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NOTITLES_02

with Sarah Burger, Arnaud Wohlhauser, Dauphine Klein, Camille Besson & Vianney Fivel, Denise Bertschi

at Grenzacherstrasse 84 (first floor), Basel / Switzerland opening: June 13, from 7.00 pm

from Tuesday 14 June to Sunday 19 June, from 11 to 8 pm, or on appointment

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NOTITLES_01 with Sarah Burger, Denise Bertschi, Arnaud Wohlhauser, Camille Besson & Vianney Fivel, Dauphine Klein organized by Sophie Yerly will open at Schwarzwaldallee, Basel on Saturday February 6, 2016 https://www.facebook.com/events/1498475063794047/

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http://www.flashartonline.com/2016/01/francesco-vezzoli-on-museomuseion-bolzano/

Unconsciously, whenever I show something new or less new I try to condition or to disrupt the surrounding environment — whether at a stand in a fair or in an institutional space. When and if I realize that I have not succeeded, then I come to the inauguration completely sprinkled and drenched with costly, inebriating and almost nauseating perfumes. - Francesco Vezzoli on “Museo/Museion” / Bolzano

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http://purple.fr/article/philippe-parreno/

Dès le départ, quand j’étais étudiant aux Beaux-Arts de Grenoble, on partageait tous cette idée que l’exposition est le seul et véritable objet. C’était l’exposition qui forme le lien avec le public, plus important que les œuvres elles-même.

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http://www.merlincarpenter.com/TATECAFE.pdf

John Kelsey:  I’m just saying that if you catered your art to them, first of all you wouldn’t be selling it. Or you might be. But I don’t know, I think your idea of kitsch is maybe the only avenue, the only possibility out of the problem of bad ‘political art’. Kitsch at least confuses critique with its other, which is top-notch painting and marketable art. I think if those two things are put in a state of tension and undecidability, then there’s a possible way out of either of these problems – being a gallery artist or being an activist artist. Kitsch becomes a sort of discomfort zone. 

Merlin Carpenter: But not everyone chooses to be a gallery artist. 

John Kelsey: But you have. The project is career kitsch, too, it’s not just political kitsch. Because the way you described it, forcing this series of shows, this coherent body of work on a global network of galleries, really pumping it up like Damien Hirst dots with all the Gagosian galleries.

Merlin Carpenter: Cool.

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http://docplayer.fr/676821-Hans-ulrich-obrist-les-rumeurs-urbaines-urban-rumours.html#show_full_text

Rumours are the smallest of germs. These tiny microorganisms are so small they can pass through most filters, and can usually be seen only with a high-powered micropscope. While rumours can be grown in a laboratory they normally reproduce only in body cells. This makes them difficult to study. Most biologists would agree that in general all typical rumours behave like microorganisms, and that where the practical problems of control are involved they must be handled in the same fashion as larger parasitic microorganisms. Every type of rumour that has been studied exemplifies the three interrelated characteristics of living things: reproduction, variation, and selective survival. There is much more controversy, however about the evolutionary origin of rumours. Many consider that rumours have evolved by parasitic degeneration from larger forms. Others believe that rumours have arisen from something in the host cell - either from the genetic mechanism in its nucleus or something in its cell protoplasm liberated from normal control and able to get into fresh cells and carry on as an independent being. There are now many instances where an apparently normal person can be shown to carry a rumour indefinitely. The multiplication of the rumour keeps pace with the multiplication of the host cells in so precise a fashion that some form of mutual coordination must be postulated. It can be argued that this must mean that a rumour is essentially made of host material, though capable of being set free; or alternatively that a free parisitic organism can become so integrated with it's host that it becomes incorporated into its structure. It may well be that rumours have arisen in several different ways and that the qualities that bring them under the definition must not be regarded as signifying that they have a common origin. Rumour diseases in humans usually are spread by direct contact or by droplet infection (sneezing or coughing). A few are spread by insects, animals, and birds. Most rumour diseases cause a person to develp immunity against further attacks. This fact is made use of in protecting individuals from a certain rumour. When a rumour vaccine is injected into a person't body, it causes them to develop immunity just as if they had suffered from the rumour itself.

