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sculpture
May 2013Vol. 32 No.4
A publication of theInternational Sculpture Centerwww.sculpture.org
Tilman
Alice Aycock
Pat Hoffie
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In February, International Sculpture Center Executive Director Johannah
Hutchison and Conference and Events Manager Erin Gautsche hosteda special ISC eventthe International Sculpture Symposium. We all
know our international symposiums are a big deal. Tours, lectures,
workshops, and side trips to homes, galleries, and landmarks in exciting
new surroundings make each one a great event. Holding the sympo-
sium in New Zealand drew sculptors, collectors, patrons, curators, and
educators from all over the world. It was truly an international event
and a reminder of the value of our fantastic organization.
The many positive comments that we received from attendees remind
us of the value of the ISC to its members and everyone interested
in sculpture. Here are a few examples of what participants were most
excited about:
Connections and conversationsinspiration and inclusion.
I thought the entire event was fabulous, and Auckland was such
a spectacular venue.
The sculpture parks with artists on site.
The visits to private homes and the time to talk to collectors.
Given the diversity of those in attendance, it is interesting to note
one other common response from attendeesthe warmth and hospi-
tality of our New Zealand hosts. From the time that ISC members
arrived in New Zealand, they understood that everything possible would
be done to make their visit exciting and rewarding. There was an extra-
ordinary personal touch to every experience. As a result, the sympo-
sium offered a unique opportunity for ISC members to learn and build
relationships with one another. And, after all, isnt that one of the best
things about being a part of the ISC?In closing, I would like to announce that our next ISC conference
has been scheduled for December 14, 2013 in Miami. Our bi-annual
conference is one of the highlights of the year. Registration will open
in June, but for now I would encourage you to save these dates for
what promises to be a great opportunity to network with collectors,
patrons, and sculptors from throughout the world.
Marc LeBaron
Chairman, ISC Board of Trustees
From the Chairman
4 Sculpture 32.4
ISC Board of Trustees
Chairman:Marc LeBaron, Lincoln, NE
Chakaia Booker, New York, NY
Robert Edwards, Naples, FL
Jeff Fleming, Des Moines, IA
Ralfonso Gschwend, Switzerland
Carla Hanzal, Charlotte, NC
Paul Hubbard, Philadelphia, PA
Ree Kaneko, Omaha, NE
Gertrud Kohler-Aeschlimann, Switzerland
Mark Lyman, Sawyer, MI
Creighton Michael, Mt. Kisco, NY
Deedee Morrison, Birmingham, AL
Prescott Muir, Salt Lake City, UT
George W. Neubert, Brownville, NE
Andrew Rogers, AustraliaF. Douglass Schatz, Potsdam, NY
Boaz Vaadia, New York, NY
Philipp von Matt, Germany
Chairmen Emeriti: Robert Duncan, Lincoln, NE
John Henry, Chattanooga, TN
Peter Hobart, Italy
Josh Kanter, Salt Lake City, UT
Robert Vogele, Hinsdale, IL
Founder:Elden Tefft, Lawrence, KS
Lifetime Achievement inContemporary Sculpture Recipients
Magdalena Abakanowicz
Fletcher Benton
Fernando Botero
Louise Bourgeois
Anthony Caro
Elizabeth Catlett
John Chamberlain
Eduardo Chillida
Christo & Jeanne-Claude
Mark di Suvero
Richard HuntPhillip King
William King
Manuel Neri
Claes Oldenburg & Coosje van Bruggen
Nam June Paik
Arnaldo Pomodoro
Gi Pomodoro
Robert Rauschenberg
George Rickey
George Segal
Kenneth Snelson
Frank Stella
William Tucker
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Departments
14 Itinerary
20 Commissions
22 Forum: Zurich: Art and the City
by Kathrin Frauenfelder
80 ISC News
Reviews
71 Ephraim, Utah: Jared Steffensen
72 Los Angeles: Charles Ray
73 San Francisco: Ann Weber
74 Washington, DC: Antico: The Golden Age
of Renaissance Bronzes
74 Chicago: Richard Hunt
75 East Hampton, New York: Costantino Nivola76 New York: Dave Cole
77 Portland, Oregon: Crystal Schenk
77 Sherwood Park, Alberta, Canada: Lyndal
Osborne and Sherri Chaba
78 West Bretton, U.K.: Joan Mir
79 Gongju, South Korea: Nature, Man, and Sound
On the Cover:Tilman,Artitecture 1 / Cabane
Communal(detail), 2011. Lacquer on wood, approx.
500 x 420 x 300 cm. Work installed as part of
Columna 1 / Lyon Biennial 2011 Satellite Program,
Chasse-sur-Rhone, France.
Features
24 Color as Material: A Conversation with Tilman by Robert Preece
32 Pat Hoffie and the Sublime Impossible by Carol Schwartzman
38 Making the Bridge Breathe: A Conversation with Douglas Hollis by Cathryn Keller
44 Public Sculpture in an Age of Diminishing Resources: A Conversation with Cliff Garten
by Lisa Paul Streitfeld
48 Public Art in Council Bluffs by Kyle MacMillan
52 Dangerous Structures: A Conversation with Alice Aycock by Joyce Beckenstein
32
sculptureMay 2013
Vol. 32 No. 4
A publication of the
International Sculpture Center
38
Sculpture May 2013 5
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52
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S CUL PTURE M A G A Z I N E
Editor Glenn Harper
Managing Editor Twylene Moyer
Editorial Assistants Elena Goukassian, Amanda Hickok
Design Eileen Schramm visual communicationAdvertising Sales Manager Brenden OHanlon
Contributing Editors Maria Carolina Baulo (Buenos
Aires), Roger Boyce (Christchurch), Susan Canning (New
York), Marty Carlock (Boston), Jan Garden Castro (New
York), Collette Chattopadhyay (Los Angeles), Ina Cole
(London), Ana Finel Honigman (Berlin), John K. Grande
(Montreal), Kay Itoi (Tokyo), Matthew Kangas (Seattle),
Zoe Kosmidou (Athens), Angela Levine (Tel Aviv), Brian
McAvera (Belfast), Robert C. Morgan (New York), Robert
Preece (Rotterdam), Brooke Kamin Rapaport (New
York), Ken Scarlett (Melbourne), Peter Selz (Berkeley),
Sarah Tanguy (Washington), Laura Tansini (Rome)
Each issue ofSculptureis indexed in The Art Index and
the Bibliography of the History of Art (BHA).
isc
Benefactors Circle ($100,000+)
Atlantic Foundation
Fletcher Benton
Karen & Robert Duncan
Grounds For Sculpture
John HenryJ. Seward Johnson, Jr.
Johnson Art & Education Foundation
Ree & Jun Kaneko
Joshua S. Kanter
Kanter Family Foundation
Gertrud & Heinz Kohler-Aeschlimann
Marc LeBaron
Lincoln Industries
National Endowment for the Arts
New Jersey State Council on the Arts
Mary OShaughnessy
I.A. OShaughnessy Foundation
Estate of John A. Renna
Jon & Mary Shirley Foundation
Dr. & Mrs. Robert Slotkin
Bernar Venet
Chairmans Circle ($10,00049,999)
Magdalena Abakanowicz
Anonymous Foundation
Janet Blocker
Blue Star Contemporary Art Center
Debra Cafaro & Terrance LivingstonSir Anthony Caro
Chelsea College of Art & Design
Chicago Arts District/Podmajersky, Inc.
Clinton Family Fund
Richard Cohen
Linda & Daniel Cooperman
David Diamond
Jarvis & Constance Doctorow Family Foundation
Geraldine R. Dodge Foundation
Lin Emery
Fred Eychaner
Carole Feuerman
Bill FitzGibbons
Alan Gibbs
Gibbs Farm
Ralfonso GschwendDavid Handley
Richard Heinrich
Daniel A. Henderson
Michelle Hobart
Peter C. Hobart
Joyce & Seward Johnson Foundation
KANEKO
Mary Ann Keeler
Keeler Foundation
Phillip King
William KingAnne Kohs Associates
Nicola J. and Nanci J. Lanni Fund
Cynthia Madden Leitner/Museum of Outdoor Arts
Toby D. Lewis Philanthropic Fund
Marlene & Sandy Louchheim
Marlborough Gallery
Patricia Meadows
Creighton Michael
Barrie MowattManuel Neri
New Jersey Cultural Trust
Ralph OConnor
Frances & Albert Paley
Patricia Renick
Pat Renick Gift Fund
Henry Richardson
Melody Sawyer Richardson
Russ Rubert
Salt Lake Art Center
Carol L. Sarosik & Shelley Padnos
Doug Schatz
Mary Ellen Scherl
June & Paul Schorr, III
Judith Shea
Armando SilvaKenneth & Katherine Snelson
STRETCH
Mark di Suvero
Takahisa Suzuki
Aylin Tahincioglu
Cynthia Thompson
Steinunn Thorarinsdottir
Tishman Speyer
Brian Tune
University of Nebraska Medical Center
University of the Arts LondonRobert E. Vogele
Philipp von Matt
Georgia Welles
Elizabeth Erdreich White
Address all editorial correspondence to:
Sculpture
1633 Connecticut Avenue NW, 4th Floor
Washington, DC 20009Phone: 202.234.0555, fax 202.234.2663
E-mail:[email protected]
Sculpture On-Lineon the International
Sculpture Center Web site:
www.sculpture.org
Advertising information
E-mail
I N T E R N AT I O N A L S C U L P T U R E C E N T E R C O N T E M P O R A R Y S C U L P T U R E C I R C L EThe International Sculpture Center is a 501(c)3 nonprofit organization
that provides programming and services supported by contributions, grants,
sponsorships, and memberships.
