Jean noel herlin biography template
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Press Release
Mr. Fluxus
An Anthology of Essays, Anti-Film, Documents, Architecture, and Ephemeral Objects
September 16-October 16, 2010
Opening Reception: September 16, 2010 from 6-8pm
Curating the exhibition, “Mr. Fluxus,” Stendhal Gallery returns again to examine one of the most intriguing artists of the late twentieth century in, “Mr. Fluxus: An Anthology of Essays, Anti-Film, Documents, Architecture, and Ephemeral Objects.” George Maciunas formed a circle of artists and an attitude called Fluxus, challenging the prevailing art marknad. Fluxus set out to question time-worn notions of authorship and value, challenging ostensibly firm distinctions between artistic genres, and raising the question “who owns an idea?” Fluxus has been described, “as the most radical and experimental art movement of the sixties,” and continues to exert considerable influence on contemporary thought and production.
A degreed archit
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InterArchive
InterArchive
INTERARCHIVE
Archival Practices and Sites in the Contemporary Art Field
ISBN 3-88375-540-0
Available from June 6th, 2002 in Kassel at the documenta 11 in the container of the Buchhandlung Walther König, Friedrichsplatz
The Kunstraum der Universität Lüneburg is happy to announce:
INTERARCHIVE
Archival Practices and Sites in the Contemporary Art Field
Available from June 6th, 2002 in Kassel at the documenta 11 in the container of the Buchhandlung Walther König, Friedrichsplatz.
Beatrice von Bismarck, Hans-Peter Feldmann, Hans-Ulrich Obrist, Diethelm Stoller, Ulf Wuggenig (ed.). Art concept: Hans-Peter Feldmann. Curator: Hans Ulrich Obrist. Verlag der Buchhandlung Walther König, Lüneburg/Köln 2002. 19,7 x 26,5 cm; 640 pp. with 545 illustrations, 402 coloured. Hardcover. Texts in German and English language.
ISBN 3-88375-540-0
Euro 40,-
In collaboration with the Düsseldorfer artist Hans-Peter Feldmann and based on the a
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Lawrence Weiner
Venturing into the periodical stacks, we find in the summer 1974 issue of Art-Rite a questionnaire asking artists to make a political statement. Lawrence Weiner responds with a variation on his Statement of Intent from 1968: “1) An artist may construct an art, 2) An art may be fabricated, 3) An art need not to be constructed.” This minor article, hard to find without recourse to microfilm, bolsters the argument that the core tenets of Weiner’s language-based practice were conceived as a Vietnam-era affront to power. That said, it also betrays a hint of self-satisfaction, a presumption that this statement alone guarantees Weiner’s leftist credentials. Could Lawrence already be resting on his laurels, in 1974? Thumbing through the more recent press clippings, we find the reception of Weiner’s recent (and long overdue) retrospective at the Whitney and at the Museum of Contemporary Art, Los Angeles, to be similarly anchored to this stat