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AND I HAVE NO MONEY I CANT EVEN PAY ME INTERNET IM ON FREEWIFI AND THAT IS SO FUCKING SLOW LOOOOOOOLLLLLLLL i hope im reincarnation of vincent van gogh and i will finaly make good stuff because for now THAT JUST SUCK

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http://www.theparisreview.org/interviews/2819/the-art-of-fiction-no-91-alain-robbe-grillet

Exactly. Memory belongs to the imagination. Human memory is not like a computer that records things; it is part of the imaginative process, on the same terms as invention. In other words, inventing a character or recalling a memory is part of the same process.

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http://bombmagazine.org/article/3177/claire-fontaine

Our present situation is highly complex; many pockets of the third world exist inside “rich” countries, and these same rich countries happily practice the new form of colonialism that some people like to call globalization. Social classes have multiplied but everyone inside them is a lot more isolated and structurally competitive. Artists are a good example of this situation: they are self-employed because they are worker and boss in one body (as Godard always says). It is impossible for them to federate in a union or a cooperative, or if they do, it becomes immediately pathetic. For people who can’t identify with their own job or who identify with it too much (as an ideal), democratic forms of struggle are a very bad fit. Many artists we know have two or three jobs because they can’t or don’t want to make money through their art. So, saying, “I am an artist” means many different things. This dysfunction in professional identification is more and more common; that’s why it will probably be a desertion from within that will destroy capitalism. But we are not prophets. And by the way, we don’t know what “complicity” means in art today. We don’t even know what “art” is. It is many different worlds, many different people… .

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http://www.kunsthaus.ch/picasso/index.php?lang=en

in 1932, Picasso assembled the works for the Kunsthaus Zürich exhibition, which lasted from September to November. The exhibition constituted a veritable revolution in the art world, the first time the works for a museum show were selected by the artist himself, and not by the director. The public greeted the avant-garde artist's subjective take on his extraordinary oeuvre with great interest. The press tracked the master's every move from the moment he arrived in Zurich, his wife Olga and son Paulo in tow, five days before the show opened. Not everyone was equally prepared to recognize Picasso's genius, however: in the 'Neue Zürcher Zeitung' the world-famous psychologist and psychotherapist C.G. Jung pronounced the painter, on the eve of his 51st birthday, schizophrenic. The entire permanent collection of the Kunsthaus was removed to make way for more than 200 works by Picasso, 56 of them from the artist's own collection. 

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After a protracted legal battle, artist Danh Vo and collector Bert Kreuk have reached a settlement that puts an end to the dispute that began in 2013.

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http://www.frieze.com/issue/article/analyze-this/

Transdisciplinarity, which I would identify with the super-hybrid, occurs when an interdisciplinarity hybrid is no longer served by being reciprocal but transcends the limits of the original collaboration to create a third practice that is unforeseen and therefore entirely new. You don’t need to know everything about the cultural origins of whatever you use as material to construct and act, but at a certain point you need to be able to judge where your expertise will be relevant in exploiting and multiplying the existing value of an idea outside you own sphere of influence. It may be highly speculative work, but it’s not guesswork.

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http://www.frieze.com/issue/article/based-on-a-true-story/

Contemporary artists, too, escape the gatekeepers and fact-checkers of journalism; they feel free to complicate or corrupt documentary narratives, playing with the lines between fact and fiction.

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http://oncurating-journal.de/index.php/issue-26-reader/the-curator-and-her-double-the-cruelty-of-the-avatar.html#.VnkoIt8vfdQ

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http://www.lrb.co.uk/v37/n05/adam-phillips/against-self-criticism

We are never as good as we should be; and neither, it seems, are other people. A life without a so-called critical faculty would seem an idiocy: what are we, after all, but our powers of discrimination, our taste, the violence of our preferences? Self-criticism, and the self as critical, are essential to our sense, our picture, of our so-called selves. Nothing makes us more critical – more suspicious or appalled or even mildly amused – than the suggestion that we should drop all this relentless criticism, that we should be less impressed by it and start really loving ourselves.

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http://warholiana.com/post/81689862604/in-the-future-everyone-will-be-world-famous-for

The show’s curator, the famous (and famously slippery) Pontus Hulten, had told him to include “In the future everyone will be world-famous for 15 minutes” in the catalog’s compendium of Warhol quotes – even though Granath hadn’t found any trace of it in his research. “If he didn’t say it, he very well could have. Let’s put it in,” said Hulten. So Andy’s phrase was actually Hulten’s – not so surprising, given that Hulten later faked some Warhol Brillo boxes.