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ln an obvious sense and at a certain level' all painting'
history' No
filmmaking, sculpture and installations call upon
there is none
medium of artistic expression exists in a void;
thatdoesnothaveamate¡ialoftechnologicalhistoryattached
to it. The question is, however, whether a given artistic
practice merely tecapitulates or extends the discursive
relerence'
historical contents of the sources to which it makes
they at
ln the case of the double act Muntean/Rosenblum'
times deliberately re-articulate the gestures and
physical
iconography of history painting, renewing them within a
recall. Without memories we woutd live in a state of
amnesia'
the past in the
However, a false nostalgia, the desire to rebuild
present const¡tutes a non-creative strain of the sentimental'
repetition has
As Ssren Kierkegaard, pointed out long ago'
a
into the
dialectical relationship with the past that is brought
present, "Repetition and recollection are the same movement'
has been'
only in opposite directions; for what is recollected
true sense
is repeated backwards, whereas repetition in the
is recollected forwards."rThe use of repetition thus
converts
the mind'
and proiects, while simple recollection can stultify

re-enacted'
Repetition is the past renewed rather than merely
contemporary idiom of express¡on That the gestures and
but quite
The rtists in this chapter deal with the past in decisive
physical expressions themselves are visually well known'
is a

revivifies
same time different ways. A double act like Stepanek & Maslin
linked not only to their historical origins, but atthe
and with an
landscapes and skyviews from unique viewpoints'
to the factthatthey are in a constant state of repetition
and
the Starn
again and again intense colour saturation and presence' By contrast'
mediation within modern culture They appear
what in
Brothers miqht be said to engage with natural history'
through sources such as popular advertising and
magazines'

and this is so Germany was once called Naturgeschichte' and which they
History is thus ineluctably linked to our memory'
and material
manner' develop in relation to scientific human thought
whether it is executed in a conscious or unconscious
investiqate
expression. Jane and Louise Wilson frequently
i

innovation
The boundary between historical determinism and
recent
within the context the spatial dreams and aspirations of technological
remains opaque, and can only be argued for
sense of
history, while Abetz/Drescher evoke an ironic
a

of its contemporary use and interpretation Nostalgia is

of Déieuner
macabre contemporary nudist pastoral' a mixture
quite literally a bittersweet longing for things' persons'
and

sur l'herbefused with the surreal'

situations ofthe past.0ften seen in a negative light'
as a form

reality ln more recent years Muntean/Rosenblum have

of sentimentalism, this frequently denies a fundamental
of
either focused in part and whole upon the conventions
that much of human life is embedded in ideas of
longing and
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history painting.2 rn a riterar sense a painting

rike untitted (The
day doesn't promise...)(2003), refers also
to Manet,s Déjeuner
sur l'herbe (i863), with the nude no longer
the female but the
nale. The Manet work is a classic icon
of painting history, and
its symbolic reference is that it marks a
decisive movement
írom earlier history painting to that of modern
rife.r rn their
video-film Disco l200il, large parts of Géricault,s famous
conic history painting The Raft of the Medusa (1gi9)
are
ouite literally re-enacted. lt is based on the shipwreck
of the
:rrgate Medusa in 1816, where the 150 survivors
clung to a life
raft, but were reduced to animalistic cannibalism
in order to
survjve.a The fact that these beautiful young ,white.
people
(the foremost figure in the Géricault
painting is black) are all
the same age (a singurar exception being
the order Heracritus
figure, loosely referencing sources like Bodin,s
Thinker and
Baphael's School of Athens), suggests less that ¡t ¡s about
the travails of a shipwreck, than the cannibalism
of painting
and image-making itself. An aspect further
emphasised by the

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lfWAS45THouoH$tEHAD\R\SSEDsoléEll,l4[R.ÜlRfsHolo'AlroALLAT,|ICEThEwoRLDBÉcAutt'tFf.RE¡,IT'APLACEofUNINAaNABLESIMPUCITY'
A ko¡,lÍNf t4ARÉ ANL) EvfRYTHING N\LL HA(E LoSr fi9 MEANING
 M T OSEN BLUM
eventtaking place on the stage steps of a dance
club, w¡th a Renaissance convention of the upturned head
and skyward
silver glitter ball, and suggesting that the young
men, having gaze of a feigned reverie.
taken off their T-Shirts, are in the post-event
of a dance or However, it is not of immediate importance
that we
rave. Portrayed is the shipwreck of a night
of excess, with a recognise these obvious historical sources;
they are, after all,
concomitant hope and longing for an event
that has meaning. part of the collective unconscious of images
the we derive
We are allfamiliar with the ,down,effects (the young,
perhaps from art history. So I return again to question
what Muntean/
more so) that follow upon an escapist night
of excess. As Bosenblum are able to bring to an analytical
understanding
with all their paintings, specificity has turned into
the non- of that which constitutes contemporary figurative painting
specific, for though it makes a reference to
a historic source today. ln a whole series of recent painting
s like lJntitled (lt
the outcome is completely displaced. ln the years
since 2005, was as though...), lJntitled (The landscape looked
both...),
and the move from acrylic to oil on canvas,
the use of gesture (2006), and unt¡tted (Memories
are a great trap...), (2007),
and pose in Muntean/Rosenblum,s paintings
has become ever there is a decisive shift ¡n formal terms. Rather
than their
more compositionally exaggerated and referential.
While they earlier frieze-like presentation there is greater
composit¡onal
are darker in tone (suggest¡ng a gravitation
from Mannerism gesture and posed complexity, allied
of repoussoir
to the use
to the Baroque, allied to the new use of oil), older prophetic
in a painting like unt¡tted (The landscape looked
both...).
but usually passivery posed mare and femare
characters have The figures block and shape the recessive
depth, creating
been increasingly included. lt should be said,
however, that a parallax effect of the poles on the left with the
rail track
they are more like figures than characters since
they do not and figures on the right. The gestures and poses
of the left
create or intend precise or defined character¡sations.
The figures also recall something of the earlier
Géricault subJect,
active poses are invariably (though not always)
taken by the while on the right they are reminiscent of a Donateilo
rerief,
y0unger figures. A contemporary Raphaelesque
Madonna and where, perhaps, the iconography of forward
stretched arms
child appears in rocky landscape called lJnt¡tled (The
sky was finds its ultimate origins. The blond_haired youth
lies supine
pale...)(2006), or an ecstatic bearded
older man with arms and foreshortened on the railway lines foreground,
unharmed
raised in an urban industrial sett¡ng as in lJntitted (There
are and apparently (as yet) inviolate. No train
is in view that m¡ght
days when everything...) (2006). In both cases
they follow the run across these desolate urban rail lines,
and the subject

