Kunstverein

Simon Martin

admin — Sat, 06 Feb 2010 13:02:57 +0000

Simon Martin
7 March – 9 May 2010

With UR Feeling, a lecture at Hermitage, 6 March 2010, 4 pm
Private view: 6 March 2010, 6–8 pm

Simon Martin’s practice could be summed up as a continuing, considered inspection of the significance of our cultural baggage – how it is thought about, displayed, categorised and remembered. Whether painting, sculpture or moving image, Martin’s work examines the relationship society forms not only with its artworks but also (historical) artefacts, human icons (Warhol) and objects of design (Memphis).

Untitled (2010) is a formal study of a sculpture – an African figurine placed next to an organic lemon. The sculpture is empirically investigated, observed, rotated, examined as it hovers between a state of pure objecthood and unblemished representation. It could equally be an advert for the sculpture, with its quick edits moving sleekly across surface of the elusive product. This is clearly an animation and, like a diagram or a sign, an animation has no ‘weight’. Or does it? Untitled transitions from knowing to sensing to not-knowing and back again. Untitled ’s duplicity is echoed by the bronze ‘desk sculpture’ with accompanying real organic lemon, called Untitled (2007). A replica of the same African figurine as depicted in the animation, Untitled, like its counterpart, refuses to become a clear-cut, easily defined object. On the one hand, it touches the familiar as a generic model of an African artefact, perhaps a discreetly decorous souvenir, on the other, in its modest placement, remains unsettlingly enigmatic. There is a hint of inert aggression in its demand for wholeness: without the commitment of he who oversees the work – he who promises to replenish the organic lemon – Untitled is not complete; or simply is not.

‘They will feel in the alleyways something, but it’s not quite medieval and its not quite modern. It’s something else. In other words, my whole idea of affect is that you experience something, you feel something, you see something, but you can’t quite explain it. It has an Ur-dimension to it… something between understanding and not, lets say.’ (Peter Eisenman)

UR Feeling is the title of a lecture or ‘investigation’ by Simon Martin. According to Martin, “the UR Feeling describes a pre- or non-verbal moment of apprehension”. The title is taken from a conversation between the architects Peter Eisenman and Charles Jenks. Eisenman outlines a situation where the plural coding of architectural forms and a careful attention to the social history of a place begin to produce a particular affect on the viewer. For Eisenman these affects appear as ‘texts’ and are intended to be explicit and physical.

The UR Feeling lecture will be held once only, prior to the opening on March 6, 4 pm at the Hermitage, Nieuwe Herengracht 14. Along with Untitled (2010) and Untitled (2007), it forms the third part of the artist’s exhibition at Kunstverein.

Seeing as space is limited for the lecture, please make reservations before 3 March to office@kunstverein.nl. Kunstverein’s members will have priority.

Kunstverein’s Store for Independent Publishing presents Garamond Press

admin — Wed, 20 Jan 2010 12:55:02 +0000

Kunstverein’s Store for Independent Publishing presents
False Friends by Garamond Press
7 March – 9 May 2010

Private view: 6 March, 6–8 pm

Antonio Pigafetta’s questionable travelogue from 1591, titled Regnum Congo, was based upon stories from Duarte Lopez, a Portuguese explorer who supposedly visited the Congo. The travelogue introduces an odd vision of European landscape in which fantastic creatures are presented. South-African artist Ruth Sacks re-contextualizes these historical interpretations by re-appropriating them into contemporary conditions, juxtaposing the varied characteristics. Hence the logo of her fictional publishing house, Garamond Press: a fantastic animal based upon a description of one of the possible animals from Regnum Congo.

Kunstverein is proud to present and produce the Garamond Press’ first publication False Friends. The narrative of the book derives from the storyline of Edgar Allen Poe’s “Murders at the Rue Morgue” from 1841, generally agreed to be the first detective story ever written. This contemporary version is set in Antwerp, Belgium, and is split into three languages: Dutch (Flemish), French and English. To follow the story’s plot, one has to be fluent in all three languages.

