absence-presence, twice
Transcription
absence-presence, twice
‘absence-presence, twice’ Mohssin Harraki - Joseph Kosuth Press release 41 rue Mazarine, 75006 Paris, France • +33 1 46 33 13 13 • contact @ imanefares.com • www.imanefares.com Open from Tuesday to Saturday from 11 am to 7 pm • Parkings Mazarine and Saint-Germain • Metro Odéon ‘absence-presence, twice’ Mohssin Harraki - Joseph Kosuth From October 24 until December 21, 2013 Opening October 24 at 6 pm, in the presence of the artists Imane Farès is delighted to present the forthcoming exhibition ‘absence-presence, twice’ with the artists Mohssin Harraki (1981, Asilah, Morroco) and Joseph Kosuth (Toledo, Ohio, USA, 1945). They know each other for several years. Mohssin Harraki already created a video and interviewed Joseph Kosuth for his show ‘Some videodialogues with other artists’ at the Lavomatic studio Seamus Farrell in SaintOuen in 2010. However, it’s the very first time that they will exhibit together. The title of the exhibition ‘absence-presence, twice’ refers to the relation between physical absence and mental space that both artists explore in a challenging dialogue. ‘absence-presence, twice’ Mohssin Harraki Joseph Kosuth absence-presence_twice_bilingue_carton-print_r°v°_BAT.indd 1 24/09/13 17:19 Mohssin Harraki graduated from the Institut National des Beaux-Arts of Tetouan, the École Supérieure d’Art of Toulon and the École Supérieure d’Art of Dijon. He participated in exhibitions such as ‘Shuffling Cards’, art-cade, Marseille, ‘Autres Mesures’, La Galerie, Noisy-le-Sec, ‘Sentences on the Bank and other activities’, Darat Al Funun, Amman and ‘MoMRtA’, the Museum of Modern Art, Kuwait. He creates drawings, videos, installations, photography and performances in which he addresses cultural, political and historical themes such as the genealogy and the transmission of power, the formation of the collective conscience and memory. The artist proceeds by creating a dialogue with his peers, with artists or with people he meets in the streets. In his installations, he investigates themes of history, books and the written word that he diverts out of their traditional contexts. As so in ‘History 2’ (2013), in which Harraki re-writes its definition on pages of a book of glass. When the book’s pages are opened, they can form a circle/flower, in which, from one page to the next, the words gradually flow down from the never-ending. His book of history dissolves in the water of the ‘Artificial Aquarium’ (2013). Here, history is turned into elements floating in the tank’s water and the book’s words are erased, leaving behind only its emptied body interacting with its environment. Mohssin Harraki always exits to the interior. His works bear the scratches of both departure for the non-native, and return. In each of his two cities, he has a postponed dream: a project for Asilah when he is in France, and another for Paris when he returns to Morocco. And because he can be present in body in only one of the two cities, he typically struggles with his being there: estranged or affiliate. Absent and present. Physically and emotionally. And in each city twice. What does Harraki use in his works other than his body, his history, his language, his experience, his estrangement, and his trips home? Harraki makes use of books in philosophy, French and Moroccan. He makes a presence and disappears at the same time, in both places. The artist re-writes on the effect of contrived events on real events, how they reach their audience distorted, in turn contributing to the audience’s creation of the event. How a reading of full reality is completed to become our contrived history. He is concerned with the never-ending relationship