The piece I developed for El Eco follows the behavior of a myrtle sculpture, which climbs over a geometric shape. I am not that organized. He collected everyone whose death had been reported on the front page of the New York Times. But you can also say that you can highlight things by leaving out the rest, some pages. Sometimes they yield the rest of the book, like here, but other ones are almost empty. In the section on the books - the Invisible Collection - I started like this:
So, he made blow-ups of all these details on discarded cards, to make them obvious. Visitors needed to stare to the abstract walls and guess. It is the real index of the Perec book. There are also the books that he liked.
He used all his imagination and influences and cut them up and pasted them together in different collages, which were sometimes sculptural collages or even texts or prints. I was wondering how you relate your way of connecting things to your reader or audience. Wir haben Der beschwipste Gourmet getestet. It had the same atmosphere, not related to artist productions but to the obsession of working in groups and making collective projects, like this magazine. At the beginning I found these dialogues only in fiction literature, but afterwards I started to find experiments of that sort among historians of science, philosophers, and anthropologists. Buenos Aires, Argentina El arte de los libros de artista:
Wo man die besten Partys anlässlich des irischen Hochfestes in Wien feiern kann, wird hier in einer praktischen Übersicht präsentiert. Jänner auf der Vienna Autoshow. Listen to the stones. Jänner wird einer der wichtigsten australischen Feiertage gefeiert: Mal wird zwischen The reference to the trap starts from the essay by the contemporary anthropologist Alfred Gell, which is called Traps as Artworks and Artworks as Traps.
At the same time there is a contrast between infinite possibilities and limited resources. The images that cover the structure are based on my experience in Brazil during the last two years. Ball der Wiener Kaffeesieder. Last summer I made a visit to the Chapada Diamantina, a region in Brazil covered with mountains, caves and other mineral formations. For example, you can read in a normal sequence, or you can jump from one page to the next.
Is this something you already did in Mexico, before you came here, or did you make it during your time at the Jan van Eyck? Somehow Maudslay was not so interested in that, but was more interested in the meaning of the artefacts and keeping the objects as they were — not destroying the site and bringing the whole pyramid back to Europe. He cut them into square pieces to make them interesting again, since these paintings were quite boring. You have also reproduced this poem, the form of one of the posters for the public to take away with them. Interestingly, however, this is not an atttitude shared by every present-day inhabitant of these hallowed historical sites:
Fotogalleriet, Oslo, Norway Outside of a Dog: Going back to the Invisible Collection. Am Samstag, den
One of them is David Bunn. What have been your observations? Centro de la imagen, Mexico City, Mexico.
Jan van Eyck Academie. Bunn has been using discarded card catalogues of the Central Library in Los Angeles. März findet der erste Österreichische Vorlesetag statt. März ist es wieder so weit:
It was about how you reuse design and how information is displayed and also about how, sometimes, art world becomes a parasite of all the ways of organizing information. That is also the focus I would like to give it: All the stuff he accumulated. So ausgelassen wird der Fasching in Wien gefeiert.
Is producing by yourself important to you? So then I concentrate on this question and I see how different people have approached this object from their different points of view. Am Donnerstag und am Freitag tritt er in der Wiener Stadthalle auf. What have been your observations? There is this previous way of ordering things, and you have your own way, and finally, you show it to the public.
Mal wird zwischen I am not someone who makes an ethnology of ordering things. What non-humans have to say about the world we constructed around them, about our definitions, manipulations and usages? Gratis-Eislaufen, Eispalatschinken und die 8. I adopt the position of the object and follow its path. In terms of mythology, I thought of Narcissus as a white cube exhibition space, and Echo as a cave.
But this is not the Perec text. He can never stick to one way of ordering things. In the case of the archives at the British Museum, I have been interested in the negatives of different Mexican ancient monuments that they have in their collection for some time. They start on page and finish on page Could you talk a bit about one of the works in the exhibition, Zoomorph P , which exemplifies this kind of transformation? I search images, texts and experiences where these boundaries blur.