Number Shows, Process of attrition, Lucy R. Lippard in conversation with Antony Hudek

 

Lucy R. Lippard’s first numbered show was “557,087” at Seattle’s World’s Fair Pavilion in September 1969, followed a few months later by an expanded version of the same show entitled “955,000” at the Vancouver Art Gallery and other sites in the city. These two exhibitions determined the format of Lippard’s subsequent number shows: a title reprising the population of the city in which the exhibition took place; large numbers of participating artists associated with post-minimal and conceptual art (but a selection reflecting less an intent to define a movement or style than the curator’s affinities for certain practices); and, for each show, a catalogue in the form of a set of 10 x 15 cm index cards. “2,972,453,” Lippard’s next exhibition in the series, was held in at the Centro de Arte e Communicion Buenos Aires in 1971, and, in 1973-74, Lippard’s final number show — “c. 7,500” — traveled from Valencia, California, to seven other venues in the US and Europe. (Neither “2,972,453” nor “c. 7,500” were installed by Lippard herself.) Although many of the same artists appeared in the first two number shows, “2,972,453” included only artists that were not part of the first two, while “c. 7,500” included only women conceptual artists.

Lucy R. Lippard in conversation with Antony Hudek in Flash Art, issue 281 November – December 2011
Link to the whole conversation

 

Intangible Economies, edited by Antonia Hirsch

 

Treating the idea of an economy as a general system of exchange, Intangible Economies advances the idea that personal relationships are produced by economic activity and that desire generates economic transactions. Intangible Economies speculatively investigates the role that these “affective transactions” play in modes of representation and cultural production. The abstract and abstracting function of value itself becomes particularly significant in this constellation, in its relation to both capitalist economy and ethics. First developed for a 2011 conference in Vancouver, the essays included in this anthology seek to tackle the difficult task of tracing the role of affect in economic exchanges relative to artistic production, while also enacting the unruly force of such transactions.

The contributing essayists are Melanie Gilligan, Juan A. Gaitàn, Hadley+Maxwell, Candice Hopkins, Olaf Nicolai, Patricia Reed, Monika Szewczyk, and Jan Verwoert.

Link to Antonia Hirsch's introduction
Link to Filip Editions
Link to the event in Vancouver

 

Care Of Edition

 

Care Of Editions is a label that pays people to download the music we release with profits made from selling the same albums on vinyl. As more records sell, more downloads become available, and for larger sums. The amount of money is always tied to the download number, so it keeps going up until the edition is sold out: from one to forty-five dollars, which is funded by an edition of 118 vinyl. Payments are sent as checks from the Swiss postal bank and printed in the local currency of the recipient so they can be cashed at the post office free of charge. The website is measured by the length of our current digital inventory, so as downloads go out of stock, the website starts to disappear.

Link to Care Of Editions
Link to the essay 'Negative Money: Care Of Edition', written by Gerhard Schultz

 

Essays On The Blurring of Art and Life, Allan Kaprow

 

Full book in pdf

Kaprow's Essays on the Blurring of Art and Life (1993) is a collection of pieces written over four decades, that has made his theories about the practice of art in the present day available to ageneration of artists and critics.
Allan Kaprow's "happenings" and "environments" were the precursors to contemporary performance art, and his essays are some of the most thoughtful, provocative, and influential of his generation. His sustained inquiry into the paradoxical relationship of art to life and into the nature of meaning itself is brought into focus in this newly expanded collection of his most significant writings.

 

Esthetic Entities, Florin Flueras

 

Esthetic Entities

Retroactive self-referentiality

In the last 10 years entities with a complex esthetic operativity emerged in the zones of dance and visual arts of Bucharest. Attempts of understanding them are mostly made by insiders, as is the case of this text. Apart from the necessity to grasp what are you part of, to figure these entities out, self-reflection functions as an engine that self-constitutes them. The entities expand in the direction in which they conceptualize themselves, they are shaping themselves through self-reflection. Self-conceptualization is an internal dynamic for substantiating an esthetic entity, but once a dynamic of self-referentiality is in place, this often extends to the outside. In Postspectacle, one of the esthetic entities, a constant practice is to introduce strange feedback loops, altering, expanding or breaking some of the implicit conditions at work in the respective situations. In the case of Kunsthalle Batiștei, another esthetic entity, a self-referential intervention is made in the basic layer of identity formation, in the correspondence between the name and the project. There is an operation of forced association with a group of institutional practices that enters in a strange relation with its own behaviors, producing some institutional fog around its identity.