o
 left The Vellow
The posed figures like figure holding a rifle and seated centre
matter is quite del¡berately hysterical
almost identical with
themselves lt is blanket with its V-inverted drapery folds'
arethus representative of a desolation in
Florentine
the non-making of a those invented in fourteenth- and fifteenth-century
a fragmented narrative painting about
painting. Paradoxically, perhaps' among the most striking
determinatenarrative.Thecomposedfiguresareconcerned
is their ability to have
achievements of Muntean/Rosenblum
withtheirownconditionofbeingjustfigures'andasusual
distinctions between
gives no illumination or fundamentally digested and elided former
the accompanying text or aphorism
set the two positions
abstraction and figuration lf modernism
Structuredaccesstowhatisactuallytakingplace.Throughout
dichotomy between
the hermeneutics apart, indeed, created an arbitrary
allthe painted works of Munteani Rosenblum'
Muntean/Rosenblum's
challenged' How can abstraction and figuration, transposing
of painting are always questioned and
block relations can be
mean? What is being figurative compositions into abstract
this image be interpreted? What do they This is
achieved instantaneously in the mind of the viewer'
said? The same effects are evident
ln a landscape setting
(Memories are a
particularly true of a painting l\ke Untitled
was as though" )' where we feel we
(lt are
such as untitled
is formally echoed
a Baroque or operatic greattrap...),where the suspended car shell
looking at a compositional stage set -
in the figure's open black
jacket and scissored legs Muntean/
the visual relocation
theatre performance conveyed through
Rosenblum paintings seem to suggest they are less about
into contemporary dress lt is a theatre of compositional
subject matter than ab0ut the matter
of painting suborned by
interrelations,theforeshortenedyouthwithhisarms
a subject that merely reinforces
their reality as paintings The
with the cowboy-
outstretched forming an arc of inclusion

,:.:. iA 'iÍ1t
(:o,

§u ln t\j
I,?Eñi
r.,.
 art¡sts seem to be saying that
contemporary figure pa¡nting
(as painting) has become
something of an echo, a shifting
ground that is never certain
and/or perpetually indeterminate.
Hence the works of Muntean/Rosenblum are not literal
paintings of contemporary life
in the modernist sense of the
tradition instituted by Édouard Manet,
and they do not attempt
t0 transcend history painting so
much as expose to v¡ew its
fragile (sometimes facile) and eternally
repeatable vocabulary.
lf they are laments, as has already
been stated, they are the
lamentations of human empt¡ness,
the isolated mantra of an
eternal return or incessant repetit¡on.
ln short, they are the
m0st common commodity of our
everyday Iives, but particularly
s0 am0ng a youth culture with promised
expectations which are
easily suffused into an ennui of
lassitude and disappointment.
The artists Alice Stepanek and
Steven Maslin
also deal with many of the traditional
conventions of painting,
though in their case it is determined
by another genre. They
paint largery randscapes and
what they have cailed skyviews,
often bringing together the contrary
visuar aspects of stasis
and speed. There is never a human presence.
ln other words,
the present the mutable and immutable
contents of the world,
an appearance of change ¡n juxtaposition
with an unchanging
circularity of seasonal regularity.
Their approach is a form
of heightened realism fused with pictorial
artifice. They met
in a London pub in Charing Cross Road,
twenty-five years
ago, whirst they were both studying
at st Martin.s schoor of
Art, where they both trained as painters.s
Alice Stepanek is
German and born in Berlin, and
Steven Maslin is English from
London. After their studies they
settled in West Berlin, and
later in the lgg0s, moved to Cologne.
After some years Iiving as
a couple double act, they have now
continued a professional
partnership, in which they
work together on their paintings.
The paintings since the mid_90s,
have concentrated on issues
of perception related to landscapes
while sometimes alludrng
to speed and motion. Their works are
a sort of compendium
of natural landscapes that are at
times presented as if seen
from a polnt of speed, while at the
same time possessing
elements of the stat¡c within the
same painting. Their work
in the 90s, having been described
as a,,way of looking, a
mixture of fragmented and compressed
perception, becomes
a gaze caught in a permanent process
of passage..,o ¡ye¡s
recently the use of the static
image has become directly
expressed as a heightened perceptual experience,
and in
th¡s respect (though different from
Muntean/Bosenblum in
every other) they also question the
Iimits of landscape genre
in contemporary painting. The greater
distinction between
the German/English and Austrian/lsraeli
double acts is a
c0ncern with phenomenological
or perceptual affects, rather
than conceptually hermeneutic figurative
effects enacted by
painting today. ln a painting
tike unt¡tled 23(1996¡, ths 16,r.,
 +.k
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 presents the optical contradistinctions.
The foreground space red in tooth and claw,. often suggesting
parkland sett¡ngs or
shows a large bush stretched across
the centre field, as if landscapes groomed, harvested
and/or maintained by human
0ne were passing at speed in a car
or train. By contrast in the
intervention. This has led one writer
to speak of them in terms
mid-ground left and rear ground
they show a stat¡c content of the technological sublime, as ,,three
of the paradigmatic
with meticurous ¡ntensity. This bifurcation,
or doubred sense conditions of modern perception:
the speed factol the view
of perception, was part¡curarry typicar of their work in the
from outside, and artificial lighting."z
And, though it is a cliché
1990s, through to the miilennium. stepanek
& Masrin.s interest that should not be overstated, they
further develop and extend
at the time was forest and woodland
night scenes. A strong the great tradition of German/English
landscape painting.
emphasis on seasonal changes
was also considered at that
Stepanek & Maslin,s more recent
paintings
time, with works dealing with forests
or general snow scenes, have shown a marked shift towards
the aerial/sidereal and
and occasional townscape horizons
as seen from a vrewpoint
macrocos¡nic v¡ewpo¡nts, alongside
their primary terrestr¡al
set in nature. lnvestigating every avenue
of Iandscape, there interests. ln the years 2000_04, though not without precedent
has always been in Stepanek &
Maslin,s paintings a sense of a in their earlier works, they developed
a series of skyviews.s
dialecticar rerationship between
macrocosm and microcosm,
These were viewpoints constructed
if one were lying supine
of panorama contrasted to much
smaller detailed motrfs. They
looking up towards the sky and clouds,
often through severely
have a complex sense of part
and whole, a fragment (a part_
foreshortened trees (sometimes distorted)
,.',,hole) presented or natural flora.
as an autonomy, or a generic view presented This of course has a strong Romantic
set of
precedents in
as a universal landscape metaphor.
The landscapes themselves
the 'cloudscapes. or studies by
John Constable (,l776-1g37).,
are not identifiable as such, nor
are they intended to be. ln
However, the artificiality of the
viewpoint shows ¡t is not an
'act one might argue that they are far removed ,nature
from attempt to depict the rear, but to
heighten it and to extract an

