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culture 19/10/2009 - 30/11/2009
When Attitudes Become Form
Presented by Yves Aupetitallot 16/11/2009 - Auditorium MACBA – 7 pm
LIVE IN YOUR HEAD When Attitudes Become Form (Works, Processes, Concepts, Situations, Information) 22 March to 27 April 1969, Kunsthalle Bern An exhibition sponsored by Philip Morris Europe Attendance: 7001 Tour venues: Museum Haus Lange, Krefeld, 9 May to 15 June 1969 1969 The Institute of Contemporary Arts, London, 28 August to 27 September 1969
Artists: Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Alighiero Boetti, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Hanne Darboven, Jan Dibbets, Ger van Elk, Rafael Ferrer, Barry Flanagan, Ted Glass, Hans Haacke, Eva Hesse, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Edward Jenney, Stephen Kaltenbach, Jo Ann Kaplan, Edward Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Bernd Lohaus, Richard Long, Roelof Louw, Bruce McLean, Walter De Maria, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Panamarenko, Oppenheim, Panamarenko, Pino Pascali, Paul Pechter, Michelangelo Pistoletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Frederick Lane Sandback, Alan Saret, JeanSarkis, Jean-Frédéric Schnyder, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Frank Richard Lincoln Viner, Aldo Walker, Franz Erhard Walther, William G. Wegman, Lawrence Weiner, William T. Wiley, Gilberto Zorio Curator: Harald Szeemann “When Attitudes Become Form (Works, Concepts, Processes, Situations, Information)” appears to lack unity, looks strangely complicated, like a compendium of stories told in the first person singular. We might ask the justifiable question: Are we here concerned with a new edition of Tachisme, with a subjective art, with a reaction against geometry which has reigned supreme in recent years? Certainly, the majority of artists exhibiting here might be seen as part of an artistic development to which the preexperienced workprocess of Duchamp, the intensity of Pollock’s gesture, and the unity of material, physical exertion and time in the Happenings of the early ‘60s also belong. And yet for some of these
De Maria. (. Harald Szeemann with by through because towards despite. They want the artistic process itself to remain visible in the end product and in the ‘exhibition’. KURZMEYER Roman (ed. an area particularly open to Eastern influences. was so important not least because.. Beuys. unlike other curators. gallery. and in this way deepen the levels of meaning of the object.). Many anti-social ideas. which laid the ground for Szeemann’s renown as exhibition maker.) Noticeable is the absolute freedom in the use of materials. Newman. but always in terms of the finished product. On the contrary. He endeavoured to reflect the experimental. reveal the meaning of those levels beyond the object. Never before has the inner bearing of an artist been turned so directly into a work of art. Nauman. Flavin or Judd. Serra. (. One thinks of Pollock. 1 BEZZOLA Tobia... . Mondrian and Pollock gave form to their inner bearing. the activity of the artist has become the dominant theme and content. It is significant that some of the major exhibitors come from the West coast of America. It was inevitable that Hippie philosophy. Zürich: Voldemeer.artists the desire to create does not spring from purely visual experiences. they aspire to freedom from the object.) The major characteristic of today’s art is no longer the articulation of space but of human activity. at the same time expanding the notion of art. the Rockers. Evident at the same time is the desire to break down the ‘triangle in which art operates’ – the studio. he found a new way to display the new art shown at this exhibition. It is in this way that the title of the present exhibition should be understood (it is a sentence rather than a slogan). The new art of the first twenty years after World War II focused on the question of presenting and experiencing space. The artists represented in this present exhibition are in no way object-makers. and the use of drugs should eventually affect the position of a younger generation of artists. Kaprow. on the one hand the tendency to contemplation. and museum. Catalogue of all Exhibitions 1957-2005. Naturally enough it has always been the same.” Harald Szeemann “About the exhibition” in the original catalogue of “When Attitudes Become Form”1 *** “Step by step in accord with the artists of his generation [Szeemann] devised new forms of presentation. the autonomous object. can be seen at work in this new art.225-226. The 1969 exhibition When Attitudes Become Form at the Kunsthalle Bern. and on the other the celebration of the physical and creative self through action. pp. 2007. as well as the concern for the physical and chemical properties of the work itself.. Additional parts of the pattern can be found in Europe: the lack of a real centre has persuaded increasing numbers of artists to remain in their home towns and to work against all the ideas and principles of the society in which they found themselves.