Full text
Link to Florin Flueras website
Link To Post-Spectacle website

 

Bringing Us Close at A Distance, Nina Djekić

 

Full text link

PROLOGUE

Objects can form a reflective surface through which we look at each other indirectly. As an interface they can offer us a way to affect each other, without needing to express an intention directly. In certain situations, such as exhibitions, relating to each other through another presence allows for a dance of proximities and distances that would in other circumstances be uncalled for or met with suspicion.

How much do we forget about each other and how much are we reminded of each other’s proximity when we get attracted to an object that exerts some form of gravitational pull on us, be it a work of art or a beautiful scarf in a shop or an object of worship. Do we consciously move to re-­‐constitute our relations to each other?

The presence of artworks in a museum gives us an agency to move in that space, our presence there makes sense because of something outside of us. When the artworks are absent, we too lose our reason to be there. This particular constellation loses the gravity it needs to keep itself together (alive).

In some temples in Japan, the presence of secret Buddha statues hidden in darkness attracts pilgrims and others to experience the very unique atmosphere created by its presence -­‐ some say they encounter the Buddha itself. A temple could also be a place where the secret Buddha was once situated, still possessing enough of that specific energy to be differentiated from other temples. Even in absence it can still attract.

It is often things that bring us together and give us a reason to keep each other’s company when we otherwise wouldn't have even met. There is a specific intimacy in the moment when we encounter a work of art (or object) that affects us alongside a stranger, a friend or a lover. It is those very things that affect us, that affect our presence with each other. Every step we make from that moment on becomes a small dramatic gesture, a gesture of distancing oneself into a new situation. As art critic and theorist Michael Fried complained, museums are theatrical, like any other place can be, the difference is whether we are conscious of it or not, if we are conscious of being ourselves theatrical.

 

Council

 

Council brings together a laboratory for artistic research (the inquiries), a program for the production of artworks, and a fellowship. These activities construct a network of people and institutions linked to the arts, the sciences and social engagement. 

About Council:

A council practices the art of assembling people in order to decide how to act for themselves and for those they represent. Councils are common to different cultures around the world, and are practiced at different levels of society - the family, trade unions, states, militant groups, businesses, and religious communities. Shared by all, council is an activity from which may emerge new forms of political representation.

Founded in 2013 by Grégory Castéra and Sandra Terdjman, and animated by a network linked to the arts, science and social engagement, Council develops an artistic institution born out of the art of council. Today, Council brings together artistic research laboratory (the inquiries), a program for the production of artworks, and a fellowship.

Introducing the arts in domains that do not fully recognize its legitimacy, composing the arts with sciences and civil society, and staging new forms of council: Council tests the hypothesis that the evolution of political representation implicates aesthetic operations.

Council acts in the long-term and on an international scale, modulating its structure according to the necessities of its activity. In accordance with these conditions, Council seeks to observe situations where human nature is reexamined, and to experiment with radical alterity - "the way I do not understand the other is different from the way he does not understand me".

http://www.formsofcouncil.org/en/

 

Forms of Life, Franck Leibovici

 

(forms of life)


          when looking at an artwork, i often ask myself what form of life is behind it. in other words, i wonder what form of life the author has implemented to make the production of such an artwork possible. i also ask myself the opposite question: what form of life flows out of the work i am looking at? for example, if it seems like a big production, i imagine it required money and assistants; it may have even been necessary to outsource some of the work. in this case, i imagine the artist at the head of a small business with all of the related costs, financial constraints, working conditions and scheduling issues. does the artist work daily, i wonder, or only on commission, on pieces that have already been financed and which are created with prior knowledge of the exhibition space. when i see a drawing on the other hand, i ask myself if the artist draws every day. he or she only needs a pencil and paper to draw. these are efficient, light technological devices, but ones which also imply a specific way of working, with its own economic model and type of exhibition space. obviously, one practice is not better than another, nor are these two examples mutually exclusive: the same artist can have several practices and work on several scales.

