TERRY FOX Born 1943, Seattle, WA Died 2008, Cologne, Germany
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Documenta 8 (Küssende Fernseher) Von Ralph Hammerthaler
documenta 8 (Küssende Fernseher) von Ralph Hammerthaler Ende Oktober 1981 war das proT erstmals in einer großen Ausstellung zu sehen. Für ein Theater mag das ungewöhnlich erscheinen, nicht so aber für das proT, denn Sagerer fühlte sich bildenden Künstlern oft enger verbunden als Theatermachern. Schon sein früher Komplize von Hündeberg war Maler. Nikolai Nothof und Karl Aichinger, beide als Schauspieler im Ensemble, fingen in den 1970er Jahren an zu malen und stellten ihre Bilder im Kellertheater aus. Bei Aktionsabenden des proT lösten sich die Grenzen der Genres ohnehin auf. Dafür, dass sich die Kontakte zur Kunstszene vertieften, sorgte nun Brigitte Niklas. In der Künstlerwerkstatt Lothringer Straße 13 zeigten zwölf Münchner Künstler Videoinstallationen, darunter auch Barbara Hamann und Wolfgang Flatz. Die Installation des proT erwies sich als aufwändig, denn sie konnten nicht anders, als mit dem ganzen Theater anzurücken. Ihr Kunst-Video hing an der Produktion Münchner Volkstheater oder umgekehrt: Das Theater hing am Kunst-Video, umso mehr, als es davon seine Einsätze bezog. Wie oben erwähnt, führte bei diesem Stück das Video Regie. Im Gespräch mit dem Magazin Videokontakt antwortete Sagerer auf die Frage nach der Grenze zwischen den Genres: „Alles, was ich mache, fällt unter den Begriff ‚Theater‘. Das Theater ist die einzige unbegrenzte Kunst, vom Material her eigentlich überhaupt nicht definierbar. Alles, was unter dem Namen ‚Theater‘ passiert, wird Theater. Wenn man Film im Theater einsetzt, ist es kein Film mehr, sondern Theater. Wenn man Theater filmt, wird es immer ein Film. Die Erfahrung ‚Theater‘ kann der Film nicht vermitteln, während Film, Fernsehen und Musik Bestandteile der Erfahrung ‚Theater‘ sein können.“ Und befragt nach seinen Plänen mit Video im Theater, sagte er: „Wir wollen in Zukunft mehr Monitore einsetzen, die von jedem Punkt des Raums aus sichtbar sind. -
Tate Report 08-09
Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements. -
All These Post-1965 Movements Under the “Conceptual Art” Umbrella
All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation -
Note to the Secretary-General Tonight You and Mrs. Annan Have
Note to the Secretary-General Tonight you and Mrs. Annan have agreed to drop by (from 6:35-6:45 p.m.) the reception in the West Terrace hosted by Yoko Ono wherein she will present grants to an Israeli and a Palestinian artist in her own Middle East humanitarian arts initiative. When Mrs. Annan and you arrive David Finn, Philippa Polskin and Holly Peppe of Ruder-Finn, will greet you. You will then be accompanied into the center of the room where two easels will display the work of the two artist recipients of the LennonOno Grants, Khalil Rabah and Zvi Goldstein. The following people will greet you and stand with you for a brief photo-op: > Yoko Ono > Zvi Goldstein, Israeli artist, grant recipient > Khalil Rabah, Palestinian artist, grant recipient > Jack Persekian, Founder & Director, Anadiel Gallery, Jerusalem > Suzanne Landau, Chief Curator, The Israel Museum, Jerusalem > Shlomit Shaked, Independent Curator, Israel. At 6:45 p.m. you will proceed to the Macalester Reception and dinner, in Private Dining Room #8. Kevin S.: 9 October 2002 Copy to: Ms. S. Burnheim ROUTING SLIP FICHE DE TRANSMISSION TO: A A: OJ *Mt* FROM: / /" DE: /64< ^*^/^^~^ Room No. — No de bureau Extension — Poste Date / G&W aiLbfo^ FOR ACTION POUR SUITE A DONNER FOR APPROVAL POUR APPROBATION FOR SIGNATURE POUR SIGNATURE FOR COMMENTS POUR OBSERVATIONS MAY WE DISCUSS? POURRIONS-NOUS EN PARLER ? YOUR ATTENTION VOTRE ATTENTION AS DISCUSSED COMME CONVENU AS REQUESTED SUITE A VOTRE DEMANDS NOTE AND RETURN NOTER ET RETOURNER FOR INFORMATION POUR INFORMATION COM.6 12-78) ZVI GOLDSTEIN Artist Recipient of the LennonOno Grant for Peace Born in Transylvania, Romania in 1947, artist Zvi Goldstein immigrated to Israel in 1958. -
Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise. -
VITO ACCONCI Born 1940 Bronx, New York
GRIEDER CONTEMPORARY VITO ACCONCI born 1940 Bronx, New York. Lives and works in Brooklyn, NY. 1962 Bachelor of Arts, Holy Cross College, Worcester, Massachusetts, US 1964 Master of Fine Arts, University of Iowa, Iowa City, Iowa, US Solo Exhibitions (selected) 2014 Vito Acconci: Now and Then, Grieder Contemporary, Zurich, CH 2012 Vito Acconci: Vito Acconci, Rhona Hoffman Gallery, Chicago, US 2011 Vito Acconi, Galleria Fumagalli, Bergamo, IT 2010 AAA Talk Vito Acconci + Ai Weiwei: Artist in Conversation, Agnès b. Cinema, Wanchai, HK Early Works – Vito Acconci, Basis Frankfurt, Frankfurt/Main, DE Coinvolgimenti – Castello di Rivoli Museo d'Arte Contemporanea, Turin, IT Lobby-For-The-Time-Being, Bronx Museum of the Arts (BxMA), New York City, NY Le Corps Comme Sculpture – Vito Acconci, Musée Auguste Rodin, Paris, FR 2009 Vito Acconci: Language Works – Video, audio and poetry, Argos, Brussels, BE 2008 Vigilancia y control, Centro de Arte La regenta, las Palmas de Gran Canaria, ES Power Fields: Explorations in the Work of Vito Acconci, Slought Foundation, Philadelphia, PA, US 2005 Self/Sound/City, Foundation for Art and Creative Technology (FACT), Liverpool, UK Vito Hannibal Acconci Studio, Museu d’Art Contemporani de Barcelona, ES; Centro Atlantico de Arte Moderno, Las Palmas, Gran Canaria, ES; Stedelijk, Amsterdam, NL 2004 Diary of a Body, Gladstone Gallery, New York, NY Vito Hannibal Acconci Studio, Musee des Beaux Artes, Nantes, FR; MACBA, Barcelona, ES 2003 Rehearsals for Architecture, Kenny Schachter Rove, Perry St., New York, NY, US Acconci Studio – Slipping into the 21st Century, Pratt–Manhattan Gallery, New York, NY, US 2002 Vito Acconci/Acconci Studio: Acts Of Architecture, Milwaukee Museum of Art (Traveled to Aspen Art Museum, Miami Museum of Art 2001,Contemporary Art Museum Houston 2001) 2001 Vito Acconci, 11 Duke Street, London, UK Vito Acconci / Acconci Studio, Architectural Models, The Institute for the Cooperatic Research, New York, US, and Paris, FR Built, Unbuilt, Unbuildable. -
Bibliography
BIbLIOGRAPHY 3er salón Swift de grabado. 1970. Exhibition catalogue, September 9–27. Buenos Aires: The Museum of Modern Art. Adorno, Theodor. 1975 [1967]. Culture industry reconsidered. New German Critique 6: 12–19. AdSII. 1972a. Arte e ideología en CAYC al aire libre. Exhibition brochure. Buenos Aires: Centro de Arte y Comunicación. International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) Documents no. 761671. AdSII. 1972b. Glusberg, Jorge. Arte e ideología en CAYC al aire libre. Exhibition brochure. Buenos Aires: Centro de Arte y Comunicación. International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) Documents no. 747360. AdSII. 1972c. Ficha de obra de los artistas de la exhibición arte de sistemas II del Centro de Arte y Comunicación (CAYC). Exhibition catalogue. Buenos Aires: CAyC, September. International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) Documents no. 761701. Althusser, Louis. 1971 [1970]. Ideology and ideological state apparatuses. In Lenin and philosophy and other essays, 121–176. Trans. Ben Brewster. London: NLB. Arnatt, Keith. 1989. “Keith Arnatt transport to another world”. Interview with Michael Craig-Smith. Creative Camera 6: 18–28. Arnatt, Keith. 1997. Interview with John Roberts. In The impossible document: Photography and conceptual art in Britain 1966–1976, ed. John Roberts, 47–53. London: Camerawork. Art & Language. 1991. Hostages XXV–LXXVI, exhibition catalogue, March 15– April 12. London: Lisson Gallery. © The Author(s) 2016 235 E. Kalyva, Image and Text in Conceptual Art, DOI 10.1007/978-3-319-45086-5 236 BibliOgraPhY Art & Language. -
