlin Germany

Dango bridge 2008 80cm x 96cm x 80cm wood “Auto-focus” steel Gallery Shilla 61 paint Daegu Korea Trucker’s restroom 2008 120cm x 79cm x 86cm tiles “Auto-focus” foamboard Gallery Shilla 62 glass Daegu Korea

“Oh, Baby I like it raw” Stadtmuseum Lichtenberg Berlin Germany

Trucker’s restroom 2008 120cm x 79cm x 86cm tiles “Auto-focus” foamboard Gallery Shilla 63 glass Daegu Korea

“Oh, Baby I like it raw” Stadtmuseum Lichtenberg Berlin Germany Trucker’s restroom 2008 120cm x 79cm x 86cm tiles “Auto-focus” foamboard Gallery Shilla 64 glass Daegu Korea

“Oh, Baby I like it raw” Stadtmuseum Lichtenberg Berlin Germany

Trucker’s restroom 2008 120cm x 79cm x 86cm tiles “Auto-focus” foamboard Gallery Shilla 65 glass Daegu Korea

“Oh, Baby I like it raw” Stadtmuseum Lichtenberg Berlin Germany Flow chart 2007 120cm x 189cm pencil on paper “ProveRommet” BIT Teatergarasjen 66 Bergen Norway

Flow chart 2007 120cm x 189cm pencil on paper “ProveRommet” BIT Teatergarasjen 67 Bergen Norway Tofu meets Coca-cola 2007 180cm x 72cm x 78cm cardboard “ProveRommet” paper BIT Teatergarasjen 68 plastic Bergen fridge Norway light bulbs

Tofu meets Coca-cola 2007 180cm x 72cm x 78cm cardboard “ProveRommet” paper BIT Teatergarasjen 69 plastic Bergen fridge Norway light bulbs Tofu computers 2007 each approximately cardboard “The handsome tofu” 20cm x 15cm x 20cm paper Artspace DeFKa 70 Assen The Netherlands

Tofu shelves 2007 176cm x 96cm x 45cm wood [all] laminate “The handsome tofu” 71 steel Artspace DeFKa Assen Psychic gold-foiled silhouette 2006 125cm x 98cm x 2cm frames The Netherlands stools golden foil Mad Hatter’s tea party 2007 122cm x 110cm x 106cm wood “The handsome tofu” variable laminate Artspace DeFKa 72 plexi-glas Assen hats The Netherlands Mad Hatter figurine bread fake maple leaves

Mad Hatter’s tea party 2007 122cm x 110cm x 106cm wood [all] variable laminate “The handsome tofu” 73 plexi-glas Artspace DeFKa hats Assen Mad Hatter figurine The Netherlands bread fake maple leaves

Flow chart (Mind Map) 2007 206cm x 360cm embroidery on velvet Mad Hatter’s tea party 2007 122cm x 110cm x 106cm wood “The handsome tofu” variable laminate Artspace DeFKa 74 plexi-glas Assen hats The Netherlands Mad Hatter figurine bread fake maple leaves

Mad Hatter’s tea party 2007 122cm x 110cm x 106cm wood “The handsome tofu” variable laminate Artspace DeFKa 75 plexi-glas Assen hats The Netherlands Mad Hatter figurine bread fake maple leaves Mona Lisa overdrive (details) 2008 250cm x 250cm x 350cm wood Seoul city gallery sponge Seoul 76 polyurethane Korea plastic steel paint

Mona Lisa overdrive (details) 2008 250cm x 250cm x 350cm wood Seoul city gallery sponge Seoul 77 polyurethane Korea plastic steel paint Mona Lisa overdrive (details 2008 250cm x 250cm x 350cm wood Seoul city gallery sponge Seoul 78 polyurethane Korea plastic steel paint

Mona Lisa overdrive (details 2008 250cm x 250cm x 350cm wood Seoul city gallery sponge Seoul 79 polyurethane Korea plastic steel paint Mona Lisa overdrive 2008 250cm x 250cm x 350cm wood Seoul city gallery sponge Seoul 80 polyurethane Korea plastic steel paint

Mona Lisa overdrive 2008 250cm x 250cm x 350cm wood Seoul city gallery sponge Seoul 81 polyurethane Korea plastic steel paint Mona Lisa overdrive 2008 250cm x 250cm x 350cm wood Seoul city gallery sponge Seoul 82 polyurethane Korea plastic steel paint

Mona Lisa overdrive 2008 250cm x 250cm x 350cm wood Seoul city gallery sponge Seoul 83 polyurethane Korea plastic steel paint Sock dryer 2008 197cm x 197cm x 120cm wood [all] (Seoul version) variable football socks “Bridge” 84 Noguchi lights Gana Art Center Seoul Arswipe Rocket 2006 120cm x 160cm digital print on canvas Korea Toilet paper still life

Sock dryer 2008 197cm x 197cm x 120cm wood [all] (Seoul version) variable football socks “Bridge” 85 Noguchi lights Gana Art Center Seoul Arswipe Rocket 2006 120cm x 160cm digital print on canvas Korea Toilet paper still life Florida snowman 2008 60cm x 56cm x 53cm swiss plaited loaf “Two million years of art” variable blankets Kuenstlehaus S11 86 fabrics Solothurn Switzerland

Florida snowman 2008 60cm x 56cm x 53cm swiss plaited loaf [all] variable blankets “Two million years of art” 87 fabrics Kuenstlehaus S11 Solothurn Duck/rabbit ambiguity drawings 2007 50cm x 69cm blue carbon drawing on paper Switzerland 42cm x 60 cm kitchen foil framed Spongebob Squarepants jumping 2007 variable furniture “Two million years of art” from the hairy leg of David 240cm x 150cm x 160cm model mountain Kuenstlehaus S11 88 Hasselhoff, while escaping from plastic Solothurn the cartoon headhunter curtain Switzerland tie sponge mixed media

Spongebob Squarepants jumping 2007 variable furniture “Two million years of art” from the hairy leg of David 240cm x 150cm x 160cm model mountain Kuenstlehaus S11 89 Hasselhoff, while escaping from plastic Solothurn the cartoon headhunter curtain Switzerland tie sponge mixed media H-A-SS-E-L-H-O-F slogan frames 2008 variable felt “Two million years of art” each approx. 30cm x 25cm kitchen foil Kuenstlehaus S11 90 frames Solothurn Switzerland

