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130 x 180 x 50 cm, oil on canvas, handwritten text.
This work was produced in New York City. The work was sold by Phyllis Kind gallery to James and Mireille Levy from Lausanne. Later Mr. and Mrs Levy re-sold this work to Mr. Bernd Bierfreund from Germany who in his turn re-sold this work and the present location of this work is unknown.
Exhibited: "A la découverte…de collections romandes I” (cur. Chantal Michetti-Prod’Hom), including: Josef Albers, Geog Baselitz, Guillaume Bijl, Christian Boltanski, Luciano Fabro, Dan Flavin, Lucio Fontana, Franz Gertsch, Keith Haring, Anselm Kiefer, Igor and Svetlana Kopystiansky, Jannis Kounellis, Ange Leccia, Robert Mangold, Allan McCollum, Mario Merz, Mimmo Paladino, Giulio Paolini, Guiseppe Penone, Jaume Plensa, Mel Ramos, Lorna Simpson, Keith Sonier, Cy Twombly, Andy Warhol, Tom Wesselmann. Pierre et Gilles. FAE Museum of Contemporary Art, Pully, Lausanne (cat.)
9 parts, wood, oil on canvas, handwritten text
This work was produced in New York City. The work was sold by Phyllis Kind gallery to James and Mireille Levy from Lausanne. Later Mr. and Mrs Levy re-sold this work to Mr. Bernd Bierfreund from Germany who in his turn re-sold this work and the present location of this work is unknown.
Exhibited: "A la découverte…de collections romandes I” (cur. Chantal Michetti-Prod’Hom), including: Josef Albers, Geog Baselitz, Guillaume Bijl, Christian Boltanski, Luciano Fabro, Dan Flavin, Lucio Fontana, Franz Gertsch, Keith Haring, Anselm Kiefer, Igor and Svetlana Kopystiansky, Jannis Kounellis, Ange Leccia, Robert Mangold, Allan McCollum, Mario Merz, Mimmo Paladino, Giulio Paolini, Guiseppe Penone, Jaume Plensa, Mel Ramos, Lorna Simpson, Keith Sonier, Cy Twombly, Andy Warhol, Tom Wesselmann. Pierre et Gilles. FAE Museum of Contemporary Art, Pully, Lausanne (cat.)
“The basis of my works from the series “text-objects” is a literary text put onto canvas. For me the text has two aspects: firstly it is a reality (written words are part of the real world around us), and secondly the text delivers information about the reality outside it. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentarily.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it bee torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer be read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
I have arranged happenings, where the text-objects have been read out and tape-recordings made. Finally the text was printed, to document the happening.
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
Bois, gesso, ficelle, peinture acrylique | wood, gesso, acrylic painting and thread
2014 ©MichelleCourteau
Eva Hesse, Hamburg 1936 - New York1970
Eighter from Decatur (1965)
Eva Hesse war eine US-amerikanische Künstlerin deutscher Herkunft. Sie gilt als Vertreterin der Prozesskunst und der Arte Povera. Eigher from Dectur bedeutet im Würfelspiel einen Wurf mit zwei Vierern.
___
Eva Hesse was a German-born American sculptor, known for her pioneering work in materials such as latex, fiberglass, and plastics. She is one of the artists who ushered in the postminimal art movement in the 1960s. In craps Eighter from Decatur stands for the throw of two dice with four.dots each.
Installation view at "Cocido y Crudo," Curator Dan Cameron
Reina Sofia Madrid.
Wood, books.
Dimensions: front wall 8.8 m x 4.3 m x 0.22m
Two side walls, each 3.6m x 4.3 m x 0.22m
The work “Universal Space” does represent a series of sculptures and installations originated and exhibited for the first time in New York in 1990.
Books are editions of novels in English and German bought in the bookstore. In this installation was created a two functional space in which were combined functions which are not compatible in the reality, what does refer to artistic ideas of the surrealism. Real books used in this work and a sport equipment are found objects. Each book is fixed in an individual wooden box in a way that the title has been hidden, but pages shape in each case a unique form.
Because of these differences in the shape, the viewer is able to see different fragments of the text in each book.
Exhibited:
Igor and Svetlana Kopystiansky. “In the Tradition,” Curator René Block. DAAD / Berlinische Galerie, Museum of Modern Art, in the Martin Gropius-Bau, Berlin, Germany (Catalog)
“Cocido y Crudo” Curator Dan Cameron. Reina Sofia Museum in Madrid, 1994. Catalog.