Exist-Ence Catalogue 2011
exist-ence a festival of live art, performance art and action art 13 – 16 October, 2011 Brisbane Powerhouse Queensland, Australia http://existenceperformanceart.wordpress.com THANK YOU This event would not be possible without the generosity of each and every participant. You have given your time and your work for free for us to experience your art. Thank You. CURATED, PRODUCED & PRESENTED BY [2011 crew] Thomas Quirk & Rebecca Cunningham PRESENTED BY SUPPORTED BY ARTISTS HAVE HAD ASSISTANCE FROM CONTENTS about exist-ence about exist schedule overview about the program artist’s information writing on performance/ writers in residence 2 day project websites related to this event exist acknowledges the traditional owners of the land on which it is situated, and is committed to fostering a culture of remembrance and respect for Indigenous people. The contents of this catalogue is printed in good faith; any errors within are the curators alone. Opinions expressed by exist-ence participants are theirs alone and not necessarily the opinions of the curators of exist-ence. exist-ence: a festival of live art, performance art and action art presented by exist and the Brisbane Powerhouse Venue: Brisbane Powerhouse, 119 Lamington St. New Farm Admission: $10/8 day pass $30/25 festival pass Presenting work by artists from Australia, Canada, Germany, Italy, The Netherlands, Poland, Portugal, Singapore, Spain, Sweden, UK, USA About exist-ence: a festival of live art, performance art and action art Following the success of exist in 08, exist presents the fourth annual exist-ence festival, bringing the best, the bold and the brave to Brisbane Powerhouse. -
Universalmuseum Joanneum Press Office Media.Art.Collecting
Universalmuseum Joanneum Press office Universalmuseum Joanneum [email protected] Mariahilferstraße 4, 8020 Graz, Austria Telephone +43-316/8017-9211 www.museum-joanneum.at media.art.collecting Perspectives of a collection Kunsthaus Graz, Space 02, Lendkai 1, 8020 Graz Opening: 15.06.2012, 7pm Duration: 15.06.2012-02.06.2013 Curators: Günther Holler-Schuster, Katrin Bucher Trantow, Katia Huemer Information: +43-316/8017-9200, [email protected] How does media art define itself in the course of an almost 40-year-old collection? What changes, what comes to form a whole, what was overlooked and where does it go from here? Audiovisual Messages – the 1973 edition of the trigon Biennal – placed a major emphasis on media art, putting local artists in direct relation to international developments. This exhibition marked the beginning of a dynamic that made Graz appear a special place for media art. With influential works by artists such as Nam June Paik, Keith Sonnier, Gottfried Bechtold, Trisha Brown and Bruce Naumann, what emerges is a web of topics that have captivated media art from the beginning, including space-time penetration, media discussion and -reflection or the painterly/musical qualities of new media – topics showing a clearly traceable development in relation to more recent work. Thus the exhibition media art collecting deals with collecting activities at the Neue Galerie Graz in the area of media art, the essence of which becomes evident in the spectrum of exhibitions held over the past 40 years. Building on the 2009 exhibition Rewind/Fast Forward at the Neue Galerie Graz and its first-ever survey of the institution’s video art collection, the current exhibition media.art.collecting. -
