AUSTRALIA : new pavilion opens for 56th Venice Biennale

                       

1913 : the Polish-Russian artist Kazimierz Malewicz (as he signed his canvasses) aka Kazimir Malevich paints a black square field on a larger white square field. It is first exhibited in 1915.

            

1968 : another year of revolutionary mood, in which Stanley Kubrick releases 2001 : A Space Odyssey. It features an enigmatic black rectangular monolith.

        

1952 : related to neither and to both of the above is this youthful cubo-regardist action recorded at a provincial Australian photo-graphy studio.

        

      

2014 : as the fame of the Black Square continues to spread, The Tate provides this introduction to the possibilities of its regard :

     Five ways to look at Malevich’s Black Square

           

    

2015 : the new AUSTRALIA pavilion (Denton Corker Marshall) was officially opened this week at the 56th Venice Biennale. One hundred years after the first showing of Black Square.

          

 photography, John Gollings

 architect, John Denton

A White Cube in a Black Box
Denton Corker Marshall’s design for Australia’s new Venice Biennale pavilion

Deyan Sudjic / The Monthly

When the show's over and everyone is gone, it closes up.

        

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"More light!" ( Goethe, apocryphal )

         
More promotional images arrive for Light Show at the MCA, Sydney.


       
Here's one from HAND SPACE :
         
               

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IMPRINTED MATTER

               
Mental Publishing Co.
here 
exhibit :

now

click image to enlarge 

LOGOS/HA HA

make me an instrument of Thy hair piece;
for it is in giving that we receive

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PRINTED MATTERS ( Bring the mind home )

         
mental imprint
here 
'Bring the mind home'

now

       

In recent days, under the general caption PRINTED MATTERS, we've noted an art book fair at the National Gallery of Victoria, Melbourne, and a survey exhibition of various printed matter by artists (including print-outs of posts from this blog) at Gesso Artspace, Vienna.

Our interest is not so much in these technological instances of physical matter, whether art or not, as it is in the fun d' mental meta-print :
       

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PRINTED MATTERS (Vienna, Gesso)

        
PRINTED MATTERS
April–June
Gesso Artspace

Donaufelder Straße 73-79
Vienna, Austria 

       

| Francis Alys | Kai Althoff | Laetitia Badaut-Haussman | Pieter Brattinga | Marcel Broodthaers | James Lee Byars | Gernot Bubenik | Ernst Caramelle | Henry Coleman | Sister Corita | Tacita Dean | Peter Doig | Marcel Duchamp | Thomas Eller | Josef Frank | Robert Gober | Rodney Graham | les Graphiquants | Wade Guyton | Dan Graham | Marcia Hafif | Gary Hume | Georgia Hopton | Asger Jorn | R. B. Kitaj | Yves Kline | Paul McCarthy | Mario Merz | Olivier Mosset | Richard Nonas | Rudolf Polanszky | Markus Prachensky | Rene Ricard | Dieter Roth | Ed Ruscha | David Salle | Thomas Scheibitz | Jakob Schieche | Erika Schneider | Nancy Spero | Lilly van Stokker | Yoshikazu Suzuki | Gert & Uve Tobias | Peter Tyndall | Helene Ulrich | Victor Vasarely | Franz West | Heimo Zobernig |

            