          i can recall artists who closely related their practices to the forms of life they had chosen: one artist liked to buy books, read them, give them away as presents, spend time with his friends, make plays on words, etc. his artistic practice reflected all of that. another liked mushroom hunting more than anything in the world and he wanted to compose music that was full of chance encounters, like a walk through the forest. another felt that his friends should act idealistically, since that was the way he envisioned poetry—as fundamentallyethical—many of those who observed his life called him mad and his poetry incomprehensible. another artist, eventually, saw street vendors as the symbol of the society he lived in: walking into the city by day and out of the city by night, dragging around their little carts, never staying put. as a result, his sculptures, though monumental in size, could be folded up into little boxes that he carried away under his arm once the exhibition was over.
          i imagine this is the case for each of us: our forms of life and practices are closely related.

          "form of life" is a somewhat vague term. i would describe it as a set of practices, gestures, and ethical, political and economic positions. but when i try to imagine each of your diverse forms of life and practices, the mental picture i get is admittedly pretty fuzzy. i have to confess i have no idea. yet i think it is important to see an artwork as more than a trinket for the mantle or a decoration for the living room or museum wall, but as a process, a reckoning of that process, a step in fact, a way of recording the state of things at a given moment, a way that would build itself through “bricolage”. i tell myself that an artwork is, above all, an indication of the form of life of its author, who, refusing those forms he has inherited, has tried to invent his own.

          the practices that interest me do not require technical prowess, and moreover can be totally non-artistic in nature, but they are decisive parts of our work. the novelist haruki murakami says that he wouldn't be able to write if he didn't go running every day. how does he articulate marathon through his writing? i have no idea, but i do understand that a form of life works a little like a toolbox: there are many different elements that work together (a hammer with a nail) without one necessarily being the direct result of another (running has never, in and of itself, engendered the production of a novel). another artist, who works on the lebanese civil war, collects, day after day in beirut, flashlight lighters made by hezbollah—according to him, they say a great deal about an unstable geopolitical situation, and about the powers politics at play in the region. we are far from jogging—or are we?
          in order to describe or portray these practices, gestures, and forms of life, your submission may take the form of collections you have assembled, and which support your work, or which result from gestures you repeat on a day-to-day basis (but we'll try to avoid collections of an autobiographical or reliquary nature, for they fall outside our subject). your submission may also be a drawing in which you try to portray these practices. in fact, anything that might elicit the following remark from the viewer: "oh! this also is x's work!" 

          i think our practices and gestures sometimes produce our work or, at least, make it possible, give it meaning, etc. it depends.

          in order to help me clarify these mental images, this letter is meant to open an inquiry. like a trusted vehicle, this letter is making its rounds, seeking you out in your studios, in your daily lives, tracing your gestures, your mental positions. if you agree to reply, whether with a short text (a few lines or a page), or with pictures, videos, sound files, or whatever else, it might give us a better, and more importantly more accurate, idea of what producing an artwork actually entails—an idea which the market may overlook.

          the results of the survey will be presented in a form that has yet to be decided (publication, performance, conference, exhibit?). above all, the survey will take the form that you decide to give it. i know that this is not an easy exercise (avoiding formulaic slogans, succeeding in making knowledge haptic using techniques that have yet to be invented, most of all succeeding in transforming something that has never been represented into a representation). some of us may have never attempted such an endeavor. nonetheless, i predict that the outcome will be, at the least, very helpful.


warmest regards


franck leibovici

Link to the website desformesdevie

 

Art as Occupation: Claims for an Autonomy of Life, Hito Steyerl

 

Lets start with a simple proposition: what used to be work has increasingly been turned into occupation.

This change in terminology may look trivial. In fact, almost everything changes on the way from work to occupation. The economic framework, but also its implications for space and temporality.

If we think of work as labor, it implies a beginning, a producer, and eventually a result. Work is primarily seen as a means to an end: a product, a reward, or a wage. It is an instrumental relation. It also produces a subject by means of alienation.

An occupation is not hinged on any result; it has no necessary conclusion. As such, it knows no traditional alienation, nor any corresponding idea of subjectivity. An occupation doesn’t necessarily assume remuneration either, since the process is thought to contain its own gratification. It has no temporal framework except the passing of time itself. It is not centered on a producer/worker, but includes consumers, reproducers, even destroyers, time-wasters, and bystanders—in essence, anybody seeking distraction or engagement.

