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祝日 / Permanent Vacation
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i don't do bad sauce passes
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"I'm Dorothy Gale from Kansas"
roma★
Mike Driver
Show & Tell
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Stranger Things
One Nice Bug Per Day
Lint Roller? I Barely Know Her
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@picaresourceroom
Idees i Actitudes. Entorn De L’Art Conceptual A Catalunya, 1964-1980
(Ideas and Attitudes. Environment of Conceptual Art in Catalonia, 1964-1980)
“This text, completely in Catalan, collects the work of 26 conceptual artists working in and around Barcelona from 1964-1980. The book contains texts and interviews in Catalan, as well as full color spreads of artwork.”
-Joaquín Dollar
"A Reading (2012) by Lisa Radon is an eclectic assemblage of textual fragments collected by the artist during their residency in the PICA Resource Room. The book ranges a diverse array of the artist's influences, from alchemy to rock tumbling. Nothing in the book is productive or transparent, rather the key to unlocking this work lies in its deconstruction and fragmentation of the matter taken as its source material, reducing each to a shimmer in the pool of sense implication espoused through the artist's inquiry." -Joaquín Dollar
“Step one: Don’t let your children learn how to read; they will become boring, you will be forced to draw the younger ones, as the older ones will be off reading. Don’t spend all your time hanging about waiting to draw your family, because then you will become boring. The purpose of learning to draw your family is to prevent you from becoming boring.” (From Gabriel Liston’s How to Draw Your Family)
A Quarreling Pair
Three puppet plays by Jane Bowles, Lally Katz, and Cynthia Troup.
“These three small puppet plays were first performed as a triptych in October 2004, presented by Aphids and the Melbourne International Arts Festival in association with La Mama [...]”
Ruth Buchanan, Lying Freely
(2010)
“Humans, like animals and buildings, have biological rhythms that determine when they are active.
However it is said that the rhythms of a building are more vulnerable to the impact of outside forces.
Humans can hide from the wind but the wind bears down on the house.
The wind bears down on the house but the human can hide.”
-Ruth Buchanan
Temporanea: Le realtà possibili del Caffè Florian: Luca Buvoli “Not-a-Superhero, I presume
Catalog published for Luca Buvoli’s exhibition at Caffè Florian in 1997.
“Not-a-Superhero refuses heroics. Buvoli’s elusive, apologetic, definitely unheroic, and nearly immaterial protagonist is hardly a match for the supermodern villains he encounters [...] His saving grace is speed and mutability. In Buvoli’s flickering 16mm films or slideshows, fragmentary flipbooks, tentative drawings, and ethereal sculpture, Not-a-Superhero (’shy and clumsy as usual’) dissolves into the essence of movement itself.”
-Kim Levin
Mars Dietz, counterverse in collaboration with Jason N. Le, Carolyn Reagan, Thomas John Gamble, Leif J Lee and Isidora Leber published in 2014
“Things we find natural are historical. Moreover, they horrify everyone in the world but ourselves. We are invited to participate in a debate that has never really been a debate, but a travesty, a red herring to keep us occupied. We should not reply with so-called freedom of expression, we should redirect the circus and expose what they really want to avoid mentioning. Bear witness Tell people what happened Draw a circle around yourself”
Revisiting Roni Horn: Earths Grow Thick
“1990, L.A. The Gold Field. How can I deal with the Gold Field? I don’t quite know. But the Gold Field was there. Ross and I entered the Museum of Contemporary Art, and without knowing the work of Roni Horn we were blown away by the heroic, gentle and horizontal presence of this gift. There it was, in a white room, all by itself, it didn’t need company, it didn’t need anything. Sitting on the floor, ever so lightly. A new landscape, a possible horizon, a place of rest and absolute beauty. Waiting for the right viewer willing and needing to be moved to a place of the imagination. This piece is nothing more than a thin layer of gold. It is everything a good Wallace Stevens is: precise, with no baggage, nothing extra. A poem that feels secure and dares to unravel itself, to become naked, to be enjoyed in a tactile manner, but beyond that, in an intellectual way too. Ross and I were lifted. That gesture was all we needed to rest, to think about the possibility of change. This showed the innate ability of an artist proposing to make this place a better place. How truly revolutionary.”
- Felix Gonzalez-Torres, 1990: L.A., “The Gold Field”
Roni Horn: Earths Grow Thick published on the occasion of the traveling exhibition, Earths Grow Thick
“In her life and work Emily Dickinson stripped away the excess, the clutter, to make room for clarity. The meditative quality of her words resonates in the images Horn creates to contain and further illuminate that world. The closeness Horn feels with Emily Dickinson, one that defies time and space impressed itself on her imagination. Reading Dickinson’s letters and poems she found in the work a place of recognition, a mirroring of her own inner landscape. A geography of the heart begins to imprint itself on Horn’s imagination. She would enter more fully into the psychic spaces inhabited by Emily Dickinson to return to herself, and her present.” - bell hooks, between us: traces of Love--Dickinson, Horn, Hooks
Doug Hall: The Spectacle of Image The Institute of Contemporary Art, Boston
“Q: How does sound function in your work?
