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  • Elger Gonzalez Torres

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    Roberto Améndola
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    Felix

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    Felix

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    14 vistas11 páginas

    Elger Gonzalez Torres

    Cargado por

    Roberto Améndola
    Felix

    Copyright:

    © All Rights Reserved
    Descargue como PDF o lea en línea desde Scribd
    Marcar por contenido inapropiado
    de 11
    Frux Gowzarsz-Tornss 1 tixt IL, Caratocu Rawowe Sprengel Muscum Hannover (1.6-24.8.1997) ansterein St. Gallen Kunsmseun (69-16.11.1997) ‘Museum modemner Kunst Saiftung Ludwig Wien (Herbst 1998) Kohler Art Library. UnWversity of Wie-->sin-Madison 260 Eve! m of Art 809 Univarsiy Avenue Madison, Wi 53706-1479 Karatoo Dietmar Hlaer Grarsascus Konzert ‘Takaaki Matsumoto, New York Linvocaane DeskTopProduktion Bucher GmbH, Sturgaet GGrsunrsratause De Cantz¥che Drockere (Osildern bei Stargate (© 1997 Cant Verlag Alle Rechte vorbehalten (© 1997 fr de abgebideten Werke Estate of Felix Gonzalen-Tores Erschienen im Cant Verlag Seneelderstrae 9 73760 Onder Rut Tal, 07112449930 Fax O711-8414579 Distribution nthe US DAP, Distrbuted Art Publishers 155 Avenue of che America, Second Floor New York, N-¥ 10013, ISBN 5.49522.883.7 Printed in Germany Umschlag United” Placebo - Landscape for Roni, 1993 (Kat Ne251)| 12 18 24 44 62 72 84 89 96 104 112 Vorwoat AwYyais] Prerace Gruswort zur AussTELLUNG IN WIEN INTRODUCTORY REMARKS ON THE EXHIBITION IN VIENNA Privat unp OFFENTLICH Private AND Puatic ROLAND WASrE “OHNE TITEL” (DAS NICHTENDENDE PORTRAIT) “UNTITLED” (THe NeveRENDING PoxtRair) ANDREA ROSEN MINIMALISMUS UND METAPHER MINIMALISM AND METAPHOR DIETMAR ELGER DER AVTORISIERTE BETRACHTER Tue Autnonizep Onsenver Rater Fucus WIDERSPRUCH UND EINGRENZUNG CONTRADICTIONS AND CONTAINMENT Davip Deirener Puoro Crepit In January 1990, the Andrea Rosen Gallery in New York inaugurated its activities with a solo show exhibiting works by Felix Ganzalez-Torres. The key pieces presented by the artist were exemplary of his new series - and these had a lasting impact on everyone who saw the exhibition Positioned around the gallery's main room were stacks of papers resting on the floor and rising to diferent heights (il. p. 15). Ths aspect ofthe installation impressed the viewer with the feeling of being in the (albeit quite orderly) storage cella ofa printing house. Two of the stacks were placed against the wall; the other wo stood some distance away from the wall. “Untitled” (1990) (cat. no. 76) was the first piece viewers caughe sight of ‘upon entering the gallery. It consists of three stacked piles of paper of diminishing height, shoved together, with a blue strip printed across the middle. Another ofthese pieces, "Un titled” (Loverboy) (1990, cat.no. 78) is comprised of a stack of heavy, azure paper; the stack is poscioned so tha che long edge touches the wall where the blue surface casts a subtle reflection on is white surface. The object "Untitled" (The End) (cat. no. 77) dating from the same year isa stack of white paper heavily edged in black. The fourth piece is composed ‘of ewo closely positioned stacks of paper with a single line of text (cat. no. 104). "SOME- WHERE BETTER THAN THIS PLACE” is the legend insribed on the top sheet of one stack; the other reads "NOWHERE BETTER THAN THIS PLACE." The same room con- tained "Untitled" (cat.no, 79) and the multipart piece "Uncitled” (Blue Cross (cat. no. 75) both dating from 1990 and hence created especially for the show. The press release sent out to announce the opening quotes a letter which Felix Gonzalez-Torres sent to the gallery ‘ownes, acknowledging: 1 feel this particular installation is about vulnerability, about having nothing t0 loose, about the possibilty of renewal through the re-

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