Link on e-flux

 

The Terror of Total Dasein, Economies of Presence in the Art Field, Hito Steyerl

 

“The International Artists’ Strike in 1979 was a “protest against the ongoing repression of the art system and the alienation of artists from the results of their work.” Djordjevic mailed invitations to numerous artists around the world, asking if they would be willing to take part in the general strike. He received thirty-nine, mainly unsupportive responses from the likes of Sol Lewitt, Lucy Lippard, and Vito Acconci. Susan Hiller replied: “I have, in fact, been on strike all summer, but it has not changed anything and I am anxious to begin work again, which I shall do very soon.” 1

“Dear Goran, Thanks for your letter. Personally I am already on strike of producing any new form in my work since 1965 (i.e. 14 years). I don’t see what I could do more – Best Regards (Daniel) Buren.”2

When legendary conceptual artist Goran Djordjevic tried to rally artists to go on a general art strike in 1979, some of them responded that they were on strike already – i.e. did not produce work or new work. But it made no difference whatsoever. Clearly, at this time this seems to have confounded received ideas of what a strike was and how it worked. A strike was supposed to drain needed labour power from employers, who would then need to make concessions to workers demands. But in the art field things were different.

1- http://penguinrandomhouse.ca/hazlitt/longreads/investigation-reappearance-walter-benjamin
2- https://www.stewarthomesociety.org/features/artstrik26.htm


The Terror of Total Dasein, Economies of Presence in the Art Field, Hito Steyerl, DIS Magazine

 

Il Tempo del Postino

 

"Curated by Hans Ulrich Obrist and Philippe Parreno as a group show that would occupy time rather than space, “Il Tempo del Postino” (Postman Time) presents a sequential display of time-based art on the theatre stage."

Il Tempo del Postino, curated by Hans Ulrich Obrist and Philippe Parreno with works by Doug Aitken, Matthew Barney & Jonathan Bepler, Tacita Dean, Trisha Donnelly, Olafur Eliasson, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Koo Jeong-A, Philippe Parreno, Anri Sala, Tino Sehgal and Rirkrit Tiravanija & Arto Lindsay.
Manchester International Festival, Manchester (2007), ArtBasel, Basel (2009)

Website of Il Tempo del Postino
Review Frieze Issue 109 September 2007
e-flux announcement for the ArtBasel edition in 2009
 

 

Is the Living Body the Last Thing Left Alive? The new performance turn, its histories and its institutions, Para Site International Conference 2014

 

"Para Site is proud to present "Is the Living Body the Last Thing Left Alive? The new performance turn, its histories and its institutions." The 2014 edition of Para Site's International Conference is a major international forum discussing the renewed encounter between dance and performance and the institutions of global contemporary art, marking one of the most significant set of developments in the art field over the last decade.
The past twenty years have seen contemporary dance emerging as a new field of discourse and thinking. While writing within and about these developments is still in its infancy, this scene has produced some of the most powerful works of our times, reflecting the major intellectual directions and the changes in the world over these decades. More recently, dance and performance have entered the institutional realm of contemporary art, with more artists working in and around these disciplines, and with more museums, art centers and biennials considering how to deepen their commitments to performance. While these are global phenomena, the resources needed to mobilize such processes (and the sheer budgets for many dance productions) mean that they are primarily visible in the centers of cultural power around the world. However, a loosely related history of performance art as a category of visual art has been written for a longer period of time, and it is composed of multiple, fragmentary and geographically dispersed stories, many of them marking older turning points in their respective contexts, be it around the 1950s in Japan, 1960s and 1970s throughout Latin America and Eastern Europe, 1980s in China, or the 1990s in parts of South East Asia and Eastern Europe. This conference attempts to look at these interconnected stories, and in the process to point out and to extend the boundaries of what is possible in the paradigm of art and performance today."