Participating artists: Janine Antoni, Stefano Arienti, Wim Delvoye, Marc Dion, Jimmie Durham, Marlene Dumas, Sylvie Fleury, Renée Green, Mona Hatoum, Maria Eichhorn, Gary Hill, Damien Hirst, Martin Kippenberger, Igor Kopystiansky, Svetlana Kopystiansky, Paul McCarthy, Yasumasa Morimura, Tatsuo Miyajima, Gabriel Orozco, Marcel Odenbach, Allen Ruppersberg, Doris Salcedo, Kiki Smith, Rirkrit Tiravanija, Sue Williams, Fred Wilson, Xu Bing.
www.flickr.com/photos/artexh/14111628430/in/album-7215763...
www.flickr.com/photos/artexh/14089139424/in/album-7215763...
4th Istanbul Biennial 1995. Curator René Block. (Catalog).
www.flickr.com/photos/artexh/14345649813/in/album-7215763...
Tara Donovan
Untitled, silver mylar tape, 2007
Lila Acheson Wallace Wing, Gioconda and Joseph King Gallery
A large-scale work conceived specifically for display in The Metropolitan Museum of Art's galleries by New York-based artist Tara Donovan comprises the exhibition "Tara Donovan at the Met".
The artist used silver Mylar tape to create a wall-mounted installation that encompasses the entire 1,600-square-foot Gioconda and Joseph King Gallery on the mezzanine level of the Museum's Lila Acheson Wallace Wing. Through a massive accumulation of metallic loops that both reflect and refract light, Donovan transforms the space into a unique phenomenological experience for the viewer.
In the construction of her installations, Tara Donovan employs systems that mimic the elemental patterns of growth found in the natural world. She works with a single, commonplace manufactured material — such as tape, Styrofoam cups, toothpicks, or drinking straws — and amasses up to millions of units into a structure that may resemble a topographical landscape, geological formation, or atmospheric condition. With roots in Earth Art, Process Art, Minimalism, and Post-Minimalism, Donovan's work explores the inherent physical characteristics of the medium at hand while transcending the utilitarian nature of the materials.
Metropolitan Museum of Art
NYC
Læsø IV and Læsø V, 1984, by artist Per Kirkeby (b.1938, Denmark). Red-brick and mortar. At the Tate Modern, London Borough of Southwark.
Oil on canvas, handwritten text. 30 x 60,5 x 7 cm
Private collection Switzerland.
“The basis of my works from the series “text-objects” is a literary text put onto canvas. For me the text has two aspects: firstly it is a reality (written words are part of the real world around us), and secondly the text delivers information about the reality outside it. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentarily.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it bee torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer bee read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
I have arranged happenings, where the text-objects have been read out and tape-recordings made. Finally the text was printed, to document the happening.
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
pentax k3II vienna wien austria oesterreich
In the visual arts and music, minimalism is a style that uses pared-down design elements.
wikipedia:
Minimalism in the arts began in post–World War II Western Art, most strongly with American visual arts in the 1960s and early 1970s. Prominent artists associated with minimalism include Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella.[1][2] It derives from the reductive aspects of Modernism and is often interpreted as a reaction against Abstract expressionism and a bridge to Postminimal art practices.
Minimalism in music features repetition and iteration such as those of the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, and John Adams. Minimalist compositions are sometimes known as systems music. The term "minimalist" often colloquially refers to anything that is spare or stripped to its essentials. It has also been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and the automobile designs of Colin Chapman. The word was first used in English in the early 20th century to describe "a 1913 composition by the Russian painter Kasimir Malevich of a black square on a white ground".[3]
Installations at artist's studio. Art work which location is not known.
Art works from the same group are in museum collections:
"Interior" 1988 Collection Musée d'Art Moderne de Saint-Etienne Métropole, France.
Appropriated paintings by Jacob van Ruisdael, etc.
“Interior,” 1988 Collection of the Ludwig Forum Aachen, Germany.
Oil on canvas, wood, 200 x 300 x 200 cm. Appropriated paintings by François Boucher, Amadeo Modigliani, etc.
Exhibited: “Aperto,” XLII Biennale di Venezia. Aperto. 01 June - 01 November 1988. Curator Dan Cameron). Venice, Italy. (cat.)
Artists: Carla Accardi, Siegfried Anzinger, Gabor Bachmann, Jacobo Borges, Imre Bukta, Eric Bulatov, Alberto Burri, Anthony Caro, Lynn Chadwick, Sandro Chia, Eduardo Chillida, Francesco Clemente, Tony Cragg, Enzo Cucchi, Grenville Davey, Jan Dibbets, Piero Dorazio, Felix Droese, Willem De Kooning, Piero Dorazio, Robert Gober, Andy Goldsworthy, Clemens Gröszer, Renato Guttuso, Jasper Johns, Martin Kippenberger, Svetlana & Igor Kopystiansky, Jannis Kounellis, Sol Le Witt, Markus Lüpertz, Roberto Matta, Allan McCollum, Marisa Merz, Tatsuo Miyajima, Ulrike Nattermüller, Louise Nevelson, Jorge Oteiza, Mimmo Paladino, Sandor Pinczehely, Hermann Pitz, Arno Rink, Tim Rollins & KOS, Thomas Ruff, Niki de Saint Phalle, Horst Sakulowski, Niki de Saint Phalle, Geza Samu, George Segal, Andreas Slominski, Mark di Suvero, Tibor Szalai, Cy Twombly, Hans Vent, Claude Viallat, Norbert Wagenbrett, Trak Wendisch, Tom Wesselmann, Franz West, Walter Womacka, Doris Ziegler
Editions of books, wood. Dimension: 396 x 580 x 20 cm
Produced and exhibited in New York City in 1990
In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of novels in English. Real books used in this work are found objects, what does refer to ideas of Marcel Duchamp.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
One is led to wonder where the various texts are connected to one another or not. The wooden boxes represent a kind of taken-apart library. Construction-like, they bring to mind the classical façade of a building.