gestural attributes of the works in their presentation by getting the artists to work at the exhibition. but placed confronting each other out in the open. . 2 3 Op. The exhibition emphasised the process of its own creation and the temporary nature of the items on show.” Reinhardt Stumm.. The sculptures were no longer on white plinths lined up along the walls like beads on a string. The works were closely packed. the Espace d’Art Contemporain in Saint-Etienne. Minister of Culture and Communication. the human beings. but also the exhibition itself. Basler Nachrichten.7. He conceived and organised the “Projet Unité” in Firminy (1993-94). From 2001 to 2006 he worked at the Musée des Beaux-Arts in Lausanne on the construction of the project for a cantonal museum of modern art. on 14 July 2000. From the mid 1980s to 1990 he directed the Centre d’Art Contemporain in Nevers. 226. sometimes standing directly on the floor. Cit. opening up the display area to the town. The photos by Balthasar Burkhard and Harry Shunk. 1 April 19693 Yves Aupetitallot A historian of modern and contemporary art. He has organised and edited over a hundred exhibitions and publications. taken with Harald Szeemann’s consent and filed in his archives. He regularly gives talks in France and abroad (Santiago de Chile. lecturer and author of publications on contemporary art. an exhibition which had considerable impact on the international contemporary art scene. the visitors to the Kunsthalle Bern are the only works of art to be seen in this exhibition. and interpreting as a work situation not only the time of setting up the exhibition. Tobias Bezzola Tobias and Roman Kurzmeyer2 From the press “As a matter of fact. Yves Aupetitallot has been director of Le Magasin–Centre National d’Art Contemporain de Grenoble since 1996 and has taught at the École des Beaux-Arts de Lyon since 1994. curator of exhibitions. p. Harald Szeemann saw the exhibition as a force field and not as a documentary record”. He was made a Knight in the Order of Arts and Letters by Catherine Tasca. Madrid. The museum had been turned into a studio. show that the exhibits were meant to be seen in juxtaposition. Venice being among the most recent). and the Department of Contemporary Art of the Council of Europe in Antwerp. some pieces were not installed until after the opening. art critic. Indeed. Op.. p. Cit.
Tobia. 21 August 1968 GRAMMEL.com/p/articles/mi_m0268/is_n3_v35/ai_18963443/ “Estamos saturados de arte occidental” (interview with Harald Szeemann). June-July 2001. pp. Yves. El arte del siglo XX en sus exposiciones: 1945-1995. Barcelona: Ediciones del Serbal. 74-79 http://findarticles. Beaux Arts 5.). 173-175 DERIEUX. Rolf. 49-50 “Harald Szeemann: Fabricant d’Expositions” (interview by Serge Lemoine and François Grundbacher). Lucrezia De Domizio. 2007 BEZZOLA. 2005 GUASCH Anna Maria. 1972 “Harald Szeemann” (interview by Otto Hahn). Pietro.” Artforum. “Natürliches Pathos: Harald Szeemann (1933-2005). pp. 2005 EICHENBERGER. Florence (ed. p. p. AUPETITALLOT. Roman (ed.64 “Ritorno al futuro” (interview with Harald Szeemann by Jens Hoffmann).). Flash Art 228. 1991. 212-220 “When Attitudes Become Form.” Art Press 226. Gazette de Lausanne 160. entretien. 1996. February 1980. Harald Szeemann: Un cas singulier. 1997. April 1970. pp. pp. Zürich: JRP Ringier. Bern 1969. Domus 603. in Anna Maria Guasch (ed. Zürich: Voldemeer. 104-111 der Ausstellung. El País.Selected bibliography “Neuf ans d’activité à la Kunsthalle de Berne” (interview).” in Bernd Klüser / Katharina Hegewisch (eds). Harald Szeemann. pp. KURZMEYER. Milano: Silvana Editoriale. 8 June 1999. 1995 .). Frankfurt am Main: Revolver. Harald Szeemann: Il Pensatore Selvaggio.). Tobia. Danielle (eds). May 1974. Catalogue of all Exhibitions 1957-2005. “A propos de Harald Szeemann: Tentative d’épuisement de l’autre. Nathalie. 173-177 HEINRICH. Kunst Praxis heute. 1995 BEZZOLA. pp. February/March 1991. 2008 DOUROUX. “Dr. pp. Art Press 11. November 1996. Die Kunst “Mind over matter: Hans-Ulrich Obrist talks with Harald Szeemann. Xavier. 26-31 DURINI. Ausstellungautorschaft: Die Konstruktion der auktorialen Position des Kurators bei Harald Szeemann. “When Attitudes Become Form”. Harald Szeemann: Kunstgigant oder Scharlatan?”. Soren. Köln: DuMont. pp. pp.46 “Harald Szeemann” (interview by Bernard Blistène). Schweizer Illustrierte. LONDEI. Szeemann: Une interview exclusive”. September 1983. 2005. Galeries Magazine 41. pp. 17-20 “Austellungsmacher”. in Karin Thomas (ed. 28-29 “ A Conversation with Harald Szeemann”. Ravenna: Danielo Montanari. Harald Szeemann: Individual Methodology. 12/13 July 1969 “L’agence H. Paris: L’Echoppe. Frankfurt am Main: Insel. Harald Szeemann with by through because towards despite.120-122 BELLASI. L’Art Vivant 10. Parkett 73.
MÜLLER Hans-Joachim. 2006 SZEEMANN. Harald (ed. Catalogue of all Exhibitions 1957-2005.). 670 References of images: BEZZOLA Tobia. When Attitudes Become Form: Works – Concepts – Processes – Situations – Information / Live in Your Head.). Harald. Harald Szeemann with by through because towards despite. Bruxelles: La Lettre volée. Harald. p. 1996 SZEEMANN. 1969 SZEEMANN. Krefeld: Museum Haus Lange. Zürich: Voldemeer. KURZMEYER Roman (ed. Harald Szeemann: Ausstellungsmacher. 2007 Document edited by Florence Ostende .” Werk 10. Écrire les expositions. October 1970. Ostfildern-Ruit: Hatje Cantz. “Objekt ‘When Attitudes Become Form.
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