The ISC Board of Trustees gratefully acknowledges the generosity of our
members and donors in our Contemporary Sculpture Circle: those who have
contributed $350 and above.
I N T E R N A T I O N A L S C U L P T U R E C E N T E R
Executive Director Johannah Hutchison
Office Manager Denise Jester
Executive Assistant Alyssa Brubaker
Membership Manager Manju PhilipMembership Associate Kristy Cole
Development Manager Candice Lombardi
Web Manager Karin Jervert
Conference and Events Manager Erin Gautsche
Advertising Services Associate Jeannette Darr
ISC Headquarters
19 Fairgrounds Road, Suite B
Hamilton, New Jersey 08619
Phone: 609.689.1051, fax 609.689.1061
E-mail:[email protected]
Major Donors ($50,00099,999)
Anonymous Foundation
Chakaia Booker
Erik & Michele Christiansen
Terry & Robert Edwards
Doris & Donald Fisher
Rob Fisher
Richard Hunt
Robert Mangold
Fred & Lena Meijer
Frederik Meijer Gardens & Sculpture Park
Pew Charitable Trust
Arnaldo Pomodoro
Walter SchatzWilliam Tucker
Boaz Vaadia
Nadine Witkin, Estate of Isaac Witkin
Mary & John Young
_____________
___________
_________
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About the ISCThe International Sculpture Center is a member-supported, nonprofit organizationfounded in 1960 to champion the creation and understanding of sculpture andits unique and vital contribution to society. The mission of the ISC is to expand
public understanding and appreciation of sculpture internationally, demonstratethe power of sculpture to educate and effect social change, engage artists andarts professionals in a dialogue to advance the art form, and promote a support-ive environment for sculpture and sculptors. The ISC values: our constituentsSculptors, Institutions, and Patrons; dialogueas the catalyst to innovation andunderstanding; educationas fundamental to personal, professional, and soci-etal growth; and communityas a place for encouragement and opportunity.
MembershipISC membership includes subscriptions toSculptureand Insider; access toInternational Sculpture Conferences; free registration in Portfolio, the ISCson-line sculpture registry; and discounts on publications, supplies, and services.
International Sculpture ConferencesThe ISCs International Sculpture Conferences gather sculpture enthusiastsfrom all over the world to network and dialogue about technical, aesthetic,and professional issues.
SculptureMagazinePublished 10 times per year, Sculptureis dedicated to all forms of contemporarysculpture. The members edition includes the Insider newsletter, which containstimely information on professional opportunities for sculptors, as well as a list
of recent public art commissions and announcements of members accomplish-ments.
www.sculpture.orgThe ISCs award-winning Web siteis the most comprehensiveresource for information on sculpture. It features Portfolio, an on-line slideregistry and referral system providing detailed information about artists and theirwork to buyers and exhibitors; the Sculpture Parks and Gardens Directory, withlistings of over 250 outdoor sculpture destinations; Opportunities, a membershipservice with commissions, jobs, and other professional listings; plus the ISCnewsletter and extensive information about the world of sculpture.
Education Programs and Special EventsISC programs include the Outstanding Sculpture Educator Award, the OutstandingStudent Achievement in Contemporary Sculpture Awards, and the LifetimeAchievement Award in Contemporary Sculpture and gala. Other special eventsinclude opportunities for viewing art and for meeting colleagues in the field.
Directors Circle ($5,0009,999)
The ISCs publications
are supported in partby a grant from theNational Endowmentfor the Arts.
This program is made possible in
part by funds from the New JerseyState Council on the Arts/Departmentof State, a Partner Agency of theNational Endowment for the Arts. New Jersey Cultural Trust
555 International Inc.Ruth AbernethyLinda Ackley-EakerD. James AdamsJohn AdduciOsman AkanKhulod AlbugamiSusan AmordeEl AnatsuiArtValleyGordon B. AuchinclossMichael AurbachHelena Bacardi-KielyFrankOwusu BaidooRonald BalserMarc Barker/AeternatisSarah Barnhart-FieldsBrooke BarrieJerry Ross BarrishCarlos BasantaFatma Basoglu-TakiiilGhada BatrouniAnne BaxterBruce BeasleyHanneke & FredBeaumontJoseph BechererEdward BenaventeJoseph BeneveniaHermanBergenRonald BermanAbigail BernhardtHenri BertrandDenice BizotRita BlittChristian BoltChris BoothGilbert V. BoroLouise BourgeoisJudithBritainMolton BrownWalter BruszewskiGil BruvelHal BucknerH. EdwardBurkeKeith BushMary Pat ByrnePattie ByronImel Sierra CabreraChristopher CarterWesley CaseyKati CasidaJodie CavinderAsherahCinnamonJohn ClementJonathan ClowesTara ConleyNirmala CooperFuller Cowles & Constance MayeronAmir DaghighSukhdev DailRene
Dayan-WhiteheadArianne DarPaul A. DeansAngel DelgadoG.S. DemirokBruce DempseyJohn DenningMark DicksonAlbert DicruttaloKonstantinDimopoulosMarylyn DintenfassKenneth DipaolaLinda Donna DodsonDonelsonDorit DornierPhilip S. DrillLaura Evans DurantLouise DurocherHerb EatonCharles EisemannJorge ElizondoRand Elliott/Elliott &Associates ArchitectsElaine EllisKen EmerickJohn W. EvansPhilip JohnEvettJohann FeilacherHelaman FergusonPattie Porter FirestoneTalleyFisherDustine FolwarcznyBasil C. FrankMary Annella FrankDan
FreemanJason FrizzellJames GallucciRon GardSue GardinerGill GatfieldBeatriz GerensteinJames S. GibsonRamon GilsantHelgi GislasonEdmundGlassGlenn Green Galleries & Sculpture GardenDeWitt GodfreyCarolBrown GoldbergYuebin GongGordon Huether StudioFrancis GreenburgerSarah GreicheGabriele Poehlmann GrundigBarbara GrygutisSimonGudgeonThomas GussRoger HalliganWataru HamasakaPhyllis B.HammondJens Ingvard HansenBarbara HashimotoSally HeplerJoyceHilliouRenee HintzBernard HoseyJack Howard-PotterBrad HoweRobert HuffKen HustonYoshitada IharaEve IngallsLucy IrvineJamesMadison UniversityDr. Stephen JoffeJ. Johnson GalleryJulia JitkoffAndrewJordanSasa JovicWolfram KaltRay KatzCornelia KavanaghRobert E.KellyLita KelmensonOrest KeywanHeechan KimGloria KischStephenKishelBernard KlevickasAdriana KorkosKrasl Art CenterMako KratohvilJon KrawczykDave & Vicki KrecekKUBOLynn E. La CountWon LeeMichael
Le GrandEvan LewisJohn R. LightKen LightMarvin LipofskyRobertLonghurstSharon LoperCharles LovingMark LymanLynden SculptureGardenRoger MachinNoriaki MaedaAndrea MalaerJill MandtEdwardMayerWilliam McBrideIsabel McCallTom McCormickJoseph McDonnellSam McKinneyDarcy MeekerRon MehlmanSaul MelmanGina MichaelsCarol Mickett & Robert StackhouseRuth Aizuss MigdalBrian MonaghanRichard Moore, IIIThomas MorrisonKeld MoseholmW.W. MuellerAnnaMurchMorley MyersArnold NadlerMarina NashNathan Manilow
Sculpture ParkNatures CirclesJames NickelDonald NoonMichelleOsbourneJoseph OConnellPalmyra Sculpture CentreRalph H. PaquinRonald ParksMark PattersonCarol PeligianBeverly PepperCathy & TroyPerryAnne & Doug PetersonDirk PetersonJean Jacques PorretDanielPostellonBev PreciousLaura PriebeJonathan QuickKimberly RadochiaMarcia RaffVicky RandallStephen RautenbachMaureen ReardonJeannette ReinRoger ReutimannRobert Webb Sculpture Garden/CreativeArts GuildKevin RobbSalvatore RomanoGale Fulton RossRichard RothTom ScarffPeter SchifrinSculpture Space, Inc.Joseph H. SeipelPatrickShannonKambiz SharifJerry ShoreRenato SilvaDebra SilverVanessa L.SmithYvette Kaiser SmithSusan Smith-TreesStan SmoklerSam SpiczkaMarlise SpielmannHoward SpringerRobert St. CroixEric SteinEricStephensonElizabet h Strong- CuevasJozef SumichrastDavid SywalskiMarijana TadicTash TaskaleCordell TaylorRichard TaylorAna ThielPeter
TilleyRein TriefeldtJohn ValpocelliVladimir VasilchenkoVasko VassilevKathy VenterAles VeselySuzanne ViemeisterJill VineyJulian Voss-AndreaeBruce VoyceEd WalkerMartha WalkerSydney WallerMark WarwickJames WattsJim WheelerLynn Fawcett WhitingMichael WhitingJohnWiederspanMadeline WienerW.K. Kellogg FoundationWesley WoffordJean WolffDr. Barnaby WrightJoan WynnCigdem YapanarRiva YaresAlbert YoungLarry YoungGenrich ZafirGavin ZeiglerAnne Zetterberg
