S Y S T E M S   E S T H E T I C S   ©IIJIAICIKIIIBIUIRINIHIAIMIII1I9I6I

 

CHRISTO & JEANNE CLAUDE, CHARLES GAINES, RICHARD JACKSON, LES LEVINE

 

GORDON MATTA-CLARK, ALLEN RUPPERSBERG, ROGER WELCH, LAWRENCE WEINER

 

Opening Sunday January 19, 2020

from 2 p.m. - 5 p.m.

 

Exhibition through March 27, 2020

 

 

Charles Gaines, Submerged Text (The Castle by Franz Kafka), 1992, adhesive letters and numbers, 200 × 280 cm © Kunsthalle Göppingen IM WORT © Uwe H. Seyl photography 

in-situ project realized for the exhibition FORCE SIGHT, Temporary Contemporary, Zeitgenössische Kunst an einem Ort auf Zeit, Renaissance Castle © Brigitte March 1992

 ©IJack Burnham, 1968 in Artforum

"Methodologically Les Levine is possibly the most consistent exponent of a systems esthetic. His environments of vacuum-formed, modular plastic units are never static; by means of experiencing ambulation through them, they consistently alter their own degree of space-surface penetrability. Levine's Clean Machine has no ideal vantage points, no "pieces" to recognize, as are implicit in formalist art. One is processed as in driving through the Holland Tunnel. Certainly this echoes Michael Fried's reference to Tony Smith's night time drive along the uncompleted New Jersey Turnpike" Yet if this is theater, as Fried insists, it is not the stage concerned with focused upon events. That has more to do with the boundary definitions that have traditionally circumscribed classical and post-classical art. In a recent environment by Levine rows of live electric wires emitted small shocks to passersby. Here behavior is controlled in an esthetic situation with no primary reference to visual circumstances. As Levine insists, "What I am after here is physical reaction, not visual concern." This brings to mind some of the original intentions of the "Group de Recherches d'Art Visuel" in the early 1960s. The Paris-based group had sought to engage viewers kinesthetically, triggering involuntary responses through ambient-propelled "surprises." Levine's emphasis on visual disengagement is much more assured and iconoclastic; unlike the labyrinths of the GRAV, his possesses no individual work of art deflecting attention from the environment as a concerted experience. Questions have been raised concerning the implicit anti-art position connected with Levine's disposable and infinite series. These hardly qualify as anti-art as John Perreault has pointed out. Besides emphasizing that the context of art is fluid, they are a reductio ad absurdum of the entire market mechanism that controls art through the fiction of "high art." They do not deny art, they deny scarcity as a legitimate correlative of art". 

You are welcome !

N E W S L E T T E R

K ä t h e   K o l l w i t z   A r t   P r i z e 

TIMM ULRICHS 

has been awarded to the KÄTHE KOLLWITZ PRIZE

honored by the Akademie der Künste on January 23,

2020 in Berlin for his exceptional art career and his

amazing fine art works influencing upcoming generations

and shaping art history especially concept art. Laudatio Peter Weibel.

 

Shows in Berlin

KÄTHE-KOLLWITZ-PREIS 2020,

TIMM ULRICHS : WEITER IM TEXT

Jan. 24-March 1, 2020, Akademie der Künste

Hanseatenweg 10, Berlin

 

TIMM ULRICHS : ICH, GOTT & DIE WELT

100 TAGE - 100 WERKE - 100 AUTOREN, curated by Matthias Reichelt, March 7-June14, 2020, Haus am Lützowplatz, Berlin

 

Timm Ulrichs, IMAGE-MAGIE, 1961/2018, adhesive letters, tape

110 x 700 cm, unique © Timm Ulrichs 1961/2018 © Brigitte March ICA 2018

 

P u b l i c  C o l l e c t i o n s

Timm Ulrichs

WALTER BENJAMIN, L'OEUVRE D'ART À L'ÈRE DE SA            REPRODUCTIBIILTÉ TECHNIQUE

1967

b/w xérographie

collection Centre Pompidou Paris, 2018

  

Exhibition view

Centre Pompidou, Paris

collection permanente 4e étage

 

© Timm Ulrichs 1967 

© Centre Pompidou 

© Brigitte March ICA photography

 

Timm Ulrichs

BILD

1966

marking tape, adhesive letters

collection Kunstmuseum Stuttgart, 2018

  

Exhibition view

Kunstmuseum Stuttgart

EG permanent collection

 

© Timm Ulrichs 1967 

© Kunstmuseum Stuttgart 

© Brigitte March ICA photography

Brigitte March International Contemporary Art 

brigittemarch.com/contact