MARC Record from harvard_bibliographic_metadata

LEADER: 04568cam a2200529Ia 4500
001 012117151-5
005 20100308190909.0
008 090406s2009 sz a bc 000 0 eng d
020 $a9783037640173
020 $a3037640170
020 $a9783037640364
020 $a3037640367
035 0 $aocn317930220
040 $aBTCTA$cBTCTA$dOHX$dNGA$dYDXCP$dIXA$dSZ9XM$dUAT$dBWX$dMH-FA
050 4 $aN6488.F8$bP3843 2009
082 $a709
245 00 $aVoids :$ba retrospective /$c[edited by Mathieu Copeland ... [et al.]].
260 $aZurich :$bJRP/Ringier ;$aGeneva :$bIn collaboration with Ecart ;$aParis :$bIn co-edition with Éditions du Centre Pompidou and Centre Pompidou-Metz,$cc2009.
300 $a464, [64] p. :$bill. (some col.) ;$c29 cm.
500 $aCatalog of an exhibition held at the Centre Pompidou, Paris, Feb. 25-Mar. 23, 2009, and the Kunsthalle Bern, Sept. 10-Oct. 11, 2009.
500 $a"Centre Pompidou, Kunsthalle Bern, Centre Pompidou-Metz"
504 $aIncludes bibliographical references.
520 $aA quite exceptional event, "Vides" (Voids) is a retrospective of empty exhibitions since that of Yves Klein in 1958. In almost a dozen rooms of the National Museum of Modern Art, it assembles in a totally original manner exhibitions that showed absolutely nothing, leaving empty the space for which they were designed. The idea of exhibiting emptiness is a recurring notion in the history of art over the past fifty or so years, almost to the point of becoming a clich ̌in the practice of contemporary art. Since the exhibition by Yves Klein ₆ "The Specialization of Sensibility in the Raw Material State of Stabilized Pictorial Sensibility" in Paris in 1958, totally empty exhibitions have been the statement of different conceptions of vacuums.
520 $aWhile for Yves Klein it was a way to point out the sensitive state, by contrast it represents the peak of conceptual and minimal art for Robert Barry with "Some places to which we can come, and for a while 'be free to think about what we are going to do' (Marcuse)" (1970). It may also result from the desire to fudge the understanding of exhibition spaces, as in the work "The Air-Conditioning Show" from Art & Language (1966-1967), or to empty an institution to modify our experience, as in the work by Stanley Brouwn. It also reflects the will to create the experience of the qualities of an exhibition venue, as with Robert Irwin and his exhibition at the ACE Gallery in 1970, or with Maria Nordman at her exhibition in Krefeld in 1984. Emptiness also represents a form of radicalness, like that created by Laurie Parsons in 1990 at the Lorence-Monk gallery, which announced his renouncement of all artistic practice.
520 $aFor Bethan Huws and his work "Haus Esters Piece" (1993), emptiness means being able to celebrate the museum's architecture, signifying that art is already there on site and there is no need to add works of art. Emptiness assumes almost a sense of economic demand for Maria Eichhorn who, in leaving her exhibition empty at the Kunsthalle Bern in 2001, helped to devote the budget to the building's renovation. With "More Silent than Ever" (2006), Roman Ondak, for his part, had the onlooker believing that there is more than what is just left there to be seen.
650 7 $aKunstausstellung$xLeere <Motiv>$yGeschichte 1958-2006$vAusstellung$zParis <2009>.$2swd
650 7 $aLeere <Motiv>$xKunstausstellung$yGeschichte 1958-2006$vAusstellung$zParis <2009>.$2swd
650 0 $aArt, Modern$y20th century$vExhibitions.
650 0 $aArt, Modern$y21st century$vExhibitions.
650 0 $aExhibitions$xHistory$y20th century.
650 0 $aSpace (Art)$vExhibitions.
650 0 $aSpace (Architecture)$vExhibitions.
650 0 $aConceptual art$vExhibitions.
650 7 $aLeere <Motiv>$xKunst$vAufsatzsammlung.$2swd
650 7 $aKunst$xLeere <Motiv>$vAufsatzsammlung.$2swd
650 7 $aNichts <Motiv>$xKunst$vAufsatzsammlung.$2swd
650 7 $aKunst$xNichts <Motiv>$vAufsatzsammlung.$2swd
650 0 $aNothing (Philosophy) in art$vExhibitions.
655 7 $aExhibition catalogs.$2fast
655 7 $aHistory.$2fast
700 1 $aCopeland, Mathieu.
710 2 $aCentre Georges Pompidou.
710 2 $aKunsthalle Bern.
710 2 $aCentre Pompidou-Metz.
776 08 $iOnline version:$tVoids.$dZurich : JRP/Ringier ; Geneva : In collaboration with Ecart ; Paris : In co-edition with Éditions du Centre Pompidou and Centre Pompidou-Metz, ©2009$w(OCoLC)653389013
988 $a20091110
906 $0OCLC