Dean ArkfeldDoris H. ArkinVerina BaxterBollinger AtelierMelva Bucksbaum &
Raymond LearsyTom ButlerGiancarlo CalicchiaCause Contemporary GalleryCedar Rapids Museum of ArtChicago Gallery NewsThe Columbus Museum
Henry DavisGuerra de la PazDigital AtelierTerry Dintenfass, Inc.True FisherGill GatfieldJenny GibbsAgnes GundDr. LaRue HardingEd Hardy Habit/Hardy LLCOlga HirshhornPaul Hubbard
Paul KleinPhlyssa KoshlandGary KulakChuck LevyLincoln Park ConservatoryJim & Karen LinderDayle MaceSteve MaloneyRobert E. Meyerhoff & Rheda
BeckerMillennium Park, Inc.David Mirvish
Naples IllustratedJohn P. & Anne NelsonGeorge NeubertSassona NortonRalph OConnorOlivella, Umbria OliiInternationalTom OtternessEnid J. PackardRaul PerezBarry R. PerlisPolich Tallix Art Foundry
Michelle RappJenny and Andrew SmithRoger Smith HotelKy & Jane RohmanGreg & Laura SchnackelSculpt NouveauSedgwick ProductionsStorm King Art CenterThai Metal CraftersJeff ThomsonThe Todd & Betiana Simon
Foundation
TmimaGeorge TobolowskyTootsie Roll IndustriesUBS Financial ServicesEdward UlhirSteve Vail Fine ArtsHans Van De Bovenkamp LTDUrsula von RydingsvardAlex WagmanWellington Sculpture TrustZealandia Sculpture Garden
Professional Circle ($350999)
Patrons Circle ($2,5004,999)
Elizabeth Catlett
Chateau Ste. Michelle Winery
HeadlandSculpture on the Gulf
Lostn Foundation
Lowell Miller
Moore College of Art & DesignMuseum of Arts & Design
National Academy Museum
William R. Padnos
Katerina Paleckova, Angels ChocolateJanice Perry
Princeton University Art Museum
Kiki Smith
Elisabeth SwansonDoris & Peter Tilles
Friends Circle ($1,0002,499)
Ana & Gui AffonsoAuckland Art GalleryPatty & Jay Baker Naples Museum
of ArtKimberly Beider
Belmont Harbor Yacht ClubSydney & Walda BesthoffFernando Botero
Brick Bay Wines and Sculpture TrailOtto M. Budig Family Foundation
Lisa Colburn
Ric CollierConnells Bay Sculpture Park
Demeter Fragrance LibraryChristine and Richard DidsburyBob Emser
Jan and Trevor FarmerFreedmanArt
James GeierJo and John GowCarla Hanzal
Haunch of VenisonBryant Hunt
Michael Johnson
Tony KarmanGallery Kasahara
Susan Lloyd
Martin MarguliesMarlborough Gallery
Merchandise Mart PropertiesJill & Paul MeisterGerard Meulensteen
Jesus MorolesDeedee Morrison
Prescott MuirMuseum of Contemporary Art, ChicagoNathan Manilow Sculpture Park
National Gallery, LondonKristen Nordahl
Brian OhnoClaes Oldenburg & Coosje van BruggenNancy and Steven Oliver
Dennis OppenheimMorton Rachofsky
Andrew RogersBill RoySchool of the Art Institute of Chicago
Peter ScoteseSculpture Community/sculpture.net
Sebastin
Eve & Fred SimonLisa & Tom Smith
Duane Stranahan, Jr.Roselyn Swig
TateJulian & Jacqueline TaubLaura Thorne
Alderman Tom TunneyUniversity of Cincinnati
Vector Custom Fabricating, Inc.Harry T. WilksIsaac Witkin
Riva Yares Gallery______
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Vernissage
Galleries A
B de la
C
D E F
G
Richard
H
I J
K
L
M
Meyer
N
O P
R
S
T V
W Z
Statements
third
Feature
Parra Edition
Lelong
Two Palms
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14 Sculpture 32.4
GUP
TA:OAKTAYLOR-SMITH,COURTESYGALLERIACONTINUA,SANGIMIGN
ANO/BEIJING/LEMOULIN/WALTHER:PIEZUG/MOSCHKOWITZ,HAM
BURG,VGBILD-KUNST,BONN2012/UKELES:COURTESYRONALD
FELDMANFINEARTS,NY
Faurschou Foundation
Copenhagen
Every Day Matters
Through June 14, 2013
In The Practice of Everyday Life,
Michel de Certeau holds out the
possibility that every human being
can do something each day that
defies institutional planning and
resists power structures. The workscollected here, many from places
dealing with political unrest or
socio-economic challenges, follow
that paradigm, using the elements
of everyday lifewhether materials,
objects, or situationsas a means
to maintain struggles, give space
to the repressed and marginalized,
and perpetuate the fleeting. Fea-
tured artists, including Adel
Abdessemed, Kader Attia, Shilpa
Gupta, Emily Jacir, Rivane Neuen-
schwander, Gabriel Orozco, and
Raqs Media Collective, combine cri-
tique, humorous gesture, and aes-
thetic impact in powerful state-
ments that materialize the complex-
ities of todays world and under-
score the importance of the most
commonplace actions and deci-
sions.
Tel: + 45 33 91 41 31Web site
Grazer Kunstverein
Graz, Austria
Mierle Laderman Ukeles
Through May 19, 2013
In 1969, Ukeless Manifesto for
Maintenance Art challenged
ingrained oppositions pitting art
against life, nature against culture,
and public against private while
proposing a new, socially based role
for artiststhe maintenance of
everyday life (sustain the change;
protect progress). Rather than con-
sider art as a means of develop-
ment akin to industrial innovation,
she posited creation as an act of
caretaking: artists could apply the
concept of transference to inspire
people to act as agents of change,
creating community involvement
and ecological transformation.
Since then, she has put this idea
to work, principally as artist-in-resi-
dence at the New York City Depart-
ment of Sanitation, where she has
produced a number of iconic inter-ventions since 1977; in recent years,
she has spearheaded efforts to trans-
form the former Fresh Kills landfill
into an ecological park/artwork.
This show focuses on the early works
that first articulated her system of
values and revealed how listen[ing]
to the hum of living could offer a
viable alternative to advanced cul-
tures predatory strategy of skim-
ming off the top.
Tel: + 43 (0) 316 83 41 41Web site
Hamburger Kunsthalle
Hamburg
Franz Erhard Walther
Through June 23, 2013
Walther has created provocative
meditations on art as an act of
doing for more than 50 years. In
the early 1960s, following the exam-
ple of Fontana, Klein, Manzoni, and
Beuys, he pursued interaction and
liberation as a formal aesthetic,
seeking to conceive work out of an
action. This exhibition focuses on
fabric, wood, steel, and foam works
(created mostly in the 1960s and
70s) that employ straightforward
physical actsincluding pressing,
folding, unfolding, covering, and
uncoveringas sculptural princi-
ples. To honor the radical nature of
this approach, Walther (who taught
at the Hamburger Hochschule fr
bildende Knste for more than 30
years) will alter the installation sev-
eral times over the course of
the show, reconfiguring his ribbons,
rectangles, angles, and straps and
demonstrating their hands-on
characteristics asHandlungsstcke
(Action Pieces) andWerkstcke(Work Pieces).
Tel: + 49 (0) 40 428 131 200
Web site
Henry Moore Institute
Leeds, U.K.
Robert Filliou
Through June 23, 2013
Filliou, who was closely associated
with Fluxus, used sculpture to
examine the nature of the creativeact. Like Duchamp, he believed in
the viewers role as an equal con-
tributor to the artwork; and like
Beuys, he understood art-making
as a continuous, universal process
deeply embedded in everyday life.
For Filliou, games, ordinary objects,
and role-playing scenarios could all
be sculpture. Aided by the devices
of time and chance, he destabilized
the fixed object and constructed his
work through multiple moments of
encounter. Unlike many subsequent
itinerary
Left: Shilpa Gupta, Threat, from
Every Day Matters. Bottom left:
Franz Erhard Walther,Fallstck
2 x 15. Above: Mierle Laderman
Ukeles,Art Interviews.
http://www.faurschou.com/http://www.grazerkunstverein.org/http://www.hamburger-kunsthalle.de/http://www.hamburger-kunsthalle.de/http://www.grazerkunstverein.org/http://www.faurschou.com/ -
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Sculpture May 2013 15
examples of conceptualism, Fillious
workfollowing Fouriers concept
of attractive passionsis premised
on play and joy. This exhibition, whichincludes many key pieces, makes
the case for considering his multi-
part, participatory work as a crucial
factor in contemporary approaches
to sculpture.