I – Introduction
QUEERING PERFORMATIVITY: THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE ART by Claudia Martins Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies CEU eTD Collection Budapest, Hungary 2008 I never fall apart, because I never fall together. Andy Warhol The Philosophy of Andy Warhol: From A to B and Back again CEU eTD Collection CONTENTS ILLUSTRATIONS..........................................................................................................iv ACKNOWLEDGMENTS.................................................................................................v ABSTRACT...................................................................................................................vi CHAPTER 1 - Introduction .............................................................................................7 CHAPTER 2 - Bringing the body into focus...................................................................13 CHAPTER 3 - XXI century: Era of (dis)embodiment......................................................17 Disembodiment in Virtual Spaces ..........................................................18 Embodiment Through Body Modification................................................19 CHAPTER 4 - Subculture: Resisting Ajustment ............................................................22 CHAPTER 5 - Sexually Deviant Bodies........................................................................24 CHAPTER 6 - Performing gender.................................................................................29 -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
Documenta VIII
Findbuch documenta 8 Signatur des Bestandes: documenta archiv, AA, d08 Urheber des Findbuchs ist das documenta archiv. documenta archiv, AA, d08 Mappe 1 Presseausschnitte 1982 – 29.07.1986 Mappe 2 Presseausschnitte 22.08.1986 – 31.12.1986 Mappe 3 Presseausschnitte 01.01.1987 – 05.06.1987 Mappe 4 Presseausschnitte 06.06.1987 – 12.06.1987 Mappe 5 Presseausschnitte 13.06.1987 Mappe 6 Presseausschnitte 14.06.1987 – 30.06.1987 Mappe 7 Presseausschnitte 01.07.1987 – 14.07.1987 Mappe 8 Presseausschnitte 15.07.1987 – 31.07.1987 Mappe 9 Presseausschnitte 01.08.1987 – 31.08.1987 Mappe 10 Presseausschnitte 01.09.1987 – 30.09.1987 Mappe 11 Presseausschnitte ab 01.10.1987 Mappe 12 Presseausschnitte Ausland (alphabetisch geordnet nach Ländern) A – N Mappe 13 Presseausschnitte Ausland (alphabetisch geordnet nach Ländern) O – Z Mappe 14a Presseausschnitte zu Rahmenveranstaltungen 1986-1988 (thematisch geordnet) - Am Rande - Ecce Homo - etcetera Mappe 14b Presseausschnitte zu Rahmenveranstaltungen 1986-1988 (thematisch geordnet) - Gruppenkunstwerke - Kulturfabrik Salzmann - Kasseler Musiktage - Peter Rühmkorf „documenta-Schreiber“ - Theater Mappe 15 a Presseausschnitte Theater, Performance, Audiothek Mappe 15 b Liste Rundfunk und Fernsehbeiträge documenta archiv, AA, d08 Mappe 16 - Pressespiegel I + II (1986 – 05. 1987) - documenta-Pressestimmen “Ein Halbzeit-Service” Mappe 17 a verschiedene Pressespiegel Mappe 17 b verschiedene Pressespiegel Mappe 17 c verschiedene Pressespiegel Mappe 17 d Pressespiegel Ausland Mappe 18 a „Documenta press“ Information zur Documenta 8 Ausgaben: 0 (1986), 1, 2, 3, 4, 5 (1987) Mappe 18 b Zeitungen und Zeitschriften zur documenta 8 - PflasterStrand Nr. 264, 13.6.-26.6.1987 - Wolkenkratzer, Art Journal 4/87 (Juni/Juli/August) - Arte Nr.