Mamco / L’Appartement

L’ Appartement / The “Apartment” is no ordinary exhibition space. Located on the museum’s third floor, it is a reconstruction of the Paris apartment where, from 1975 to 1991, Ghislain Mollet-Viéville worked to pro-mote Minimal and Conceptual art. Calling himself an “art agent,” Mollet-Viéville ini-tially organized his living and work space to conform with the protocols of the works in his collection, before deciding to yield to the consequences of their “demateria-lization” and move to a new apartment with no visible works. This meant his collection could be entrusted to MAMCO when it opened, in 1994. In 2016-2017, the private Foundation of the museum acquired a large part of it.This selection of 25 works is representative of the work of the first-generation Minimalist artists such as Carl Andre, Donald Judd, and John McCracken, and of their Conceptual counterparts—Joseph Kosuth, Sol LeWitt, and Lawrence Weiner, for example. If the for-mer explore a lexicon of elementary, logical, and radical forms that keep at bay any anthropomorphism and narrative features, the latter mainly offer protocols for execution, turning the collector into an agent on whom the works’ material existence depends. Both have dispensed with pedestals, frames, lighting, and all other mise-en-scène props, in favor of an immediate intellectual and sensory experience. Compared with MAMCO’s other galleries, the “Apartment” sets the works the challenge of a domestic setting. For visitors this means the opportunity to experience them on more inti-mate terms, in a space where they are invited to step outside the conventions, whether attending a lecture, a special event, or sim-ply pausing to read and to linger a while in the company of works that have been talking among themselves for several decades now.

Carl Andre, Art & Language (Mel Ramsden), Pierre Aveline, Robert Barry, Bernd et Hilla Becher, Mel Bochner, Étienne Bossut, Stanley Brouwn, Daniel Buren, Victor Burgin, Ian Burn, André Cadere, Sarah Charlesworth, Gérard Collin-Thiébaut, Walter de Maria, Peter Downsbrough, Miguel Egaña, Dan Flavin, Donald Judd, On Kawara, Joseph Kosuth, Claude Lantier, Sol LeWitt, John McCracken, Allan McCollum, François Morellet, Tania Mouraud, Maurizio Nannucci, Roman Opalka, Mel Ramsden, readymades belong to everyone ®, Claude Rutault, Bernar Venet, Lawrence Weiner, Rémy Zaugg

Source: Mamco / L’Appartement

SPLEEN 1982 – 1984 DEEL 1 (4 Maart 1984) – Fredheadset’s Mind Warps


image by Harry Prenger
image by Harry Prenger

Tussen de jaren 1982 en 1984 werd elke zondagmiddag, door VPRO radio op de radiozender Hilversum 3, het programma Spleen uitgezonden.

Er was in het programma veel aandacht voor experimentele muziek (waaronder New Wave, Rock, electronische muziek, minimal music, free jazz en vele andere genres)

Source: SPLEEN 1982 – 1984 DEEL 1 (4 Maart 1984) – Fredheadset’s Mind Warps

25 jaar schrijven over kunst – Altijd Vandaag

Inhoudelijk stelt de kunstkritiek nog altijd weinig voor, en dat komt vooral omdat men niet weet wat kritiek in zou kunnen houden. De Nederlandse criticus ontwikkelt niet al kijkende en schrijvende een betoog, maar verdedigt een conclusie die al op voorhand getrokken is. Aan deze conclusie valt niet te tornen en daarom is een discussie over kunst bij voorbaat zinloos. Nuances in een betoog, het aandragen van feiten die voor een ander te controleren zijn, vrij en onverveerd associëren, het zijn elementen die je in een kunstkritiek hier te lande niet tegen zult komen.

Source: 25 jaar schrijven over kunst – Altijd Vandaag

gerlach en koop – :

This publication follows the exhibition : with the collection of the Bonnefantenmuseum Maastricht in 2016, at the invitation of curator Paula van den Bosch. This publication also follows the catalogue cubics by architects and designers Slothouber and Graatsma from 1970, such that it served as support for the artworks in print, just like their cubic system of blocks supported the artworks in the exhibition. All exhibited artworks are included in this publication, works by Francis Alÿs, Dan Asher, Joseph Beuys, Marcel Broodthaers, Pieter Brueghel, Ben d’Armagnac, Bethan Huws, Oscar Jespers, Marijn van Kreij, Agnes Martin, Willem de Rooij, Lily van der Stokker, Joëlle Tuerlinckx, Franz West and many others, plus several anonymous objects of different provenances and different times. The publication contains a long interview with the artists by a ghosted ghostwriter, in Dutch and English. Design: Charles Mazé and Coline Sunier in collaboration with gerlach en koop and Roger Willems.





Source: gerlach en koop – :

Argwaan op 2341 meter; Internationale kunst in de Zwitserse Alpen – NRC

Kunst op locatie is ook in Zwitserland niet onbekend. Galeriehouder Marc Hostettler kocht in 1986 een hotel bij de Furkapas en liet kunstenaars als Lawrence Weiner en Günther Förg het gebouw en de omgeving onder handen nemen. Is het in de bergen anders dan in Nederland waar de locatiekunst vaak betuttelend is? “Het lijkt niet bij de opzet van Furkart te passen om als een spoorzoeker op zoek te gaan naar de kunstwerken. Ze moeten toevallig worden genoten.”

Hotel Furkablick, Furkapasshöhe Ch. 6491, Realp. Tel. 00-41-44-67297. Open in juli, augustus en september. Kamer met ontbijt: eerste nacht 80 (op het zuiden) of 60 frank (op het noorden), tweede nacht 40 frank. Ansichtkaarten: 10 frank per mapje van 10. Treinstation Andermatt, daarna verder met de postauto.

Source: Argwaan op 2341 meter; Internationale kunst in de Zwitserse Alpen – NRC

A work of art as an experimental exhibit. Broodthaers and the Eagle – Angles – Université de Poitiers

… Not everything that is contemporary is experimental. “Experimental” does not just refer to something new — experimental art rather comes from certain experimental methods. In his work Musée d’Art Moderne, Département des Aigles (1968-72) the Belgian artist and poet Marcel Broodthaers investigates a particular form of experimental art. Broodthaers’ fictional museum project provides a good basis for a study of the concept, as the artist has himself repeatedly referred to the experimental quality of his art. Indeed, our starting assumption in this essay is that this work by Broodthaers illustrates in a paradigmatic way central elements of experimentation in contemporary art of the 1960s and 70s. For example, on 16 May 1972 Broodthaers opened a section of a museum entitled The Eagle from the Oligocene to the Present in the Städtischer Kunsthalle in Düsseldorf, signing it with the following words: “Marcel Broodthaers shows an experimental exhibition of his Musée d’Art Moderne, Département des Aigles, Section des Figures”. The first part of this essay examines the experiment in which a museum with altogether twelve sections is declared to be a work of art. The second part then explicates the experiment in which an exhibition is declared to be a work of art. Finally, the third part examines the role of the viewer within Broodthaers’ artistic experiment.

Source: A work of art as an experimental exhibit. Broodthaers and the Eagle – Angles – Université de Poitiers