Printed Matters, Text zur Ausstellung

Marcel Duchamp stellt die Weichen für einen Übergang zwischen Kunst und Alltag mit dem Cover des vierteljährlich erscheinenden Magazins Transition, das er 1937 mit einer Reproduktion seines Readymades comb, einem in Kunst überführten Alltagsgegenstand, zu einem Kunstwerk macht. Das kegelförmige Trafik Zeichen am Katalog Surrealist Intrusion ist keine Reproduktion. Der Druck per se ist das Readymade. In beiden Fällen ermöglicht Duchamp einem breiten Publikum Kunstbesitz. In diesem Sinne liegen auch Francis Alÿs Postkarten als eigenständige Arbeit in Ausstellungen auf, um mitgenommen und verbreitet zu werden. Verteilung und Multiplikation von Informationen und Wissen und somit ein geradezu aufklärerisches und demokratisches Potenzial prägt Druckgrafik in ihrer Geschichte. Plakate können gar ein politisches Agitationsmittel für KünstlerInnen wie Klaus Staeck sein, der außerdem mit
seinem Produzentenverlag die Publikation von Werken seiner Kollegen realisiert. Marcel Broodthaers initiiert 1968 das Musée de l'Art Moderne, Département des Aigles (Museum der Moderne, Abteilung der Adler) in seiner Privatwohnung. Über die Teilhabe am alltäglichen Leben stellen die Drucke die Institution Museum von innen in Frage. Die Publikation zu einer Ausstellung konzipiert Broodthaers, der nicht zuletzt über die Deutung eines Buches als Objekt vom Dichter zum bildenden Künstler wurde,1 als Kunstwerk bestehend aus bedruckten Boxen in Boxen. Die Objekthaftigkeit eines Künstlerbuchs tritt im Ausstellungskontext besonders hervor. Die Lesbarkeit tritt in den Hintergrund. So verschieben sich die Texte zu Jorge Pardos Arbeit auf den Oberflächen mehrerer, ineinander enthaltener Boxen und gehen vom Außen zum Innen. Der Grafiker Pieter Brattinger füllt eine quadratische Box mit reproduzierten Rechnungen aus aller Welt. Er erhebt so in einem Umkehrschluss ein Alltagsprodukt ausgerechnet durch die Vervielfältigung zum Kunstwerk. Wade Guytons Künstlerbuch Black Paintings setzt sich, so wie die gleichnamigen Malereien, medienreflexiv mit dem Phänomen der Vervielfältigung auseinander. Die Bücher und die Gemälde wurden mit demselben Drucker gedruckt. Dieser übersetzt die digitale Datei und bestimmt das Erzeugnis zum Beispiel durch unvorhersehbare Störungen mit. „As it is copied and communicated, discrepancies are produced. And these are what now stand in for painting.“2 Das Monochrom wird dabei von Guyton entgegen der modernistischen Unantastbarkeit als Readymade verstanden.3 Die medienspezifische Wiederholung greift Jakob Schieche in seinem Holzschnitt ohne Titel auf. Er überlagert die, diese Drucktechnik auszeichnende, Maserung des Holzes mit der Struktur der Rinde, die er exakt in den Druckstock einschneidet. Im Druck wird die natürlich gewachsene und die geschnitzt abgebildete Struktur auf eine Ebene gebracht. Der Druckstock selbst wird zum Objekt mit inhärentem Potenzial zur Bildproduktion. Dass diese überraschend unkompliziert sein kann, zeigt auch die Serie von Erika Schneider,
die mit wenigen Kartoffeln eine hohe Variabilität an farbkräftigen Kompositionen erzeugt. Umgekehrt passiert die visuelle Wahrnehmung gedruckter Arbeiten im öffentlichen Raum oft wie beiläufig. In der Pariser Metro werden leere Plakatwände mit einer subtilen, grafischen Arbeit von Les Graphiquants gefüllt, deren Stärke gerade in ihrer Simplizität besteht. Noch mehr Menschen können an Peter Tyndalls Blog, dem mittlerweile einzigen, stets unabgeschlossenen Projekt des Künstlers, teilhaben. Jeder ist eingeladen, selbst http://blogos-haha.blogspot.com.au zu besuchen und so man will, auszudrucken. Druckgrafik steht in regem Austausch mit anderen Medien und ermöglicht die Partizipation Vieler an einem Kunstwerk. Eine Kopie ist sie dabei nie. Vielmehr ist sie „das multiplizierbare Original, (...) das in und mit den druckgrafischen Mitteln gedachte und umgesetzte bildnerische Konzept.“4

Gesso Artspace
Zusammengestellt von: Andreas Reiter Raabe

1 Michael Glasmeier, Weitere Würfelwürfe-Offset; in: Künstlerbücher/Artist’s Books. Zwischen Werk undStatement, Gabriele Koller/Martin Zeiller (Hg.), Universität für angewandte Kunst Wien 2001, S. 37.

