Felix Gonzalez-Torres

Specific Objects without Specific Form by Felix Gonzalez-Torres at MMK in Frankfurt

A large candy mountain is exhibited at the Museum for Modern Art MMK in Frankfurt, Germany. About 300 kg of sweets form the artwork ‘Untitled (USA Today) 1990’ by Cuban-Born artist Felix Gonzalez-Torres. The museum dedicates a special exhibition to the artist who died in 1996. The retrospective ‘Specific Objects without Specific Form’ will be open for visitors until 25 April 2011. Candy Mountains are among his most famous works. Visitors are invited to try the sweets; their participation is an important aspect of the work. EPA/FRANK RUMPENHORST.

More Information: http://www.artdaily.com/section/news/index.asp?int_sec=2&int_new=44566&b=cuban[/url]
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photo: Cathryn Drake

Photo: Cathryn DRAKE ( Diary – Artforum )

06.02.12 vue de l’exposition : Battle Véronique RIZZO versus Francisco Da MATA

http://www.artforum.com/diary/id=31159#readon30925

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Chez Rachid

Les conditions dans lesquelles on voit les oeuvres sont lamentables. Les expositions sont très fréquentées, et parfois par des imbéciles. On ne peut que rester debout et regarder, en général avec quelqu’un d’autre. Il n’y a pas d’espace, pas d’intimité, nulle part où s’asseoir ou se coucher, on ne peut ni boire, ni manger, ni penser, ni vivre. Ce n’est qu’une présentation. Ce n’est que de l’information.
Écrits 1963-1990, Donald Judd, 1991, Daniel Lelong éditeur, p47

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Émilie Perotto et Maxime Thieffine à La GAD outside 2012.

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battle

Duo show : Battle Véronique RIZZO versus Francisco Da MATA

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battle

L’ABSTRACTION, FIN EN SOI OU ESPERANTO PLASTIQUE ?
DANDYSME FORMEL OU RAPPEL D’UN MONDE PUISSAMMENT AGENCE PAR DES NECESSITES DE COMMUNICATION AUSSI SYNTHETIQUES QUE BRUTALES?
RIZZO ET DA MATA NE TRANCHENT PAS MAIS CONFRONTENT LEURS DEUX APPROCHES DANS UN ACCROCHAGE A LA COURTOISIE POTENTIELLEMENT EXPLOSIVE.

ABSTRACTION AS AN END IN AND OF ITSELF, OR AN ARTISTIC ESPERANTO?

A FORMAL DANDYISM, OR A REMINDER OF A WORLD POWERFULLY ORGANIZED BY COMMUNICATION NEEDS AS SYNTHETIC AS THEY ARE BRUTAL?

RIZZO AND DA MATA DON’T MAKE THE CHOICE, BUT THEIR APPROACHES ARE CONTRASTED IN A DISPLAY OF POTENTIALLY EXPLOSIVE COURTESY.