Tel: + 44 (0) 113 246 7467
Web site
Kunsthallen Brandts
Odense, Denmark
Phoebe Washburn
Through May 26, 2013
Washburn uses garbage, recycled
products, and organic materials to
create large-scale, self-contained
biotopes. Relying on intricately cal-
culated processes connecting
machines and organisms, her primi-
tive-looking constructions take on
a well-functioning, but also illogical,
life of their own. Scientifically accu-
rate, humorous, and somehow mon-
strous, these self-sustaining systems
go about their business withinmassive accretions of stacked, bound,
and nailed elementsa sponta-
neous architecture that displays all
the haphazard perfection of a
beavers dam. Her new installation
at Brandts consists of an ecosystem
divided into two separate spaces.
In the apartment space, residents
cook, engage in activities of their
choice, and serve energy drinks to
visitors. Meanwhile, organs and
tubes process their wastewater andcarry it to small plant shoots growing
in a row of woven hospital beds.
Participants are essential to the sur-
vival of Washburns carefully bal-
anced ecologyvisitors booking half-
or full-day stays have the chance
to pitch in and leave their personal
mark on this unique experiment in
art-making.
Tel: + 45 6520 7001
Web site:
Kunsthaus Graz
Graz, Austria
Berlinde De Bruyckere
Through May 12, 2013
Among contemporary artists, De
Bruyckere (who will represent Bel-
gium in this years Venice Biennale)
is unique in her ability to see beyondthe form of the human figure and
feel the body as unrelenting physical-
itymeat, tissue, and sinew. Not
since art imitated the miracle of the
word made flesh has a sculptor
created such fully enfleshed works.
De Bruyckere, not surprisingly, is fas-
cinated with medieval and early
Renaissance religious imagery (as
well as ancient mythology), and her
recent work finds a contemporary
idiom for the intense physical suffer-
ing that accompanies incarnation.
This show focuses on the transforma-
tions and contradictions at the heart
of her visionthe tensions that
haunt the body and its imagery assensuality blurs into compassion and
sins of the flesh shade into sins
against the flesh.
Tel: + 43 316/8017 9200
Web site
Metropolitan Museum of Art
New York
Sopheap Pich
Through June 16, 2013
Pich, who lives and works in Phnom
Penh, uses rattan and bamboo to
construct open-weave, organic forms
inspired by human anatomy and
plant life. Solid and ethereal, repre-
sentational and abstract, his intricateworks combine his training as a
painter with the spatial conceptual-
ization of a sculptor, creating three-
dimensional objects from a profuse
interlacing of line (and shadow). The
choice of traditional materials and
processes acknowledges the integral
role of rattan and bamboo in South-
east Asia, fixing memories of culture
and place in a rapidly changing
world. This show, which is part of
New Yorks Season of Cambodia cele-
bration, features 10 large-scale
Above: Robert Filliou,Sans object.
Top right: Phoebe Washburn, Pres-
sure Drop for Richard Stands (a
history of one thing to another in
lemon-aidedness). Center right:
Berlinde De Bruyckere,Actaeon IV
(Miami). Right: Sopheap Pich,
Morning Glory.
FILL
IOU:GALERIENELSON-FREEMAN,PARIS/DEBRUYCKERE:MIRJAM
DEVRIENDT/PICH:THEARTISTANDTYLERROLLINSFINEART
________
_______________
http://www.henry-moore.ac.uk/http://www.brandts.dk/http://www.museum-joanneum.at/de/kunsthaushttp://www.museum-joanneum.at/de/kunsthaushttp://www.museum-joanneum.at/de/kunsthaushttp://www.museum-joanneum.at/de/kunsthaushttp://www.museum-joanneum.at/de/kunsthaushttp://www.brandts.dk/http://www.henry-moore.ac.uk/ -
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itinerary
16 Sculpture 32.4
works, ranging from lyrical evoca-
tions of the landscape to subtle
indictments of Khmer Rouge crimes
against the Cambodian people.
Tel: 212.535.7710
Web site
Muse dArt Modern (MUDAM)
Luxembourg
Thomas Hirschhorn
Through May 26, 2013
Although Hirschhorn claims that he
is not a political artist, his work takes
a deliberate political stance. His useof everyday, humble materials makes
as strong a statement as his collabo-
rations with local youths and
frequent choice of ar t-inhospitable
non-sites, such as underpasses and
urban outskirts. For him, art is a
tool for getting to know the world
and encountering reality.World
Airport, a monumental installation
originally produced for the 1999
Venice Biennale, presents a theoreti-
cally connected world that remainsintrinsically heterogeneous despite
its interwoven networks. Here, poor
materials become surrogates for
cheap labor and throw-away prod-
ucts, and connectivity is revealed as
a tool of global capitalism, a smoke
screen that blurs collisions into
encounters, confrontations into com-
munication, and isolation into com-
monality.
Tel: + 352 45 37 85-960
Web site
Museum of Art, Rhode Island
School of Design
Providence
Alejandro Diaz
Through June 9, 2013
Like the Pop artists of a previous
generation, Diaz is drawn to com-
mercial design, cheap, ubiquitous
products, and the snappy languageof advertising. But he parts company
with his apolitical predecessors by
following the commercial into the
home, where it is reinterpreted and
re-used, and celebrating the prac-
tice of making do or using what-
ever is on hand to improvise an aes-
thetic object. Ranging from quaint
stereotypes of Mexican identity to
socio-economic and art world com-
mentary, his text-based works and
installations use language as a formof cultural critique and resistance.
Conceptual and campy, his humor-
infused slogans and assemblages of
everyday junk demonstrate that art
can be all things at once: entertain-
ment, political activism, public
intervention, and free enterprise. This
show also includes a selection of his
cardboard signsNo Shoes, No
Shirt, Youre Probably Rich, In the
Future, Everyone Will be Famous for
$15.00hand-rendered bits of pro-
motion that demonstrate why
Apollo13Art.comcalled him a com-
bination of Warhol, Capote, Wilde,
and Chavez.
Tel: 401.454.6500Web site
Museum Moderner Kunst
Vienna
Franz West
Through May 26, 2013
West (who died last year) played a
critical role in redefining the possi-
bilities of sculpture as social and
environmental experience. Coming
out of a powerful 1960s performance
scene led by the Viennese Actionists,he developed an early interest in
the potential of objects to trigger
an array of psychological states and
experiences. His unique manipula-
tions of found objects, papier-
mch, and furniture inspire bizarre
applications and scenarios. Though
fundamentally sculptural in their
construction, his works veer toward
the biomorphic and prosthetic, pos-
sessing an awkward beauty that
responds to both painterly abstrac-
tion and trash art. This exhibition
focuses on the curatorially minded
Kombi-Werke, combinations and
recombinations of various categories
of work, including sculptural
objects,Pastcke, furniture, videos,and drawings.
Tel: + 43-1-525 00-0
Web site
Rockefeller Center
New York
Ugo Rondinone
Through June 7, 2013
Rondinone, who works primarily
within the context of installations
and environments, identifies time
as the central focus of his work. Hisnew project for the Public Art Fund
marks his third intervention into the
public life of New York after Hell,
Yes!, a neon sign that decorated the
faade of the New Museum from its
opening through 2010, and a 2007
work for Creative Time that intro-
duced the forms of two ancient
olive trees into the glass and con-
crete jungle of Lower Manhattan.
Human Naturemakes a similarly
stark contrastthis time through
coarse stone and archaizing repre-
Above: Thomas Hirschhorn,World
Airport. Top right: Alejandro Diaz,
Rubble Without a Cause. Right:
Franz West,Redundanz.
HIRSCHHORN:THOMASHIRSCHHORN/DIAZ:ALEJANDRODIAZ,COU
RTESYDAVIDSHELTONGALLERY,HOUSTON,TX/WEST:FRANZWEST,COURTESYMUMOK
http://www.metmuseum.org/http://www.mudam.lu/http://www.apollo13art.com/http://www.risdmuseum.org/http://www.mumok.at/http://www.mumok.at/http://www.risdmuseum.org/http://www.apollo13art.com/http://www.mudam.lu/http://www.metmuseum.org/ -
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Sculpture May 2013 17
BESHTY:MIKELOVETT/RONDINONE:JASONWYCHE,COURTESYPUBLICARTFUND,NY
sentation. These simple yet imposing
compositions of roughly cut and
stacked bluestone rise in figural
approximations that emphasize tow-
ering legs, massive torsos, and boul-
der-like heads. Archetypal in form,mythic in scale, and visceral in char-
acter and impact, these nine colossi
condense lived time into an abstract
state formed of equal parts past and
present.