o Y;:;:,':§,1
 :

Fpsffi,

ALNGE STEPANEK
& STEVEN MASLNN
 a bstra ct perspective_percept¡on from
surface formats, at times using
the world. At times these skyviews circular or
oculus supports that stress the
are almost dizzying and vortex_like, telescopic
nature of their skyvievys.r At others
creating an optical suction effect times
as
they use the square. The vertical
if you are being drawn upwards.ro format
has been used for their recent
This is particularly evident in works
works
where crossing motifs appear,
like Untitled 26 and L)ntitted 28 and long
horizontal surfaces are frequently
(2004), !y¡1¡¡¡ this series, used
and its
for their panoramic views or to
further development, we also find suggest
the transent passage of the mot¡f.
singular motifs, a leaf or a butterfly, ln
ears of wheat or barley,
this sense they are definitively
flowers or the tendrils of convolvulus, optical pa¡nters, paying less
set against the vivid attention to what might be considered
colour of the sky and clouds, either the conceptual history
with or without aircraft of the painted image, in favour
vapour trails. An extraordinary
of a visual and perceptual
example is lJntitted ll (20061, a sense of the ocular Traditional
landscape/skyview seen across
in their use of oil on linen,
the horizontal bough of a silver
Stepanek & Maslin,s sense of
colour is at t¡mes deliberately
beech, with leaf tendrils crossed
and descending from above.
abstracted. That is to say, the
corours are not so much an exact
The cross form appears several
times in their recent works,
replication of a colour seen,
as an exaggerated intensification
suggesting at times something like
a pseudo-religious view of
of visual experience. Hence we
are left in no doubt that we are
nature. Whatwe find in allthese
Stepanek & Maslín works is a
looking at a painting, rather than
a transposed photographic
synchronicity of what were formerly
separate Iandscape sub- representation of the natural world.
genres The pastorar, the picturesque
and the subrime have
With the brothers Doug and Mike
ceen fused together in simultaneity Starn, their
to form a new language att¡tude towards nature has been
cf distinct from the beginning
contemporary Iandscape expression.
E Hence they are as since it stems from a conceptual
and investigative scientific
ruch landscapes of the mind, an imagined
reality, as they are approach, rather than a purely perception
oepictions ofthe natural world. ln driven víew of
return¡ng to terra firma in the
nature.l2 However, they share
with stepanek & Masrin a strong
,'.,orks of 2006 include open
woodlands where the trees appear
feeling for the phenomenological
:s heightened colouristic transverse and sensory contents of

:clumnar structures, as in lJntitled

2
¿rd Untitled lS12006l.The artists
also
-ave an acute sense
of the use of

Ot .. q, ¡ L; ñrvrr\ {Y ¡)
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 nature. ln the artists' predom¡nantly conceptual photography
,
lr and v¡deo works, they bring together natural science and
I
natural philosophy, often influenced by Eastern thought and
,'
¡ ideas. Like the sisters Jane & Louise Wilson, the brothers

Doug & Mike Starn are identical twins, born in 1961 in New

Jersey. They studied together at the School of the Museum

of Fine Arts, Boston, and graduated in 1985 They became

internationally known following their showing at the Whitney

Biennial in 1987, and after their two-man show at Leo Castelli's

Gallery in 1988. However, in the years 1987-93, they were

acclaimed in America by a whole series of public museum

exhibitions which travelled the countryr3 Their photographic

images deals with the ephemeral, frangible, and the entropic

contents of the material world, in which they draw frequent

natural and philosophical analogies between material ob¡ects

and human mortality. The Starn Brothers'approach is to

investigate thoroughly a subject, develop a concept, and see

it through as a completed proiect. 0n occasion the projects

IE sometimes take several years and have stages of continued

development. I intend to speak only of their works since 2000'

! as they embody and encompass many oftheir earlier ideas and

seem particularly prescient in the context of current issues of

global warming and the health and well-being of the planet'

bo
Doug and Mike Starn have an ongoing interest in darkness
,.1

and light (central to photography) with its accomplishments ),,

i
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DOUG & MilKE STARN

 &
like photosynthesis, and the power
it TH
p0ssesses to transform
material life
has always been important in their
ffi
'&i
work. At the same time the question '&
7
of natural structures, those similes t
between human biology, botanical,

and biochemical formations, places

:

their work in the context of a con-

t¡nuous interconnect¡vity. lndeed,

in
7
many respects their art works
can be
seen as operating at the interface
of
art and science. To Doug and Mike

