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Documentation of Laura Langer at Simian, Copenhagen is featured on Contemporary Art Daily.

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Susan Howe, from Penitential Cries

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‘Goldrosa’, ca. 1926 by Josef Albers (1888-1976)

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Rochelle Feinstein

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Sasha Saari

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Kåre Frang, Attention Crisis, 2022.

iPhones, varnished candy, hot-melt glue, epoxy, ice cream sticks. 39,5 x 38.5 x 39,5 cm.

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Kostas Christopoulos 2022, from the group exhibition Confinements at Dromokaitio psychiatric center in Athens.

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Installation view "Florian Slotawa - Bonn ordnen", Bonner Kunstverein, Bonn 2004

During the exhibition, the functions of the administrative offices were exchanged with those of the exhibition spaces: The entire inventory from the administration was moved to the main exhibition hall, thus converting it into a large open office space in which the employees now worked. This area was closed off to visitors, who could however view the space through a window on the first floor. The emptied offices were used to exhibit photographs from the series Mannheimer Bestandsaufnahme. Thus, the artist's preoccupation with his own possessions was on display, whereas the institution was forced to reconsider its own inventory.

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Agnes Bolt, “Dealing” (2011): Artists often have an ambivalent relation with the dealers they depend on to promote their work. Agnes Bolt’s solution to this strained artist-dealer relationship is rather ingenious: A signed contract between the performance artist and art collector Philippa Hughes. Bolt spent a week inside a bubble in Hughe’s home and displayed the documentation of the work in an exhibition at the gallery Project 4. The written contract can be found in Harper’s Magazine, issue for August 2011 (section titled “Insider Art”). An image of the contract can also be found in the slideshow provided in the link to the review above. As you can see, many parties and events were staged during the artist’s visit: guests invited by Hughes remained outside the bubble, while attendees invited by Bolt partied inside the bubble.