between the presence of the absent and the absence of presence. Text by Ala Younis Mohssin Harraki Histoire 2, 2013 Book in glass, writing painted on glass 24 x 30 x 5 cm Edition of 2 + 1 AP Courtesy of the artist and Imane Farès Mohssin Harraki, Thrones 0, 2013 4 family trees of 4 arabic countries: Bahrain, Morocco, Saudi Arabia and Jordan Installation, drawings on cloth Variable dimensions Unique edition Courtesy of the artist and Imane Farès Joseph Kosuth is one of the pioneers of conceptual and installation art, initiating language based works and appropriation strategies in the 1960’s. His work has consistently explored the production and the role of language and meaning within art. His nearly fifty year inquiry into the relation of language to art has taken the form of installations, museum exhibitions, public commissions and publications throughout Europe, the Americas and Asia including most of the Documentas and Venice Biennales in recent decades. Educated at the Cleveland Institute of Art, 1963–64, The School of Visual Arts, New York City, 1965–67 and at the New School for Social Research, New York, (anthropology and philosophy), 1971–72. In 2001 he received the Laura Honoris Causa, doctorate in Philosophy and Letters from the University of Bologna. He received several honours and awards, among them the Chevalier de l’ordre des Arts et des Lettres in France (1993), the Decoration of Honour in Gold for services to the Republic of Austria (2003) and the induction into the Royal Belgian Academy in 2012. In June 1999, a 3.00 francs postage stamp was issued by the French Government in honor of his work in Figeac. His matter is the cosa mentale and how to convey his investigations to the audience utilizing words, texts, images, ideas. Manifestations range from glass, photography, printing, neon installations, wallpaper, to real objects, exhibition curating or language. Representation, appropriation, quotation, site-specific architectural interventions, writing and teaching are amongst the devices he works with. He ceaselessly questions the context, cultural history and contemporaneity through public art, sculptures and statements that challenge any anti-intellectual status quo and seek to involve the viewer/ reader’s body and mind. From 1965, Kosuth studied art in New York, punctuated by major dialogues with the likes of Ad Reinhardt, and, on one occasion, support from Marcel Duchamp just before he died, which led him to develop his critical stance on modernism, formalism and the traditional gravitas given to painting and sculpture. He also researched and practiced other disciplines such as anthropology and philosophy. His famous proposition is that of ‘Art as Idea as Idea’ – a concept still central in the exhibition ‘absence-presence, twice’. The question of visibility and artistic production is repeated carrying countless layers of significance. On the occasion of this two-person dialogue with Mohssin Harraki, Joseph Kosuth utilizes the English etymology of the word ‘light’ as a connective structure for a new installation comprised of individual works, putting in play fragments from Albert Camus’ 1942 book ‘L’Étranger’ (variously translated ‘The Stranger’ or ‘The Outsider’ in English) in French, Arabic, and English. Text by Caroline Hancock Joseph Kosuth ni apparence ni illusion, 2009 Musée du Louvre, Paris, France Installation view Courtesy: Musée du Louvre, October 2009 Photo: © Florian Kleinefenn Joseph Kosuth ‘Ex Libris, J.