“Don’t hassle the hof” Galerie du jour Paris France

Don’t Hassle the hof 2008 dimensions variable felt “Don’t hassle the hof” kitchen foil Galerie du jour 91 frames Paris model houses France furnitures Don’t Hassle the hof 2008 dimensions variable felt “Don’t hassle the hof” kitchen foil Galerie du jour 92 frames Paris model houses France furnitures

Don’t Hassle the hof 2008 dimensions variable felt “Don’t hassle the hof” kitchen foil Galerie du jour 93 frames Paris model houses France furnitures Don’t Hassle the hof 2008 dimensions variable felt “Don’t hassle the hof” kitchen foil Galerie du jour 94 frames Paris model houses France furnitures

Don’t Hassle the hof 2008 dimensions variable felt “Two million years of art” kitchen foil Kuenstlehaus S11 95 frames Solothurn model houses Switzerland furnitures Don’t Hassle the hof 2008 dimensions variable felt “Two million years of art” kitchen foil Kuenstlehaus S11 96 frames Solothurn model houses Switzerland furnitures

Spongebob Squarepants jumping 2007 variable furniture “Don’t hassle the hof” from the hairy leg of David Has- 240cm x 150cm x 160cm model mountain Galerie du jour 97 selhoff, while escaping from the plastic Paris cartoon headhunter curtain France tie sponge mixed media Duck/rabbit ambiguity drawing 2007 50cm x 69cm blue carbon drawing on paper “Don’t hassle the hof” kitchen foil Galerie du jour 98 framed Paris France

“Two million years of art” Kuenstlehaus S11 Solothurn Switzerland

Duck/rabbit ambiguity drawing 2007 50cm x 69cm blue carbon drawing on paper “Don’t hassle the hof” kitchen foil Galerie du jour 99 framed Paris France

“Two million years of art” Kuenstlehaus S11 Solothurn Switzerland Banana-split delirium 2008 42cm x 60cm blue carbon drawing on paper “Don’t hassle the hof” framed Galerie du jour 100 Paris France

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K2000 2008 42cm x 60 cm blue carbon drawing on paper “Don’t hassle the hof” kitchen foil Galerie du jour 101 framed Paris France An awkward moment 2008 42cm x 60cm blue carbon drawing on paper “Don’t hassle the hof” kitchen foil Galerie du jour 102 framed Paris France

Surprise surprise 2008 42cm x 60cm blue carbon drawing on paper “Don’t hassle the hof” kitchen foil Galerie du jour 103 framed Paris France Kim Kim Gallery 2008 variable plywood “Kim Kim Gallery” each approx. wood Market Gallery 104 330cm x 225cm x 350cm wall paper Glasgow light Scotland

Kim Kim Gallery 2008 variable plywood “Kim Kim Gallery” each approx. wood Market Gallery 105 330cm x 225cm x 350cm wall paper Glasgow light Scotland Kim Kim Gallery 2008 variable plywood “Kim Kim Gallery” each approx. wood Market Gallery 106 330cm x 225cm x 350cm wall paper Glasgow light Scotland

Kim Kim Gallery 2008 variable plywood “Kim Kim Gallery” each approx. wood Market Gallery 107 330cm x 225cm x 350cm wall paper Glasgow light Scotland Kim Kim Gallery 2008 variable plywood “Kim Kim Gallery” each approx. wood Market Gallery 108 330cm x 225cm x 350cm wall paper Glasgow light Scotland

Kim Kim Gallery 2008 variable plywood “Kim Kim Gallery” each approx. wood Market Gallery 109 330cm x 225cm x 350cm wall paper Glasgow light Scotland Sytze Steenstra Conceptual cartoons in Suggestion city

