Pamphlet produced on the occasion of Bik van der Pol’s exhibition I’ve Got Something In My Eye at CCS Bard Hessel Museum of Art. For this project, Bik Van der Pol brought together works from the Marieluise Hessel Collection, selections from the collection of the Van Abbemuseum in Eindhoven, their own works, and ephemera from the CCS Bard archive. Following Henri Bergson’s idea that perception is a function of time, the artists allowed themselves to look at how works potentially are surrounded by different sources of knowledge and how they sometimes grow from and are feed back into these connections. Objects, once acquired for specific reasons, are in a constant flux of changing meaning, both in the context and dynamics of a collection (which means continuously in the company other concepts and perceptions), as well as in time.
After exploring the museum’s collection and vast archive of history of exhibitions, books, leaflets, documents, newspaper clippings, and recorded speeches, this exhibition project by Bik Van der Pol presents a selection of more than 70 works from the collection of the Kunstmuseen Krefeld that address the landscape in art, industrialisation, climate change and the disappearance of nature. Departing from the Krefeld collection, Bik Van der Pol explore what shaped the 20th century and still shapes the present.
The title is taken from a review of the 1971 Haus-Rucker-Co exhibition in Haus Lange titled COVER. In the course of that show, Haus Lange was transformed into an artificial climate zone, at that time already calling attention to the growing problem of environmental pollution and its consequences for mankind.
After exploring the museum’s collection and vast archive of history of exhibitions, books, leaflets, documents, newspaper clippings, and recorded speeches, this exhibition project by Bik Van der Pol presents a selection of more than 70 works from the collection of the Kunstmuseen Krefeld that address the landscape in art, industrialisation, climate change and the disappearance of nature. Departing from the Krefeld collection, Bik Van der Pol explore what shaped the 20th century and still shapes the present.
The title is taken from a review of the 1971 Haus-Rucker-Co exhibition in Haus Lange titled COVER. In the course of that show, Haus Lange was transformed into an artificial climate zone, at that time already calling attention to the growing problem of environmental pollution and its consequences for mankind.
Produced on the occasion of Bik van der Pol’s workshop You Talking To Me? At 98 Weeks, Beirut, 12–18 October, 2012. In this workshop, participants travelled by taxis, talked with drivers, recorded their conversations, and returned with stories which were disseminated by public radio during hours negotiated with a radio station. The taxi was regarded as social place, as carrier and interface of public voice, knowledge/history, often across generations. By choosing the taxi, the project also subtly touched upon two major urban management issues in Beirut: lack of public space (spaces of collectivity) and transportation.
Edited by Lukasz Ronduda and Georg Schöllhammer.
Zofia Kulik and Przemyslaw Kwiek (KwieKulik) since the 1970s pioneered the transformation of artistic practice into social experimentation. KwieKulik sought to reconcile artistic praxis with everyday life, essentially basing on the premise that form is a fact of society. The couple’s pioneering approach to film, photography, and multi-screen slide projection epitomise their unique variation of expanded cinema.
This monograph, stemming from a long-term research project on the KwieKulik Archive, documents Zofia Kulik and Przemyslaw Kwiek’s collective works from 1971 to 1987, illuminating the radically unique position of the artists in the history of neo-avant-garde in Central Europe. The book covers and documents more than 200 events, and includes a “KwieKulik Glossary,” the collection of concepts introduced and applied by the artists. The essays in the book are featuring excerpts from texts devoted to KwieKulik in the course of the last decades.
Promotional flyer for the edition The Mystic Eyes by Betye Saar, produced on the occasion of Saar being awarded the 2020 Wolfgang Hahn Prize at the Museum Ludwig, Köln.
*Please note this publication is secondhand and has some traces of previous ownership.