Starn, human thought is inseparable

from these analogous structures

and natural similes. After
tables. However, while at one level
it mimics earlier historical
all, they might argue, among other
things, the human body is
conventions of scientific taxonomy,
a walking, talking, and thinking at another it places the
biochemistry set. But it does
viewer in the aerial viewpoint
as one must imagine the moths
n0t exempt rife from a spirituar
dynamic atthe same time. The
themselves possessed in their
headlong flight towards the
exhibition-installations they create
are often like science_art
light. The delicate silver print technique
gallery stage sets, bringing that they have further
together in a mental_emotional
developed also bears comparison.
not only to the nineteenth-
sense the complex aspects of
nature and its wondrous century origins ofthe silver print,
but also to the visible silvery
interconnectivities.
and dusty-luminescent qualities
seen on the wings ofthe moths
The series called Attracted to Lightlinterelated themselves.15The same subject
also appears in a farge_format
1996-2004), deals with moths (Lepidoptera) and their
sometímes (10'x l0', or 10'x 30,) series of coloured laminated Lambda
suicidal fascination with light.raThe
digital c-prints (2000-04¡.,u The question
work takes several forms including
of light and its absorption was part
small scale silver prints on hand_ of the
Starns' intensive ongoing investigations
coated Thai mulberry paper, that
of 2000-2002, and appeared again in
can then be placed in lepidopteral_ a

further developed but related way

like boxes and presented on low in the
exhibition called The Gravity of Light

744fu, §lro§,{}4?.§ {Ítont !t.}.

; r'{}{t') 20CA-2CO /, Arr:l¡iv¿I inkic
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n/A I t I s; ts n 4¡ *s s,r :, et, ;; ;.,"^i:,.: :,',
 (2005)
(2004).rB This drew an analogy with the most fundamental of fhe Structure of Thought (2001-2004) and Ganiin series

natural light s0urces, namely the sun. A ten-thousand-square- were also exhibited. The main aspects of Structure of Thought

feet exhibition space was lit by a single brilliant arc lamp which had appeared in the'Behind the Eye'exhibition (2004) and

mimicked the sun, but was based on the Humphrey Davy (1778- again in Absorption + Transmission (2005).r'g These exhibitions

ri.'
1829) arc lamp discovery and the invention of electric'artif¡cial were the culmination of a long process of investigating trees,
il

]. light'(electrolysis), in 1804. Hence the spaces were flooded photosynthesis and their light absorption. The material use of

with ambient light, in which was displayed a large transparent transparency and Iayering has been a consistent practice of

video proiection on a glass screen showing that light was Doug & Mike Starn from their earliest of works. As has the

not only capable of luminescence but of generating darkness sense of giving their works a feeling for a fustian/coarse pre-

(the implied light/dark that formed the grav¡ty of the title) aging quaIitythatsuggeststhe entropic and ephemeral lndeed,

Similarly, in this near-industrial cathedral of light works from their designed artist's books and catalogues often materialise

Attracted to Light,from the series Black Pulse (2000-2007), and in adapted form as the actual contents oftheir exhibitions An

'1t t tt )t.tc1 uiltt 1.rt t' O1x2:

;telt/Art.isls ñla :iety {A

Eve : Dcu{} ¿¡nd M¡ke Slitrrt', Nei;f:erge:r

\.ugL.jst 8i, 2Ct
 extension of the same principle of interconnectivity,
to which years of geological transformation they
become pure carbon
learlier alluded. ln the large multi_sized series Structure
of as coal. As the Starns put it, ,,Black is literally
the absorption
Thought there is not only the linking of photographic
prints to of all visible light. The black of written information, the
the translation of light-and photosynthesis promulgated
as a

specific idea, but also trees themselves are to be

understood "light is power, knowledge, it is what
we
as the product of light, They are in a constant
state of reaching want, it is what we reed, it is satisfaction,
towards the light - seen to be material entities that are light_
fulfilment, truth and pur¡ty. lt is history, the
driven. The complex architectural structure of
trees has also future, and sp¡r¡tuality. Light is what we
served as direct similes, and has been related to
modern fear and hate. Light is what controls every
technologies like IVlHl, and the new brain scanning
and imaging decision and action we take.
techn¡ques. lt is an idea given even greater stress
in the ser¡es Light is thoughr. Lighr has grav¡ty. Lighr is
they call Black pulse, a series of computer-generated
leaf what attracts us. l-ight implies _
images, with their complex veins reflecting in
microcosm the necessitates darkness, the shadows
tree whence they derive. These are often presented
by being created hy anything physical,,.
pinned to the walls and configured in grids.
The use of the
grid and superimposition of images is part
of the Starns,idea
of interconnection. A grid is an interconnecting aspect,
and black ink of the pages of books through thousands
of years
also in this instance analogous to the internal structures
of of transcribed thought and creation.,,20 The artists,
interest
c0mputer chips and internal circuitry, whence the
images in continuous technical experimentation, and the revival
of
are derived. lt also suggests a taxonomy of likeness, while older photographic techniques, are brought together
in their
simultaneously stressing the difference that is expressed
by four-colour carbon prints of Buddhist seulpture such as
each leaf. lt is not unrelated to the typological approach
used Ganjin (a nineteenth-century technique in origin).
The visual
by Bernd and Hilla Becker. To the Starns the idea
of light is presentation always suggests dissolution
and a pre_aged
inexorably connected to darkness or blackness;
leaves and image or sense of oxidisation. They are also
arranged as a
trees themselves carbonise in due course.0ver
millions of grid presentation and are made up of hundreds
of distinct but
 to many of the environmental issues of the

present daY.