-F. Champollion (Figeac)’, 1991 National Commission, Place des Écritures, Figeac, France Installation view Courtesy of the artist Photo: © Florian Kleinefenn Mohssin Harraki Born in 1981 in Asilah, Morocco. Works and lives in Paris and Asilah. SOLO EXHIBITIONS – sElection – 2011 Arbres Généalogiques, Espace 150 x 295, Martil, Morocco 2010 Some videodialogues with other artists, Lavomatic studio Seamus Farrell, Saint-Ouen, France, curator: Cécile Bourne-Farrell 2007 Le monde à l’envers, parc of Montjuic, Barcelona, Spain Entre les étages, in the elevator of the Cityhall in the Var, Toulon, France GROUP EXHIBITIONs – sElection – 2013 ‘absence-presence, twice’ - Mohssin Harraki, Joseph Kosuth, Galerie Imane Farès, Paris 2012 Travail Mode d’emploi DABA Maroc, Centrale for Contemporary Art, Brussels, Belgium Shuffling Cards, art-cade, Marseille, France, curator: Cécile Bourne-Farrell Mulhouse12 Biennale, Mulhouse, France, curator: Sandrine Wymann Two Sides of One Piece, 4th Marrakech Biennale, Le Dépays, curator video programmation: Nine Yamamoto-Masson. Marrakech, Morocco nights with performance, Galerii Miejskiej bwa Gdanska, Poland Le cube-independent art room, Rabat, Morocco 2011 Momentarily Learning from Mega-Events, independent space MAKAN, Amman, Jordan, and travelled to Museum of Modern Art, Kuwait City, Kuwait in the framework of the exhibition MoMRtA (Museum of Manufactured Response to Absence) in 2012, curator: Ala Younis Hommage to Goddy Leye, Art Fair Art-o-Rama, Marseille, France, curator: Cécile Bourne-Farrell Outre mesures et programmes radio, La Galerie, centre d’art contemporain de Noisy-le-sec, France, curator: Ala Younis Panorama des cinémas du Magrheb, Saint-Denis, France Transmediale11 art and digital culture, Berlin, Germany 2010 The Arab Shorts, Independent Short Films and Media Art Festival, Goethe Institute, Cairo, Egypt Sentences on the Banks and Other Activities, curator: Abdellah Karroum, Darat Al Funun Amman, Jordan Mahatta, 3 R’S Morocco, cinématheque of Tangier, Morocco 2009 Shatana International Artist Workshop, third edition, Amman, Jordan 2008 PAUSE, Exposition nomade, in the region of Limousin, France 2007 Expo, Café populaire Zrirak, Asilah, Morocco Joseph Kosuth Born in 1945, Ohio, USA, Lives and works in London and New York. SOLO EXHIBITIONS – SELECTION – 2011 Joseph Kosuth, Texts for Nothing (Waiting for-) Samuel Beckett, in play, Haus Konstruktiv, Zurich, Switzerland 2009 An Interpretation of This Title, Nietzche, Darwin and the Paradox of Content, Edinburgh International Festival, Edinburgh, United Kingdom 2007 Il Linguaggio dell’Equilibrio / The Language of Equilibrium, Biennale di Venezia 52. Esposizione Internazionale d’Arte Eventi Collaterali, Congregazione Mekhitarista di San Lazzaro, Venice, Italy 2006 Joseph Kosuth and Ilya & Emilia Kabakov: Hans Christian Andersen-A Life World, Reykjavik Art Museum, Reykjavik, Iceland 2005 Felix Gonzalez Torres and Joseph Kosuth, Andrea Rosen Gallery, New York, NY, USA ; Joseph Kosuth and Ilya & Emilia Kabakov: Hans Christian Andersen-A Life World, Nikolaj, Copenhagen Contemporary Art Center, Copenhagen, Denmark 2004 Re-defining the Context of Art: 1968-2004, The Second Investigation’ and Public Media, Van Abbemuseum, Eindhoven, The Netherlands 2000 Place of Writing, Five Works by Joseph Kosuth, from ‘One and Three Chairs’ to ‘Ex Libris, J.-F. Champollion (Figeac), Musée Champollion, Figeac, France ; Artist, Curator, Collector: James McNeil Whistler, Bernard Berenson and Isabella Stewart Gardner–Three Locations in the Creative Process, Isabella Stewart Gardner Museum, Boston, USA 1999 Condizioni D’Assenza (Il nome e chi lo porta, a G.) / Conditions of Absence (The name and its bearer, for G.), Villa Medici – Académie de France, Rome, Italy ; Eine verstummte Bibliothek / A Silenced Library, Kunstmuseum des Kantons Thurgau, Ittingen, Switzerland ; Guests and Foreigners: The Years of Isolation. Including a Survey of Works 1965-1999), Chiba City Museum of Art, Chiba City, Japan. Traveled to Tokushima Modern Art Museum, Tokushima, Japan (2000) 1998 Ein Plan für: Eine verstummte Bibliothek / A Map for: A Silenced Library, Kunstmuseum des Kantons Thurgau, Kartause Ittingen, Switzerland 1997 Guests and Foreigners, Rules and Meanings.’ A New Installation, With a Survey: 1965 – 1997, The Irish Museum of Modern Art, Dublin, Ireland 1995 Joseph Kosuth and American Conceptualism, Kunstnernes Hus, Oslo, Norway 1992 A Play: The Herald Tribune,Kafka and a Quote, Hirshhorn Museum, Washington D.C., USA 1990 The Play of the Unsayable: Ludwig Wittgenstein and the Art of the 20th Century, Palais des Beaux Arts, Brussels, Belgium ; The Play of the Unmentionable, [An Installation By Joseph Kosuth],The Brooklyn Museum, Brooklyn, USA 1989 Exchange of Meaning: Translation in the Work of Joseph Kosuth, Museum van Hedendaagse Kunst, Antwerp, Belgium Die Sigmund Freud Gesellschaft, Sigmund Freud Museum, Vienna, Austria ; Das Spiel des Unsagbaren: Ludwig Wittgenstein und die Kunst des 20. Jahrhunderts, Wiener Secession, Vienna, Austria 1988 Modus Operandi: Cancellato, Museo di Capodimonte, Naples, Italy 1985 Joseph Kosuth: 2 Installations, Musée St. Pierre, Lyon, France ; Joseph Kosuth: Intentio (Project), Musée des Beaux-Arts de la Chaux-de-fonds, France 1981 Joseph Kosuth: Bedeutung von Bedeutung, Staatsgalerie, Stuttgart, Germany ; Joseph Kosuth: Cathexis, Museum van Hedendaagse Kunst, Ghent, Belgium 1980 Joseph Kosuth: Ten Partial Descriptions, P.S. 1, Queens, USA 1979 Joseph Kosuth: Texte/Contexte, Galerie Eric Fabre, Paris, France ; Joseph Kosuth, Text/Context (Köln-Munchen), Galerie Rüdiger Schöttle, Munich, Germany ; Joseph Kosuth: Text/Context (New York), Leo Castelli Gallery, New York, NY, USA ; Joseph Kosuth: Dix Descriptions Partielles, Musée de Chartres, Chartres, France 1978 Joseph Kosuth: Tekst/Kontekst, Van Abbemuseum, Eindhoven, The Netherlands ; Joseph Kosuth: Text/Context, Centre d’art contemporain, Geneva, Switzerland ; Joseph Kosuth: Text/Context, Museum of Modern Art, Oxford, UK 1976 Joseph Kosuth: Practice/ Praktijk/ Pratique, Internationaal Cultureel Centrum, Antwerp, Belgium ; Joseph Kosuth: Practice/ Pratique/Praticia, Galerie Eric Fabre, Paris ; Joseph Kosuth, The Renaissance Society, Chicago, USA ; Joseph Kosuth: Beiträge zur Konzeptuellen Kunst 1965-1976, Kunsthalle Bremen, Germany 1975 Joseph Kosuth: Face/Surface (with Sarah Charlesworth), Liliane & Michel Durand-Desert, Paris, France ; Joseph Kosuth: The Tenth Investigation 1974 Proposition 4, Leo Castelli Gallery, New York, NY, USA 1974 Joseph Kosuth: Investigations sur l’art et problématique 1965-1973, Musée d’Art Moderne de la Ville de Paris, Paris, France ; Joseph Kosuth: The Tenth Investigation 1974, Proposition 3, Carmen Lamanna Gallery, Toronto, Canada ; Joseph Kosuth: The Tenth Investigation, Proposition 7, Galleria Sperone-Fischer, Rome, Italy 1973 Joseph Kosuth: Art Investigations and Problematics 1965-1973, Kunstmuseum Luzern, Switzerland, Travelled to Westfalischer Kunstverein, Munster and Tubingen, Germany Kunstraum, Munich, Germany ; Joseph Kosuth: The Tenth Investigation, Proposition, Claire Copley Gallery, Los Angeles, USA 1972 Joseph Kosuth: Recent Work – The Ninth Investigation, Proposition 1 and Joseph Kosuth: Early Work – Proto-Investigations = Fifteen Works 1965-1967, Leo Castelli Gallery, New York, NY, USA 1971 Joseph Kosuth, Galerie Paul Maenz, Cologne, Germany ; Joseph Kosuth: el arte come idea come idea, Centro de Arte y Communication, Buenos Aires, Argentina ; Joseph Kosuth: The Eighth Investigation, Proposition 3, Leo Castelli, New York, NY, USA 1970 Joseph Kosuth: The First Investigation (Art as Idea