Tel: 212.980.4575
Web site
Rose Art Museum, Brandeis
University
Waltham, MassachusettsWalead Beshty
Through June 9, 2013
Beshtys photographs and sculptures
reconsider some of modern arts
fundamental premises while finding
value in the transitory nature of
daily life, especially its gaps, pauses,
and moments of in-betweenness.
While the photographs undertake
an astute inquiry into the history
and nature of the forms aesthetics
and techniques, the sculptures con-
sider more abstract questions of
time and valueparticularly the
shatterproof glass cubes fabricated
to fit into standard-size boxes and
shipped via FedEx (rather than pro-
fessional art shippers) from theartists studio to exhibition venues.
In this collaboration with Rose
director Christopher Bedford, Beshty
uses the museum to structure two
parallel narratives: one based in the
intellectual rigors of analytical
abstraction, the other reveling in
unruly materialitya movement
from cathedral to cavefrom line
to stain. A mirror and glass floor
running through both spaces strad-
dles the dialectic, absorbing thesurrounding world and altering it
through reflection. Over time, as
the surface cracks through use, that
reflective imagery will break apart,
conjoining oppositions in a dense
new matrix of fractured forms and
jagged lines.
Tel: 781.736.3434
Web site
Smart Museum of Art,
University of Chicago
Chicago
The Sahmat Collective
Through June 9, 2013
Since the 1989 death of playwright,actor, and activist Safdar Hashmi at
the hands of political thugs, Delhi-
based Sahmat (Hindi for in agree-
ment) has offered a platform for a
broad base of collaboratorsfrom
artists, scholars, and writers to
musicians, actors, activists, and rick-
shaw drivers. Fighting for free-
dom of expression in Indias cul-
ture wars, the collectives projects
engage in political and social debates
through a mix of high art and streetculture, driven by the belief that art
can propel change and culture can
reach across boundaries. Defined
in part by their consistent stance
against religious fundamentalism
and sectarianism, these collabora-
tions cut through class, caste, and
religious lines to draw a wide array
of participants. Stand-alone artworks
and ephemera from street-based
events, sit-ins, performances, and
conceptual exhibitions introduce
U.S. audiences to the impact that
this uniqueand controversial
collective has had on Indian society
and artistic practice.
Tel: 773.702.0200
Web site
Solomon R. Guggenheim Museum
New York
Danh Vo
Through May 27, 2013For Vo, winner of the 2012 Hugo Boss
Prize, historywith its complex polit-
ical, religious, and cultural dynam-
icsis reflected in individual life sto-
ries, including his own. (His family
fled Vietnams postwar chaos in
1979.) His subtly humorous sculp-
tures combine found objects that
point back to the past while moving
forward into entirely new, unex-
pected meanings, connections, and
contexts. InOma Totem, for instance,the gifts that his late grandmother
received from church and state when
she arrived in Germany in the
1980srefrigerator, television set,
washing machine, crucifix, and casi-
no passbuild a peculiar monument
to the mechanisms of integration.
Such mutable flotsam starts with the
personal, but then moves outward to
challenge the temptations of materi-
alist trappings as well as the most
basic definitions of identity. The
Top left: Prasanta Mukherjee,
Aftermath, from The Sahmat
Collective. Left: Walead Beshty,
Untitled. Above: Ugo Rondinone,
Human Nature.
___
_______________
http://www.publicartfund.org/http://www.brandeis.edu/rosehttp://smartmuseum.uchicago.edu/http://smartmuseum.uchicago.edu/http://smartmuseum.uchicago.edu/http://smartmuseum.uchicago.edu/http://smartmuseum.uchicago.edu/http://www.brandeis.edu/rosehttp://www.publicartfund.org/ -
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18 Sculpture 32.4
VO:
COURTESYTHEARTIST/GOWDA:COURTESYTHEARTIST/RHII:COURTESYTHEARTIST
reverse happens inWE THE PEOPLE, a
gigantic replica of Lady Liberty that
undercuts monumentality and secu-
rity with fragility and precariousness,
dissecting the symbol of hope into
broken fragments of thin copper skin.
In Vos world, actualization and
anonymity, liberation and oppression,
myth and reality transcend opposi-
tion to become inseparable parts ofa more nuanced whole.
Tel: 212.423.3500
Web site
Tensta Konstall
Spnga, Sweden
The Society Without Qualities
Through May 26, 2013
The Society Without Qualities revis-
its some of the chief concerns of
1960s reformers, including education,
militancy, social welfare, and experi-
mental urban planning, while reinter-
preting those still-pressing issues in
light of current needs and mindsets.
Part historical exhibition, the showpicks up where Palle Nielsens leg-
endary Modellen at the Moderna
Museet left off. Beginning with the
pivotal year of 1968, the show works
its way through various art and archi-
tecture experiments from the 1970s
through the present day. Unlike its
predecessor, however, The Society
Without Qualities asks what it
would mean to proceed without a
model or image of the society to
come. Such freedom from received
ideas sounds wildly liberating, but
negation by itself poses a different
set of dangers (as the organizers ofOccupy discovered): lack of positive
visions and agendas might lead to
Deleuzes leftist ideal of thinking a lit-
tle further ahead, but it might also
result in disillusionment and the
acceptance of terms defined by out-
side influences. Ambivalence allowed
Robert Musils protagonist to escape
societal proscriptions, but what did
he build in their place?
Tel: + 46 8 36 07 63
Web site
Van Abbemuseum
Eindhoven, the Netherlands
Sheela Gowda
Through May 26, 2013Jewyo Rhii
Through May 12, 2013
Initially trained as a painter, Gowda
turned to sculpture and installation
in the 1990s, using unconventional
materials to reference the social
contradictions and environmental
realities that define contemporary
Indian life. In her works, everyday
objects and mundane materials
including tar barrels, plumbing
pipes, doorjambs, thread, newspa-
pers, hair, incense, cow dung,
turmeric dye, and votive figurines
are transformed into rigorously
beautiful sculptural presences. But
a second reading, in which context
comes into play, undermines pure
formalism to reveal precise state-
ments, which are not always
benign. Sensual and unsettling, the
works featured in her 20-year survey,
Open Eye Policy, evoke some of
the darkest aspects of human expe-
rience, conjuring the insidiousnature of violence, overt and insidi-
ous in our psychic makeup.
Rhiis sprawling, makeshift sculp-
tures and installations stem from
personal, almost subliminal
responses to her immediate envi-
ronment. Made of familiar domestic
elements, these works encapsulate
what has become a commonplace
struggle to cope with an unman-
ageable, constantly changing world.
This show features a selectionof recent work, including a series
of site-specific pieces produced
during the artists four-month stay
in Eindhoven.
Tel: + 31 40 238 10 00
Web site
Above: Danh Vo,For Susanne. Top
right: Learning Site with Jaime Staple-
ton,Audible Dwelling 0.2, from Soci-
ety Without Qualities. Center right:
Sheela Gowda,Of All People. Right:
Jewyo Rhii,Walk to talk typewriter.
itinerary
http://www.guggenheim.org/http://www.tenstakonsthall.se/http://vanabbemuseum.nl/http://vanabbemuseum.nl/http://www.tenstakonsthall.se/http://www.guggenheim.org/ -
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______________________
http://www.qmags.com/clickthrough.asp?url=www.artcommission.com&id=18130&adid=P19A1http://www.qmags.com/clickthrough.asp?url=www.artcommission.com&id=18130&adid=P19A1 -
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story, Inges IdeesLittle Red Riding Hood
andserves as a cautionary tale and an
allegory of the individuals complex rela-
tionship to society.
M E I
D
Han
Helsingr, Denmark
Last June, Copenhagens iconic statue of
the Little Mermaid got a little brother.
Located about 50 kilometers to the north,
in a small city known only as the setting
20 Sculpture 32.4
COU
RTESYTHEARTISTS
commissions
I ILittle Red Riding Hood and
Potsdam, Germany
In 1942, in the Berlin suburb of Wannsee,
senior Nazi officials initiated the final
solution, leading to mass deportations
and ultimately, the Holocaust. Three years
later and only 10 kilometers to the west,
at Schlo Cecilienhof, Churchill, Stalin,
and Truman divided Europe, Germany, and
Berlin in a compromise among the victors
that remained intact for over 40 years.
Less than five kilometers south of the
midpoint between these two sites lies the
University of Potsdams Griebnitzsee
campus, home to the law, economics, and
social studies departments since 1991.
A short walk from the former border
between West Berlin and East Germany, the
Griebnitzsee campus has been occupied
by both Nazis and Communists. Inspired by
this checkered past, the Berlin-based collec-
tive Inges Idee has installed a public work
that uses one of the Brothers Grimms best-
known fairy tales to personify Germanys
conflicting self-image.While researching the project, the mem-
bers of Inges Idee came across a 1930s fig-
urine of Little Red Riding Hood and the
wolf on eBay. They blew up the prototype
so that Red is a little over two meters tall
and removed the wolf, leaving just his paw
prints on the oversize pedestal and an eerie
indentation in the girls skirt. The main
concept is that there is a kind of void, a
place for argument, a vacancy, explains
Inges Idees Hans Hemmert, Little Red
Riding Hood is always associated with thewicked wolf. Although the wolf is missing,
he is always in our imaginations. The
wolf becomes a metaphor for totalitarianism.