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)
"Cocido y Crudo," Museo National Centro de Arte Reina Sofia, Madrid, Spain. (cat.) 1994
Curator Dan Cameron. Participating artists:
DELVOYE, Wim (1965 ) / DURHAM, Jimmie / LÓPEZ CUENCA, Rogelio (1959 ) / OROZCO, Gabriel (1962) / HATOUM, Mona (1952) / CABRITA REIS, Pedro (1956) / CIVERA, Victoria (1955) / McCarthy, Paul (1945) / KOPYSTIANSKY, Svetlana / KOPYSTIANSKY, Igor / KIPPENBERGER, Martin (1953-1997) / SMITH, Kiki (1954) / DOHERTY, Willie (1959) / KCHO (Alexis Leyva) (1970) / EICHHORN, Maria / HIRST, Damien (1965) / SALCEDO, Doris [1958] / BENNING, Sadie / MORAZA, Juan Luis (1960) / ARIENTI, Stefano (1961) / FLEURY, Sylvie (1961) / ANTONI, Janine (1964) / DITTBORN, Eugenio (1943) / HILL, Gary (1951) / ODENBACH, Marcel (1953) / GREEN, Renée / WILLIAMS, Sue (1954) / WILSON, Fred (1954) / TIRAVANIJA, Rirkrit (1961) / CADIEUX, Geneviève / DÁVILA, Juan (1946) / JUBELIN, Narelle / MORA, Pedro / DUJOURIE, Lili / MORIMURA, Yasumasa (1951) / DUMAS, Marlene (1953) / DION, Mark (1961) / RUPPERSBERG, Allen (1944) / SCHER, Julia / Pierre et Gilles (Grupo) / RENNÓ, Rosângela (1962) / XU, Bing / HERNÁNDEZ DIEZ, José Antonio (1964) / PHAOPHANIT, Vong / MIYAJIMA, Tatsuo / KINGELEZ, Bodys Isek (1948) / LYSÁCEK, Petr / KRUK, Mariusz / Áfrika (Sergei Bugaev 1966) / SKETCH / LOFDAHL, Eva / HORAN, David / McCarthy, Marlene / NGNETCHOPA, Jean Baptiste / PIPER, Keith / RINGGOLD, Faith
"Cocido y Crudo," Museo National Centro de Arte Reina Sofia, Madrid, Spain. (cat.)
Curator Dan Cameron. Participating artists: DELVOYE, Wim (1965 ) / DURHAM, Jimmie / LÓPEZ CUENCA, Rogelio (1959 ) / OROZCO, Gabriel (1962) / HATOUM, Mona (1952) / CABRITA REIS, Pedro (1956) / CIVERA, Victoria (1955) / McCarthy, Paul (1945) / KOPYSTIANSKY, Svetlana / KOPYSTIANSKY, Igor / KIPPENBERGER, Martin (1953-1997) / SMITH, Kiki (1954) / DOHERTY, Willie (1959) / KCHO (Alexis Leyva) (1970) / EICHHORN, Maria / HIRST, Damien (1965) / SALCEDO, Doris [1958] / BENNING, Sadie / MORAZA, Juan Luis (1960) / ARIENTI, Stefano (1961) / FLEURY, Sylvie (1961) / ANTONI, Janine (1964) / DITTBORN, Eugenio (1943) / HILL, Gary (1951) / ODENBACH, Marcel (1953) / GREEN, Renée / WILLIAMS, Sue (1954) / WILSON, Fred (1954) / TIRAVANIJA, Rirkrit (1961) / CADIEUX, Geneviève / DÁVILA, Juan (1946) / JUBELIN, Narelle / MORA, Pedro / DUJOURIE, Lili / MORIMURA, Yasumasa (1951) / DUMAS, Marlene (1953) / DION, Mark (1961) / RUPPERSBERG, Allen (1944) / SCHER, Julia / Pierre et Gilles (Grupo) / RENNÓ, Rosângela (1962) / XU, Bing / HERNÁNDEZ DIEZ, José Antonio (1964) / PHAOPHANIT, Vong / MIYAJIMA, Tatsuo / KINGELEZ, Bodys Isek (1948) / LYSÁCEK, Petr / KRUK, Mariusz / Áfrika (Sergei Bugaev 1966) / SKETCH / LOFDAHL, Eva / HORAN, David / McCarthy, Marlene / NGNETCHOPA, Jean Baptiste / PIPER, Keith / RINGGOLD, Faith
Collection Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.