A seismic zone of incongruities ers installed in combination with toy houses and a toy gas station and wacky little phrases such as The installations and drawings by Gregory “seriously easy going” and “not coming straight Maass and Nayoungim documented in this book to the point”? Would you go to an opening when consist mostly of widening gaps between the the invitation card showed a film publicity photo constituent parts. They form a seismic zone, rid- of David Hasselhoff in swimming trunks on dled with ravines and fissures, eminently unsta- the beach, holding cartoon figure SpongeBob ble cityscapes of found objects, catchy remarks, SquarePants in the palm of his hand? Yes, really, dumb puns, cartoons, gleefully deliberate ugli- David Hasselhoff, the actor from the TV series ness, blunt parody. To the untrained eye, there “Baywatch” and “Knight Rider”? Why should the is very little to keep the whole shebang from artists expect you to? What is the aesthetic and falling in over your head, leaving only rubbish. even contemplative reality of this art, under- But the installations give the appearance of neath its tremendous surface panache for incon- knowing that you’ve seen as many bad television gruity and irony? shows as they have, and as many commercials, The photograph of David Hasselhoff looking and as many films, and you know that they know, at SpongeBob SquarePants is a direct (but hard- and they know that you know that they know. ly obvious) reference to art history. The French, And they appear to know, and secretly build on Fluxus-affiliated artist and poet Robert Filliou a good deal of, say, Neo-Dada and Fluxus and proposed “Art’s Birthday” in 1963. He suggested Pop Art, and they have zapped from Concept that 1,000,000 years ago, there was no art. But to Minimal and back, and all that has taught one day, on January 17th to be precise, Art was them to keep their formlessness apart from their born. Filliou says it happened when someone meaninglessness, making sure that the chasm dropped a dry sponge into a bucket of water. between the dumb and the ugly is widening, that In 1973, Filliou celebrated the tenth birthday of the real is only suggested, and that your curios- art’s 1.000.000th birthday, and from that year on, ity is getting involved. Perhaps you have been the birthday of art has been a yearly occasion through a moment, as a child in school, when for a great diversity of artists. By appropriating you gave up drawing because cartoons always the photo of Hasselhoff and Spongebob, pub- looked more convincing than anything you your- licity material for the feature film “SpongeBob self could draw. Perhaps you have been to par- the Movie” (Paramount Pictures/Nickelodeon, ties where people would tell you the plot of films 2004) for their invitation, and by calling their and television programmes they had seen the show Two Million Years of Art, Gregory Maass other day, instead of telling from their own expe- and Nayoungim have provided the birth of art rience. This art seems to be willing to talk about with a face and a name. Filliou, who lived from such moments. 1926 until 1987, can’t possibly have been think- ing of this combination of cartoon sponge and ham actor when he postulated a birthday for art. SpongeBob Fluxus (Nayoungim and Maass doubled the age of art from one to two million years “because of the Still, would you really want to go to an art gallery recent discovery of far older humanoid ances- to see ugly brown second-hand chests of draw- try”, a move which simultaneously undermines Filliou’s gesture and yet deals with it as if it had Universal insinuation, the authority of a scientific finding from the natu- universal language ral history of Homo Sapiens.) Filliou’s instauration of “Art’s Birthday” is an It isn’t hard to see that the work of Nayoungim ambivalent and troublesome piece of art. On and Maass is riddled with forms of language and the one hand, it isn’t even a piece. Nor is it, for code. Once you start looking for them, the ques- that matter, a poem; it is just a gesture, a grand tion is rather where to stop. Language insinuates suggestion, uniting all of mankind in a single itself everywhere, initiating all kinds of meta- history of the imagination while at the same time phorical readings and misreadings. ignoring completely all established art history, and insisting on an originary myth for art that is In the Handsome Tofu show (Assen, The painfully dumb and brings art within the reach Netherlands, 2007), tofu acts as body double of anyone who is capable of dropping a sponge for the sponge, proving its ability to soak up in a bucket. And that, it has to be admitted, in- countless tastes, shapes and meanings. Tofu’s cludes Hasselhoff and his audience. On the oth- flexible and adaptive qualities are celebrated by er hand, such suggestions or “fluxus pieces” are a key piece for the show, the TOFU flow chart, a insidious, like pop tunes with their hook lines hand-embroidered banner which showcases the they tend to nestle themselves inside the brain, artistic methodology of Nayoungim and Gregory like succesful publicity strategies they pop up at S. Maass. The flow chart unapologetically dia- unexpected moments, forcing their point of view grams the connections between (among others) on the situation. So, of course, there are not only Zen, the sublime, creativity, visions, goodness, websites for “SpongeBob the Movie” and for the artists themselves, entertainment, kiwi’s, sci- David Hasselhoff, but also for “Art’s Birthday”. ence-fiction — pointing to tofu as the final out- Go to www.artsbirthday.net for events and par- come, the crème de la crème, nutritious symbol ties now organized each year. of symbols. Filliou questioned the status of the artwork Tofu is also the underlying structure of a and the artworld, always claiming that spontane- sculpture that resembles nothing so much as a ity and originality are what really matters in art, bunch of cheap old kitchen-sink cabinets. The often working with cheap materials, leaving his viewer may well wonder on which side of the compositions without polish or finishing. With sink the refrigerator should go (the inevitable the gift for catchy slogans that characterizes so IKEA question) before noticing that the plastic many artists on the edge of conceptual thought, laminate boards actually form the letters T—O— art and poetry, he came up with what he called F—U. the “principle of equivalence”, stating that “well- The sculptural installation The mad hatter, a made”, “poorly made”, “not made” are equiva- character from Alice in Wonderland, is on one lents in art. It follows that for Filliou, art is firmly level a recreation of a Japanese-style tofu dish, lodged in the domain of the hypothetical and the in which the tofu, once again, is made out of imaginary. That this is so, is also demonstrated plastic laminate, while the bean sauce is repre- by his firm insistence that everybody is an artist, sented by hats. The acrylic body of an electric and that it is the task of the artist to demon- guitar is completed by having a French baguette strate that; a conviction which he also expressed stand in for the neck. The tasteful tableau is in the formula “art is what makes life more inter- completed by autumn leaves (plastic) hanging esting than art”. Art, for Filliou, can change the from the ceiling; this being standard decoration world by demonstrating the universal reality of in Japanese supermarkets (information courtesy the imagination. He sought to make works of the of the artists). greatest possible simplicity, looking for a lan- In an earlier show (Bergen, Norway, 2007), guage that is universally understood. Maass and Nayoungim had already tested and approved of the shape-shifting potential of tofu, by making a collection of small tofu box- like assemblages, which might or might not be scaled down models of mainframe computers, suprematist skyscrapers, and satellites. All these

Right: A production still from “The SpongeBob SquarePants Movie” (2004) turned invitation to Maass and Nayoungim’s 2008 exhibition Two Million Years of Art at the Künstlerhaus in Solothurn, Switzerland.

112 subjects, computers, skyscrapers, and satel- blue plasticine foot of Hasselhoff surfing through lites, had figured in their work before. Fixing spray water. (Once again, background informa- these tofu replicas on top of an appropriated tion provided by the artists.) Coca-Cola refrigerator may have served simply There is also a snowman-like sculpture made to add a bit of extra relish to the show, or to out of blankets and various tissues, inspired add a whiff of East (tofu) meets West (coke), or by similar snowmen discovered by Maass and even to insinuate the biography of Robert Filliou, Nayoungim to be part of the folklore of (guaran- who worked for Coca-Cola in the US before he teed snow-free) Florida. The snowman may or worked for the UN in Korea (where tofu is the may not refer to Hasselhoff, Squarebob, Filliou, national dish) and immersed himself deeply in and sponges. It refers with certainty to imaginary the teachings of Zen buddhism. representations of the human figure, and for better or worse, it represents the eternal rebirth of art. Maass and Nayoungim’s 2008 shows Two Million Years of Art and Don’t Hassel the Hof, re- Another show, in the Market Gallery in spectively in Solothurn, Switzerland, and Galerie Glasgow in 2008, introduces the “Kim Kim gal- Agnès B., Paris, both play with the substitution lery”. “Kim Kim” answers and echoes Glasgow’s of Hasselhoff for Filliou, respectively for the man “Mary Mary” gallery for contemporary art. The who gives birth to art. Each letter of Hasselhoff’s show itself consists simply of the letters K, I, and name is represented individually by a catchy little M, built of great sheets of plywood, each letter phrase, organized in the shape of a capital H, A, brightly lit by its own lights, empty billboards S, E, L, O, or F. Each catchphrase in turn is up- announcing nothing more than their own tauto- beat to the point of being self-contradictory: “yes logical presence. The scaffolding that supports way” instead of “no way”, “seriously easygoing”, these letters is draped with long folds of wallpa- “you had me at hello”. (This last phrase, so the per with an arcadian motif. These folds of wall- artists informed me, they remembered vaguely, paper are punched in a systematic fashion, like perhaps mistakenly, from an early Woody Allen the now outdated punchcards that were used comedy — Annie Hall? — where it was or wasn’t some thirty years ago to feed encoded data into pronounced by “a full-fledged nymphomaniac computers. whose erotic phantasy is to be raped by strangers Kim Kim Gallery also has an internet while collecting money for the Salvation Army in existence; see www.kimkimgallery.com. New York apartment buildings”.) Nayoungim and Maass use it as a magnet to attract other artists with a most independent The phrase “Don’t Hassel the Hof” was found mind. Kim Kim Gallery may also, one of these by the artists on a David Hasselhof-fan t-shirt. days, develop into an actual gallery. Maass and Nayoungim got some extra mile- age out of this play of words by taking the word If these shows do not quite live up to Filliou’s “Hof” to stand for “farm”, as it does in German, demand for art as a universal language, they cer- representing this by model farmhouses, exhib- tainly do exhibit a willingness to employ all kinds ited in a landscape of not-too-alluring brown of materials to warp each other’s meaning into tables, cupboards and chests of drawers. The metaphorical status. Nothing is left quite as it was phrase “She’ll be allright”, is installed, without before. Each presumably stable form of language any need for transliteration, with a model Shell is slightly tilted, at least for the duration of the gas station, exhibited next to the farms. show. Tables represent mountains, but only “as if”: Other installations in these shows are de- they are still, ostensively, just tables. Plywood and rived from Hasselhoff’s role as lifeguard in wooden slats make billboards and road signs, but “SpongeBob the Movie”. The film scene in which only as long as you’re willing to play. Each piece SpongeBob has to jump from one of Hasselhoff’s grinds your nose in the reality of the reservoir of legs to the other to escape from a cartoon head- imaginary meanings that everyone carries around hunter, performing this James Bond-like act of with him. If the work of Nayoungim and Maass is, daring athleticism while Hasselhoff is body-ski- like Filliou’s, looking for a language that is univer- ing through the surf, is represented in the part sally understood, it does so by exploring the detour of an installation of a papier maché island with a through the imagination, accepting that the history