ISBN: 978-94-90629-02-1
€ 7,50

“grey-blue grain”, an exhibition by Adam Pendleton

admin — Wed, 09 Sep 2009 08:14:51 +0000

“grey-blue grain”, an exhibition by Adam Pendleton
12 Dec. 2009 – 31 Jan. 2010

grey-blue grain is the second in a three-part program by Adam Pendleton entitled EL T D K Amsterdam, comprising, along with this exhibition, two performances.
grey-blue grain is a selection of projects from 2007-09 that deal directly with the abstraction and instrumentalization of language and image through sculpture and wall-based work, including including a selection from his ongoing System of Display, mirror and glass works that atomize historical trajectories and textual realities through framing, reflection and fragmentation; sculptural work derived from the code-based work of ‘Clairvoyant Poet’ Hannah Weiner; poster-format rereading of texts based on the work of Liam Gillick and Malcolm X; and fresh configurations of the artist’s abstract and phenomenological alphabet, Untitled (small black cubes).

Adam Pendleton’s conceptual practice constructs formal templates in which he slots information. As a painter, writer and performer, he uses extreme freedom of reference and quotation, as well as a rejection of conventional hierarchies among sources, to create a re-historicized present, one that upsets and unbalances comfortably subjective interpretations of history and culture.

Over the past few years American artist Adam Pendleton has written various performances in which he exploits the easy-psychology of autobiographical readings by using devices that render language concrete and contingent. Often he combines specialized discourses and common knowledge in a redistribution of cultural information. Previous performances range from the evening length 30-person gospel choir production The Revival to a series of manifestos such as the Black Dada Manifesto.

EL T D K Amsterdam is a collaboration between Kunstverein, Amsterdam and de Appel.

Note:
Part three, BAND, will be performed the 13th and 14th of December at 8.30 PM
Location: De Brakke Grond (Rode Zaal), Nes 45, Amsterdam

For reservations, please contact: +31 (0)20 626 68 66 or hzomer@deappel.nl

BAND is a form and content refashioning of Jean-Luc Godard’s Sympathy for the Devil. Made in the aftermath of May ’68, the original film helped mark Godard’s break from his Nouvelle Vague period into a more committed engagement with the politics and class struggles of the time. It modelled the director’s emerging political faith that radical formal complexity could undermine the bourgeois logic implicit to narrative filmmaking. Often read as a tribute to the Rolling Stones whose rehearsals form an ongoing motif in the film, the Stones were in fact emblematic of the mainstream counterculture from which Godard was attempting to remove himself. BAND will unfold in stages, beginning at the Toronto International Film Festival on September 17th with a rehearsal and live concert by the indie-rock/post-punk band Deerhoof. The Amsterdam performance/reading will present the first edit of footage from Toronto with work-in-progress sequences from texts based on the work of authors explicitly related to Godard’s film, such as the Black Panther’ Eldridge Cleaver; or tangentially related, such as Gertrude Stein. The final stage of BAND will occur at The Kitchen, New York in Fall 2010.

Co-producers: Wayne Baerwaldt, Alberta College of Art + Design, Calgary; Noah Cowan, Toronto International Film Festival, Future Projections; Ann Demeester, De Appel, Amsterdam with additional support from Rashida Bumbray, The Kitchen, New York.

Kunstverein’s Store for Independent Publishing presents Ray Johnson “A Book about Death”

admin — Sat, 05 Sep 2009 22:39:43 +0000

Ray Johnson “A Book about Death”, 1963–1965
12 Dec. 2009 – 31 Jan. 2010

Ray Johnson’s (Detroit, 1927) early work consisted of intricately painted geometric abstractions influenced by Albers’ color theories, and he exhibited with the American Abstract Artists group, including Ad Reinhardt and Leon Polk Smith. Soon, however, he turned to complex collages combining images with ink and paint or other surface textures that reflected the atmosphere of Abstract Expressionism then still prevalent in New York. During the 1950’s, Johnson established the format and style he would continue to use throughout his life. Kindred in spirit to the work of Joseph Cornell, he called his small irregularly shaped collages “moticos”, an anagram for “osmotic” (from osmosis). Johnson’s works continued the Dada and Surrealist tradition of collage (including that of Kurt Schwitters and Max Ernst) and pursued the provocation of paradoxical verbal and visual puns, absurd juxtapositions, word-play riddles and hidden references with a witty nihilistic sense of humor.