Inges Idee installed three identical fig-
ures of Little Red Riding Hood in different
locations around the campus. One stands in
front of a building that housed film studios
in the interwar period, the Nazi Red Cross
and one of Hitlers war offices during World
War II, and then an administrative academy
under the GDR. Another hides in a nearby
wooded area. The third figure stands in
front of a newer building. Like the Grimms
for Shakespeares Hamlet, Michael Elm-
green and Ingar Dragsets Han sits in
exactly the same position as his female
counterpart. Even the rock is the same
shape. The only immediately noticeable
differences between the two are gender
and materials.
Elmgreen and Dragset, who lived in
Copenhagen for years, likely chose stainless
commissions
Above: Inges Idee,Little Red Riding Hood and,
2011. Cast bronze, 3 elements, 230 x 140 x 100
cm. each.
-
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Sculpture May 2013 21
LEFT:MEGANGORHAMI,COURTESYTHEARTIST/RIGHT:ANDERSSUNEB
ERG,COURTESYTHEARTISTS,GALLERINICOLAIWALLNER,COPENHAGEN,ANDGALERIEPERROTIN,PARIS
steel at least in part for practical reasons,
taking into consideration the numerous
graffiti incidents and decapitations of the
original bronze mermaid. A contemporary
take on that hundred-year-old icon, theirmermans polished, mirror-like qualities
add a poetic and reflective (in both senses
of the word) element to Hans longing gaze
out to the sea. A hidden hydraulic mecha-
nism makes his eyes blink unexpectedly
about once an hour.
Elmgreen and Dragset have been working
together ever since they met at a gay bar
in 1995. Their projects, though often play-
ful, tend toward political twists on
the notion of identity. In the original Hans
Christian Andersen story, the Little Mer-maid goes through a series of changes that
she hides from others and hence must
bear herself. The isolation and loneliness
that result from keeping secrets are all too
familiar to the gay community. Through
the reinterpretation of a beloved Danish
story and landmark, Elmgreen and Dragset
have invested a traditional symbol with
contemporary relevance.
S A
Fountainhead
Walnut Creek, CA
California-based Seyed Alavi recently
installed a huge golden head in a 1970s-style fountain in a small Bay Area city.
Half-submerged in the water, this literal
Fountainheadspouts water from the
top of what would be its skull, the place
commonly known as the soft spot or
fontanelthe French word for fountain.
In his research, Alavi discovered that in
both Western and Eastern traditions, this
spot is associated with knowledge. Athena,
the Greek goddess of wisdom, was born
by popping out of Zeuss head fully formed;
and in Indian philosophy, intuitive knowl-edge is drawn from the crown chakra.
Creating visual puns with the words foun-
tain, head, and fountainhead, Alavi
set out to create a whimsical and surprising
addition to downtown Walnut Creek.
Then theres the other Fountainhead,
Ayn Rands infamous novel about a strug-
gling architect who manages to succeed
through obstinate perfectionism and the
egotistical manipulation of others. Pub-
lished 60 years ago, the novel still ruffles
feathers and provokes arguments about
the proper relationship of individualism
and collectivism. Alavi, for his part,evades political discussions of his Foun-
tainhead. But in the context of the current
financial crisis and the works location in
front of a bank, local residents have inter-
preted the head as drowning in debt, or
conversely, as a golden personification of
banks on the verge of financial ruin. Still,
Alavi maintains that the piece is more
positive and playful: I feel that the point
that might connect this piece to the ideas
in [Rands] book is an interest in the ideal
of us as human beings, he explains,however, contrary to the book, beyond
any socio-political contexts. Perhaps
Alavi is taking an approach not unlike that
of Andy Warhol. If an artist refuses to
direct interpretation, then viewers are free
to bring their own associations, and the
work becomes more powerful through the
process of self-discovery.
Elena Goukassian
Left: Seyed Alavi, Fountainhead, 2012. Fiberglass
and water, 6 x 11 x 11 ft. Above: Michael Elmgreen
and Ingar Dragset, Han, 2012. Polished stainless
steel with mechanical eye movements, 180 x 120
x 100 cm.
Juries are convened each month to select works for Commissions. Information on recently completed commissions, along with high-resolution
digital images (300 dpi at 4 x 5 in. minimum), should be sent to: Commissions, Sculpture, 1633 Connecticut Avenue NW, 4th Floor, Washington,
DC 20009. E-mail.____________
mailto:[email protected]:[email protected]:[email protected] -
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Zurich, Switzerlands largest city, is expanding in all directions,
and new neighborhoods are springing up in old industrial zones.
One of these neighborhoods is Zurich-West. Companies such as
Escher Wyss AG once built their factories here, along with livingquarters for workers and their families. Today, Zurich-West is
undergoing a vigorous transformation as it mutates into a new
suburb, complete with steel and glass office complexes (including
Switzerlands tallest buildingthe 126-meter-high Primetower,
built by Swiss starchitects Gigon & Guyer), hotels, and luxury
homes. Academic institutions, including the Teachers Training
Center of Canton Zurich and Zurich University of the Arts, are also
moving in, drawn by the Lwenbru complex, museums, and
world-renowned galleries. Close by, the party mile features the
Shipyard Theater (Theater im Schiffbau), cinemas, countless bars,
and restaurants. Zurich-West, which will eventually house 40,000
residents, is still a massive construction site, where some parcels
of land remain bare brownfields and others serve as community
gardens. With this degree of polymorphism, the neighborhood was
destined to host a sculpture festival.
Art and the City, initiated last year by the city of Zurich, divid-
ed its emphasis equally between artworks and this dynamic part
of the city. Forty-three projects by Swiss and international artists
addressed the processes of urban and social transformation, entic-
ing viewers into an area unfamiliar even to natives. A project
by New York photographer Roe Ethridge defined the scope of the
undertaking. Ethridge made several journeys through Zurich-West,
documenting the areas new physical and social dimensions. His
architectural photos capture radical change in exciting ways: relics
of defunct chimneys and silos, as well as bridges and viaducts fromanother age, confront shiny glass and cold steel, making the contra-
dictions of co-existence clear as well as poetic.
Artworks created specifically for the exhibition were scattered
throughout the city. Ethridges images, for instance, were displayed
at more than 350 sites. Ai Weiweis two white marble sofas sat on
the Paradeplatz, in Zurichs finance center. An oversized steel water
bucket by Subodh Gupta was located nearby. Most of the pieces,
however, were concentrated in Zurich-West.
On Escher-Wyss Platz, five monumentally scaled screwdriver
heads by the Cuban duo Los Carpinteros recalled the heyday of
heavy industry, when some of the largest and most modern work-
places in Switzerland operated here. Frank Stellas assemblage ofscrap metal, grates, beams, and colored sheet metal also referred
to the history of Zurich-West. There was a hint of nostalgia here,
acknowledging the ambivalent feelings that accompany radical
change and its irretrievable destruction of the past. Many works
provoked such discussions, including Arcangelo Sassolinos wildly
flailing and frightening excavators, which attempted to dig holes
in the ground. Paul McCarthys Apple Tree Boy Apple Tree Girl,
installed on an undeveloped site, and Vanessa Billys construction
Zurich: Art and the City
by Kathrin Frauenfelder
translated by Eileen Schramm
Top: Ai Weiwei, Sofa in White, 2011. Marble, 2 elements, 88 x 90 x 83 cm.
each. Center: Los Carpinteros, Catedrales, 2012. Brick, 5 elements, 450 x
150 x 150 cm. each. Left: Arcangelo Sassolino, Elisa, 2012. Mixed media,
500 x 800 x 600 cm.
22 Sculpture 32.4
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WW.ARTANDTHECITY.CHPETERNEUSSER
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crane, which futilely attempted to lift the whole world, brought
societal excesses into focus.
On the other hand, Martin Creeds neon Everything is Going
to Be Alright, placed high up on the offices of a Swiss grocery
giant, offered consolation in the face of change and uncertainty.
And who will live in this city of the future? Perhaps people
likeVanessa, a five-meter-high, polished stainless steel figure
created by Swiss conceptual artist Alex Hanimann.
More subtle projects also awaited discovery, including Fran-
ziska Furters fragile sound piece, made of found materials and
mounted to a viaduct arch, and camouflaged surveillance cam-eras by Taiyo Onorato and Nico Krebs, which spied on clouds,
cars, and people with equal interest. German conceptual artist
Charlotte Posenenske, who died in 1985, created sculptures that
can barely be distinguished from industrial products. Attached
to faades around Zurich-West, they were easily mistaken for air
ducts. As soon as one recognized them as artworks, however,
they sharpened perceptions of the surrounding environment.
Art and the City sought to remind us that the city is not just
a space to be understood visually, but also an aural space, an
olfactory space, a kinesthetic space, and a place of movement.
Performances and time-based sculptures enabled visitors to
experience the area with all of their senses. Hamish Fulton, forinstance, conducted an Art Walk in which 250 people divided
into two groups and marched single-file along the banks of the
Limmat river; starting from opposite directions, they walked
toward each other, crossed, and parted again. Swiss artist
Andreas Bosshard organized a public hunt for sound islands,
echo tunnels, and whisper niches.