Top left: Inauguration of the Kim Kim Gallery at the Market Gallery in Glasgow, Scotland. (2008) Bottom: Logo for KimKim Gallery, designed by Gregory Maass & Nayoungim.

115 of mankind’s imagination is not without a good this act of interpretation.” And Gombrich reminds dose of flukes and blunders. his readers that “Representation is always a two- way affair. It creates a link by teaching us how to switch from one reading to another.” Cartoon diagrams The anonymous artist who came up with the drawing of the duck/rabbit (it appeared in 1892 Next to SpongeBob SquarePants and David in the German humor magazine Fliegende Blätter) Hasselhoff, several drawings in the Two Million probably understood this very well when he gave Years of Art and Don’t Hassel the Hof shows contain his cartoon the caption “Which animals resemble a figure that is known as the duck/rabbit.I t is a each other most closely?”, and answered with cartoon drawing that can be seen either as the “ducks and rabbits”. head of a duck or as the head of a rabbit. This cartoon has become unusually famous in intellec- If this cartoon has become, in the able hands tual circles, since both Ludwig Wittgenstein and of Wittgenstein and Gombrich, a diagram that Ernst Gombrich have used it in their books. represents and explains the seemingly universal Wittgenstein used the duck/rabbit in his mechanism of interpretation, it may also be used “Philosophical Investigations” to further his to represent the opposite notion. That is the pos- anti-illusory explanation of the workings of lan- sibility that all diagrams that claim to represent guage and perception. In his older “Logical- universal language may also be seen as cartoons. Philosophical Treatise”, he had already men- Wittgenstein himself demonstrated in his late tioned a geometrical figure, a cube or dice that work that his early “Treatise” definitely had some- can be seen in two ways, with either the square thing of a cartoon in its insistence on postulating a-a-a-a or b-b-b-b coming to the front (it can also, a single logical structure for valid language as easily, in some contexts inevitably, be seen as a such. Perhaps Wittgenstein’s work itself (often square sponge). At this moment in his philosophi- addressed as the ambivalent combination of cal development, Wittgenstein was firmly con- “Wittgenstein I” and “Wittgenstein II”) is some- vinced that language, to be meaningful, must be thing of a duck/rabbit. Wittgenstein never could organized according to purely logical rules. Later let go of the burning desire for a final release in his life, the duck-rabbit cartoon was to him but from ambivalence. His philosophical work sym- a more intricate version of the geometrical cube, bolizes the uncertain status of the centuries-long a more natural and real-life version of the same project to connect language without ambivalence ambivalent figure, useful as a more demanding to extra-linguistic realities, to create a universal test for his approach to the philosopher’s stone, language by eliminating all suggestion and projec- Universal Language, since the duck/rabbit shows tion from language. It is a project that has pro- how pure logic is mixed in with the psychological duced many riddles and iridiscent bubbles shim- realities of context-based expectations. mering with a bright new world. Ernst Gombrich used the selfsame duck/rab- ____ bit cartoon as a basic example of art’s magical potential to create illusions. This cartoon, made Another diagram that may easily be (mis)taken up for the purpose of having two equally con- for a cartoon is Ferdinand de Saussure’s sketch vincing meanings, demonstrates the mechanism which illustrates the “mysterious process by which of illusion; according to Gombrich, “we cannot, ‘thought-sound’ evolves divisions, and a language stricly speaking, watch ourselves having an illu- takes shape”. Saussure is the founding father sion.” As Gombrich explains, “Ambiguity—rabbit of semiotics, the science of linguistic signs. His or duck?—is clearly the key to the whole problem work has contributed a great deal to the belief of image reading. For as we have seen, it al- that systematic analysis is universally applicable lows us to test the idea that such interpretation to language. Saussure’s “Course in General involves a tentative projection, a trial shot which Linguistics” is full of seductively clear diagrams, transforms the image if it turns out to be a hit. It in which signal and signification are neatly sepa- is just because we are so well trained in this game rated in adjoining boxes, or shown to be related and miss so rarely that we are not often aware of to each other like the letters of the Greek alpha-

Clockwise, from top left: The duck/rabbit drawing from Ernst Gombrich; the cube/dice from Wittgenstein’s Treatise; the duck/rabbit diagram from Wittgenstein’s Investigations: one of Robert Filliou’s Video Models (1969).