Johnson wrote poetic texts and letters and integrated language and a unique system of cryptic signs into his work. Considered by many the “father of Mail Art”, as early as 1953 Johnson began sending highly conceptual images/texts to friends, often encouraging the recipient to “add to” the work, or “please send to” someone else, or “return to Ray Johnson”. Forming the “New York Correspondence School” in 1962, Johnson established an enormous network of participants throughout the world – one which remains active even after his death, as is evident with Ray Johnson web sites on the Internet. Paralleling the idea of Allan Kaprow’s Happenings and of later Fluxus events, in the early 1960’s he began doing “Nothings” – informal performance art or non-art pieces which were continued over the years under the guise of NYCS meetings or lectures. Johnson was recognized as much for his performance-like persona as his collages and mailings.

In 1968, on the day Andy Warhol was shot, Johnson himself was mugged, an event which precipitated his move to Locust Valley, Long Island. Although he remained involved with the art scene through conversations and correspondences, he gradually withdrew from actively exhibiting. Johnson continued to make art, however, such as the master collages he worked on over a period of many years. He also continued to perform in his own circuitous ways, until apparent suicide on the night of Friday the 13th of January, 1995, when he was last seen leaping off the bridge in Sag Harbor, Long Island doing the back stroke into oblivion, and act some consider to be his last “performance”.

Between 1963 and 1965, Ray Johnson printed thirteen pages of his Book about Death with the Pernet Printing Company, 120 Lexington Avenue at 28th Street. His title, which designated the thirteen unbound pages as a book, is A Book about Death, yet also A Boop about Death and A Boom about Death. Those thirteen photo-offset pages were re-printed in 1976 for a catalogue, Correspondence, North Carolina Museum of Art, Richard Craven, editor and curator. The Carolina pages were folded once from the bottom, hence are not quite like the pages Ray folded for envelopes.

The presentation at Kunstverein will include a publication by Bill Wilson, which elaborates on each of the pages of “A Book about Death”.

Kunstverein would like to thank The Estate of Ray Johnson represented exclusively by
Richard L. Feigen & Co.

Kunstverein’s Store for Independent Publishingpresents Hyphen Press London/UK

admin — Sat, 18 Jul 2009 07:38:42 +0000

Books for sale and on view from 9 Oct. – 30 Nov. 2009.

Featuring:
– Norman Potter, What is a designer
– Norman Potter, Models & Constructs
– Anthony Froshaug: Typography & texts / Documents of a life
– E.C. Large, Sugar in the air
– E.C. Large, Asleep in the afternoon
– Stuart Bailey & Robin Kinross, God’s amateur

‘Hyphen Press was started in 1980 to publish one book, What is a designer by Norman Potter. This book had been published first in 1969, in the wake of the events of that time. Potter, then teaching design, joined the students at Hornsey College of Art in their occupation of the school. By the late-1970s the book was out of print, and its publisher was now part of a larger imprint with no interest in reissuing it. Norman Potter and I worked together on a second edition, expanding it to about twice the length of the original. In full control of editing, design and production, we made the book we wanted. Partly as a way of supplying pictures to an unillustrated work, Potter wrote an accompanying pamphlet, Designing a present, which included contributions from his colleagues. We handled distribution ourselves, and encountered all the difficulties that this brings. But the book sold out eventually. What is a designer certainly has the spirit of 1968 – but, as its subsequent history has shown, it has other dimensions too.

This adventure set the course for Hyphen Press. Through the 1980s, I was busy with other things, and selling this book was just a part of my activities. Hyphen started a second phase of life when Potter and I started work on a third edition of What is a designer, and on his second book Models & Constructs. These were published in 1989 and 1990. After this the list began to grow, with other writers joining. Each book continued to be in some way a collaboration between author (often also designer) and myself as editor.