Jane and Louise Wilson's

concefns are more to do with techno-

logical history, and in a certain sense the

failed attempts of monument as memory'

ln the two works I wish to consider' Sfar

CitV 12000\, and Free and AnonYmous

quest into space'
Monument(2003), the artists continue their
different photographic contact prints, sometimes achieving
a

how the
- of architecture, and technology, while again revealing
huge scale - as in the'Gravity of Light'installation' 2004
vice-versa'
unfamiliar can become familiar and intimate' and
some 22' x 22' . lfthus becomes difficult to comprehend f ully
which they
actually The Sfar City proiecf is based on two locations
many of the works of Doug and Mike Starn without
Moscow'
And this is visited in 1999, a cosmonaut training centre near
being physically in a position to experience them
both layer and and the Cosmodrome at Baikonur, Kazakhstan - home of the
equally true of their various video works which
installation
form of original Soviet Space Programme'22 Like the video
interfold all their connecting ideas, in a unpredictable
reveals
investigation Parliament that preceded tt, Star City systematically
time-based looped sequencing Their most recent
in a series the two sites'hidden narratives ln what is a four-channel
has been into the hexagonal structures of snowflakes
@ video installation with sound, we journey through
the locker
colour
@
F of works called alleverythingthatisyou (2007)'?] These large
! familiar as
nature of rooms of the cosmonauts, which seem as strangely
photographs question the ephemeral and transformative
the general
melting those you might find at a football stadium Altough
natural phenomena, since the snow crystals are seemingly
and of a life
Mike Starn are currently assumption of space flight is of complextechnology'
as they are being photographed Doug &
give
we can hardly imagine, the photographs of video images
a public commission and project for the New
É York
á
completing
a strange sense of familiarity and human identity
t. Cosmonaut
Metropolita n Tra nsport Authority at the South Ferry Terminal' to be
or posed in
II in their work training suits lie casually stretched out on a shelf'
completed in 2008. However, the questions they raise
i¡ are control
relatable their storage bays like awkward automatons There
are of pressing concern, questions that are immediately
I

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JANE AND
tu

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 rooms, we¡ghtless chambers, experimentation units, one with
an opt¡cal kinetic drum, and something called a Rising l.S.S.,
Hydrolaboratorium, an underwater chamber for testing the
different extremes of weightlessness. Sfar Cify served as the
"The play of children acts tike a
suggest¡on to the viewer. The scene shifts
simultaneously on each screening during
all the footage of A Free and Anonymous
Monument except for that of the children
playing. This sequence cuts randomly in
ordsr to break up the rhythm, as weil as
situating the pavilion each time',.
basis for more extended works related to the run-down and
abandoned space programme, such a proto
Blizzard, (2000) again a four-channel video that dealt with the
underground corridors, launch pad, and the transportation of
the missile rocket units. Dream Time (200,l), by contast, dealt
with the rockets, press conference room, cloakrooms and pre_
launch site of what became abandoned as
last utopia of modernity'.23 The tone throughout the video and
photographic series is of melancholy and nostalgia, ambitious
hopes and lost dreams. However, as Gamma counterpoints
L ü {.J I S E Vy I L S O f.l, iFtsa *¡¡¡:f srlo§ryr*rorrr§
;¡: ¡:l¡jrr¡inii¡trt ír: ¡:er:;¡::t:.u, I gO
t-l;t.iise A
Stasi C¡ty,the photographic series of works sale trgrhtpoints to
the sterilised and post-modern world of nano/bio_technology.
For if the laws of physics underpinned the space programme,
what has replaced it ¡s the cold detachment of information
technology, where direct human involvement is increasingly
irrelevant. lndeed, humans rarely appear in the Wilson Sisters,
recent works. Photographed at the Atmel microchip plant,
the l¡ght-controlled environments, division and partitions,
metaphorically repeat the microchip structure they research
and produce. The bifocal viewpoint also reminds us not only
of the sisters' own doubling of nature, but the increasing
way powers outside of ourselves organise our lives. The
supposed independence of looking and enquiry is increasingly
undermined by anonymous social mediators.24
The enormous thirteen-screen installation called
A Free and Anonymous Monament (2003) was, perhaps, the
Unity, Energy, most complex of the sisters' investigations into the archae_
ology of modern space up to that time. Commissioned as a
project by the Film and Video Umbrella, with the Baltic Centre
for Contemporary Art, the work deals with issues of decay and
regeneration in Newcastle-on-Tyne and its environs, where
,the
failure of the the sisters come from.25 At the centre of the proiect was Victor
Pasmore's concrete Apollo pavilion, designed for peterlee New
Town in 1958; its current degenerate state serves as little more
than a youth hangout or children's playground. Victor pasmore
x 1gA x. 1{} ctt;
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 ABETZIDRESGHER
(1908-i998) was a famous British
art¡st, teacher and abstract include references to contemporary oil_rig construction,
not
modernist, who became an urban designer and general
only to relate again the area to the sea, but
also to evoke the
manager of the Peterlee Development Corporation.26
What sense of the North Sea,s oil industry that has also played
its
characterises the pavilion is the thoroughgoing
commitment part indirectly ln the urban and social regeneration.
The whole
to a Le Corbusier-like modernism (a form of architecture area was once home to heavy industry which contributed
to
for a long period much unloved by the British people),
with the lndustrial Hevolution and created the base of production
its sense of utopianism. This modernism was the language
capitalism. Its decimation in the late 1970s, and
the Thatcher
frequently used for urban planning in the .ig50s and
60s. To decade of the 1980s, which generated mass unemployment
in
many people today the pavilion seems merely part
of the lost the Northeast, has now been replaced by newtechnologies
and
utopia that formerly beguiled modernism. Its public platform
service industries, in fact the very services industries
that the
or bridge viewpoint structure was an attempt by pasmore
at BALTIC Centre of Contemporary Art can be
said to emblematise.
creat¡ng a visual synthesis of the different art forms,
linking lnst¡tut¡ons of cultural intervention were frequently
integrated
the new urban architecture w¡th the garden setting in
which into the regeneration strategies of post_industrial
cities of the
it currently sits. The architectural set_up of Jane and Louise North of England througout the j9g0s and l9g0s.
That this is a
Wilson's 700-square-metre installation, shows the pavilion
as modern archaeological assessment (showing a continu¡ng
an abandoned modern space, presenting its characteristics
interest in the ascent and decline of sites of power),
is made
at different height levels, angle relations, and screen_size
G- clear by the presence of isolated psychology of
ñ
G= configurations. What appears is a cinematic kaleidoscope
the modern
0 that spaces they film. ln these spaces we rarely find
the immediate
not only relates to the pasmore pavilion, but to other
forms of presence of human life. ln that sense they
offer a feeling of lost
modern urban archaeology made partof the film.
Cast alongside memories and nostalgic ruin, a denial ofthe forever
homogenous
are references to older urban spaces and the regenerated
industrial culture that has passed away.
industrial spaces of the new clean technologies.,T
The Atmel With Abetz/Drescher, the wo¡ks have become
computer-chip factory (already mentioned) is
among them. ever more deliberately appropriative of historical
sources
Newcastle-on-Tyne and the industrial cities that
surround it and motils. Thus in a painting like /es (2005),
we find the world
were 0nce great coal and shipbuilding cities. The
Wilsons thus of the 1960s juxtaposed with Renaissance sources
like piero