116 bet. Elsewhere in the book, the tricky issue of how ral and symbolic at the same time. It was as if “the language” and “the linguistic community” are musical tones had drawn their own pictograms, connected is solved visually with a single accolade hieroglyphs, or letters in the sand. These sound- plus a tiny, well, connecting line. figures were seen by many scientists, poets and The central diagram in Saussure’s book, the philosophers as a very strong indication that key to the crucial riddle of language, the con- nature itself consisted of language, a language nection of ideas and sounds, labours to obtain that lay waiting just under Nature’s surface to a similar clarity, but doesn’t quite succeed. be translated and understood. Johann Ritter, a Saussure puts forward that “In itself, thought is scientist who did pioneering work on electricity like a swirling cloud, where no shape is intrinsi- and a contemporary of Chladni’s, speculated on cally determinate.” He adds that “The substance the deeper meanings of electrical and acoustical of sound is no more fixed or rigid than that of oscillations, thinking they lay at the bottom of thought.” How to connect these two in a convinc- every sensorial experience, including light (“vis- ing manner? Saussure simply postulates that ible tone”), sound (“audible light”), smell, taste, “One might think of it as being like air in contact and all feeling. According to Ritter, Chladni’s fig- with water: changes in atmospheric pressure ures made clear what sound-figures mean to our break up the surface of the water into series of inner life: light-figures, fire-script. According to divisions, i.e. waves. The correlation between Ritter, every sound-figure was also an electrical thought and sound, and the union of the two, figure, and every electrical figure corresponded is like that.” But isn’t it only in cartoons that a to a sound-figure. storm at sea can result in waves in the water that It doesn’t take much thought to realize that are mirrored directly by waves in the air or in Chladni’s figures, however fascinating, do not the clouds? And yet Saussure’s seascape sketch, present an actual language. On the other hand, aided by the letters A and B and a few dotted the insights that Chladni, Ritter and their co- lines, successfully pulls off a confidence trick, workers gave in the possibilities for transforming and allows the reader/viewer to think that this and transmitting oscillations of all kinds have comparison indeed explains how language takes in the long run resulted in the invention of tele- shape. But does the diagram really provide a phones, grammophones, radio. They prefigure scientific clarification of the origin of language? all the media that are now used to make lan- Isn’t it remarkably similar to the older assertion guage circulate universally, developments that that the Spirit of God was hovering over the face figure large in the natural history of mankind’s of the waters? Or, to put this diagram to another imaginative uses of language. test, if someone wanted to throw a sponge into Ever since Chladni travelled across Europe Saussure’s water, how would he be able to dis- to demonstrate his sound-figures, romantic phi- tinguish air from water, how could he tell these losophers have employed his Klangfiguren to twins apart? speculate on the relationship between language ____ and nature. Chladni and Ritter can be found in the works of Novalis, Friedrich Nietzsche and A third, older example offers itself to be even Walter Benjamin, who all thought of their added to these two attempts to discover the uni- scientific speculations on the natural origins versal truth about language. In the last decades of language as highly stimulating. Novalis, who of the eighteenth century, German musician-sci- knew Ritter personally, wrote in his philosophi- entist Ernst Chladni discovered what he called cal novel The Novices at Sais about the tantalizing Klangfiguren or sound-figures. Chladni found that perspective on language opened by Ritter and he could use a violin bow on a metal or glass Chladni: “Men travel in manifold paths: who so plate covered with sand. The oscillations in the traces and compares these, will find strange plate would produce many attractive symmetri- Figures come to light; Figures which seem as if cal figures in the sand, most figures made up of they belonged to that great Cipher-writing which curves, some of straight lines. As these figures one meets with everywhere […] In such Figures corresponded to specific tones, they were under- one anticipates the key to that wondrous Writing, stood by Chladni’s audiences to be both natu- the grammar of it; but this Anticipation will not

Top down: Four Saussurian diagrams: three elliptical shapes divided horizontally, to produce a chain of signification/signal units; a diagram of ‘the language/the liguistic community’; diagram of a sound sequence; the sea/wind thought/sound diagram. Bottom: Gregory Maass & Nayoungim, An Awkward Moment, (2008).

119 fix itself into shape, and appears as if, after all, onstrate a few of the irksome powertricks that it would not become such a key for us.” suggestion has up its sleeve. Their installations Friedrich Nietzsche associated Chladni’s may not propose a fresh diagram for a Universal sound-figures with artistic creative forces. He Language, they certainly are an eloquent advo- used the Klangfiguren to voice his opinion that cate for universal suggestibility, celebrating the the artistic potential to create shapes isn’t quite weird happenstances that accompany so many free and arbitrary. Just as Chladni’s sound-fig- attempts to give meaning. ures are related to the sound itself, so are artis- tic images connected to an underlying activity of the nervous system, which Nietzsche thought of as an utterly tender oscillating and trembling. sources Walter Benjamin, last not least, was im- For the duck/rabbit in Wittgenstein, see Ludwig presssed by Ritter’s speculations. To Ritter, Wittgenstein, Werkausgabe I. Frankfurt am Main: Klangfiguren plus electricity suggested the inter- Suhrkamp, 1984; pp. 64-5 and 519-28. connectedness of spoken and written language, music, architecture, sculpture and art, plus their For the duck/rabbit in Gombrich, see Ernst Gombrich, belonging to the divine language of natural Art and Illusion. A study in the psychology of pictorial creation. Nothing less bold could, according to representation. London: Phaidon, 2005; pp 5; 198; 203. Benjamin, do full justice to the symbolic vigor of See also: language. The sound-figures suggest that even http://ist-socrates.berkeley.edu/~kihlstrm/images/ what hasn’t been written may some day become Jastrow/JastrowDuckFliegende.jpg legible. For the thought/sound diagram in Saussure, see Ferdinand de Saussure, Course in General Linguistics, p. 111. Cf. also, for an admittedly vague link between A plunge into suggestion this Saussurian diagram and Duchamp’s Large Glass, http://www.toutfait.com/duchamp.jsp?postid=1325 In the natural history of mankind’s imagination, never have so much language, imagery and mu- Benjamin on Johann Ritter’s speculative views on sic been transmitted as today. This may mean language: Walter Benjamin, Ursprung des deutschen that our intuitive forces have become bloated Trauerspiels. Frankfurt am Main: Suhrkamp, 1982; p. 189-190. like an over-saturated sponge. It may also mean that the imagination of our generation is bet- Filliou, Robert. Video Models (1969), in: Pérez- ter trained than that of any earlier generation, Oramas, Luis. An Atlas of Drawings: Transforming swollen like the physique of a body-builing Chronologies. New York: Museum of Modern Art, 2006. movie actor. Can we even distinguish whether we are passive subjects in this process, or have Nietzsche mentions Chladni in his On Truth and Lie in some power of agency? Can we tell, having been an Extra-Moral Sense as well as in some fragments; for brought up on television and games, what their those, see http://thenietzschechannel.fws1.com/na- influence means to us? cha19.htm. According to Gombrich, we have to accept Nayoungim and Gregory S. Maass, Warped Flow Gadget. that we are, all of us, both sponge and artist: Introductory essay “Warped Flow Gadget” by Sytze “Representation is always a two-way affair. It Steenstra. Seoul, 2007. creates a link by teaching us how to switch from one reading to another.” Louise Fabian: Novalis’ Combinatorial Poetics. By their blunt disregard for surface harmony, http://www.hum.uit.no/nordlit/11/04fabian their aggressive reappropriations and their un- usual combinations of stuff from all walks of life, Chladni’s sound figures: Maass and Nayoungim trace formerly unknown SICD Universities of Strasbourg http://num-scd-ulp.u-strasbg.fr:8080/ faultlines in mankind’s imagination. They do not plead “All power to the imagination”, but dem-

