Georges Pérec

Art & Project Bulletins

ART & PROJECT BULLETINS 1968-1989

The exhibition will be at the Gallery  October 27th 2011

January 21th 2012.

Art is to change what you expect from it
Seth Siegelaub

A unique opportunity to purchase a complete set of this important archival document direct from the original source: 156 issues in 50 complete sets, boxed in a specially constructed acid-free box (320 x 460 x 60 mm) and released by Adriann van Ravesteijn and Geert van Beijeren, the founders of Art & Project in Holland who issued the bulletin over a period of 21 years.

From the earliest days in 1968 when the bulletin appeared Under the title of « Architectural Research » the Small statement printed on the bottom of the front page rings out with the spirit of its time : "Art & Project plans to bring you together with the ideas of artists, architects and technicians to discover an intelligent form for your living and working space. Art & Project invites you to participate in its exhibitions which will explore ways in which art,architecture and technology can combine with you own ideas".

This statement was to prove prophetic. The bulletin became well-known and as the gallery in Amsterdam grew,it  attracted artists all over the world who wanted to contribute to or use the bulletin to explore their own work. It appealed to artists in the Conceptual Art movement to whom the bulletin was a way of conveying art ideas from the artists to the viewer/reader at a low cost: it did not have a value except for the ideas it contained ; bulletins were mailed free to an international mailing list or distributed from the gallery to visitors. The bulletins contained original material in a sequence which is determined by the arttist, but the viewer/reader can read the material in any order but the artist présents it as s/he thinks it should be. As Lawrence Weiner, who made five bulletins states "THEY (BOOKS) ARE PERHAPS THE LAST IMPOSITIONAL MEANS OF TRANSFERRING INFORMATION FROM ONE TO ANOTHER".

The importance of the bulletins as an archival source on the period is unrivaled, both through the quality of the original pageworks and the calibre of the artists involved all the key artists from this period contributed one and often more bulletins : Robert Barry made four, Stanley Brown made seven, Jan Dibbets six, Hamish Fulton three, Gilbert & George four, Douglas Huebler four, Sol Lewitt five, Richard Long seven, and Allen Ruppersberg two.

From Daniel Buren’s transparent bulletin to Sol Lewitt’s beautiful bulletin folded into 48 small squares, from Bas Jan Ader’s final bulletin mailed during his last work in which he died to Gilbert & George’s fragile double portrait,thèse issues are a unique moving international artwork that stands apart from anything else in this period in its breath of artists included and quality of original work involved. It is increasingly included in exhibitions concerned with Conceptual Art and its influences.The complete set is of prime interest to major private collectors and muséums and libraries concerned with the artists involved with the bulletins. These 156 issues encapsulate an era.

In response to increasing interest, Art & Project have decided to release from their own stock of original bulletins 50 strictely limited sets – no further sets will be issued. To achieve this aim and to complete these 50 sets only, each set will contain 7 reprints (clearly marked) and 149 original bulletins. The production of the reprints has been overseen by Adriaan van Ravesteijn (who produced the original bulletins) working with the original printer, thus the reprints are of identical quality to the originals. Each set will also include a new complete full inventory of all the bulletins prepared by Art & Project.
(via http://davietthery.wordpress.com/2011/09/)

Riusuke Fukahori

Vejam no final do vídeo ele usando uma vassoura para pintar um peixe dourado de grande dimensão. Tem um pintor brasileiro que nos anos 60, antes de começar a dar aula de pintura para um novato, pedia para a pessoa varrer o chão do ateliê: se não soubesse segurar direito na vassoura, ele podia não aceitar como discípulo.

Mais info: http://bahiamam.wordpress.com/2012/01/17/artista-japones-desenvolve-tecnica-de-pintura-tridimensional/

(dica da Cibele Amaral)

Jean Michel Alberola

 Rien, 2001

[ post em homenagem ao amigo Paulo Rodrigues, que fez a passagem hoje. o amigo poeta gostava de São João da Cruz, uma vez ficamos em sua casa lendo poemas por horas, olhando pela janela o mar de São Vicente. Boas lembranças.]

Peter Davies

Fun With the Animals: Joseph Beuys Text Painting
1998
acrylic on canvas
396.2 x 243.8

In a giant incomprehensible flow chart (a form borrowed from Beuys’s blackboard works), he maps out the ‘six degrees of separation’ of his art heroes, linking them impossibly to each other, and inevitably back to Beuys. It requires the complicated linear thinking of a late-night drinking game, but Davies proves it’s only twelve easy jumps from Picasso to Sarah Lucas (if Peter Doig and Matthew Barney’s love of sport can be counted as an actual link). Peter Davies presents an art history on a functional level: it’s about as close to science as it gets.

http://www.saatchi-gallery.co.uk/artists/peter_davies.htm

The fun one hundred, 2001
29 Color Serigraph, 58 x 84 cm.
Edition (250). Signed

Peter Davies' colourful lists inspired by conceptualism's dry text works rank modern and contemporary artists according to his opinions, these text based paintings explore the role of the artist in defining popular culture while combining certain art historical and contemporary art notions with everyday life or culture. The intentionally anti-aesthetic lists take something which is understood, accepted or acknowledged and while adhering to those givens, something from the contemporary world is thrown in to skew it. 

Davies' text works seem far removed from the the traditional notion of how conceptual, text based art should appear.  His wordy arrangements arrangements explain how things stand in a particular system without recourse to a traditional forms of representation.  As works of art they are homorously reflexive, dwelling upon the artistic context that they are part of.

As in The Fun One Hundred Davies says "The text paintings offer a playful and humorous take on my attempt to understand art history and contemporary art". Davies' lists offers explanations as to why these artists are 'fun', such as 'David Hockney - Pool Attendant' and 'Vanessa Beecroft - Hanging Out'.(via http://www.opus-art.com/artists/PeterDavies)

capitulares grotescas

 Oficina de Pierre le Rouge. O mar de histérias [La mer des histoires], 

grande letra ornada do título, Paris, 1488

 Jean de Vingle. A lenda dourada, Paris, fins do séc. XV

capitular gravada em madeira, período barroco alemão

Koshon

Head of a monk bearing an inscription on the interior

By Koshon. Japanese, A.D. 1328. Wood.

Museum of Fine Arts, Boston.

Published in sign, image, symbol, a book edited by Gyorgy Kepes

Ars Memorandi

Essas figuras estranhas, parecendo mosntros, são exemplos de imagens da ars memoria, ou arte da memória; o objetivo é facilitar a memorização de um discurso. Cada imagem representa um trecho de um dos 4 Evangelhos canônicos, a figura em destaque é o emblema de cada evangelista: a águia (João), o boi (Lucas), o leão (Marcos) e o anjo (Mateus).

Victor Hugo

 stencil

 silhouet

 fingerprints

tache

 abstract

voilures

Overall type

Daniela Schmid, (Grafikfachklasse)
Schule für Gestaltung, Luzern, 1992

Alan Kitching

Michael Bierut, Yale School of Architeture

 Boris Müller

 Niklaus Troxler,1980

 Peter Frey, 2000

Susana Carvalho