2 John Kelsey, in: Wade Guyton, Black Paintings, Portikus, Frankfurt 2011.
3 Scott Rothkopf, Wade Guyton. The New Black; in: Parkett 83, 2008, S. 78-79.
4 Georg Lebzelter, Multiple matters – Grafische Konzepte,http://www.umdruck.at/detail/article/multiplematters-
grafische-konzepte/, 25. 3. 2015.

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PRINTED MATTERS (Melbourne, NGV)

Melbourne Art Book Fair
1–3 May
National Gallery of Victoria _ International
180 St Kilda Road

1 Corraini Edizioni (Italy)

2 Hatje Cantz and Distanz Verlag (Germany) 

3 Books at Manic 

4 Focus on Japanese art book publishing presented by Tokyo Art Book Fair and HeHe (Japan) 

5 Printed Matter, Inc. (USA) 

6 City of Literature small press stand 

7 Deanna Hitti 8 Gracia Haby & Louise Jennison 

9 Assemble Papers 

10 MACK (UK) 

11 Idea Books (The Netherlands) 

12 Gagosian (USA) 

13 Uro Publications 

14 The Lytlewode Press 

15 Rainoff 

16 Independent New Zealand publishing presented by DD/MM/YY (New Zealand) 

17 Theo Strasser & Peter Lyssiotis 

18 The Good Copy 

19 Perimeter Books 

20 3-ply 

21 No One Special 

22 The Blackmail 

23 un Magazine 

24 Discipline 

25 Lyn Ashby 

26 Bus Projects 

27 Motto (Germany) 

28 World Food Books 

29 Happy Endin’ 

30 Bloom Publishing 

31 Heavytime Books 

32 Gertrude Contemporary 

33 Monash University Museum of Art (MUMA) 

34 West Space 

35 Institute of Modern Art (IMA) (Brisbane) 

36 Surpllus 

37 Particle Books 38 Romantic Press (Japan) 

39 Ilam Press (New Zealand) 

40 Metasenta Books 

41 MONA (Hobart) 

42 Dott Publishing / Art & Australia 

43 Black Inc. / Schwartz City 

44 Thames & Hudson 

45 Momento Pro 

46 Bruno Leti 

47 Emblem Books / Omo Books (Sydney) 

48 Melbourne Books 

49 NGV Design store

Theatre of the Actors of Regard 

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"Whaddaya got?"

Mildred : "What are you rebelling against, Johnny?"
Johnny (Marlon Brando) : "Whaddaya got?"
- The Wild One, 1953

We regard National Portrait Gallery projects as a strange thing.

We regard the Bestowing of Imperial Honours as a strange thing.

We regard the Declaration of Sainthood as a strange thing.

We regard the Awarding of Prizes to artworks as a strange thing.

         
National Portrait Gallery removes portrait of Joko Widodo

Books and Arts

ABC Radio National

Friday 1 May 2015 

"In the wake of the executions of Australians Myruan Sukumaran and Andrew Chan, the National Portrait Gallery in Canberra has removed a portrait of Indonesian President Joko Widodo.

The National Portrait Gallery's director, Angus Trumble, says the gallery was concerned the portrait might be defaced.

The photographic portrait, by international photographer Adam Ferguson, was originally taken as a cover photo for Time magazine and was a finalist in the National Photographic Portrait Prize."


image of removed photo : 
Jokowi, Indonesia, 2014, by Adam Ferguson 

(delete/reinstate) FIAPCE

                           

This morning on Books and Arts, Michael Cathcart interviewed the director of the National Portrait Gallery about his decision, after the execution on Wednesday of the two Australian drug runners, to remove the image of the Indonesian president from the walls of the NPG.