Clockwise from top left: A selection of Chladni’s Klangfiguren; a diagram of magnetism (possibly drawn by Descartes) and of electromagnetic force fields (from a physics textbook); drawing of a radiotube; a Peter Arno cartoon from the 1940’s, depicting a magician picketing the RCA radio building (then the center of U.S. broadcasting) with a sign that reads “unfair to organized magicians”.

120 Jonathan Lahey Dronsfeld thing, they are things which show words rather realm where thinking is reduced to slogans, and Funny Heterogeneous than words which refer us to things. A disjunc- where language becomes no longer a picture tion takes place between the slogans and what but something simply seen. Be nice to yourself, they refer to. The slogans are different from stop beating yourself up, or beating up on your- each other, yet they are the same thing. They self rather. See the rabbit in yourself, not the are the same in two ways. First they are the rep- duck. Forget the duck, ignore the duck-rabbit, etition of one form, the indefinite iteration of go with the rabbit. No perception, no moral am- the form of the slogan; second they repeat the biguity there, try it, be brave be nice, go upbeat, sameness of that same thing each time a dif- it’s nice, you’ll see. ferent slogan is uttered, a sameness reflected and presented by the look of the words, or the So what do I have to say about these slogans? letters they spell, given by the way the materi- As you can see, very little. The words get on als of which they are made are shared across perfectly well without me. They just as little the letters the slogans spell. These two senses, need what I say about them as I do what they Gregory maass & Nayoungim We developed a se- ing, they step to the side of thought and sense in then, are kept apart within one thing which is show me. And this indifference is perhaps the ries of slogans which we applied as part of our favour of the sense of seeing. And if what I see the work. And we might say that the work of the opening that allows me to say something about sculptures for the “Don’t hassle the Hof” instal- thinks then it shows its thinking, puts it up to be work is to reverse the relation between visibility them. This reciprocal semi-autonomy shown by lation, where we spelled the letters of the word viewed, and the thing thinks in terms of how it and legibility. Here visibility is not simply the the works is precisely the space in which I am “HASSELHOF”; the origins are not coherent or can be seen. means to an end, something to be effaced in invited to become the apt respondent to what I essentially relevant. We would like to know what favour of what the words say. Rather, visibility is see. And what do I see? I see the funny. you think about the slogans, or what you have to What I see are spreads of heterogeneous things: the end, but an indefinite end, an end without say about them and our use of these forms. (You reflections of thinking—if we take thinking to be end, deferring and holding off a legibility which may shape this question into a more elegant form) made up not of propositions or even sentences would efface by writing the visibility of what is to Gregory maass & Nayoungim We’re thinking of add- but of heterogeneous elements, series of snap- be said. The work achieves this by enacting the ing a subtitle from quite a different field, bor- The slogans for the “Two Million Years Of Art” shots or explosions, stops to the endless circu- reversal of the relation of letter to word; here rowed from the novel Valis by Phillip K. Dick: and “Don’t Hassel the Hof”(one “f”, Hasselhoff lation of words or the cause of their fall-out. It words spell letters. Matter is plastic in the face of mind. (The two) in situ installations, which are essentially the is in this sense that artworks show thinking, by original is also printed in bold font.) We really enjoy same, are the following (in alphabetical order): capturing the fall-out and the stopping. The slogans are all components of one proper this phrase, it resonates with us. name, Hasselhof. The worded letters form the H: YOU HAD ME AT HELLO What things? I see words cut out of green felt, community of the peaceful and ordered province “On February 20 1974, Dick was recover- A: BE BRAVE BE NICE words reflected back from underneath by silver of Hasselhof, most of whom find work in the re- ing from the effects of sodium pentothal S: THE BEST SMALL COUNTRY foil. And between these two, the felt and the foil, hab farm there, the place where stars go to feel administered for the extraction of an S: IN THE WORLD another surface given by words, by the feeling good again, good about their name, free of the impacted wisdom tooth. Answering the E: BEAUT BEAUTY BEWDIE of words and the word as foil. The words com- hassle of their name. The slogans are the verses door to receive delivery of extra analge- L: YES WAY prise another surface of the work, or rather this the star must learn to incant authoritatively if he sic, he noticed that the delivery woman H: SHE’LL BE RIGHT surface unifies the work, as the space in which is to rehabilitate the former privilege his name was wearing a pendant with a symbol that O: COMING STRAIGHT TO THE POINT the words play. There is the play of surfaces, at granted him to himself and bring it back into his he called the “vesicle pisces”. This name F: SERIOUSLY EASY GOING least three, and there is the surface of the play own possession; to reconstruct, or to construct seems to have been based on his confu- of words which unites all the surfaces and brings for the first time what was missing from the be- sion of two related symbols, the ichthys The book’s title IT’S NICE TO BE NICE, TRY IT them into play by playing between them. What ginning, the relationship of propriety over his (two intersecting arcs delineating a fish is another slogan, which we would like you to the words say is nothing but play. Rather than own name, he must learn not to see the starry in profile) that early Christians used as examine. say something these words play. The words are reproduction of it. The peaceful province of this a secret symbol, and the vesica piscis. not so much there to be read as to take part in verse farm is the site of an oscillation—between After the delivery woman’s departure, (Maybe this is too scholarly for you, please change it my seeing, to play with my seeing and to allow the shiny, blinding name that must not be seen, Dick began experiencing strange visions. if it feels uncomfortable.) their play to be seen. If they say anything it is and the slogans that must be learnt in order not Although they may have been initially at- ‘there is play’. That is their sense, beyond which to see it and not be blinded by it. tributable to the medication, after weeks the words do not ask to be made sense of. They of visions he considered this explanation Jonathan Lahey Dronsfield What do I think of are visible without being legible. Made up of the most normal objects, furniture, implausible. “I experienced an invasion them? Well, as usual when I first look at a work petrol station, mountains, this installation is of my mind by a transcendentally rational of art I don’t think anything. It’s as if my think- Insofar as they do not function to say anything the most unusual and abnormal of places, a mind, as if I had been insane all my life ing migrates to somewhere else, to somewhere which makes sense, insofar as their sense is play displacement from the usual and the everyday and suddenly I had become sane,” Dick called seeing, and to what is to be seen, the and that they play without speaking sensibly, as the condition of the possibility of returning told Charles Platt. ‘what is’ being less on the side of thinking than and insofar as the words are one more form of to normal. The peaceful province of Hasselhof of seeing. Works of art draw out the seeing in the sensible, the slogans are closer to things is the place where the unusual in the normal is “Throughout February and March of 1974, thinking, they foreground the seeing in think- which speak rather than words saying some- covered over by the abnormal use of words, a he received a series of visions, which he

