Kunstinstituut Melly Archive

Items

• Cornerstones — Part 2 — Vanessa Joan Müller talks about the ongoing problem of labeling the work of John Baldessari
  A series of landmark lectures on key figures in contemporary art—the "Cornerstones" archive brings together talks by leading critics and artists exploring conceptual, performative, and institutional legacies.
• Cornerstones — Part 1 — Vanessa Joan Müller talks about the ongoing problem of labeling the work of John Baldessari
  Why is it that his work is still regarded as undoubtedly ‘conceptual’ although he has his roots in Pop Art? Baldessari still has a major impact on a younger generation of artists and photographers, partially due to his inspirational lectures at institutes such as the University of California.
• Cornerstones — Q&A — John C. Welchman talks in detail about the epic work Day is Done (2005) by Mike Kelley
  A series of landmark lectures on key figures in contemporary art—the "Cornerstones" archive brings together talks by leading critics and artists exploring conceptual, performative, and institutional legacies.
• Cornerstones — Lecture — John C. Welchman talks in detail about the epic work Day is Done (2005) by Mike Kelley
  This work adopts the form of a rambunctious musical-cum-vaudeville video, chopped into over thirty choreographed numbers. It is distributed across a series of twenty-five sculptural viewing stations that are also locations and para-architectures composed of props from each film shoot. The work is based on American, everyday ‘performances’ like those of school theater, children’s plays or Halloween.
• Cornerstones — Q&A — Kaja Silverman discusses the practice of Jeff Wall
  A series of landmark lectures on key figures in contemporary art—the "Cornerstones" archive brings together talks by leading critics and artists exploring conceptual, performative, and institutional legacies.
• Cornerstones — Lecture — Kaja Silverman discusses the practice of Jeff Wall
  Visibility” and “invisibility” have been the dominant concerns of Wall’s art. In his earliest Cibachromes, “invisibility” meant “ideological mystification,” and Wall sought to undo this mystification by rendering things visible.
• Cornerstones — Part 2 — Peter Osborne talks about the work of Robert Smithson
  A series of landmark lectures on key figures in contemporary art—the "Cornerstones" archive brings together talks by leading critics and artists exploring conceptual, performative, and institutional legacies.
• Cornerstones — Part 1 — Peter Osborne talks about the work of Robert Smithson
  Smithson became widely known with his ‘earthwork’ Spiral Jetty (1970), but his oeuvre is characterized by an almost bewildering proliferation of innovative practices and forms that repeatedly defied prevailing conceptions of the bounds of art, from the simple displacement of materials at his ‘sites’ and ‘non-sites’, to magazine works, slide-lectures and extended architectural projects.
• Cornerstones — Donald Kuspit on Louise Bourgeois
  In Donald Kuspit’s lecture The Phallic Woman: Conflict and Fragmentation in Bourgeois’ Conception of the Female Body he argues that virtually all Bourgeois’ representations of the female body are symbolic depictions of the phallic woman.
• Cornerstones — Helmut Friedl on Gerhard Richter
  In his lecture on Gerhard Richter, Between Realism and Abstraction, Helmut Friedel focuses on the ambiguity between realism and abstraction in Richter’s paintings.
• Cornerstones — Ina Blom on Lynda Benglis
  In her lecture An Instance of Videosociality, Ina Blom considers Lynda Benglis’ 1972 video Mumble. The work originates from an artistic dialogue between Benglis and Robert Morris, where the video tapes would pass between the two artists as in an exchange of postcards, each artist modifying, adding to, or in other ways transforming the received material.
• Cornerstones — Mieke Bal on Doris Salcedo
  In the lecture Montage in the Turbine Hall: Doris Salcedo’s Political Aesthetics, Mieke Bal takes the Colombian artist’s installation Shibboleth (2007 – 2008) in Tate Modern’s Turbine Hall as a starting point.
• Cornerstones — Q&A — George Baker on Pablo Picasso
  A series of landmark lectures on key figures in contemporary art—the "Cornerstones" archive brings together talks by leading critics and artists exploring conceptual, performative, and institutional legacies.
• Cornerstones — Lecture — George Baker on Pablo Picasso
  In his lecture The Squatter: Reconsidering Picasso’s Les Demoiselles d’Avignon, George Baker will propose a new reading of the painting in relation to Picasso’s representation of the body, gender, and sexuality, with potentially transformative effects on our larger understanding of Picasso’s modernism and its legacies in twentieth-century art.
• Cornerstones — Part 2 — Michael Fried discusses the practice of Douglas Gordon
  A series of landmark lectures on key figures in contemporary art—the "Cornerstones" archive brings together talks by leading critics and artists exploring conceptual, performative, and institutional legacies.
• Cornerstones — Part 1 — Michael Fried discusses the practice of Douglas Gordon
  Fried relates Gordon’s work to his own highly controversial essay Art and Objecthood (1967) as well as to various aspects of the antitheatrical tradition in French painting and art criticism from the mid-18th century on. Among the pieces Fried engages with are Gordon’s video installation 24 Hour Psycho (1993) in which the artist appropriates Alfred Hitchcock’s classic movie; Déjà-vu (2000) and Play Dead; Real Time (2003).
• Cornerstones — Part 3 — Dominic Van den Boogerd on René Daniëls
  A series of landmark lectures on key figures in contemporary art—the "Cornerstones" archive brings together talks by leading critics and artists exploring conceptual, performative, and institutional legacies.
• Cornerstones — Part 2 — Dominic Van den Boogerd on René Daniëls
  A series of landmark lectures on key figures in contemporary art—the "Cornerstones" archive brings together talks by leading critics and artists exploring conceptual, performative, and institutional legacies.
• Cornerstones — Part 1 — Dominic Van den Boogerd on René Daniëls
  In the midst of the overheated art market of the early 1980s, Daniëls retained a unique position. He knew how to combine the pleasure of painting with critical, poetic and humorous allusions to the art world and to being an artist.
• Cornerstones — Douglas Crimp’s lecture Action around the Edges is built around the work of Gordon Matta-Clark
  Taking the form of a memoir, it tells of New York City in the 1970s and the correlation between artistic and sexual experimentation; Crimp’s own move from Greenwich Village to Tribeca and from the gay scene to the art scene; about his first confrontation with performance art and the work of Gordon Matta-Clark
• Cornerstones — Anne Wagner on Vito Acconci
  In the lecture Acconci and the Senses, Anne Wagner looks at the work of Vito Acconci and reveals insights into the understanding of the sensory in relation to the development of new media.
• Cornerstones — Chantal Pontbriand on Yvonne Rainer
  Under the title From Choreographer to Cinematographer, Chantal Pontbriand examines the transition Yvonne Rainer made from being a renowned choreographer to becoming a cinematographer.