Listen now (link will open in new window)
Download audio

In the second part of the interview there is this exchange, which of course we regard as a strange thing :

Michael Cathcart : Now, on another matter, there's been a lot of coverage in the paper, following these grotesque executions, about Myruan Sukumaran's own work, his own paintings. Are you planning on acquiring any of these for the gallery?

Angus Trumble : No.

M C :  Would you consider doing it?

A T : Well, it hasn't presented itself as an option. And I very much doubt they would fall into our Collection Development Policy which is fairly finely crafted to reflect Australian distinctions and walks of life.

M C : So, what would be an appropriate place to hang those works of art? Because I think a lot of people would like to see them. I'd love to see them.

A T : I can't possibly comment. I don't know. 

M C :  Well, Angus Trumble, it's been good to talk to you. Thanks for joining us.

A T :  Thanks Michael. 

Theatre of the Actors of Regard  

image above from : 

'Myuran Sukumaran’s death-row paintings cry out against a monstrous inhumanity'

Jonathan Jones/The Guardian, 29 April 2015

an earlier article here :
Bullets, a bloodied cross and his own face melting away: How the artwork of Bali Nine ringleader Myuran Sukumaran is becoming darker as he faces the firing squad

Belinda Grant Geary/Daily Mail Australia, 13 March 2015
           
another recent article here :
The Art Of Myuran Sukumuran: Dispatches from Emotional Battle Lines
W H Chong/Crikey, 1 May 2015

            

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TAR TU F...!

             

L'Imposteur ou LeTartuffe

Tartuffe, or The Impostor, or The Hypocrite by Molière, 

first performed in 1664

1795 : a scene from Tartuffe as depicted by Jacobus Buys. Tartuffe and Elmire are in seductive conversation as Elmire's husband Orgon looks out from the picture frame above and the tablecloth below.

2010 : a scene from the Brigham Young University production of Tartuffe. Tartuffe and Orgon, surrounded by gilt framed blank canvasses. 

2015 : poster for Theatre of the Actors of Regard production of

TAR TU F...!  ou  Le Faux Regard       

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The TAR Trap

             

Theatre of the Actors of Regard  

The TAR Trap  

(English, traditional, 1580, modern variation)

Ding, dong, bell,

You are in the well.

Who put you there?

Little Johnny sTARe.

Who will let you out?

Little Frankie Shake n Shout.
        

Such a naughty boy was that,

To try to trap the TAR.
         

Who ne’er did any other harm,

Than hide his glasses in a jar.


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LOGOS/HA HA : corrupt sentence

One of the meanings associated with the word LOGOS ('The Speaking into Being of ...' ) is Law.

In Law it is the Judge who, after over-seeing an assessment of facts, Speaks into Being The Sentence.

.  .  .  .
                   

'They wanted $130,000 ... and then more': explosive Bali nine bribe allegations

Date

The Age, April 27, 2015 - 4:45AM

 Tom Allard

 National Affairs Editor

EXCLUSIVE

The former lawyer of Andrew Chan and Myuran Sukumaran has outlined explosive allegations of corruption by the judges that sentenced the Bali nine duo to death, saying they asked for more than $130,000 to give them a prison term of less than 20 years.

But Bali-based attorney Muhammad Rifan says a deal fell through after the judges later told him they had been ordered by senior legal and government members in Jakarta to impose a death penalty.

The judges, it is alleged, then asked for an even greater sum for a lighter sentence, money Mr Rifan did not have.

The sensational claims by Mr Rifan that the initial trial of the pair was deeply corrupted were revealed by a joint investigation by Fairfax Media and the former host of SBS'Dateline program Mark Davis, a Gold Walkley-winning journalist.

Read full article here

    

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