as Idea 1968), Jysk Kunstgalerie, Copenhagen, Denmark ; Joseph Kosuth, The Second Investigation (Art as Idea as Idea 1968), Aarhus Kunstmuseum, Aarhus, Denmark ; Joseph Kosuth: 15 Locations 1969/70 (Art as Idea as Idea 1966-1970), Christ College, Oxford, UK, Travelled to Nova Scotia College of Art and Design, Halifax, Canada, Instituto Torcuato di Tella, Buenos Aires, Argentina, St. Martin’s School of Art, London, UK, Pinacotheca, Australia, Kunsthalle, Bern, Switzerland, Art & Project, Amsterdam, The Netherlands ; Joseph Kosuth, Galerie Daniel Templon, Paris, France 1969 Joseph Kosuth/Robert Morris, Laura Knott Gallery, Bradford Junior College, Bradford, Joseph Kosuth: 15 Locations 1969/70 (Art as Idea as Idea)’. Pasadena Art Museum, Pasadena, USA Travelled to Douglas Gallery, Vancouver, Canada, Museum of Contemporary Art, Chicago, USA, Leo Castelli Gallery, New York, NY, USA, Art Gallery of Ontario, Toronto, Canada 1968 Nothing, Gallery 669, Los Angeles, USA 1967 Fifteen People Present Their Favorite Book (Robert Morris, Ad Reinhardt, Sol Lewitt, Robert Mangold, Dan Graham, Robert Smithson, Carl André, Robert Ryman, and others), Lannis Gallery (Museum of Normal Art), New York, NY, USA GROUP EXHIBITIONS - SELECTION 2013 ‘absence-presence, twice’ Mohssin Harraki, Joseph Kosuth, Galerie Imane Farès, Paris, France Attitudes Become Form Bern 1968/Venice 2013, Ca’Corner della Regina, Prada Foundation Venice, Italy, curator: G. Celant 2012 The 9th Shanghai Biennale, Shanghai, China 2011 Sparking Dialogue, Museum of Fine Art, Boston, Massachusetts, USA 2010 Radical Conceptual. Positions from the MMK Collection, Museum Für Moderne Kunst, Frankfurt Am Main, Germany ; In-between Minimalism & Free, Vanabbemuseum, Eindhoven, The Netherlands ; Sol Lewitt. Play Van Abbe, Part 2: Time Machines’, Eindhoven, The Netherlands ; 2009 Silences. Un propos de Marin Karmitz, Musée d’Art moderne et contemporain de Strasbourg, Strasbourg, France ; In-finitum, Biennale di Venezia 53. Esposizione Internationale d’Arte Eventi Collaterali, Palazzo Fortuny, Venice, Italy 2008 The Panza Collection, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA 2007 Uncontained, Whitney Museum of American Art, New York, NY, USA 2006 2005 The Sublime is now! Museum Franz Gertsch, Burgdorf, Switzerland BIG BANG, Destruction and Creation in 20th Century Art, Centre Pompidou, Paris ; Translation, Palais de Tokyo, Paris, France 2004 Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Solomon R. Guggenheim Museum, New York, NY, USA ; Intra-Muros, Musée d’Art Moderne et d’Art Contemporain de la Ville de Nice, Nice, France ; Joyce in Art: Visual Art Inspired by James Joyce, The Royal Hibernian Academy, Dublin, Ireland ; 2003 From Broodthaers to Horn, Van Abbemuseum, Eindhoven, The Netherlands ; ré-invention de la collection, Couvent de Morsiglia (FRAC Corse), Mairie de Morsiglia, France 2002 La Stanze dell’Arte, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italy 2000 Opere recenti di Mimmo Jodice, Joseph Kosuth, Armin Linke, Enzo Mari, Galleria Nazionale d’Arte Moderna, Rome, Italy, Festival 2000 1999 Joseph Kosuth / Haim Steinbach, Haifa Museum, Haifa, Israel ; Billboard, Massachusetts Museum of Contemporary Art, Boston, USA ; Collections parallèles, Musée d’art contemporain de Bordeaux, Bordeaux, and Centre Georges Pompidou, Paris, France ; The Artist out of Work: Art & Language 1972-1981, P.S.1 Contemporary Art Center, Long Island City, USA, word, Museum of Contemporary Art, Sydney, Australia ; The American Century: Art & Culture 1900-2000, Whitney Museum of American Art, New York, NY, USA ; 1998 7th International Cairo Biennale, Cairo, Egypt 1997 Le Bel Aujourd’hui. Œuvres d’une Collection Privée, Le