Is the Living Body the Last Thing Left Alive? The new performance turn, its histories and its institutions, Para Site International Conference 2014
The Hong Kong Jockey Club Hall, Asia Society Hong Kong Center, 9 Justice Drive, Admiralty, Hong Kong

 

La Piscine, Myriam Lefkowitz

 

Wishing to associate different artistic practices that broach related questions, she opened her reflection to others and came up with La Piscine. During six straight days, seven artists - Jean-Philippe Derail, Valentina Desideri, Ben Evans, Alkis Hadjiandreou, Julie Laporte, Myriam Lefkowitz et Géraldine Longueville Geffriaud - will intermingle with the Leclerc swimming pool of Pantin, offering the spectators the opportunity to co-construct an experience between one spectator and one performer.

The chosen practices were all conceived as « attention devices » for one spectator and one performer at a time; they all question the conditions and the effects of an experience for two; they all generate a singular perceptive process, activated outside of the usual context of representation (the stage or the exhibition space).

Though heterogeneous, the different practices will nourish one another inside the space of the Leclerc public swimming pool, mixing in the liquid environment to the point of dilution, leaving the artist as transformed as the spectator. As an alchemical laboratory, constituted at first by the water element, La Piscine is a space where sensations slide, weight is suspended, outlines blur, silences appear.

La Piscine, Hors-les-murs Laboratoires d'Aubervilliers, 20 - 25.10.2015
More information

 

The Hypnotic Show curated by Raimundas Malašauskas, hypnotised by Marcos Lutyens

 

HYPNOTIC SHOW FAQ:

Q: What is Hypnotic Show?
A: A temporary social structure of engaging into creative cognitive acts through shared practices of art and hypnosis.

Q: What is the relationship between art and hypnosis?
A: Hypnotic power of artwork has always been a favorite trope of people looking for transformative potential of art. However instead of seeing “hypnotic power” as a rhetorical figure Hypnotic Show aims at reducing art practice to the method of pure hypnosis. According to biometrics it connects to the brain faster.

Q: Why brain?
A: It is the ultimate destination of neuro-social engineering as well subjectivities of yet-to-be- invented. From the perspective of ceaseless production and total transparency* brain is seen as a final frontier to be colonised, from the perspective of individual subjectivity - as a last resort of things not-to-be-known. Hypnotic Show positions itself on both ends of the perspective.

Q: How does Hypnotic Show work?
A: When all spaces undergo gentrification and you think that your very inner subjectivity will remain a space of a strictly personal order your brain-waves are being measured against you

Q: No, no, but how does it work technically?
A: A number of invited artists have submitted proposals for Marcos Lutyens to be performed on the audience through a session of hypnosis.

Q: Can my girlfriend attend the séance?
A: Of course, please tell her to RSVP to sign up for a seance that will take place (time TBC) at...
(So far the show took place at Silverman Gallery, San Francisco; Artists Space, New York; Amsterdam Kunstwerein; Kadist Art Foundation, Paris; Labor, Mexico City)

Q: Is it true that hypnosis can convince in a value of certain artwork against my will? A: Multiple techniques are used in promoting arts value, hypnosis is just one of them.

Q: What remains after this show?
A: Reconfiguration of principles about workings or art and mind implied by artists proposal.

Q: What is the relation of Hypnotic Show to The Man Who Taught Blake to Paint in His Dreams drawing by William Blake?
A: It is not clear in this painting whether the Man was teaching painting in his dreams and Blake had access to that knowledge telematically or whether Blake was taught how to make paintings in his dreams. Or both.

Q: Will there be any works of artists made under the influence of Hypnosis?
A: No, Hypnotic Show is aimed at induce trance rather than show its static records.

Q: Is it an empty show?
A: A show in your head will never be empty. There will be possibly a dream-machine of Burroughs and Gysin installed in the gallery.

Q: Did it take place anywhere before?
A: Yes, at Jessica Silverman gallery in San Francisco in 2008 and Artists Space in NYC in 2009.

Q: What are the inspirations of Hypnotic Show?
A: Works of many artists including Graham Gussin, Matt Mullican, Ann Lislegaard, Pedro Reyes, Warren Neidich, Cerith Wyn Evans; conversations with Fernando Delmar, Pascal Rousseau as well as work of all the artists participating in Hypnotic Show with proposals.

Q: Is Hypnotic Show about collaboration?
A: Not really, but the relationship between hypnotist and the audience should be be described as collaboration.