“A: Sound is an image. In Storm and Stress, I was very concerned with the relation between the sound and the picture. The tape is to be shown on a video monitor, not projected. I was conscious of reducing the landscape to a small image. As a result, you enter the piece through the encompassing audio track which creates a sense of scale and roots you in the piece. This play on scale is important. I was conscious of how that sound was going to function with the other elements, and I wanted to have a presence and a scale that was, if not equivalent, at least suggestive of a big wind, big ocean, tornado. In all of my video work - installation included - the sound is an important and carefully considered part of the whole. It is as important as the picture, giving the work much of its presence and credibility. Now, I work with machine and natural sounds. I can harness meaning to them. I think also that the analogy that is made between making videotapes and music is an accurate one. This is particularly true in non-narrative work, like my own, in which the internal structure is composed independently of a story. This is less true in the early, more media-based works than it is in tapes like Prelude To The Tempest or Storm and Stress, which are constructed of motifs, phrases, and movements. In this sense, sound - or more specifically music - plays a role as a model for structuring”.
Michael Asher: Kunsthalle Bern, 1992 by Anne Rorimer
"For Kunsthalle Bern, 1992 (1992), Michael Asher relocated the buildings radiators from its exhibition spaces to its entry-way gallery and presented them as a group. Steel pipes connected them to their original valves, coursing linearly along the Kunsthalle’s walls and keeping the hot water flowing. Such ‘displacement of givens’ offers a perfect example of site-speciic practice by Michael Asher, one of the foremost installation artists of the Conceptual art period and an inspiration for institutional critique”
Mutilate
Walter Van Beirendonck
1998
INTERACTIVE PUBLICATION ALERT
Zippers, texture, cut-outs, cut-ins, color, flip book, shiny, imprint, pinwheels, fashion!
A publication citing WVBs work for over a decade, but Mutilate is a work itself.
Come read it. Is it still reading?
I Been Wanting To Go Home
Harrell Fletcher
1992
Harrell Fletcher drove across the country and back in 1990. “It was a strange trip spent mostly in my truck, usually with one person up front driving and the other back in the camper shell reading or sleeping. We weren’t exactly sure why we did it that way, but that’s how we did it.” He stopped and visited his great aunt Grace, and recorded the conversation. Two years later he transcribed that conversation, not editing any out moment between him and Grace.
This little booklet is a tiny record of the commonplace. In one way it is portraying the challenge of talking with a stranger, not having much to say or not knowing how much to say, yet as you read you are overwhelmed by the sense of family. Beauty in repetition, in stutter, in simplicity, in art.
What happened in 2006?
TBA Festival
Portland Institute of Contemporary Art
2006
HITCHCOCK (Revised Edition) // Francois Truffaut (with collaboration of Helen G. Scott) // Simon & Schuster // 1985
"The man who excels at filming fear is himself a very fearful person, and I suspect that this trait of his personality has a direct bearing on is success." - Francois Truffaut
Alfred Hitchcock is considered one of the most important and groundbreaking filmmakers in cinematic history, but in 1967 when Francois Truffaut (a cinematic master in his own right) first had the idea of interviewing him in depth, much less was known about the man behind the lens. While the original edition was published in 1967 when Hitchcock was still alive, Truffaut had a revised edition prepared that covered the significance of the final stages of Hitchcock’s career after his death. The book is comprised of interviews which offer fascinating insights into Hitchcock’s personal life, his inspiration, and his take on the making of his own films. A must-read for cinephiles everywhere!
-MC
PICA IS NOW 20! 20 YEARS OF MAKING THE WORLD SAFE FOR CONTEMPORARY ART!
TODAY IN THE PICA ARCHIVES: 1. "LANDMARK" - PICA'S 10th Anniversary Visual Exhibition, June 10 - July 16, 2005. "LANDMARK" is about the work generated by artists that have lived within, hovered above, existed in-between, landed on top of, catapulted out from, and left their mark on PICA and Portland... It is about promoting the ideas and intensity of artists for a decade." Kristy Edmunds, Erin Boberg Doughton, Kristan Kennedy, Brad Adkins, Francis Alÿs, Mowery Baden, Xu Bing, Marta Maria Perez-Bravo, Roland Brener, Alain Bublex, Erika Blumenfeld, Miguel Calderón, Lynn Cazabon, Tseng Kwong Chi, Nan Curtis, Brian Addison Elliot, Harrell Fletcher, Carol Hepper, Martin Houston, Malia Jensen, Richard Klein, Dinh Q. Le, Melanie Manchot, Jeffry Mitchell, Jean-Michel Othoniel, Jane Philbrick, William Pope.L, Susan Seubert, Kate Shepherd, Dana Schutz, Mike Slack, Valeska Soares, Joe Sola, Tony Tasset, Hans Weigand, Elizabeth Leach, makelike, Victoria Frey
Some old treasures brought by Kristan Kennedy for our 20th Anniversary Community Gathering! @makelike