Installation view: New York 1997. Wooster Gardens Gallery/Brent Sikkema.
The work is constructed from an edition of the same book, bought in New York as a readymade: Edith Wharton, Three Novels.
"In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of novels in English. Real books used in this work are found objects, what does refer to ideas of Marcel Duchamp.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
One is led to wonder where the various texts are connected to one another or not. The wooden boxes represent a kind of taken-apart library."
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)
Produced in New York in 1990.
Oil on canvas, wood. Deconstructed handwritten text appropriated from classical novels.
Reproduced in: Igor & Svetlana Kopystiansky. DAAD 1990.
Berlin
www.worldcat.org/title/igor-svetlana-kopystiansky-23-augu...
“The basis of my works from the series “text-objects” is a literary text put onto canvas. For me the text has two aspects: firstly it is a reality (written words are part of the real world around us), and secondly the text delivers information about the reality outside it. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentarily.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it bee torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer bee read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
I have arranged happenings, where the text-objects have been read out and tape-recordings made. Finally the text was printed, to document the happening.
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
Collection Berlinische Galerie
In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of novels in English. Real books used in this work are found objects, what does refer to ideas of Marcel Duchamp.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
One is led to wonder where the various texts are connected to one another or not. The wooden boxes represent a kind of taken-apart library. Construction-like, they bring to mind the classical façade of a building.
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)
One of leading principles behind Kopystiansky’s work is the idea that the books which form the center of her “Library” installations do not need to be read. Rather, their meaning as objects depends primarily on our recognizing them as vehicles of knowledge, but without the need for that knowledge to be conveyed in literal terms (i.e., by reading). Where displayed on shelves with their pages flared outward, folded into seams so that only fragments of text are visible, or hung from their spines in a single, gravity-defying line, the books in Kopystiansky’s pieces act as stand-ins for certain more formal gestures in twentieth century art: geometry, concrete poetry or performance. By placing this universally-recognized receptacle of knowledge at the spot where a line or archaic symbol might have once been found, the artist draws our attention both to the sociological issue of literature as shared cultural information, as well as to the threatened status of books and libraries in an age in which the dissemination of knowledge is increasingly handled by computers and other electronic surrogates.
Dan Cameron.
An excerpt from: "Jetztzeit," Kunsthalle Vienna, 1994. pp. 74-81, Cantz,
“Untitled” 1988
Produced in New York City.
Collection Helyn Goldenberg, Chicago.
oil on canvas, handwritten text appropriated from classical novels
180 x 130 cm/ 51 x 71”
“The basis of my works from the series “text-objects” is a literary text put onto canvas. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentary.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it be torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer bee read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
Exhibited:
Igor and Svetlana Kopystiansky: “The Museum”, "The Library."
Kunsthalle Duesseldorf 1994
1991 "Anni Novanta," (curator Renato Barilli). Galleria Comunale d'Arte Moderna, Bologna; Musei Comunali, Rimini; Ex colonia "Le Navi," Catolica, Italy (cat.) Participating artists: (Bologna) J.Baldeon, M. Barzagli, D. Brevi, J. Casebere, G. Castellano, M. Cattelan, M. Celestino, A. Crosa, T. Dean, M. Dellavedova, E. Denda, J. Diamond, P. Dorion, O. Drozdik, T. Eckart, Ericson & Ziegler, S. Falci, P. Favier, S. Fermariello, G. Förg, A. Füss, F. Guzman, P. Halley, P. Iacchetti, L. Jammes, B. Joisten, L. Joubert, T. Kirchhoff, J. Knap, J. Lasker, M. Lavagetto, A. Loch, T. Locher, P. Martori, M. Mazzucconi, G. Melotti, M. Mullican, V. Muniz, P. Nagy, J. Othoniel, C. Palmieri, E. Passarella, M. Payment, P. Pusole, T. Ruff, L. Santoli, R. Scholte, R. Serra, L. Simmons, Doug & Mike Starn, H. Steinbach, Joanne Tod, P. Tosani, T. Tozzi, S. Ungers, M. Vaisman, M. Van Ofen,C. Wainio, M. Zalopany, (Rimini) J. Alloucherie, S. Arienti, S. Astore, A. Belcher, A. Bickerton, N. Blake, G. Bourassa, M. Cavenago, C. De Paolis, W. Delvoye, A. Fogli, M. Folci, C. Givani, T. Grünfeld, E. Jannini, M. Landy, A. Leccia, B. Lurashi, G. Mihalcean, J. Miller, P. Mussini, J. Otterson, I. Patkin, A. Pirri, A. Ratti, A. Renda, Saint-Clair Cemin, R. Wiens, G. Williams, A. Zelli, (Cattolica) J. Armleder, Basserode, K. Bednarsky, G. Bijl, J. Bolande, P. Bruder, V. Corsini, A. Di Palma, S. Fontana, M. Goldoni, M. Honert, R. Jones, M. Kaufmann, M. Kelley, J. Koons, I. Kopystiansky, R. Lucca Maroni, A. Marchetti, I. Melioli, P. Modica, C. Noland, R. Pellegrinuzzi, C. Pietroiusti, D. Sauvé, M. Tomarchio Levi, E. Trenkwalder, S. Venturi, E. Wurm.