Nouveau Musée / Institut Frac Rhône-Alpes, Villeurbanne, France ; The whale and the polar bear … cannot wage war on each other…, Foundation for the Arts, Sigmund Freud-Museum, Vienna, Austria 1996 Travaux Publics, Stedelijk Van Abbemuseum, Eindhoven, The Netherlands 1995 ‘1965–1975: Reconsidering the Object of Art’, The Museum of Contemporary Art, Los Angeles, USA ; Revolutionists of Contemporary Art – Art in the 1960’s, Tokyo Museum of Contemporary Art, Tokyo, Japan 1994 The Tradition of the New: Postwar Masterpieces from the Guggenheim Collection, Guggenheim Museum, New York, NY, USA 1993 Zeno At The Edge Of The Known World, Biennale di Venezia, Hungarian Pavilion, Venice, Italy ; L’Objet dans l’Art du Vingtième Siècle, Carré d’Art-Musée d’Art Contemporain, Nîmes, France 1992 Documenta IX, Neue Galerie, Kassel, No Rocks Allowed, Witte de With, Rotterdam, The Netherlands 1990 Contemporary Art In An Urban Context, Museum für Moderne Kunst, Frankfurt, Germany 1989 L’Art Conceptuel, Une Perspective, Musée d’Art Moderne de la Ville de Paris ; Image World: Art and Media Culture, Whitney Museum of American Art, New York, NY, USA ; Ausstellung der Sigmund Freud Gesellschaft, Sigmund Freud Museum, Vienna, Austria 1988 Implosion: Ett Postmodern perspektiv, Moderna Museet, Stockholm, Sweden 1987 The Whitney Biennial, Whitney Museum of American Art, New York, NY, USA 1986 Palais des Beaux-Arts, Brussels, Belgium ; Chambres d’amis, Museum van Hedendaagse Kunst, Ghent, Belgium 1984 Content: A Contemporary Focus 74-84, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA ; L’Architecte est absent: Works from the Collection of Annick and Anton Herbert, Stedelijk van Abbemuseum, Eindhoven, The Netherlands ; Capriccio: Musique et Art au XXe Siècle, 1983 Photography in Contemporary Art, The National Museum of Modern Art, Tokyo and Kyoto, Japan 1982 Documenta VII, Museum Fridericianum, Kassel, Kunst nu: Kunst unserer Zeit, in Groninger Museum, Groninger Museum, Groningen, The Netherlands ; 60 – ’80: Attitudes/Concepts/Images, Stedelijk Museum, Amsterdam, The Netherlands 1980 Das Bild einer Geschichte 1956/1976: Die Sammlung Panza di Biumo, Stadtische Kunsthalle, Dusseldorf, Germany 1979 Printed Art: A View of Two Decades, Museum of Modern Art, New York, NY, USA 1978 Documenta VI , Museum Fridericianum, Kassel, Germany ; Words at Liberty and A View of The Decade, Museum of Contemporary Art, Chicago, USA 1977 Illusion and Reality’, Australian National Gallery, Canberra, Words at Liberty, Museum of Contemporary Art, Chicago, USA ; The Record as Artwork from Futurism to Conceptual Art, Fort Worth Art Museum, Fort Worth, USA 1976 Seventy-second American Exhibition, Art Institute of Chicago, Chicago, USA, Biennale di Venezia, Venice, Italy Rooms P.S. 1, P.S. 1, Queens, USA ; Downtown Manhattan: SoHo, Akademie der Künste/Berliner Festwochen, Berlin, New York, NY, USA 1974 Idea and Image in Recent Art, Art Institute of Chicago, Chicago, USA ; Kunst bleibt Kunst: Projekt ‘74’Kunsthalle, Cologne, Germany ; Festival d’Automne de Paris, Centre national d’art contemporain, Paris, France 1973 Some Recent American Art, National Gallery of Victoria, Melbourne, Australia ; Kunst aus Fotografie, Kunstverein, Hannover, Germany ; Incontri Internazionale d’Arte, Parcheggio de Villa Borghese Rome, Italy 1972 Documenta V Museum Fridericianum, Kassel, Germany ; Konzept – Kunst, Kunstmuseum Basel, Basel, Switzerland 1971 International Exhibition, Guggenheim Museum, New York, NY, USA ; Was die Schonheit sucht, das weiss ich nicht: Künstler, Theorie, Werk: Katalog zur Zweiten Biennale Nurnberg, Kunsthalle, Nuremberg, Germany ; Arte de sistemas, Museo de arte moderno, Buenos Aires, Argentina ; 7e Biennale de