Q: Can I buy I a hypnotic artwork?
A: Not at this moment. However soon you will be able not only to buy, but commission a hypnotic artwork created especially for you or to be able to induce your own hypnotic artwork on your friend out of pure love. Or both.


Sofia Hernandez Chong Cuy‘s report of The Hypnotic Show at at Artists Space, New York (2009)

The Hypnotic Show at CAPC musée d'art contemporain
de Bordeaux (2011)


The Hypnotic Show at Documenta 13 (2012)

The Hypnotic Show at Kadist Foundation (2012)
 

 

Timing: On the Temporal Dimension of Exhibiting

 

"Processuality and performativity, and more recently dramaturgy and choreography, are terms often used in analyses of exhibitions and other curatorial formats. These attributions reflect the changes curatorial practice has undergone over the past twenty years in the wider context of cultural and economic globalization and the related notions of acceleration, action orientation, and mobility. In this light, the exhibition manifests itself as a transdisciplinary and transcultural set of spatiotemporal relations, which is time-based by its very nature. Focusing on time instead of the typically predominant category of space, this publication—the second volume in the Cultures of the Curatorial series—takes up the key aesthetic, social, political, and economic issues of the early twenty-first century running through the field and framed by the axes of exhibiting and the temporal."

Contributions by Pierre Bal-Blanc, Bassam El Baroni, Claire Bishop, Beatrice von Bismarck, Sabine Breitwieser, Barbara Clausen, Maeve Connolly, Rike Frank, Adrian Heathfield, Inka Meißner, Benjamin Meyer-Krahmer, Maria Muhle, Philippe Parreno, Jörn Schafaff, Bennett Simpson, Kerstin Stakemeier, Thomas Weski, et al.

Copublished by Stenberg Press and Kulturen des Kuratorischen, Hochschule für Grafik und Buchkunst Leipzig; Design by Surface.

Link to Sternberg Press
 

 

The Death of the Audience: Conversation between Elisabeth Lebovici and Pierre Bal-Blanc

 

Elisabeth Lebovici: I would like to begin with the title of the exhibition you curated at the Secession in Vienna in summer 2009, as it was what first enticed me to conduct this conversation with you: “The Death of the Audience.” I sense that such a title is in line with much recent research by artists and theoreticians, for instance Hito Steyerl’s essay in the June 2009 issue of e-flux journal, “Is a Museum a Factory?”1 At the end of her essay, she mentions the viewer’s loss of sovereignty in the cinematic machine of the contemporary museum-as-factory; as if the sovereign gaze of the beholder should also be submitted to the division of labor, losing its unity and mastery:

Cinema inside the museum thus calls for a multiple gaze, which is no longer collective, but common, which is incomplete, but in process, which is distracted and singular, but can be edited into various sequences and combinations. This gaze is no longer the gaze of the individual sovereign master, nor, more precisely, of the self-deluded sovereign.

Would you say that the multiple and unified, absent subject designated in the article is similar to the one implied in “The Death of the Audience”?

Pierre Bal-Blanc: Let’s look at the invitation card for the exhibition, which assumes the character of a funeral invitation: “The Death of the Audience,” with a specific date and time: “2.7.2009. 19 Uhr.” The audience is invited to its own funeral. The card thus participates in a ritual, as redefined by Anna Halprin’s movement patterns (Ceremony of Us, 1969) or Michel Journiac’s Messe pour un corps (1969): it performs the audience. But this wasn’t our original title for the exhibition—it came about through the course of the curatorial process. The original working title for the show was “The Professional Outsider.” By using this paradoxical expression, I wished to allude to such self-defining notions of the artist as the “spy” for Gianni Pettena or the “Incidental Person” for John Latham, who are both featured in the show. These notions echo strategies in recent history that cut into institutional practices, movements, or artistic “parties,” strategies that position the artist through specific cognitive means. These artists stand at a distance, they do not intersect with attempts to define oneself as anti-, alter-, or neo-modern; they relate to the idea of being outside and also in-between. To me, relying on these processes and positions was a way of mirroring the rupture that founded Secession at the turn of the twentieth century, but through a marginal and yet positive notion of another rupture in the last quarter of the twentieth century, as well as to maybe further consider the question of what a rupture could be today . . .