Christoph Doswald, curator of Art and the City and leader
of Zurichs Workgroup for Art in Public Space, produced a
stimulating and multi-layered show focused on central issues
in urban planning today. Between the railroad tracks and the
Limmat, sculpture made questions of zoning, landscape, fallow
land, society, community, communication, economy, and archi-
tecture tangible.
Sculpture May 2013 23
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WW.ARTANDTHECITY.CHPETERNEUSSER
Above: Jrgen Drescher,House of Carpets, 2012. Aluminum, 220 x 350 x
190 cm. Top right: Oscar Tuazon,A Lamp, 2012. Hull, steel profile, con-
crete, and lamps, 472 x 472 x 472 cm. Right: Alex Hanimann, Vanessa,
2012. Stainless steel, 510 x 120 x 80 cm. Far right: Martin Creed, Every-
thing is Going to Be Alright, 1999/2012. White neon, 1.6 x 54.6 ft. Bottom
right: Paul McCarthy, Apple Tree Boy Apple Tree Girl, 2010. Aluminum,
boy: 525 x 208.3 x 189.2 cm.; girl: 546.1 x 290.8 x 213.4 cm.
_________
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BY ROBERT PREECE
Color as
Material
TILMANA Conversation with
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Artitecture 1 / Cabane Communal, 2011. Lacquer
on wood, approx. 500 x 420 x 300 cm.
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26 Sculpture 32.4
Tilman is definitely an artists artist. I first encountered his two- dimensional,
non-objective work about 10 years ago while staying at the Center for Contem-
porary Non-Objective Art (CCNOA) in Brussels, where he was the artistic director.
I grew quite fond of his Tilman sandwicheslayered horizontal stacks of painted
materials that began his shift toward objects. Since then, he has moved into
three-dimensional constructions, a direction that has widened his pursuit
of color as a material and carrier of light by applying it across various structuralforms.
In the 27 years since Tilman graduated from art school in Munich, he has
exhibited at art spaces across Europe, the United States, Japan, New Zealand,
and Australia. He has had solo shows at the Kunstnernes Hus in Oslo, Dum Umen
Cesk Budejovice / House of Art in the Czech Republic, and Galerie Linard*
Langsdorff in Paris. Recently he has participated in group exhibitions at MoMA
PS1 and the Columna 1 / Lyon Biennial 2011 Satellite Program, and hes
shown numerous works at CCNOA. Tilman, who is very well networked in the
international non-objective art scene, has played a key role in the exhibition
and dissemination of such work.
(Foreground) Stack 14, 2006. Lac-
quer on MDF and Plexiglas, 60 x 60
x 12 cm. each; (background) Untitled,
2007. Adhesive foils, dimensions
variable.
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Robert Preece:After 16 years of pursuing
non-objective painting, why did you expand
your practice to include three-dimensional
work?Tilman: From 1982, when I entered the
Akademie der Bildenden Knste Mnchen,
I focused exclusively on painting. Then,
in the mid-90s, I started to realize that I
could not manifest what I was looking for
namely, to create a platform to expose the
essential qualities of light and the inter-
pretation of light in our visual system
within the common means of painting.
I arrived at the understanding that one
cannot paint light itself, only an image of
it. I had to find another form that would
allow me to work with light and its natural
properties.
During the installation of one of my first
exhibitions in Europe, at CCNOA (2000), I
accidentally discovered a solution to my
problems. A two-part work, Transforms
(54.00/53.00), was leaning against the
wall, ready to be hung. I saw the light
floating over the different colored planes,
changing the tonalities. The movement of
light over time brought the whole assem-
blage to life, establishing a dialogue between
the work and the luminous qualities of itssurrounding space. The colored planes
started to breathe and to engage in the
realm of light.
RP:Could you give some details about your
art school training? Was it in the Bauhaus
model, with a year of projects devoted to
specific visual elements and principles of
design? How does your innovative work fit
into the notion of concept-based work?
T:My works are usually inspired by obser-
vations and visual experiences that catch
my eye and trigger associations. My eyesfind what I am looking for and initiate the
creative process. In the best cases, they find
what I amnot looking for.
My art school training was actually very
limited. My teacher, Gnter Fruhtrunk,
died after my third semester and, from
then on, I was on my own. I remember
that we barely talked about art at our
weekly meetings; instead, we discussed
philosophy, psychology, politics, percep-
tion, and phenomenology. He gave me
the confidence and perspective to pursue
my decision to be an artist. The Bauhaus
Sculpture May 2013 27
Above:Untitled / For Marthe, 2005. Lacquer on MDF and Plexiglas, 251 x 120 x 20 cm. Below: 32.08 /
Little House of Colors, 2008. Lacquer on aluminum, 22 x 22 x 18 cm.
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model wasnt part of my training at the
Munich Academy, but thanks to my par-
ents, a lot of ideas inspired by Bauhaus
methods shaped my early upbringing andeducation.
RP: How do you go about selecting your
colors and contrasts?
T:Color for me is a materialit performs
as a carrier of light, exposing its manifold
and subtle qualities. My selection isnt based
on a particular kind of color theory. I choose
colors intuitively, according to their indi-
vidual properties: I evaluate their volume
and possibility for absorption or reflection,
their luminous qualities and how they will
interact within a projected work of art. I
am looking for the interaction of primary
and secondary colors and subtle, sometimes
barely perceptible differences in color shades.
RP: How did you develop the horizontal
stacks that were exhibited at CCNOA and
the Sonja Roesch Gallery in Houston? Am
I the only person who calls them Tilman
sandwiches?
T:The idea to present the works horizon-
tally developed during the fabrication
process. More like painted objects than
paintings, these works challenged me to
find another way to present them ratherthan simply mount them on the wall. The
horizontal presentation offered a different
perception of the painted surfaces, the
negative and positive spaces, the interac-
tion of light and shadow, and the overall
appearance of the object. The notion of
comparing the objects to sandwiches is
humorous, and Im afraid you arent the
only one who has done so.
RP: You have mentioned your interest in
light, but could you explain this in more
detail? Do you mean the actual light in aspace, whether natural or artificial, and in
relation to the walls and the color selec-
tion of the works?
T:I see colors as paint, as materials. Colors
are vehicles to transport lightnot only
the idea of light, but also its physical quality,
whether it be natural or artificial. In some
of my earlier, more two-dimensional works,
I placed two separate planes with different
tonalities on top of each other, then added
painted MDF in a different color at an angle
at the top, bottom, or side. This creates a
tilted colored plane, which acts as a reflector.
28 Sculpture 32.4
Above:Split, 2012. Lacquer on MDF, aluminum, and wood, 340 x 90 x 80 cm. Below: Tilman with Greet
Billet,Radio Vallebona / Transmission, 2013. Mixed media, detail of installation.
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It diffuses the light falling on the adjacent
plane, making the physical qualities visible.
Untitled / For Marthe (2005), which is
placed on the floor, exposes the object tonatural light in a different fashion.
RP: Are all of your colors customized? Do
you create them yourself?
T:Back when I used canvas and oil paint, I
mixed the colors myself using dry pigments.
Later, I began to work with acrylic paints
and various lacquers, which came pre-mixed
off the shelf. Now I use enamel, which I
can have custom-mixed at the store. Some-
times I bring color samples and have them
matched. I might choose brands that offer
a higher quality in terms of saturation or
finish, but I always buy them straight from
the shop and use them straight out of the
can, with no further manipulation.
RP: How did you go about making House
of Colors(2008)?
T:When I started making the painted stacks
around 2005, I became interested in their
structural character and how they func-
tioned as architectural objects. I wanted
to intensify the play of light and shadow,
so I began to create new objects. The use
of materials other than MDF allowed me
to expand on the idea to open and closespaces within the objects and to explore
a different spatiality. These pieces came
to resemble miniature architectures, so I
titled themHouse of Colors. In 2008, I was
invited to participate in the Antwerp Sculp-
ture exhibition organized by MuHKA and
the Middelheim Museum, which gave me
my first opportunity to exhibitHouse of
Colorsand produce it at a larger scale.
RP:Why do you work so much with MDF?
T: I like the quality of its surfaceit is
absolutely smooth, and I cannot attachany associations to it. I also like the mate-
rials contradictions: on one hand, it radi-
ates an apparent solidity because of its
weight and volume; on the other, it has a
certain rawness and fragility. On the most
practical level, I like that it is available
around the world, which is very important
to my work process. I create objects and
site-specific pieces in locations far from my
studio. Wherever Ive realized projects over
the few last yearsEurope, the U.S., Aus-
tralia, or JapanIve never had a problem
finding MDF.
Sculpture May 2013 29
Above: Untitled / Temptation Island, 2007. Lacquer on MDF, tape recorder, soundtrack by Wolfgang
Glum, and mattresses, 440 x 240 x 480 cm. Below: Untitled / Val Duchesse, 2006. Lacquer on MDF,
251 x 132 x 52.5 cm.