In 2000 I finished a book about the typographer Anthony Froshaug, which I had worked on for about 15 years. Froshaug and Potter were close friends and colleagues, and it had been Froshaug who had introduced me to Potter. So this book joined the sequence of works that represent and document a certain element of English culture, and one that was previously unknown except within small circles.

Later still, in 2008, with Potter and Froshaug long gone, we added to this sequence by reissuing books by the English writer E.C. Large – which had provided some inspiration and reassurance for both of them. This effort of rediscovery was done in collaboration with Stuart Bailey. He and I made a third book, God’s amateur: the writing of E.C. Large, to accompany the reissue of the novels.’

Robin Kinross, August 2009
www.hyphenpress.co.uk

Hypnotic Show

admin — Sat, 03 Jan 2009 08:59:08 +0000

Kunstverein
13 November
19.30
Location: Ruyschstraat 4 III, Amsterdam

Kadist Art Foundation
14 November
19.30
Location: 19 Bis – 21 rue des Trois Frères, Paris

An ever-growing collection of scripts, ideas and works by: Julieta Aranda, Olivier Babin, Francisco Camacho, Derick Carner, Asli Cavusoglu, Etienne Chambaud, Audrey Cottin, Torreya Cummings, Gintaras Didziapetris, Cerith Wyn Evans, Michael Fliri, Mark Geffriaud, Fabien Giraud, Loris Gréaud, Graham Gussin, Will Holder, Pierre Huyghe, Joachim Koester, Gabriel Lester, Jennifer Di Marco, Patrizio Di Massimo, Nicholas Matranga & Francesca Bennet, Piero Passacantando, Cesare Pietroiusti, Matthew Shannon, Snowden Snowden, Gareth Spor, Maryelizabeth Yarbrough, Carey Young

As well as a one night session conducted by Marcos Lutyens

Curated by Raimundas Malasauskas

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: The Hypnotic power of artworks 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 as subjectivities of yet-to-be-invented. From the perspective of ceaseless production and total transparency, the 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 at office/at/kunstverein.nl or contact/at/kadist.org to sign up for a séance that will take place on the 13th of November at 19.30 Kunstverein Amsterdam and on the 14th of November at 19.30 at Kadist Art Foundation in Paris

Q: Is it true that hypnosis can convince of the value of certain artwork against my will?
A: Multiple techniques are used in promoting art’s 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 the artists’ proposals.

Q: Where can I find the artists’ proposals?
A: They will be available at www.rye.tw on – please feel free to download it.

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 aims at inducing 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 the 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 to 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.

Note that seating is limited so we advice you to RSVP before the 6th of November.
Members of Kunstverein have priority in seating.

For reservation and further information, please contact:

Kunstverein
Ruyschstraat 4 III
NL- 1091 CB Amsterdam
+31 (0) 20 4277603
office/at/kunstverein.nl
www.kunstverein.nl

Kadist Art Foundation
19 Bis – 21 rue des Trois Frères
FR- 75018 Paris
+33 (0) 1 4251 83 49
contact/at/kadist.org
www.kadist.org

www.rye.tw
www.mlutyens.com
blog.sideshows.org/2009/03/hypnotic-show

Ian Wilson

admin — Fri, 02 Jan 2009 07:39:28 +0000

Ian Wilson
9 Oct. – 9 Nov. 2009

Kunstverein is pleased to present an exhibition and Discussion by Ian Wilson.

Kunstverein is housed in an 19th century private apartment in a monumental five storey residential house in Amsterdam with, one could say, a long-standing cultural history. Always closely connected to art and its production, the first owners of Ruyschstraat 4 were infamous for their efforts during WWII in sheltering artists threatened by the Nazis. Following these cultural Samaritans, for years the fourth floor housed the studio to the City’s Official Sculptor. Today, with its original architecture virtually intact, Ruyschstraat 4 III & IV is the home of Dutch artist Germaine Kruip.