Reproduced in: "Cocido y crudo." Curated by Dan Cameron. Museo National Reina Sofia, 1994
1994 Igor Kopystiansky “The Museum.” Curator Jürgen Harten. Kunsthalle Düsseldorf, Germany.
1990 Igor and Svetlana Kopystiansky. DAAD/Martin-Gropius-Bau Berlin. Curator René Block. Texts by Dan Cameron, Joachim Sartorius, Christina Tacke.
This Christmas . . . give the gift of code.
I made this for my mother. I had FedexKinko’s print it 12” tall and mount it on foamcore board. After a month of planning and experimentation I finally invented the idea of what I wanted to make as a present. All of the composition was done just the night before. After finally hitting the creative groove around 10 PM I hacked on through to 5 AM inspired by some good trance music.
Full-full sized: www.adamsmith.as/codepoem/forest-flattened.png
"The Pyramid" 1994 (Detail of the installation)
"The Pyramid” 1994. 414 wooden boxes each including a book. 740 cm x 1700 cm x 16 cm. Exhibition view Kunsthalle Düsseldorf, Germany
In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of novels in English. Real books used in this work are found objects, what does refer to ideas of Marcel Duchamp.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
One is led to wonder where the various texts are connected to one another or not. The wooden boxes represent a kind of taken-apart library. Construction-like, they bring to mind the classical façade of a building.
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)
In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of novels in English. Real books used in this work are found objects, what does refer to ideas of Marcel Duchamp.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
One is led to wonder where the various texts are connected to one another or not. The wooden boxes represent a kind of taken-apart library. Construction-like, they bring to mind the classical façade of a building.
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)
One of leading principles behind Kopystiansky’s work is the idea that the books which form the center of her “Library” installations do not need to be read. Rather, their meaning as objects depends primarily on our recognizing them as vehicles of knowledge, but without the need for that knowledge to be conveyed in literal terms (i.e., by reading). Where displayed on shelves with their pages flared outward, folded into seams so that only fragments of text are visible, or hung from their spines in a single, gravity-defying line, the books in Kopystiansky’s pieces act as stand-ins for certain more formal gestures in twentieth century art: geometry, concrete poetry or performance. By placing this universally-recognized receptacle of knowledge at the spot where a line or archaic symbol might have once been found, the artist draws our attention both to the sociological issue of literature as shared cultural information, as well as to the threatened status of books and libraries in an age in which the dissemination of knowledge is increasingly handled by computers and other electronic surrogates.
Dan Cameron.
An excerpt from: "Jetztzeit," Kunsthalle Vienna, 1994. pp. 74-81, Cantz,
In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of novels in English. Real books used in this work are found objects, what does refer to ideas of Marcel Duchamp.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
One is led to wonder where the various texts are connected to one another or not. The wooden boxes represent a kind of taken-apart library. Construction-like, they bring to mind the classical façade of a building.
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)
Installation view: Exhibition "Igor and Svetlana Kopystiansky." Kunsthalle Düsseldorf. 1994
One of leading principles behind Kopystiansky’s work is the idea that the books which form the center of her “Library” installations do not need to be read. Rather, their meaning as objects depends primarily on our recognizing them as vehicles of knowledge, but without the need for that knowledge to be conveyed in literal terms (i.e., by reading). Where displayed on shelves with their pages flared outward, folded into seams so that only fragments of text are visible, or hung from their spines in a single, gravity-defying line, the books in Kopystiansky’s pieces act as stand-ins for certain more formal gestures in twentieth century art: geometry, concrete poetry or performance. By placing this universally-recognized receptacle of knowledge at the spot where a line or archaic symbol might have once been found, the artist draws our attention both to the sociological issue of literature as shared cultural information, as well as to the threatened status of books and libraries in an age in which the dissemination of knowledge is increasingly handled by computers and other electronic surrogates.
Dan Cameron.
An excerpt from: "Jetztzeit," Kunsthalle Vienna, 1994. pp. 74-81, Cantz,
www.flickr.com/photos/artexh/7591364768/in/album-72157626...