8 A*I:TZiDIl;:SCHrí] §fow ** §farf, ?o¡¡¡. $sr¡r

Country.t::' /. .. ..
r .'.'L;
' ...L . ..
Ct:f f + Rast:r¡thal
 diCosimo's (c. 1462-1521) A Mythological Subiect (also called or the figure Pan, half-man and half-beast. The image of Pete

The Death of Procris).0ne might think, perhaps, that the aim Townsend remains, but is now reduced to smashing his guitar

was to create a iarring effect with a foreground hamburger as depicted on a bongo drum. But like all the earlier paintings,

and smashed guitar, together with a mid-ground satyr the main concerns are derived from the culture of popular

reflecting on an allegory of love. The central female figure music, and the image fundamentally amounts to a surreal/

listening to her walkman is no doubt hearing a love song, a psychedetic dream that takes place in the head of the short

popular equivalent of the sentimental allegory. The fusing of haired Jane Birkin-like listener.

ctassical myths with recent contemporary popular culture, lf the work Yes represents a cont¡nuation of the

and the synchronicity in which we experience such images in works that date from 2000-04, its picnic or pastoral Gontents

an age of mass reproduction, also draw heavily upon the role reflect a change that took place after it was completed. Many

of memory and nostalgia. lt presupposes that both sources are of their earlier works were in suggested domestic settings'

co-equivalent and merely relative to each other. However, the ln works like Brave New World (2007), the paintings have

compositional structure of Yes, presents avenues that lead taken on a lighter sense of the pastoral'28 There are still the

in two different directions: on the right to the faEade of the appropriate references, to Willlam Blake's Ner¿fon, to Van

Altes Museum, and on the left to seemingly personal sensual Gogh's crows (doubling, perhaps, for Hitchcock's The Birdsl,

desires. The metaphors of death and human destruction, further references to the Narcissus myth, to Adam and Eve, a

spiked skulls, a woman embracing a skeleton, the machine Medieval-Renaissance walled city in the rear ground, and the
ñ
F now obligatory cheeseburger, Heinz Tomato Ketchup bottle and
F gun, are either placed on the right or point in that direction.
!
This seems to suggest that history is a desolate place of crushed Coke can in the foreground. However, this half-naked

entrapment - emphasised by the bedraggled web in the rear Miranda is more knowing than the innocent of Prospero's

ground. History has become a tawdry place of self-deception. magic island. The typewriter, temporality, time passing, are

There are the familiar references to Art Nouveau, Symbolism again represented as in the earlier works by candles. The

and Surrealism. Magritte's foot-shoe form'Le Modéle Rouge' same contents fill How to Start Your ?wn Country '2006ll,

(1937) has been replaced by a female high-heeled variation in though we might imagine that the central half-clad male in

the immediate foreground. The males in the painting are satyrs his leopard-skin trousers represents 0liver Drescher himself.
 A minimal-pop installation of front- 1960s suit plays his guitar. This figure is
loading washing machines appears in derived in part from the same figure that
the rear ground right, not unlike earlier
appears repeatedly in a Max Ernst collage
accumulations presented by the artist
book called Une Semaine de Bonté (A
Thomas Bentmeister. However, money
Week of Goodness, lg34). For Ernst,
(dollars) has crept in and been placed
birds and shoes were a near obsessive
on a guitar, in the foreground left sublect in his Paris period of the 1920s
hinting, perhaps, at the corrupt state
and 30s. He not only proves a historical
of what were the former icons of rock
source of ¡nterest to Abetz /Drescher,
music. ln both these paintings the but is. perhaps, the most s¡gnif¡cant
eyes of the main figures are closed, artist who links so much of their content
suggest¡ng they have withdrawn .,:
to the history of Surrealism. To Abetz/
into their own world. But the most Drescher, history sources are not about
common integration of this current the hermeneutics of painting, as might be
series of paintings is the repetition the case with Muntean/Bosenblum, but an
of birds, black birds like carrion endless source of visual materials (half-
crows. ln a paper wotk lJnt¡tted remembered, nostalgic or otherwise) that
i:r::r
(2007) a crow-headed guitarist in a they feel free to rummage through at will.
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 of what
desire to create a bio-psychological determinism
Theterm,theendofsincerity,isintendedtoprovoke.ltdoes and excluded in
are less sincere' but rather that
is produced As regards who is included
not suggest that artists today
write another volume
is no longer the only valid this book, it is quite clear that I could
a singular vision or subiectivity acts But this only
with a completely different set of double
criteriaofartisticproduction.lnfactitprobablyneverwas(at
goes to prove the fact that what
lies behind this publication
or so)' since contemporarV art
least not in the last forty years
space between text and isaphenomenonthatisgrowingapaceeVeryyear,andwhat
t0day operates in a far more complex
become a flood of post-
started as the exception has now
inter-textu al disc ursiveness'
millennium, double-act art
practitioners l conclude' therefore'
I hope that the series of questions in the opening
of the moment and'
with a double act that has the immediacy
been answered by the four-
chapter have, in some measure'
the itinerant nature of
A double-act prac- I consider, reftects current trends and
teen double acts analysed and illustrated'
contemporary art production in today's global worldl
regardless of the
tice requires a strong sense of mutuality' represents the
The work of Allora & Calzadilla
which it is formed
precise nature of the relationships from
persistence' an approach that
quiet aesthetics and politics of
firmly founded intellectual
- kinship, lovers or couples' and/or
pragmatism is a ¡llustfatesandreinforcesmanyofthenomadicstrategies
and empathic friendships A collaborative
from Philadelphia' in the
each and every stage of the moment. Jennifer Allora is
prerequisite and this in turn influences Havana' in
did United States,and Guillermo Calzadilla is from
The boundaries between'who
of an artwork as it develops
programme in Florence and have
Cuba. They met on an art study
have largely dissolved'
what'and how it is defined as a result
eq been together since 1995 They
live and work together in San
F
F The mutuality of intention leads
to an art work that is explicitly
extensively They first came to
Juan, Puerto Rico, and travel
n