With such deep-seated links to the private and the public cultural domain safely nestled in its very location, Kunstverein plays with the possibilities of pushing the borders of institutional frameworks by introducing a ‘salon’ structure. Due to its unconventional (intimate) make-up Kunstverein allows alternative methods in presentation and hosting, whereby dialogue is key. The program will responds accordingly, mirroring the ingredients of its inception: at its core are the notions of commitment and self-organization.

It seems only befitting then that Kunstverein opens with an exhibition by Ian Wilson in whose work Kunstverein would like to see its mission reflected; to explore relationships between the viewed – or discussed – and the viewer and the topical urgency of such interaction.

‘Ian Wilson (°1940, South Africa) is one of the mythical figures of conceptual art. In 1968 he decided to take his ideas about visual abstraction into the invisible abstraction of language, along with a number of other artists such as Lawrence Wiener, Joseph Kosuth, Robert Barry and Art & Language. But Ian Wilson went furthest in the dematerialization of art. He wanted to speak instead of making things.’ *

The exhibition comprises two works from the late 60’s, as well as a Discussion held prior to the opening.

Red Rectangle (first named Untitled) originates from 1966 as part of a series of monochrome paintings. During this period, Wilson’s artistic explorations were based entirely around the monochrome and in questions relating to perception and painting. In 2008, more than 40 years after their creation and loss, Wilson decided to reconstruct three of these monochrome works for an exhibition at Jan Mot Gallery.

Circle on the Floor (1968) is one of Wilson’s very last physical works before his investigations turned to the notion of oral communication as a form of art. Following careful instructions, a chalk circle is drawn directly onto a floor, 1/2 an inch thick and circumscribing an area of about six feet in diameter. The circle can be drawn everywhere, at anytime, and still remains the same. It thus examines its own abstract intangibility.

The exhibition is befitting for an additional reason, as Red Rectangle has been newly acquired by Germaine Kruip herself. In this manner, public, private, history, commitment and urgency come full circle, at this the first exhibition at Kunstverein.

Kunstverein wishes to thank Jan Mot, Stichting Egress Foundation, Chaz, Eindhoven and its Gold Members for their generous support of Ian Wilson’s Discussion held on the 7th of October at Kunstverein. Without their help this event would not be possible.

*From Oscar van den Boomgaard’s interview with Ian Wilson, 2002.

Benefit event with performances by Adam Pendletonand Michael Portnoy

admin — Thu, 01 Jan 2009 18:54:59 +0000

The evening starts 19.30 at café Aan de Amstel, Weesperzijde 42a

Adam Pendleton
three scenes
As part one of EL T D K Amsterdam in collaboration with de Appel

Performed at 20.00 and 21.00
Location: Ruyschstraat 4 III, Amsterdam

Over the past few years American artist Adam Pendleton has written various performances in which he exploits the easy-psychology of autobiographical readings by using devices that render language concrete and contingent. Commonly, he combines specialized discourses and common knowledge in a redistribution of cultural information.

Previous performances range from the evening length 30-person gospel choir production The Revival to a series of manifestos such as the Black Dada Manifesto. For his performance at Kunstverein entitled three scenes, Pendleton will evoke the notion of a retrospective by pulling, assembling and re-appropriating material from all of his performances to date.

Michael Portnoy
Human Intwist Group

Performed at 21.00, 22.00 and 23.00
Location: Intercontinental Amstel Hotel, Professor Tulpplein 1, Amsterdam

Michael Portnoy is a ‘director of behaviour’ and performance artist based in New York. His practice circles the laws and habits of play and communication — language itself forming a significant aspect in the works.

Portnoy’s installations, music, objects, relics and performances reside in a world where cryptic, specific communication, symbols and gesture seem to live alongside standard social conventions. The rules governing his works are thus experienced as odd and distant yet somehow recognizable. This pushing and pulling of a rather intimate familiarity makes ‘participation’ possible while an overall structure remains enticingly opaque.