Svetlana Kopystiansky. Library. 1990. Centre for Contemporary Art Luigi Pecci, Prato, Italy.
In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of novels in English. Real books used in this work are found objects, what does refer to ideas of Marcel Duchamp.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
One is led to wonder where the various texts are connected to one another or not. The wooden boxes represent a kind of taken-apart library. Construction-like, they bring to mind the classical façade of a building.
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)
One of leading principles behind Kopystiansky’s work is the idea that the books which form the center of her “Library” installations do not need to be read. Rather, their meaning as objects depends primarily on our recognizing them as vehicles of knowledge, but without the need for that knowledge to be conveyed in literal terms (i.e., by reading). Where displayed on shelves with their pages flared outward, folded into seams so that only fragments of text are visible, or hung from their spines in a single, gravity-defying line, the books in Kopystiansky’s pieces act as stand-ins for certain more formal gestures in twentieth century art: geometry, concrete poetry or performance. By placing this universally-recognized receptacle of knowledge at the spot where a line or archaic symbol might have once been found, the artist draws our attention both to the sociological issue of literature as shared cultural information, as well as to the threatened status of books and libraries in an age in which the dissemination of knowledge is increasingly handled by computers and other electronic surrogates.
Dan Cameron.
An excerpt from: "Jetztzeit," Kunsthalle Vienna, 1994. pp. 74-81, Cantz,
DAAD, Berlin
The work “Universal Space” does represent a series of sculptures and installations originated and exhibited for the first time in New York in 1990.
Books are editions of novels in English. In this installation was created a two functional space in which were combined functions which are not compatible in the reality, what does refer to artistic ideas of the surrealism. Real books used in this work and equipment for boxing are found objects, what does refer to ideas of Marcel Duchamp.
Each book is fixed in an individual wooden box in a way that the title has been hidden, but pages do shape in each case a unique form.
Because of these differences in the shape, the viewer is able to see different fragments of the text in each book.
Svetlana Kopystiansky. 1991
"Cocido y Crudo," Museo National Centro de Arte Reina Sofia, Madrid, Spain. (cat.) 1994
Curator Dan Cameron. Participating artists:
DELVOYE, Wim (1965 ) / DURHAM, Jimmie / LÓPEZ CUENCA, Rogelio (1959 ) / OROZCO, Gabriel (1962) / HATOUM, Mona (1952) / CABRITA REIS, Pedro (1956) / CIVERA, Victoria (1955) / McCarthy, Paul (1945) / KOPYSTIANSKY, Svetlana / KOPYSTIANSKY, Igor / KIPPENBERGER, Martin (1953-1997) / SMITH, Kiki (1954) / DOHERTY, Willie (1959) / KCHO (Alexis Leyva) (1970) / EICHHORN, Maria / HIRST, Damien (1965) / SALCEDO, Doris [1958] / BENNING, Sadie / MORAZA, Juan Luis (1960) / ARIENTI, Stefano (1961) / FLEURY, Sylvie (1961) / ANTONI, Janine (1964) / DITTBORN, Eugenio (1943) / HILL, Gary (1951) / ODENBACH, Marcel (1953) / GREEN, Renée / WILLIAMS, Sue (1954) / WILSON, Fred (1954) / TIRAVANIJA, Rirkrit (1961) / CADIEUX, Geneviève / DÁVILA, Juan (1946) / JUBELIN, Narelle / MORA, Pedro / DUJOURIE, Lili / MORIMURA, Yasumasa (1951) / DUMAS, Marlene (1953) / DION, Mark (1961) / RUPPERSBERG, Allen (1944) / SCHER, Julia / Pierre et Gilles (Grupo) / RENNÓ, Rosângela (1962) / XU, Bing / HERNÁNDEZ DIEZ, José Antonio (1964) / PHAOPHANIT, Vong / MIYAJIMA, Tatsuo / KINGELEZ, Bodys Isek (1948) / LYSÁCEK, Petr / KRUK, Mariusz / Áfrika (Sergei Bugaev 1966) / SKETCH / LOFDAHL, Eva / HORAN, David / McCarthy, Marlene / NGNETCHOPA, Jean Baptiste / PIPER, Keith / RINGGOLD, Faith
by Svetlana Kopystiansky
oil on canvas, handwritten text. 160 x 125 cm
Private collection Germany.
“The basis of my works from the series “text-objects” is a literary text put onto canvas. For me the text has two aspects: firstly it is a reality (written words are part of the real world around us), and secondly the text delivers information about the reality outside it. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentarily.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it bee torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer bee read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
I have arranged happenings, where the text-objects have been read out and tape-recordings made. Finally the text was printed, to document the happening.
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
Collection MUMOK Vienna, Austria
www.mumok.at/de/collection/search?fulltext=Kopystiansky
Exhibited: Castelli Graphics Gallery. 1990
www.flickr.com/photos/artexh/13910633799/in/album-7215763...
