the artwork is the materiality of the artwork was its disconnected from it shakes time

Result #1

, like a creature on the verge of extinction, and if theres a starker conclusion to the story, its that the landscape of our daily lives—from the miserable, to the brilliantly good, to the scatological, to the perversely good—is a sickly, monochromatic, inky, and ugly place where we find no way to live.This is the world of Tehching Hsieh, the only landscape in the book where the human has any place at all. Youll never find one of his landscapes, but Hsieh did bring the human into it—in the form of animals, animals of all kinds that are ill and helpless, which have to be protected. They are the only beings who can live in the land and be protected. Hsieh is an artist who is interested in the self-empowerment of the people, and of the human species. He makes a very small but very effective show of having the courage to recognize this. It is a very small thing, a very small gesture, but it will be remembered as a very small gesture.

Result #2

the artwork is the materiality of the artwork was its disconnected from it shakes time and then dies. In a series of paintings entitled Two Thieves, the wood cuts into a black-and-white photograph of two white-faced nudes. From the top, an axe falls on the head of the nude, in which there is a log, a black-robed thief. The wood is so sharp that it cuts the photograph. The thief is no longer the two thieves; now, one of them is a man and the other a woman. They have different hairstyles and are black. On the top of the painting, the logs are broken and replaced with a piece of paper and a drawing of the thieves face. A reflection on the art world, with its often naked mystification of itself and its double-sidedness; and on the artist himself, whose hand is very much present in the work of all these artists. In this work, the artist is a thief, but he is also a thief himself.He is the one who appropriates the ideas of others and who appropriates the ideas of others to his own ends. He appropriates, appropriates, appropriates, and repeats these ideas. He appropriates a painting; he appropriates another people's work. He appropriates images, images, words, objects, and objects and uses them. He appropriates objects and appropriates himself. He appropriates and appropriates his own work and that of others. He appropriates and appropriates the works of others and appropriates their work. He appropriates and appropriates himself, appropriating and appropriating his own work and that of others. He appropriates and appropriates and appropriates himself, appropriating and appropriating his own work and that of others. He appropriates and appropriates and appropriates himself, appropriating and appropriating himself. He appropriates and appropriates and appropriates himself, appropriating and appropriating himself. He appropriates and appropriates and appropriates and appropriates himself, appropriating and appropriating himself.

Result #3

by, with the artist in the role of a provocateur, mediating the personal on the public. The artist at the same time raises questions about the relationship between art and technology. The artist is an agent of the technosystem; the artist as subject. This is the role of the technologist.

Result #4

the artwork is the materiality of the artwork was its disconnected from it shakes time to the contrary. Knoedler has inserted a small but important change in the present-day French art world, that of a very serious and crucial reinstatement of the gestural art of the 60s and 70s. He has brought back, for a time, the flashiness of the gestural, the way that the 80s swept through every art object, from books to sand-soled shoes. The 60s showed the way to an art that was highly personal, filled with traces of personal meaning, but without the force of any individual gesture. The 70s have shown us that a gesture can take on a meaning, that the expression of a feeling is inseparable from the feeling itself. Knoedlers exhibition at Galerie Paul Dion returns to that period, showing the artist to be a contemporary, deeply poetic artist, and it is a sad fact that he has never been to Paris.The show consisted of a number of small, high-quality works on paper, in a range of styles and media. The works were all made between 1988 and 1990, and they were all untitled. In addition, they had been exhibited in the gallery last summer in Paris, and here they were installed in the gallery. And they were shown in the same room as a large number of Knoedlers sculpture, a selection of which was included in the show. The gallery space is the space of a place of events. Here, the smaller works were placed at the same level as the larger ones, and one could see the results of a rather systematic, very logical procedure. All of the pieces had the same proportions. They were all placed on the floor, facing the wall, and all the works were placed at the same height. The same is true of the positioning of the sand-soled shoes. The shoes were arranged on the floor according to the same principle as in the large works.

Result #5

the artwork is the materiality of the artwork was its disconnected from it shakes time and causes a new order. After witnessing an exhibition of surrealist work in Dresden in 1981, the artist Franz Erhard Walther remarked that, To do something that doesnt work is no longer possible. He was referring to his participation in the meeting of the Internationale Kunstakademie Dresden, held in 1981. In the years since, the exhibition has become one of the most important events in the region, attracting huge crowds and attracting many viewers from all over the world.The work of Walther and the works of his contemporaries, including Ernst Ludwig Kirchner, and members of the Group Z, was on display in Dresden this year. As usual, the main theme of the show was the inclusiveness of artists and the particularity of the relationship between the viewer and the artwork. In this respect, the exhibition was divided into three parts, which included the installation Psychodynamische Kunst: Die Römilität (Psychosocial Kunst: The Rotation of Life), which was divided into three parts, together the result of a three-month visit to the city by the artist; an edition of books, which were presented on the wall in a room that was used as a gallery; and a large wall of photographs. Here, one could read, among other things, articles from the popular press, as well as a catalogue raisonné that describes Walthers works in the language of art.At the center of the installation was a screen of the Apfelhaus, an Alpine village house that was once a center of Alpine art. The Apfelhaus was transformed into a place of exhibition, as it was used as a gallery for the ephemeral works of artists. This was achieved by placing a gallery sign in the window and hung a large table with small pots and pans. On the table, one found the artists identification number and the name of the gallery as the first and only place that they would be shown.