Paris, Parc Floral, Paris, France 1970 Conceptual Art, Arte Povera, Land Art, Galleria Civica d’Arte Moderna, Turin, Italy; Information, Museum of Modern Art, New York, NY, USA 1969 1968 1967 1966 Live in Your Head: When Attitudes Become Form: Works-Concepts-Processes-Situations-Information, Kunsthalle Bern, Switzerland, Museum Haus Lange, Krefeld, Germany, ICA, London, UK ; Art by Telephone, Museum of Contemporary Art, Chicago, USA ; Electric Art, UCLA Art Galleries, Los Angeles, Phoenix Art Museum, Phoenix, USA ; Op Losse Schroeven: Situaties en Cryptostructuren, Stedelijk Museum, Amsterdam, The Netherlands ; 557,087, Seattle Art Museum, Seattle, USA and 955,000 in Vancouver Art Gallery, Vancouver, Canada The Square in Art, The American Federation of Arts, New York, NY, USA ; New York Art, University of Rochester, Rochester, USA, Language II, Dwan Gallery, New York, NY, USA Non-Anthropomorphic Art by Four Young Artists, Lannis Gallery, New York, NY, USA New Talent, Stamford Art Center, Stamford, USA PUBLIC ART AND ARCHITECTURAL PROJECTS SINCE 2000 2013/14 Bibliothèque Nationale de France, Paris, France 2006 A Last Parting Look (for C.D.) Arts Council Commission on Leathermarket Street, London, UK 2005 Denver Convention Center Public Art Hotel Project, Denver, CO, USA ; The Context of Construction, Edward Zorinsky Federal Building, Omaha, Nebraska, USA ; De iis quae ad speculum et in Speculo, Galleria Nazionale d’Arte Moderna, Rome, Italy 2003 Located World, La Marrana, Parco d’arte ambientale La Marrana, Montemarcello, Italy 2001 In the Lair of the Skull, Gannett Headquarters, McLean, Virginia, USA ; Paul-Löbe-Haus (German Parliament), Berlin, Germany ; Doppio Passaggio (Torino), Ponte Vittorio Emanuele, Torino, Italy ; Ripensare il Vero (neon text from Benedetto Croce, 144 meters long ), Comune di Napoli, Piazza Plebiscito, Naples, Italy ; Queste cose visibili (Napoli, per Ferruccio Incutti) (neon text from Dante Alighieri), La Metropolitana di Napoli, Piazza Dante underground station, Naples, Italy ; Sapporo Dome, Japan (initiated for the 2002 World Cup) 2000 American Foundation for AIDS Research, Head Office, New York, NY, USA ; Leibniz Located (Exterior), Zeughaus, Hannover, Leibniz Located (Interior), VGH, Hannover, Germany ; Hiroshima Municipal Motomachi High School. In honor of Kenzaburo Oé, 1994 Nobel Laureate and author of Hiroshima Notes, Japan SELECTED PUBLIC COLLECTIONS Philadelphia Museum of Art, Philadelphia, USA Museum of Modern Art, New York, USA The National Gallery of Canada, Ottawa, Canada Tate Modern, London, UK, Ludwig Collection, Aachen, Germany Solomon R. Guggenheim Museum, New York, USA Allen Memorial Art Museum, Oberlin College, Oberlin, USA Whitney Museum of American Art, New York, USA Van Abbemuseum, Eindhoven, The Netherlands The Stedelijk Museum, Amsterdam, The Netherlands Collection Count Giuseppe Panza di Biumo, Milan, Italy Haus Lange, Krefeld, Germany National Gallery of Victoria, Melbourne, Australia Museum of Contemporary Art, Sydney, Australia Australian National Gallery, Canberra, Australia Musée National d’Art Moderne, Centre Pompidou, Paris, France Kunstmuseum Des Kantons Thurgau, Kartause Ittingen, Ittingen, Switzerland Staatsgalerie, Stuttgart, Germany Museum van Hedendaagse Kunst, Ghent, Belgium Fer Collection, Ulm, Germany Hirshorn Museum and Sculpture Garden, Washington, D.C., USA Galleria Nazionale d’Arte Moderna, Rome, Italy For all press-related inquiries, please contact: [email protected] – Tel.: + 33 1 46 33 13 13 41 rue Mazarine, 75006 Paris, France • +33 1 46 33 13 13 • contact @ imanefares.com • www.imanefares.com Open from Tuesday to Saturday from 11 am to 7 pm • Parkings Mazarine and Saint-Germain • Metro Odéon