122 123 referred to as “two-three-seventy four” in divesting himself of the form which, however, outside of himself. In short, it is the frontier, the other, and perhaps not understandable at all. (2-3-74), shorthand for February-March manifests him. His manifestation is a surplus surface, where language is made possible. It is Yet there is something into which these elements 1974. He described the initial visions over the inevitable paralysis of manifestation.” not surprising therefore if the first response is are gathered together if not into a homogeneous as pink laser beams and geometric pat- Artworks divest themselves of the material form silence. On the contrary, silence is the proper unity then at least into one thing. And that one terns, and, occasionally, brief pictures of which nonetheless manifests them in that they response if language can only be spoken using thing I would call a stance, or a next step. Of Jesus and of ancient Rome. As the visions transform their material, make it foreign to it- the sense and the reference disturbed and inter- course the heterogeneous elements are brought increased in length and frequency, Dick self, and thereby avoid paralysis. The affectivity rupted and made foreign by art. together because they can be made to play with claimed he began to live a double life, of art resides in its materiality but is not reduc- each other. But what is the play here? Jacques one as himself, “Philip K. Dick”, and one ible to it. The otherness of artworks breaks ma- Rancière calls it the joke.(4) Rather than pur- as “Thomas”, a Christian persecuted by terial form and flows through it. Hence no artist Gregory maass & Nayoungim One last thing we porting to be the detective revealing the “secret Romans in the 1st century A.D. Despite can guarantee the affect of his art. To find the would like you to clarify is, we would like to connection” between these elements, a con- his history of drug use and elevated most appropriate plastic form an artist is pre- know what you make of our method and at- nection which can only be political, and which stroke risk, Dick began seeking other pared to play one material off against another. titude towards themes and materials we often is secret because it is political, the artist would rationalist and religious explanations To play with materials in this way is for the art- use in our work, in which we connect presum- bring these things together as if there were a for these experiences. He referred to ist to take a chance with them. But chances are ably unconnected themes and materials. So for secret, only to have the last laugh in showing the “transcendentally rational mind” as never taken by oneself – the viewer is being in- instance the part of the installation “Don’t Has- that there is no secret to reveal. But this escapes “Zebra”, “God” and, most often, “VALIS” vited to take it along with the artist, the viewer is sel the Hof” where the leg of David Hasselhoff neither the logic of revelation (the last sentence) (Vast Alien Living Intelligence Satellite). being asked to follow the materiality of art in its is represented by a heating isolation tube, the nor the myth of the artist being master over his Dick wrote about the experiences in the withdrawal from the everyday, the normal, and hair on the leg is drawn with a liquid gold deco- materials (the origin of meaning). So the boot semi-autobiographical novels VALIS and the normative. And part of the chance is that ration pen, the foot and surf is realized in blue is on the other foot. The supposition would be Radio Free Albemuth.”(1) (The underlined something will be glimpsed which would other- plasticine on a foot rest, the leg reaches out of that because there is no more secret there is parts are by me.) wise have remained unseen, something that the a tunnel opening in a schematic Swiss mountain no more politics, hence art no longer need take artist no less than the viewer may not have seen papier-mâché model standing in for a fictive is- on the task of social criticism or take a stand [Maybe we could cut this Wikipedia quotation a or thought existed, something about oneself, land, the whole is installed on an stainless steel on social issues, which would amount to an ac- little, the Christian-hallucination part is not so one’s potentiality, glimpsed in a world divested pole with a curtain hanging down from the rim ceptance that the means or procedures at art’s thrilling to me (he had many more, which are more of its everyday forms, something about the world of the island like a changing cabin on the beach, disposal are no different from those available interesting, like his son being gravely ill, which may and its potentiality, glimpsed at the moment its and Spongebob is represented as an actual to the powers art would otherwise resist, and have saved his son’s life because his son actually was materiality is made foreign to itself, something sponge in its original packaging with a belt and that its operations of delegitimisation or decod- diagnosed as gravely ill), I am more interested in the about the possibility of action, but where the act eyes glued on, jumping from one leg of David ing are themselves forms of domination. But medical aspect and the blurring of reality and super- remains with the work itself and gains its worth Hasselhoff during body skiing-swimming to the this schema still retains the opposition between reality as a result, but never mind that (Dostoyevsky in not being in the world but in forming another other. art on the one hand, and ‘the media’, advertis- seemed to have had a similar medical condition in world which acts as a surface to this one. Such ing and corporate, commercial entertainment his frontal lobe)] is the indifference of artworks, and the disin- This part of the installation is inspired by a on the other — as if art and the media can still terestedness of our contemplation of them. By scene taken from “Spongebob the Movie” in be discerned beyond their indiscernible oper- We would like you to analyze the subtitle/slogan challenging the causal relation between doing which Spongebob is jumping from one leg to ations — as well as the logic of the telos and the as a subtitle to our book. (Please change the and consequence the artist is playing with the the other of David Hasselhoff who is helping myth of revelation. question’s construction to your needs) world, sidestepping its morality. But in doing so Spongebob to get back to his hometown “Bikini he puts at risk our understanding of the world Bottom”. That there is nothing to be revealed does not he presents. The risk is not run by the artist as mean that there is nothing to be shown. On the Jonathan Lahey Dronsfield One can attempt to if it were simply the outcome or function of a (We are not really sure what part of this stimulating contrary, that there is nothing to be revealed make sense of the relation between matter and decision, it is inherent to the event of art insofar background information is neglectable) means that everything can be shown. All the het- appearance — if these are indeed the stakes as art is the breaking of the causal link between erogeneous elements out of which this sculpture of Dick’s gnomic remark — in a manner which intention and effect, precisely in the way that the is fashioned can be brought together under the does not reduce the face to a metaphor, by turn- materiality of art is made foreign to itself. In this Jonathan Lahey Dronsfield I am. Ah, sorry… empirical. With the Don’t hassle the hof installa- ing to how the face is characterised by Levinas: is the materiality of art its face. The material- my leg…. Wait… Ooh, that’s better. Where was I. tion you have set up a territory over which the “The other who manifests himself in the face as ity of art is the face of the artist, it is the artist’s (3) If only I could photograph that I would draw empirical can freely roam in all its genius (as it were breaks through his own plastic essence, outside, the outside of his intention, the outside it! No, that’s not where we were, not quite. I said Deleuze might say) and superbity (Levinas), a like someone who opens a window on which his of his concept, the threshold where the work is I could see the funny. You’re right, the themes terra aesthetica on which the empirical can wan- figure is outlined.”(2) It would be enough to end no longer his own, no longer his propriety but and materials of your work are unconnected, der aimlessly, can stride, can slip up, not some the citation here. But what Levinas says next es- instead more properly his proper impropriety, disparate, heterogeneous, at odds with each thing but the empirical itself, allowed a move- tablishes the link to art: “His presence consists and it is where the viewer, too, experiences an

