Anna von Bühl
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The Modern Institute/Toby Webster Ltd was founded by former Tramway director Charles Esche, writer and curator Will Bradley and Toby Webster in 1997 (Esche left in 1999, Bradley in 2001). In 2006, Andrew Hamilton became Webster’s partner. As Time Out puts it: “A perfect example of Glasgow’s internationally renowned contribution to contemporary art, The Modern Institute was once described by Art Review magazine as ‘a model for galleries around the world’.” The flyers were originally done on Riso in an old paper store in Glasgow called Nashes, hand fed into the machine. Until today, they keep their special appeal for their low quality, and their choices of colors, forms and fonts. They always reminded me of flyers for some obscure bands and concerts. More on the gallery’s history here. Daniel Baumann
In 1994, Jorge Pardo (b. 1963, Havana, Cuba) designed the invitation cards for Berlin’s gallery neugerriemschneider. The design is still in use today.
Jorge Pardo is the key art/architecture cross-over artist of the current generation. Architectural elements such as walls, seating, lighting and circulation solutions are combined with ‘art’ elements such as murals, coloured glass and sculpture to create highly livable, elegant spaces. He combines modernist aesthetics and ‘form-follows-function’ dogma with his highly sensitive attention to colour, materials and texture to create his signature streamlined sculptures and built environments.Read more...
Mladen Stilinović, born 1947 in Belgrade. Read the text “Insulting Anarchy” announcing his show at Martin Janda in Vienna in 2001 by clicking on the image. Amazing! Also: don’t miss Stilinovićs biography on his homepage.
Die erste Einladungskarte des belgischen Künstlers Marcel Broodtaers. Darin legt er unverfroren einen Teil der Mechanismen hinter dem Galeriesystem offen (30% für den Künstler, damals noch…), gleichzeitig parodiert der Text auf der Karte seinen Übergang vom Schriftsteller zum Künstler.
Marcel Broodthaers first invitation card reveals certain mechanism of the gallery system (30% for the artist, well back then), and he explains, in the form of a parody, why he wants to become an artist.
“Marcel Broodthaers (1924–1976) decided to become an artist only at the age of 40. Previously he had lived as a freelance writer in Brussels and Paris, publishing various volumes of poems and art criticism. On the invitation card to his first exhibition in 1964 he revealed the reasons for his change of career: “I asked myself if I couldn’t sell something and succeed in life. That was a moment when I felt good for nothing. I am forty years of age. The idea of ultimately inventing something insincere crossed my mind and I set to work immediately. After three months, I shall show my production to Edouard Toussaint, the owner of the Saint Laurent gallery. ‘But it’s art,’ he said, ‘and I will gladly exhibit all that.’ ‘Okay,’ I replied. If I sell something, he will take 30 per cent. These appear to be the usual conditions.” Wilfried Dickhoff, July 2008