the outc0me
'mutual'and becomes iust as recognisable as
of any other works
an individual artist The international prominence in 2003'?Regardless
of a double act as it might be from their artistic lives have
that Allora & Calzadilla have undertaken'
sublimationofsingularintentions,farfromcreatingboundaries
years by the Land Mark proiect
been shaped in the last seven
of participation, has the inverse
effect The immediate bio-
on the island of Vieques' off
mainland Puerto Rico - an island
often having a beneficial
graphical specificities are displaced'
military as a bomb and missile
appropriated by the United States
a stronger sense of autonomy
outcome in that the works retain photo-
of videos' sculptures'
range in the 1940s Through a series
Hence a double-act strategy removes the immediacy of the
 'r{O,

5E#!r:ri::+1:ry:.: +-:; :: :::i:a:a:i :!:,:a:i i:.:

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ALLO RA& GALZADI L L!¿nl

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graphs and sound performances, the artists have engaged
Their studies have also marked the scope of the American
F and recorded the history of the island; the expropriation of
U
Atlantic Fleet naval firing ranges and their proximity to
the land (purportedly rented); its subsequent abuse as a firing Puerto Rico. ln the work called Land Mark (Foot printsl
range (23,000 bombs and missiles alone in j99B); the jslanders,
2001102l, apart from its pun and indexical status as footprints
resistance; their success in getting the bombing stopped in 2003;
in the sand, the art¡sts connected themselves to the protest
their assertion of representation and the ongoing discussions movement by making a series of soles that could be attached
and conflict with the US government. As Allora & Calzadilla put
to the protesters' shoes or trainers.a Some took the form of
it: "0ur invest¡gation into Iand marking has taken the form of a texts expressing direct objections to what was taking place,
body of work that concentrates on a kind of case study ...,,:
while others were imaginary projections and ideas as to the
 ;

negotiation, albeit one that the non-negotiating stance of the

future use of the island. Leaving traces in the sand created
firing could not go ahead US military had turned upside down. The Vieques islanders
a form of social obstruction, since
had resisted the US military's early attempt to have the island
if there were any civilians in the area The positions of the
completely depopulated and were even eventually successful
footprints in the sand are also to be seen as mirroring on-going
in getting the bombing stopped. The United States Ministry
of
ideological positions, as one print superimposes itself and
(20041' the lnterior has since turned the area into a'wildlife reserve"
obliterates another. In the video Returning the Sound
years
a local although this is no more than a cover-up for the sixty
another form of aural social protest followed, when
and of missile decontamination; to date, little has been done
Vieques islander removed the silencer of his motorcycle
concerning land restitution.
replaced it with a trumpet. As he rode his motorcycle island-
@
The theme of bunkers and military also served
r n
wide, the trumpet magnified the sound - a powerful form of

ln under Discussion (2005)' an islander the same purpose in Allora & Galzadilla's ¡ecenlwo¡k Clamor
non-violent protest.
to (2006) - a large sculpture and sound perlormance piece' shown
used an upturned table and attached an outboard engine
in Miami. London and Zurich.s As cursory as my evaluation
it and negotiated it on a sort of ecological sea iourney around
po¡nted must be, it is worth stresslng that some form of social
the restricted parts of the island. The work not only
present in
intervention and communal adaptation are always
back to the earlier conflict between the island's fishermen
time' their work. Whether it is roast¡ng a pig, with a spit attached
and the United States Navy in the 1970s but, at the same
to the rear axle of a car, as in Sweat Glands, Sweat Lands
emphasised the table as a famitiar locus of discussion and

t) t\Llu, .,4, §§¡rder §§sc*¡s.*ío¡x"

liorl. a:iia!.:t, lj rr¡i::14 ::e:,
CoLrlcs

§§ {¡'i<tl¡ ,4. §rw¡§,f§t

zACt ;ty At:! oi l'.4i¿:¡Y:.i. {)tallt¿t:
j t./ : §it:e '¡!/i¡ii Íit {20A'1: .,i>
 a