In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of novels in English. Real books used in this work are found objects, what does refer to ideas of Marcel Duchamp.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
One is led to wonder where the various texts are connected to one another or not. The wooden boxes represent a kind of taken-apart library. Construction-like, they bring to mind the classical façade of a building.
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)
Exhibition view: The Kitchen Art Benefit. 31 May 23/6 June 1990.
Proceeds benefited The Kitchen Capital Campaign. Committee: Laurie Anderson, John Cage, Paula Cooper, Phillip Glass, Jasper Johns, Ann Magnuson.
www.flickr.com/photos/artexh/13910633799/in/album-7215763...
Collection MUMOK Vienna
In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of Edgar Allan Poe. Real books used in this work are found objects, what does refer to ideas of Marcel Duchamp.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)
Reproduced: www.flickr.com/photos/artexh/20012003738/in/album-7215763...
In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of novels in English. Real books used in this work are found objects, readymades.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)
Igor Kopystiansky: The Construction, (Transformable Construction version 1). 1990. Installation view: Phyllis Kind Gallery, New York. Oil on canvas 350 x 450 cm x 450 cm. 2 paintings 200 x 300 cm each, 8 paintings 150 x 200 cm each, 4 paintings 200 x 200 cm each
4 paintings 50 x 150 cm, 1 painting 150 x 100 cm, 6 columns 300 x 20 cm, 6 columns 150 x 12 cm
Appropriated were paintings by Western-European artists including Nicolas Poussin, Caspar David Friedrich, Jacob van Ruisdael, Camille Corot, Ferdinand von Rayski.
Reproduced in the catalog: 1991 "Anni Novanta," curated by Renato Barilli,
www.flickr.com/photos/artexh/14041826126/in/album-7215763...
www.worldcat.org/title/anninovanta/oclc/24499240&refe...
1991 "Anni Novanta," (Curator Renato Barilli). Galleria Comunale d'Arte Moderna, Bologna; Musei Comunali, Rimini; Ex colonia "Le Navi," Catolica, Italy (cat.). Participating artists: (Bologna) J.Baldeon, M. Barzagli, D. Brevi, J. Casebere, G. Castellano, M. Cattelan, M. Celestino, A. Crosa, T. Dean, M. Dellavedova, E. Denda, J. Diamond, P. Dorion, O. Drozdik, T. Eckart, Ericson & Ziegler, S. Falci, P. Favier, S. Fermariello, G. Förg, A. Füss, F. Guzman, P. Halley, P. Iacchetti, L. Jammes, B. Joisten, L. Joubert, T. Kirchhoff, J. Knap, J. Lasker, M. Lavagetto, A. Loch, T. Locher, P. Martori, M. Mazzucconi, G. Melotti, M. Mullican, V. Muniz, P. Nagy, J. Othoniel, C. Palmieri, E. Passarella, M. Payment, P. Pusole, T. Ruff, L. Santoli, R. Scholte, R. Serra, L. Simmons, Doug & Mike Starn, H. Steinbach, Joanne Tod, P. Tosani, T. Tozzi, S. Ungers, M. Vaisman, M. Van Ofen,C. Wainio, M. Zalopany, (Rimini) J. Alloucherie, S. Arienti, S. Astore, A. Belcher, A. Bickerton, N. Blake, G. Bourassa, M. Cavenago, C. De Paolis, W. Delvoye, A. Fogli, M. Folci, C. Givani, T. Grünfeld, E. Jannini, M. Landy, A. Leccia, B. Lurashi, G. Mihalcean, J. Miller, P. Mussini, J. Otterson, I. Patkin, A. Pirri, A. Ratti, A. Renda, Saint-Clair Cemin, R. Wiens, G. Williams, A. Zelli, (Cattolica) J. Armleder, Basserode, K. Bednarsky, G. Bijl, J. Bolande, P. Bruder, V. Corsini, A. Di Palma, S. Fontana, M. Goldoni, M. Honert, R. Jones, M. Kaufmann, M. Kelley, J. Koons, I. Kopystiansky, R. Lucca Maroni, A. Marchetti, I. Melioli, P. Modica, C. Noland, R. Pellegrinuzzi, C. Pietroiusti, D. Sauvé, M. Tomarchio Levi, E. Trenkwalder, S. Venturi, E. Wurm.
Elton John with Svetlana and Igor Kopystiansky in front of the installation by Svetlana. Munich 1989
www.flickr.com/photos/artexh/12589730314/in/album-7215764...
www.flickr.com/photos/artexh/21451063404/in/album-7215764...
Nik Bärtsch’s MOBILE ensemble makes its Boston-area public debut with this single Killian Hall appearance. Bärtsch is joined by the captivating innovations of alt saxophonist and bass/contra bass clarinet virtuoso Sha, the powerful grooves of drummer and longtime collaborator Kaspar Rast, and the rhythmic improvisations of percussionist Nicolas Stocker.