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RP:What other materials do you like? Any that you really dont like?
T:In addition to MDF, I work with colored sheets of foam, plastic, glass, and aluminum.
Because I am not interested in applying the paints in a painterly way, I usually choose
materials that provide a perfectly smooth surface. I pay close attention to their inherent
qualitiesvolume, weight, and appearance. Often, I will use multiple materials within
one piece, which adds to the overall appearance and aura of the objectthe work becomes
more tactile due to the different qualities of the materials, their variations in hue, den-
sity, volume, and tonality. I always select the materials according to the requirements
of the individual work. InHouse of Colors(2006) and in my most recent series, Flats
(2010/12), I used aluminum panels and
profiles (squared tubing). The available sizes
and shapes allow the light to pass through,
creating shadows and color interaction.
RP: Theres one thing that confuses me.
You create monochrome expanses,
yet you insist on hand-painting them. You
could outsource the labor, even use mate-
rials providing a more industrial finish, but
you dont. Is this Tilman the Roma ntic
Painter, or is there another reason?
T:I dont think that it is a question of being
Romantic. I could never have my works
fabricatedeven though its a common
practice, especially in the realm of Mini-
malism. I need the mental and physical
engagement with the materials and the
space in which I am working, whether it
be the studio, a gallery space, or when I
work in situ. This engagement stimulates
and emancipates my perceptions and
thoughts about making art or simply being
of this world. My entire body and mind
become the work, engaged in an essen-tial experience. Only when this genuine
exchange takes place can I lend my associ-
ations to the work-in-progress.
RP:Could you explainUntitled / Tempta-
tion Island (2007)? It looks like a non-
objective love nest.
T:Basically,Untitled / Temptation Island
is an unfolded architectural space that
can function in numerous waysit invites
the viewer to participate and define the
space for his or her own self, whether as a
meeting ground, a room for contempla-tion, or even a place to practice yoga. The
object is meant to provoke thought about
privacy and public exposure, or differing
qualities of interior or exterior space.
RP:In Brussels, you always seem to be sur-
rounded by art books and magazines. Whose
work do you really appreciate, and why?
T:Beautiful publications are my vice, espe-
cially when it comes to art books. My library
functions as an archive of related thoughts
a voyage of shared interests. As for the
artists whom I appreciate, thats hard to
say. I like works that trigger my perception
30 Sculpture 32.4
Artitecture 2 / Passage de Lumire, 2012. Lacquer
on MDF and wood, 1020 x 275 x 250 cm.
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and understanding of the world. For exam-ple, many years ago, I learned about the
work of the late Brazilian artist Hlio Oiticica.
His utopian outlook on the world, his inno-
vative use of color and light, his engage-
ment with environmental art, and his
writings are of great interest for me in my
own understanding of artistic production.
RP:All of the furnishings in your Brussels
flat, except for some chairs, a mattress,
and a couch, are made of MDF, like your
works. Do you see that space almost as
an art installation?
T:No, the apartment is strictly my home.
Usually I build the furniture myself; I
dont think I have ever purchased a piece
of furniture in my life. Sure, there are great
designs out there, but I love to customize
objects for myselfthey may not always
be comfortable, but they are built to my
own volume, necessity, and spirit.
RP:Looking back at the key works in your
move to three dimensions, did you know
that they would be important when you
made them? How do you feel about them
now?T:I dont think about the importance of a
piece while I am making it. It was only after
I createdTransformsthat I realized it was
a breakthrough. I had similar experiences
withF 218 B-BXL (2003), my first large spa-
tial installation in Brussels, and House of
Color(2008), which gave me the confidence
to create large-scale, outdoor pieces like
Artitecture 1 / Cabane Communal(2011) in
Chasse-sur-Rhone andArtitecture 2 / Passage
de Lumire(2012) in Braine-lAlleud.
RP:If you could choose just one art-makingor exhibiting experience to relive, which
one would that be?
T:I would love to relive them all again
the struggles and innovations are the
essence of being an artist. There is one
experience in particular, however, that
I should mention. In 2006, I had my first
large-scale presentation at the Kunstnernes
Hus in Oslo; the show was called Tilman:
Look Awry. I was given complete freedom
to do whatever I wanted. For one part of
the exhibition, I created a series of wall
works and floor objects like Untitled / Val
Duchesse(2006). For the second part, I created the site-specific installation N 802-B. It was
a huge project, measuring about 20 meters in length, 10 meters wide, and 4.5 meters
high, and it incorporated video, as well as sound produced by the Belgian composer
Aernoudt Jacobs. Viewers entered the installation and encountered the sensory phenom-
ena of shifting light and modulating sounds. I took huge risks. It was an enormous challenge
involving precision and planning, but in the end, it was extremely satisfying.
Robert Preece is a Contributing Editor forSculptureand publisher ofartdesigncafe.com.
Sculpture May 2013 31
Untitled / U.O.S. # 5, 2011. Lacquer on MDF and
wood, 320 x 120 x 120 cm.
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In a lush Japanese forest, adjacent to the Yokohama Zoo, Pat
HoffiesHarvester for Disappearing Dreams of Wildness invited
participants to trap and share the essence of captive animals
dreams. Gathered in remote funnels placed throughout the for-
est, these dreams, caught by viewers standing on a mechanism
powered by bodyweight, connected animals and humans through
the potent need for freedom. During a 30-year career, Hoffie has
thus evolved into a postmodern bruja, conjuring work along thefluid boundaries between art, science, and magic, fact and fiction,
past, present, and future.
Much has been written about Hoffies work in terms of cross-
cultural, first and third world relations in the Asia Pacific region.
As an Australian artist dedicated to interpreting the transition
from cultural to capital economies and to shedding light on his-
tories of unfair labor practices and social injustice, she has suc-
ceeded in offering an aesthetic of challenge that wants to antago-
nize and rebuild connections between art and life.1 Just as impor-
tant is the role of her collaborations in providing pathways for
reintroducing disconnected elements of the past back into pre-
sent parlance, thus reordering hierarchies of art history and cul-
tural interaction. Her ability to create alternate worlds woven
Sculpture May 2013 33
ALANHILL
and the
Sublime Impossible
Opposite and above: Disastabah, 201112.
Mixed media, dimensions variable.
BY CAROL SCHWARTZMAN
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from collective memory, contemporary
tropes, and emotional longing, combined
with wit, irony, and forceful visuality, makes
her inquiry anomalousall the better to
create a dream-world in order to discover
the features of the real world we think we
inhabit.2
Hoffie considers it a badge of honor that
a willful mistranslation of accepted canonscharacterizes much Australian art, sup-
porting a community of eccentric, progres-
sive contrarians creating in many fields. The
Australian version of Modernism bypasses
most of the purity and formalism of Green-
bergian aesthetics as it reigned in the U.S.
because the type of exclusivity pursued by
Greenberg doesnt appeal to the famous
Australian taciturnity [that] would seem to
embody a profound skepticism about gen-
eralized explanations of any kind.3 Austra-
lian artists have traveled and worked inEurope, the U.S., and in Asia. Some returned,
others became ex-pats, but on the whole,
they have fashioned their own unique jour-
ney through the maze of 20th-century art
movements, Eastern and Western.
While the Australian art world has been
an active, though distant, participant
in international dialogue, globalization
has brought the rest of the country face
to face with the past, as well as with the
need to develop a voice within the world
community.
In Hoffies universe, the Euclidean is just
another system of organization, and the
non-linear holds sway. By destabilizing the
sequential and decentralizing normative
uses of spaceall within a mode of play
that becomes serious, but freed from making
a claim[of] authoritative completenessHoffie has most recently pursued issues
such as the origin of knowledge and the
formation of cultural identity.4 The seduc-
tion implied by Hoffies workand it is
seductiveis not a re-aggregation of com-
munity or self, but thepossibilityof creating
an engaged state of being that will satisfy
that longing, or hope. Any stasis is denied:
movement, chaos, and imaginative play
are the sustaining attributes chased by
Hoffiefor herself, her collaborators, andher audience.
WindWells: Channeling and Divining
(2010), which brought together a huge
group of people and resources from the
State Library of Queensland, culminated
34 Sculpture 32.4
TOP
:ANTHONYHAMILTON/BOTTOM:ABRAHAM
GARCIA
WindWells: Channeling and Divining, 2010.
Mixed media, detail of installation.
Troop Drill, 2009. Mixed media, detail of instal-
lation/performance.
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in a site-specific installation celebrating the
states use of windmills to access water. An
exploration of magic, 19th-century spiritu-
alism, and showmanship in colonial Aus-tralia, the installation presented the physi-
cal result of research undertaken at the
librarys archives. Set in a darkened room
the size of a small airplane hangar, pro-
jected archival film footage showed factory
workers fabricating windmills. Hoffie also
installed a full-size windmill, gramophone-
like amplification bells connected by velvet-
covered pipes, arcing Jacobs ladders, and
cylindrical wells consisting of hundreds
of stacked, fanned-out books. Water divin-
ers spun circles on refitted turntables, while
a soundscape of gears and re
