Elmgreen & Dragset’s Fourth Plinth
The unveiling of London’s Fourth Plinth, ‘Powerless Structures, Fig 101‘ by Scandinavian artistic duo Elmgreen & Dragset starts tomorrow at 9:00am (GMT), in Trafalgar Square.
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Philippe Parreno, For Eleven Months of the Year it’s An Artwork and in December it’s Christmas
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Philippe Parreno
For Eleven Months of the Year it’s An Artwork and in December it’s Christmas, 2009
Cast and painted aluminium, glitter & bronze, 130 x 130 cm
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Michael Rakowitz, Climate Control, 2000 – 2001
Michael Rakowitz
Martin Boyce wins Turner prize 2011
Martin Boyce was today presented with the £25,000 award at a ceremony at the Baltic Centre for Contemporary Art in Gateshead during a live broadcast of the award ceremony on Channel 4, (UK). In his acceptance speech he thanked his art school, saying: “When education is going through the wringer, it is important to acknowledge the value of teachers.” Nick Serota said: “Boyce has consistently reinvented the language of early modern art. But he makes work that doesn’t depend on an understanding of early modern art: it is beautiful and arresting in its own right.”
This year’s £25,000 prize is sponsored by Channel 4, with £5,000 each for the other shortlisted artists. The prize is awarded to a British artist under fifty for an outstanding exhibition or other presentation of their work in the twelve months preceding 4 April 2011. The winner was decided by a jury of Katrina Brown, Director, The Common Guild, Glasgow; Vasif Kortun, Platform Garanti, Istanbul; Nadia Schneider, freelance curator; Godfrey Worsdale, Director, BALTIC and Penelope Curtis, Director of Tate Britain and Chair of the Jury. Turner Prize 2011 is connected by Nokia, presented by Channel 4 and supported by NewcastleGateshead Initiative and Arts Council England.
Martin Boyce’s group of works include Do Words Have Voices 2011, a sculpture inspired by a library table designed by Jean Prouvé for the Maison de l’Etudiant in Paris, and Beyond the Repetition of High Windows, Intersecting Flight Paths and Opinions (A Silent Storm is Painted on the Air), an architectural intervention made for the exhibition. Suspended from the ceiling, the leaf-like forms are drawn from the designs of Jöel and Jan Martel for the 1925 Exposition des Arts Decoratifs et Industriels Modernes in Paris. Boyce has created the most intellectual of the installations in the sense that it is possible to make sense of the artist’s clues and fetishistic references to the history of Modernist design through the work that satisfyingly creates a dialogue to itself and the space. For this installation, the concrete trees of Joel and Jan Martel reappear as graphic motifs and as quasi-Etruscan typefaces developed by the artist. The room contains a series of interrelated objects that repeat the lozenge shapes in the form of a table, bin, typography, mobile and other elements. A rectangular 8×4’ picture with the title Petrified Songs created typographically with metal letters echoes works by Frank Stella and Joe Tilson; a ceiling of white painted coated aluminium fins echoes iconic modern Italian design; a wooden rhomboid library desktop set within a steel frame and scratched with the artist’s invented alphabet references a Jean Prouvé design; a Calderesque mobile with perforated triangular sails/leaves in shades of black, blue, pink, yellow and green; a red distorted rhomboid waste bin with a fabric liner; four mock air vents are set in the wall echoing the art-deco typography; 100 or so brown paper leaves scattered on the floor are an origami version of the ceiling fins.
Turner Prize 2011 Exhibition. BALTIC Centre for Contemporary Art, South Shore Road, Gateshead. NE8 3BA. Open daily 10.00 – 18.00 except Tuesdays 10.30 – 18.00. Admission free. 21 October 2011 – 8 January 2012.
2011/2001
Peter Combe Parallels, Maurizio Cattelan: All, Guggenheim Museum, 2011/Stanley Kubrick, 2001: A Space Odyssey.
I couldn’t help but see the parallels.
Thanks to @Guggenheim for sending this blogpost into the Twittersphere, and to SFMOMA for featuring it on their blog.
Update Nov 28: Sadly the @Guggenheim Ow.ly link has now now fails since I changed my Blog URL a few days ago not realizing previous incoming links would fail. I did however get a hefty 1,000 very appreciated hits before the change.
Help a poor girl out…
The artwork, entitled When It Starts Dripping From The Ceiling, consists of a trough under a wooden tower of slats. Photograph: Bernd Thissen/EPA
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An overzealous cleaner in Germany has ruined a piece of modern art worth over $1,000,000 after mistaking it for an eyesore that needed a good scrub.
The sculpture by the German artist Martin Kippenberger, widely regarded as one of the most talented artists of his generation until his death in 1997, had been on loan to the Ostwall Museum in Dortmund when it fell prey to the cleaner’s scouring pad.
The work, called When It Starts Dripping From the Ceiling (Wenn’s anfängt durch die Decke zu tropfen), comprised a rubber trough placed underneath a rickety wooden tower made from slats. Inside the trough, Kippenberger had spread a layer of paint representing dried rainwater. He thought it was art: the cleaner saw it as a challenge, and set about making the bucket look like new.
A spokeswoman for the museum told German media that the female cleaner “removed the patina from the four walls of the trough”.
“It is now impossible to return it to its original state,” she said, adding that it had been on loan to the museum from a private collector and was valued by insurers at €800,000 (1,103,400.00 USD).
She said that cleaning crews had been told to keep 20cm (8in) away from artworks, but it was unclear if the woman – who worked for a company to which cleaning had been outsourced – had received the memo. After reading the above in The Guardian, I was reminded of an article I’d read a couple of years ago about an ‘in demand’ contemporary art restorer.
The Ostwall Museum spokeswoman needn’t get her knickers in a knot, it just so happens that the 2nd sentence into The Art Doctor, an article that appeared in the May 11, 2009 issue of The New Yorker, there is mention of another damaged artwork by Martin Kippenberger and after further reading, its repair. Christian Scheidemann, a conservator of contemporary art who runs a company called Contemporary Conservation has repaired contemporary works by artist as diverse and challenging as Takashi Murakami, Rudolf Stingel, Wifredo Lam, and Paul McCarthy. A few years ago, Scheidemann had to trim a new piece of elephant dung to fill a gap in a Chris Ofili painting.
Dear overzealous (and no-less traumatized) outsourced cleaner, refer the museum to Christian Scheidemann at www.contemporaryconservation.com
Readers, if you’ve time enough, give the lowly cleaning woman some slack and forward this post to mo@stadtdo.de with ‘Seien Sie gütig zur Dame der macht das Reinigen‘ in the subject line.
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