(3) “..not to the point of losing the ‘self’ completely, because at a certain moment, you notice that (1) From the Wikipedia entry on Phillip K. Dick, http://en.wikipedia.org/wiki/Philip_K._Dick your leg is asleep” Jean Genet, interview with Hubert Fichte (1975), Fragments of the Artwork, trans. (2) Emmanuel Levinas, “The Trace of the Other” (1963), trans. A. Lingis, in Deconstruction in Context, Charlotte Mandell, Stanford: Stanford University Press, 2003, p. 119. ed. Mark C. Taylor, Chicago: University of Chicago Press, 1986, p. 351. (4) Jacques Rancière, “The politics of aesthetics”, http://theater.kein.org/node/99 (accessed 2006).

124 125 ment which gives your set ups coherence and which could not come to concreteness without unity. Here the empirical roams free of politics, that step back affirming the border between art the order of politics does not hold, politics has and life. It is a kind of madness this step back, no special place, for art affords the empirical this interval between life and art (an interval the a liquidity which exceeds it. This is art’s perfor- Mad Hatter piece captures beautifully). And it is mativity, showing merely empirical objects and in this interval between art and life set up by the mute things walking the earth, inscribing them- work that we are afforded the moment and the selves in nature and speaking freely, slipping space to become the apt respondents to what up, showing us making us see or affording us the we see, and part of coming up with an apt re- chance to glimpse something otherwise not vis- sponse is to ask — and this is what for Nietzsche ible to us. This is not the revelation of a secret, takes us beyond the joke of our presumptuous- it is the realisation of potentialities of things, of ness — why can oneself as an individual stride nature, of ourselves. out, how can one become an individual in this foreign territory to which we have been dis- Art lives outside of itself. To the extent that it placed. takes its materials — tofu for instance (The Hand- some Tofu, Tofu Shelf), or blankets (Snowman), or You have sent me these questions as a way of leaves (Mad Hatter) — from the world, its materi- allowing me to say something about your work. als are not its own. Art is dependent on a world Taken seriously, the questions themselves say of things which are independent of it, ruled by something about what can be seen, themselves their own laws, but this does not mean that it show something of what can be seen, and as is helpless. It laughs. It laughs by descending such the questions are no less a part of what can to the level of groundlessness, to the level of be seen than are the works they refer to. The there being no law or rule for how it gathers to- questions do not simply function to provide the gether its elements, a level with no height and conditions of saying something about specific no depth — or in other words, a surface. That art aspects of the work, they are part of the work’s cannot live in itself is not a joke, it is something legibility, and they are one of the conditions for to be laughed at. Were it to try and re-enter the visibility of the works they raise questions itself through a claim to a materiality which is about. But at the same time their own legibility properly its alone it would kill itself. Instead it threatens to over-write what they presume can stages relations of propriety/impropriety, not as be seen. Thus I see the function of my responses an opposition but as an exchange across a single in part to hold off what is asked, and certainly surface, a surface without hierarchy, a surface not to concretise the questions by answering without principles to distinguish what is proper them on their own terms, in favour of allow- from what is not. ing what is question-worthy about the works to emerge as, precisely, a question for us. “There just isn’t anything funnier and more cheerful on the world’s stage than the presump- tuousness of those little worms called man.”(5) Gregory maass & Nayoungim Don’t hassle the hof strides out into the light of utterly yours this strange territory, a sheer terra aesthetica Greg. & Nayoungim surface-stage on which heterogeneous elements commingle and co-habit with man, a co-habita- tion which means more than that they share the Jonathan Lahey Dronsfield same space, it means that things, nature, our- In admiration, selves, co-emerge with that space, the surface Jonathan given by the stride of art. But this striding out is also a step back. Don’t hassle the hof is a work which, seeking to show something otherwise without foil or unfelt, at the very moment of suc- ceeding steps back and withdraws from life, the opposite direction taken by politics, a moment

(5) Friedrich Nietzsche, On the Advantage and Disadvantage of History for Life (1874), trans. Peter Preuss, Indianapolis: Hackett Publishing Company, 1980, p. 55.

126 It’s nice to be nice, try it Gregory S. Maass & Nayoungim

Copyright ©2008 Gregory S. Maass and Nayoungim

ISBN 89-956464-2-7

design: Jayme Yen publisher: Caustic Window (Korea) printers: Design sense and Mirae printing (Korea) photography credits: Jong-Myeung Lee (Gallery Shilla, Stadthaus Museum Lichtenberg) Gregory Maass(Kuenstlerhaus S11, Artspace DeFKa, Galerie du Jour) Rudy Leukfeldt (Artspace DeFKa) Alan Dimmick (Market Gallery) Nayoungim

Special thanks to

Gallery Shilla, Daegu Market Gallery, Glasgow Kunst-Stoffe, Berlin Stadthaus Museum Lichtenberg, Berlin Artspace DeFKa, Assen Openspace Bae, Busan Altes Spital, Solothurn Kuenstlerhaus S11, Solothurn Seoul City Gallery, Seoul Flacc, Genk Galerie du Jour, Paris