absence-presence, twice

‘absence-presence, twice’
Mohssin Harraki - Joseph Kosuth
Press release
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‘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:
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