Fischli and Weiss will be exhibiting Rat and Bear (2004), a sculpture that incorporates the original costumes worn by the artists in their early films The Least Resistance (1981) and The Right Way (1983).
Picture of the work.
Fischli and Weiss will be exhibiting Rat and Bear (2004), a sculpture that incorporates the original costumes worn by the artists in their early films The Least Resistance (1981) and The Right Way (1983).
Picture of the work.
Testing the limits of materiality, Barry produced this poster for an exhibition that had neither a location nor a date. The address is a post-office box, and the telephone number for the gallery is an answering service with a recorded message describing the “work.” The work was the release, by the artist, of five measured volumes of odorless, colorless, noble gasses into the atmosphere in various locations surrounding Los Angeles, where they would diffuse and expand naturally into infinity.
While documentary photographs were taken of the action of the releases, the only physically tangible evidence of the work would remain the poster, published by the New York art dealer Seth Siegelaub, who stated, “He has done something and it’s definitely changing the world, however infinitesimally. He has put something into the world but you just can’t see it or measure it. Something real but imperceptible.”
Sources:
www.moma.org/collection/works/109710
classconnection.s3.amazonaws.com/532/flashcards/3747532/png/41-142CE8D58F41C9592F1.png
User Beitrag: “Jedes Mal, wenn ich der Künstlerin Abramovic begegne, bin ich fasziniert. Ich verfolge sie siet ihren Anfängen. Ich finde sie sehr mutig und sie ist wichtig für die Kunst. Ich sage bewusst nicht (Frauen)-Kunst.” Beatrice Haupt
The show took place in 2000 at Contemporary Fine Arts in Berlin. From what I understand, this was the last invitation card using handwritten text. See all cards here.
The galeries KARMA INTERNATIONAL and ZERO both created invitation cards / posters which also function as their own envelope.
“Rhythm 4 was performed at the Galleria Diagramma in Milan. In this piece, Abramović kneeled alone and naked in a room with a high-power industrial fan. She approached the fan slowly, attempting to breathe in as much air as possible to push the limits of her lungs. Soon after she lost consciousness.[28]
Abramović’s previous experience in Rhythm 5, when the audience interfered in the performance, led to her devising specific plans so that her loss of consciousness would not interrupt the performance before it was complete. Before the beginning of her performance, Abramović asked the cameraman to focus only on her face, disregarding the fan. This was so the audience would be oblivious to her unconscious state, and therefore unlikely to interfere. Ironically, after several minutes of Abramović’s unconsciousness, the cameraman refused to continue and sent for help.[28] Wikipedia
1st January 2016
Tracking time
and
Wasting it
A nice way
to start.
Sita Shandy
Invitation cards by the Zurich project space Corner College.
“Corner College was founded in 2008 at Perla-Mode Zürich. In 2011 the space moved to Kochstrasse and was run by Irene Grillo, Sarah Infanger, Urs Lehni, Jeannette Polin, Philip Matesic und Stefan Wagner until 2014. 2015 marks a new period of activities following Corner College’s legacy as a space for activities between art and quasi-academic educational approaches with an openness for Zurich’s artistic, activist, and intellectual communities.
Until September 2018, Corner College was located in Zurich’s District 4, and since then has functioned as a nomadic space without a location of its own. It is an independent project space for new and experimental formats of exhibition making, with a focus on research and process oriented contemporary art, quasi-academic knowledge production and the nurturing of discursive forms of contemporary art and theory in a dialog with urban processes, society, technologies, research, transdisciplinarity. CC activates a space of micropractices and participation of the public that echo in a network of local and global exchange.” Source
Invitation card for an exhibition by Mary Redmond at the Modern Institute in Glasgow. Somebody said that it reminded her or him of John Travolta.
User comment: “I have chosen an invitation for the exhibition of Koo-Jeong-A (2009)’s work. I found the format and the colours and the blurred shapes intriguing. I had to unfold the document and the surprise and the curiosity remained high (what’s this?). I immediately thought about FRAMING it. I did not know the artist nor the gallery. I find sometimes the invitation for famous artists (eg. Charles Ray, Andreas Gursky, Thomas Ruff, Isa Genzken, Wolfgang Tillmans etc.) whom I also adore eye-catching, but rather because they produce a feeling of familiarity, like a recognisable friend on meets in the street. But there is less surprise, rather a soft happiness/joy?” Carole Ratsimandresy