MOBILE’s visit to the Institute was part of MIT Sounding, an innovative annual performance series that blurs the boundaries between contemporary and world music. Curated by Evan Ziporyn, Faculty Director of the MIT Center for Art, Science & Technology, the 2016-17 season of MIT Sounding integrates the avant-garde sounds of ancient instruments and traditional practices with cutting-edge composition and technology to present various visions of a new, evolving music that defies genre.
Learn more at arts.mit.edu
All photos ©James Addison
Please ask before use
Oil on canvas, handwritten text appropriated from classical novels and deconstructed by folds.
“The basis of my works from the series “text-objects” is a literary text put onto canvas. For me the text has two aspects: firstly it is a reality (written words are part of the real world around us), and secondly the text delivers information about the reality outside it. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentarily.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it bee torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer bee read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
I have arranged happenings, where the text-objects have been read out and tape-recordings made. Finally the text was printed, to document the happening.
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
"Cocido y Crudo," Curator Dan Cameron. Participating artists: Janine Antoni, Stefano Arienti, Wim Delvoye, Marc Dion, Jimmie Durham, Marlene Dumas, Sylvie Fleury, Renée Green, Mona Hatoum, Gary Hill, Damien Hirst, Martin Kippenberger, Igor Kopystiansky, Svetlana Kopystiansky, Paul McCarthy, Yasumasa Morimura, Tatsuo Miyajima, Gabriel Orozco, Allen Ruppersberg, Doris Salcedo, Kiki Smith, Rirkrit Tiravanija, Sue Williams, Fred Wilson, Xu Bing...
Museo National Centro de Arte Reina Sofia, Madrid, Spain.
Editions of books as readymades, dimension 396 x 580 x 20 cm
In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of novels in English. Real books used in this work are found objects, what does refer to ideas of Marcel Duchamp.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
One is led to wonder where the various texts are connected to one another or not. The wooden boxes represent a kind of taken-apart library. Construction-like, they bring to mind the classical façade of a building.
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)
Installation view: Igor and Svetlana Kopystiansky. Phyllis Kind Gallery, NYC, 1990
Nik Bärtsch’s MOBILE ensemble makes its Boston-area public debut with this single Killian Hall appearance. Bärtsch is joined by the captivating innovations of alt saxophonist and bass/contra bass clarinet virtuoso Sha, the powerful grooves of drummer and longtime collaborator Kaspar Rast, and the rhythmic improvisations of percussionist Nicolas Stocker.
MOBILE’s visit to the Institute was part of MIT Sounding, an innovative annual performance series that blurs the boundaries between contemporary and world music. Curated by Evan Ziporyn, Faculty Director of the MIT Center for Art, Science & Technology, the 2016-17 season of MIT Sounding integrates the avant-garde sounds of ancient instruments and traditional practices with cutting-edge composition and technology to present various visions of a new, evolving music that defies genre.
Learn more at arts.mit.edu
All photos ©James Addison
Please ask before use
Installation view: Igor and Svetlana Kopystiansky. Phyllis Kind Gallery, NYC, 1990
“The basis of my works from the series “text-objects” is a literary text put onto canvas. For me the text has two aspects: firstly it is a reality (written words are part of the real world around us), and secondly the text delivers information about the reality outside it. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentarily.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it bee torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer bee read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
I have arranged happenings, where the text-objects have been read out and tape-recordings made. Finally the text was printed, to document the happening.
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
I described my method in respect to this group of works: “In my work I use copies of quite various paintings. The choice has little to do with taste. The paintings come from wholly different periods, styles and artists. The only thing they have in common is: they belong to art. Insofar as I thereby avoid
creating works of my own, I produce things out of items already made, I create new contexts and play with art…”
Appropriated were images by Western-European painters. These new paintings were made deliberately in a different size then originals. It reflected the situation when the work of art does function in the society more as a reproduction in a book, as a poster, billboard, or has been viewed at the screen at the cinema when the size of the image is different then the original painting.
An initial inspiration for my works based at ideas of deconstruction and appropriation came from DADA and Marcel Duchamp. I made installations, constructions, functional objects from paintings. By that I de-constructed originals and constructed new objects. That group of works I called (de)constructions.
Collection Berlinische Galerie, Museum für Moderne Kunst
In The Library real books are placed in wooden boxes, so that all the contents of the books would appear to be visible excerpt for the titles. Books are editions of novels in English. Real books used in this work are found objects, what does refer to ideas of Marcel Duchamp.
Pages shape in each case a unique form. Because of these differences in the shape, the viewer is able to see different fragments of the text from each book.
One is led to wonder where the various texts are connected to one another or not. The wooden boxes represent a kind of taken-apart library. Construction-like, they bring to mind the classical façade of a building.
Svetlana Kopystiansky. 1990. (The year, when this group of work was initiated in the US)