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Exhibition 211

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248:"What is beyond doubt is the amazing density of heady conceptualizing and self-reflexive musing this echo chamber has been injecting into our daily conversation." said Eric Anglès, emphasizing that the social engagement became the most important factor, "what might at first glance look like a theater of freedom and constraint, the rehearsal of a tired dialectic between an artist/curator enforcing the law and an artist/Houdini dancing her way out of those shackles, is far more immediately and compellingly an experimental site where each one of us present in this space is made to decide, over and over again, how to face one other." 219:
page. Sometimes it says much the same thing. Sometimes something quite different--(cutting up political speeches is an interesting exercise)--in any case you will find that it says something and something quite definite. Take any poet or writer you fancy. Heresay, or poems you have read over many times. The words have lost meaning and life through years of repetition. Now take the poem and type out selected passages. Fill a page with excerpts. Now cut the page. You have a new poem. As many poems as you like. As many Shakespeare Rimbaud poems as you like.
37:. It was initiated through a series of discussions between Warren Neidich and Mathieu Copelands in 2010 in Paris and New York City. But the series of instruments for its production, like the role of the roll of dice, the picking of cut up names out of a hat and the rules of engagement, see below, came later through discussions between Warren Neidich and Eric Angles. These were further formulated when the program was initiated and programmed by artist friends 228:
Reflecting on the standard exhibition format, where "under the right light and organized by a strict aesthetic, the works displayed and valued are typically individual, finished objects", Diana Artus explained that exhibitions are therefore generally complicit with capitalism: "extolling the rules of
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The method is simple. Here is one way to do it. Take a page. Like this page. Now cut down the middle and cross the middle. You have four sections: 1 2 3 4 ... one two three four. Now rearrange the sections placing section four with section one and section two with section three. And you have a new
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The approach, guided by a set of rules, became integral to the forms and conversations that pursued. Elena Bajo, Eric Anglès, Jakob Schillinger, Nathalie Anglès, and Warren Neidich discussed many potential artists to be invited, the names of which were then put into, and subsequently drawn from a
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About Exhibition, Artist Diana Artus wrote: "The most important principle was that only one exhibition will be shown, during which time it will be in continuous development, as new people – artists, curators, and others known by the initiators – are invited to participate", she also wrote that "a
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discussed the question of the archive "when this experiment closes on the last day of August, what traces will be left for future audiences now transformed into historical readers? Is having a physical archive a complete contradiction to the spirit of the project? Or is it a form of generosity?"
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worked against this system, "when an exhibition diverges from this format, the result is revealing not only art's continual complicity with capitalism, but also how, and with what consequences, the notion of such a ritual could be reconfigured". As a summary of the type of engagement between the
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further mused on the problem of capital explicit in exhibition formats: "Perhaps limiting actions to a specific site, which is free of rent, and creating a temporary time-frame of six months and a set of rules in which chance and conversation play a significant role frees us from the dangers of
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On May 12, 2009, Kemi Ilesanmi described Exhibition for Art 21 Magazine: "at least every three days, there is a new artist intervention, and while they can make whatever manner of changes inside the space, artists may not remove their own art works afterwards."
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collaborators in Exhibition Artus said at the end of her article: "The notion of striving in a competitive world is reinterpreted in such a way that is promising: not only are we struggling against each other, but – more importantly – for each other."
45:, offering "an experimental and contradictory artistic and curatorial approach", notably a set of rules, defining when, where, and who by, artistic interventions would take place. 511: 472: 95: 143: 146:. Although each artist's work was not specifically identified due to the rules of adaptation and evolution involved in their participation. 130: 73: 413: 521: 516: 118: 155:
hat. The artist would then be invited to space and asked if they would work with the concept and requirements:
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capitalistic assimilation that beset most large cultural institutions that rely on private funding."
207: 363: 309: 285: 91: 286:"The Rules of Engagement: EXHIBITION by Warren Neidich | ART LIES: A Contemporary Art Quarterly" 199: 170:
3. The artist could then decide to add to, modify or clear out the section before going on.
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fundamental aim was to provoke differences of opinion, rather than placate them."
203: 99: 53: 310:"Mercato dell'Arte: Le tendenze del mercato dell'arte, delle opere ed artisti" 241: 139: 126: 57: 38: 487: 474: 111: 115: 464: 240:
In an important dialogue between the founders, published by Art Lies,
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exhibited over 50, and up to 100 artists, including: Boshko Boskovic,
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2. The artist works in one of six areas determined by a roll of dice.
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Given the complexity of the project, little documentation remains.
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spoke not only to the current economic climate, following the
33:) was an art exhibition that ran from March to August 2009 in 76:, but the problems of art treated as a (luxury) commodity. 48:
The project was established in the loaned storefront of
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3. The work can be modified, parasitized and destroyed.
41:, Eric Anglès, Jakob Schillinger, Nathalie Anglès, and 389:"Update Contributing Artists as of August 31st, 2009" 180:2. The work is an intervention upon interventions. 175:1. The work is not for sale and belongs to no one. 414:"Free & Clear: Exhibition and the Free Store" 279: 277: 275: 273: 271: 269: 8: 336: 334: 332: 330: 438:"William Burroughs, "The Cut Up Method"" 265: 7: 512:Art exhibitions in the United States 21:(at the time referred to as simply ' 160:1. The artist is drawn from a hat. 14: 343:"More than the Sum of its Parts" 56:development. Being close to the 1: 412:Ilesanmi, Kemi (2009-05-12). 74:financial crisis of 2007–2008 314:ArtEconomy - Il Sole 24 ORE 210:, which is also visible in 543: 465:Exhibition 211 on Blogspot 387:Bajo, Elena (2009-07-08). 214:'s own artistic practice. 488:40.722637°N 73.994315°W 224:Topics and discussions 221: 60:, and two blocks from 522:2009 in New York City 493:40.722637; -73.994315 341:Diana, Artus (2009). 216: 517:Art in New York City 232:Contrasting to this 208:William S. Burroughs 484: /  442:www.robertspahr.com 229:a market society". 102:, Alexis Knowlton, 121:2018-03-28 at the 92:Loretta Fahrenholz 284:Neidich, Warren. 534: 499: 498: 496: 495: 494: 489: 485: 482: 481: 480: 477: 452: 451: 449: 448: 434: 428: 427: 425: 424: 409: 403: 402: 400: 399: 384: 378: 377: 375: 374: 368:bombmagazine.org 360: 354: 353: 347: 338: 325: 324: 322: 321: 306: 300: 299: 297: 296: 290:www.art-lies.org 281: 200:cut-up technique 194:The approach of 88:Mathieu Copeland 84:Exhibition (211) 542: 541: 537: 536: 535: 533: 532: 531: 502: 501: 492: 490: 486: 483: 478: 475: 473: 471: 470: 461: 456: 455: 446: 444: 436: 435: 431: 422: 420: 411: 410: 406: 397: 395: 386: 385: 381: 372: 370: 362: 361: 357: 345: 340: 339: 328: 319: 317: 308: 307: 303: 294: 292: 283: 282: 267: 262: 226: 152: 135:Alexandre Singh 123:Wayback Machine 104:Liz Magic Laser 12: 11: 5: 540: 538: 530: 529: 524: 519: 514: 504: 503: 468: 467: 460: 459:External links 457: 454: 453: 429: 418:Art21 Magazine 404: 379: 355: 326: 301: 264: 263: 261: 258: 253:Warren Neidich 225: 222: 212:Warren Neidich 188: 187: 182: 177: 172: 167: 162: 151: 148: 129:, Amy Patton, 43:Warren Neidich 18:Exhibition 211 13: 10: 9: 6: 4: 3: 2: 539: 528: 525: 523: 520: 518: 515: 513: 510: 509: 507: 500: 497: 466: 463: 462: 458: 443: 439: 433: 430: 419: 415: 408: 405: 394: 390: 383: 380: 369: 365: 359: 356: 351: 344: 337: 335: 333: 331: 327: 315: 311: 305: 302: 291: 287: 280: 278: 276: 274: 272: 270: 266: 259: 257: 254: 249: 246: 243: 238: 235: 230: 223: 220: 215: 213: 209: 205: 201: 197: 192: 186: 183: 181: 178: 176: 173: 171: 168: 166: 163: 161: 158: 157: 156: 149: 147: 145: 141: 137: 136: 132: 131:Georgia Sagri 128: 124: 120: 117: 113: 109: 105: 101: 97: 93: 89: 85: 81: 77: 75: 71: 67: 63: 59: 55: 51: 50:211 Elizabeth 46: 44: 40: 36: 35:New York City 32: 31: 26: 25: 20: 19: 469: 445:. Retrieved 441: 432: 421:. Retrieved 417: 407: 396:. Retrieved 392: 382: 371:. Retrieved 367: 358: 349: 318:. Retrieved 316:(in Italian) 313: 304: 293:. Retrieved 289: 250: 247: 239: 233: 231: 227: 217: 195: 193: 189: 184: 179: 174: 169: 164: 159: 153: 138: 108:David Levine 96:Donna Huanca 83: 82: 78: 69: 47: 29: 28: 23: 22: 17: 16: 15: 491: / 204:Bryon Gysin 198:echoed the 116:Jason Loebs 114:, Jen Liu, 100:Sean Raspet 54:condominium 52:, a luxury 24:Exhibition' 506:Categories 479:73°59′40″W 476:40°43′21″N 447:2018-03-27 423:2018-03-27 398:2018-03-27 393:EXHIBITION 373:2018-03-28 320:2018-03-27 295:2018-03-27 260:References 242:Elena Bajo 234:Exhibition 196:Exhibition 140:Mark Tribe 127:Emily Mast 112:An Te Lieu 70:Exhibition 58:New Museum 39:Elena Bajo 144:B. Wurtz 119:Archived 350:Trafo-M 527:Nolita 142:, and 66:Armani 346:(PDF) 150:Rules 62:Prada 206:and 64:and 30:211' 27:or ' 202:by 508:: 440:. 416:. 391:. 366:. 348:. 329:^ 312:. 288:. 268:^ 133:, 125:, 110:, 106:, 98:, 94:, 90:, 68:, 450:. 426:. 401:. 376:. 352:. 323:. 298:.

Index

New York City
Elena Bajo
Warren Neidich
211 Elizabeth
condominium
New Museum
Prada
Armani
financial crisis of 2007–2008
Mathieu Copeland
Loretta Fahrenholz
Donna Huanca
Sean Raspet
Liz Magic Laser
David Levine
An Te Lieu
Jason Loebs
Archived
Wayback Machine
Emily Mast
Georgia Sagri
Alexandre Singh
Mark Tribe
B. Wurtz
cut-up technique
Bryon Gysin
William S. Burroughs
Warren Neidich
Elena Bajo
Warren Neidich

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