Link to the full conversation

source: e-flux journal #13 - february 2010 - Elisabeth Lebovici, The Death of the Audience. A conversation with Pierre Bal-Blanc.

 

 

Welcome to this Situation: Tino Sehgal in Berlin, Jörg Heiser

 

"In 2009 I went to Brussels to see a Tino Sehgal show at Galerie Jan Mot. It was not long after the collapse of Lehman Brothers, and everything was being read as an expression of crisis. This was also my approach to an oeuvre I had been following for around seven years (in the early 2000s, after some time working in contemporary dance, Sehgal had begun realizing his works in an art context). In this case, however, the crisis in question affected the inner dynamic of the work itself: This is Critique emulated all of the fundamental critiques of Sehgal’s approach, from the charge of luddism (to this day, Sehgal’s works may not be photographed or otherwise technically documented) to that of anti-object purism (to this day, there are no objects or even written documents purchased, collected or archived in connection with Sehgal’s work)."

Welcome to this Situation: Tino Sehgal in Berlin, On the occasion of his two surveys in Amsterdam and Berlin, two variations on Tino Sehgal, Jörg Heiser, first published in Issue 21, August 2015
 

 

Delegated Performance: Outsourcing Authenticity, Claire Bishop

 

This essay is presented on delegated performance in which nonprofessionals are hired to perform at a particular time on behalf of the artist on his or her instructions. The author stated that this social turn started since 1990s in contemporary art against the tradition of 1960s and 1970s where artists like Chris Burden, Vito Acconci and Gina Pane performed themselves. The author referred to the trend of live installation started in Europe in 1990s in which guards for exhibition were hired. The Italian artist Maurizio Cattelan assembled a soccer club of foreigners to play local matches in 1991.

Bishop, Claire, "Delegated Peformance: Outsourcing Authenticity" (2012). Faculty Publications and Research. Paper 45. (link)

Originally published as Bishop, Claire. "Delegated Performance: Outsourcing Authenticity." October no. 140 (Spring 2012): 91-112. (http://www.mitpressjournals.org/loi/octo)

 

The Living Currency: After Pierre Klossowski, staged by Pierre Bal-Blanc

 

The Living Currency (La Monnaie Vivante) is a two-day exhibition, in which historical and more recent approaches to the body as a focus of performance in the visual arts are placed in confrontation with the latest developments in contemporary dance.
The title of the exhibition refers to La Monnaie Vivante (1970), a text by the French writer and painter Pierre Klossowski (1905–2001). Klossowski’s text develops an alternative model of economic exchange , which places the body at the centre of our everyday relation to the economy as the only valid form of currency. The Living Currency brings together artists who explore this theme in a number of contrasting, illuminating and provocative ways; in terms of living objects and inanimate bodies, human presence, use and manipulation, and law and order in society for example.

Link to CAC Bretigny

La monnaie vivante/The Living Currency/Die lebende Münze
6th Berlin Biennale
HAU 1, Stresemannstraße 29, 10963 Berlin
17 juin au 19 juin 2010, 19h30-0h30

Pdf booklet

Zywa waluta/La Monnaie Vivante
Muzeum Sztuki Nowoczesnej w Warszawie
Musé d´Art Moderne Varsovie/Teatr Dramatyczny
28 avril au 30 avril 2010

Pdf booklet

Living Currency/La Monnaie Vivante
Tate Modern London, 2008

Pdf booklet

Living Currency/La Monnaie Vivante
STUK Leuven, 2007

Pdf booklet

Living Currency/La Monnaie Vivante
Micadanses Paris, 2006

Pdf booklet

 

Six Years The Dematerialization of the Art Object from 1966 to 1972, Lucy R. Lippard

 

"Six Years: The Dematerialization of the Art Object from 1966 to 197: a cross-reference book of information on esthetic boundaries:consisting of a bibliography in which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mention on such vaguely designated area as minimal, anti-form, systems, earth or process art occurring now in the Americas, Europe, England, Australia and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard."

Six years: the dematerialization of the art object from 1966 to 1972; a cross-reference book of information on some esthetic boundaries. New York: Praeger. 1973, reprint edition by University of California Press (7 April 1997)