XXXL Painting brings together new and existing works. In the months leading up to the opening, the artists have been busy at work in the building, creating the exhibition on site. Museum Boijmans Van Beuningen wishes to demonstrate the resilience and energy of the art of painting with a true ‘battle of the Titans’ between the three artists.MUSEUM
BOIJMANS VAN BEUNINGEN (Rotterdam) 8 June – 29 September 2013
SECOND HOUSE is perfectly camouflaged in its surroundings—at first glance, it appears to be an utterly ordinary single story ranch house. Yet when approaching it from the long hillside driveway, the overgrown grass strategically obscures the identity of who or what lies within. Like so many other domestic buildings in the area, SECOND HOUSE looks kind of decrepit or unfinished (passersby must wonder: did the owner run out of money and abandon construction?). Its façade is missing—only a thin, silvery skin made of insulation panels covers the exterior. An abandoned 1973 Dodge Barracuda is parked out back, quietly rusting in the tall grass; an inside-out tire planter adorns the completely unlandscaped front yard. The inside seems as unfinished as the outside. The walls and ceilings are partially painted, leaving the spackled drywall joints visible in many spots. Plywood sheets cover the floors. Exposed fluorescent tubes provide an even, cold light in the five rooms of the house. While the rawness of the interior décor suggests an uninhabited space, SECOND HOUSE is far from empty. The objects and images sheltered within its walls mirror the landscape outside: it’s pure Americana (that has been “stolen,” cropped, and edited by Richard Prince).
Richard Prince’s page
Parket 72 – 2005
Guggenheim Museum to acquire RICHARD PRINCE’S SECOND HOUSE, 2005
Lightning Devastates Guggenheim-Acquired “Second House” by Richard Prince
27 Gnosis by Michael Portnoy is inspired by the quest for a philosophical or taxonomic language which gained steam in the 17th Century at the hands of Leibniz, Dalgarno, Wilkins and others. The idea was to develop a language based on the reduction of all knowledge into an “alphabet of human thought”, comprised of irreducible semantic primitives or radicals, in some cases represented by symbols or characters, the combination of which would produce any possible idea. A feature of these languages distinct from any natural language is that within each word is revealed that word’s place within the entire taxonomy of genera, difference and species (ex: frenzi, a table game, is a type of game (renzil), which is a type of rest (renzi), which is the opposite of motion (enzi), which is a type of action, etc. etc.) The game borrows structurally from these languages’ ontologies as well as elements of contemporary conlangs (invented languages) such as aUI, Ro, Ilaksh and Ygede.
Performed at The Kitchen in March 2013
Video – 27 Gnosis by Michael Portnoy
Born in a Detroit suburb to a maintenance worker and a Ford Motor Company cook, Kelley suffered all his life from agoraphobia, yet he made his first works on the stage. While an undergrad at the University of Michigan in 1973, he played drums with the influential noise-rock group Destroy All Monsters, which he cofounded with the artist-musician Jim Shaw, among others. At the California Institute of the Arts in the seventies, where his teachers included Baldessari and Laurie Anderson, Kelley became an incandescent performance artist who “drove himself into these frenzied states,” recalls the video artist Tony Oursler, Kelley’s then roommate. “He would babble faster than anyone could think.” Riffing off absurdist scripts, he could charge a room with the simplest of props: “transforming himself,” recalls Oursler, “with only a bucket full of water with a whoopee cushion inside it or a cardboard tube stuffed with tin foil and a microphone.”
Fellow Los Angeles artist Paul McCarthy, who became equally transfixed by Kelley’s stage presence during a performance festival in the early eighties, soon struck up a collaboration with him on a series of psychobiographic videos. Their first was Family Tyranny (1987), about an abusive father-son relationship. “We knew we had similar interests in family, architecture, low-culture objects, and this thing of costumes and pretend,” says McCarthy, who along with Kelley was a breakout star of MOCA’s seminal 1992 survey “Helter Skelter: L.A. Art in the 1990s.”
McCarthy remembers how his hours-long conversations with Kelley would often lead to unlikely projects. “It was a lot of laughing, making jokes, and then all of a sudden we’d see something and go, ‘That’s an idea. We should do it.’ Then it’s like, ‘Should we really do it?’ And then we’re remaking Vito Acconci performances [with models portraying porn stars] in a house in Beverly Hills like it’s a commune, like a joke.”
Kelley was in the midst of a new project when he killed himself at age 57, leaving no note…
Leopold Blaschka (1822– 1895) and his son Rudolf Blaschka (1857–1939) were German glass artists, known for the production of biological models such as the Glass Flowers.
See previous post
The exhibition at New Museum (NYC) conjures an imaginary universe in which Trockel’s own artwork shares space with objects and artifacts, spanning different eras and cultures, that map her artistic interests.
Since the early 1970s, Rosemarie Trockel has produced an impressive body of work that includes drawing, collage, installation, “knit paintings,” ceramics, videos, furniture, clothing, and books. She brings together a range of associations and references from art history, philosophy, theology, and the natural sciences. For “A Cosmos,” Trockel places her work in the company of others whom she regards as kindred spirits. Installations created for the New Museum illuminate the intellectual and formal connections between her practice and a range of historical figures including self-taught artists James Castle and Morton Bartlett, and the botanist/mathematician José Celestino Mutis. Objects whose impetus was primarily aesthetic will be juxtaposed with pieces that more conventionally belong to the realm of science. Trockel’s roughhewn glazed ceramics from the past several years will be displayed along with Leopold and Rudolph Blaschka’s delicate glass models of sea creatures created in the nineteenth century. A selection of new work by Trockel can be examined in conjunction with watercolors by the seventeenth-century artist Maria Sybilla Merian, whose impeccably precise yet beautiful renderings of flora and fauna proved invaluable to scientific study.
Seminar: The Museum as an Art Practice
16 November 2012, Krakow, Poland, 2pm – 7pm
National Museum in Krakow
The Main Building, no. 1, 3 Maja Avenue – Audiovisual Room
Organised by: Cricoteka and the National Museum in Krakow
Actors: Agency, The Archive of Tadeusz Kantor – Cricoteka, MoAA (Museum of American Art), MOLAF (Museum of Longing and Failure) and Antje Majewski & Alejandro Jodorowsky (screening).
The seminar aims to map out Kantor’s vision of a museum, as well as any reflections and actions in any way related to the exhibiting and collecting practices, in the context of the new mission of Cricoteka as an institution where the spectator, the artist, the creative process and the very work of art all become part of activities which straddle theatre, archive and museum. The tool used to achieve this goal will be a conceptual drawing derived from the intersection of different working methodologies within a museum treated as art practice, rather than merely as a space used to archive, secure or negotiate the shape of the canon within art history.
(curators: Ewa Tatar and Joanna Zielińska)
The Hand that Gives. A conversation between Alejandro Jodorowsky and Antje Majewski, Paris 2010
Join us in in Krakow
See previous posts: Agency; Lewis & Taggart; MoAA