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(2006), the¡r work always offers an alternative position and manifestation? lt is certainly true of Allora &Calzadilla that
narratives that are distrnct from our current
addictions to the they move c¡ose to the ,end_of_art, debate, but
the aesthetical/
determinism of globalisation. They similarly parody
the fake ethical boundary has always been opaque in
terms of the
¡ibera¡ att¡tudes and tolerance that authorities
claim to have practice of socially-comm¡tted art. The question
remains:
for art. ln their intervention in 2002 on Lima,s plaza de Armas what does their work actually portend? Why does
it feel so
- the administrative centre of peru,s capital _ the artists set up 'of the moment'? Surely it is the
fact that their double_act
twenty huge, chalk cylinders. While initially passable
as proto_ collaborative approach mirrors the sociar rearities
with which
minimalist objects, one had been drawn along
the ground to they are involved.
Ieave a long chalk line. Within an hour the
ñ
ED
F
chalk cylinders had Two people working together is, after all,
a
been broken up and used to Ieave messages
n
on the ground, natural social phenomenon. lt displaces _
or at least mjtigates
love notes, names, patterns, etc. public employees
on strike - the sovereignty of the singular self, leaving one
open to
turned up and, shortly afterwards, the square
became a interact and achieve shared results. lt also, of
course, requires
giant chalk board of public grievances
and ideas. lt was lust a sense of shared responsibility for what
is produced. Allora &
a short time before the riot police dispersed
the crowd and Calzadilla have frequently involved themselves
and identified
the municipal cleaners were summonecl. So much
for public with the social attitudes and injustices that they
expose in their
space and public expression, one might think. yet
where are art work. Their status as a couple thus extends
from a double act
the boundaries between art and life, between art
and social to an increased sense of a commitment and doubled-action.6

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 ABETZIDRE§ctfEiB
(lire and,uorkin Béitialliip,,::iii'
§¡láikdlAb€it : Born 1970, Düsseldorl.'1991-94, Kunstakademie
"rrr:r0ús§áldorf , Prof駧iiitlllilhiirrse
:ttt dqr Küi¡re, Bedil:fililessor Katharina sieverding
Pro¡ect, Walker Afl Ceme[ M¡nneapoliE; 2003 ¿ázd
Marr(Eflela de At6 Plá§tims, San Juan, P8, AreÍo
Blar trgát Amries Sociely, New York 2002, Arron &
Hüppi. 1995-97. Hoúsúule Cahadiila. lag.tune ú Vtsual &ts {|NoVA) at the lJnivercity
olWisorein, Milmukee 2001, Ailüa & Caladilla. Mwo
Two-PERs0N Extl¡BlTl0NS (selectedl 2007, Tw"Legs hd,
Fou¡-Legs Good, Parcd¡se Bow London, Whq Hmarc
Walbd the Earth,laf:e &itain, Londoc 2006/200'1, Jalc
& Dinu Chapnan hd Att iü htl fuople,T?,le L¡verpool,
liverpool; 2005, fu1ke a dog returc to its vonit, Vlhlle

oli¡ei:gre§!her; thiii I969; Essen. 1 990-s2, Assirant de tule de Rtorto B¡@, Santur@, PR; 2000, Othü Wotltk. Cube, london; 2004, The New lmpoved And¡ex Woda,

Stage Director,,:!!§álei.i{ilder Ruhr, Mühlheim. I 990-94. Pto¡eu B@rc, ABC0, Madrid; 1997, Chamal Dane flmr. 20.21 Galeri8 Edition Kunsthandel, Esen, ,reurt fo rrluly,
,:,i,i,,(i¡iifákádem¡é:Diiseldoú;l ft of esor Allonso Húppi. Lu¡g¡ Mamz¡ni Gallery san Juan, PB Kunstsammlungen der V6tecoburg. The Mafriage oÍ
:lliit:il!9$,{1; Hodrsdiüle'iléi Künle, Berlin, Prolesor Reasm and Sqmlor, cAc Málage; DunlGG Kulturhaus,
HelsiBgborg; 2003, Jal@ & DinÉ Clnpmn, The Saúúi
..... liáharina Sievad&ii:i::ll:l:i::l
,li BtUE NOSES Gallery London, Ihe Bape oÍ CEativity, Mumum of
([iw w]k in MomW Novisbitsk and Ekaterinburg] Modem ñt, Wotk tuw the Chapnan Fanily
0)d0rd; 2002,
1k§qalr§§$§ lx§{¡ttlli}¡1¡§i:2007, Golf + Bosenthal. Berl¡nj and

lil:.. .2096. rBED, loiiilon; 2005, Gofl+ Rosenthal, New York Viacheslav Mizin: 8om NovGibiBk 1962. 1980-86 lrxstitule of & DinÉ: Enioy Mrc,
Collectioo"r¡,lhite Cthe, l.¡adoa, Jale
"""'iÑil;'Pa¡nt ¡t aá*.ii!i'l¿ñé volker Diehl, Berlin; 2000, ArdriteduE, NovGbi6k Groningen Muwum, Gfon¡ngan, and Museum Kunst hlast,

...,,,El,r'ilb:Ladylaad,,fu .sIutua, zuriú; 1999, statenents, Alexander Shabunov: Bom in Svedlowk (now Ekaterinburg), Düsldol, Jacffe& Oeflbe chapwmn" Modem At¡.,
llllli:,.Art.§ásel, Bolrfi &Nl ÍW.llAK. Marc tox Los Angeles; 1965. ,980{6, Sdlool of tine Arls SverdloEk Lo¡doai 2000, Jake & Din6: ccsE Añ Enn GiMa Ata
li§irg' Up Ad§.WÍf.a$,l§lmemporary Fine Art, Bertin; Spae, Tolqo, JaIc & Irriros Cáapnac Kunl-Werlc, Berlin;
.,irli, litSl;a§árzr,he Pauilloll,dcr,,yollsbühne,'Jugend Musik Awards and Prizes: 2006, 1" NCCA lnnovation Eize'V¡sual 1999, Jalc & Din6 Ctapmn, Fg. 1, London, I,isasfe6
:r11,,,.,,8.¡Oiele, Berlin Art', and Soratnik Amrd. 1 998 {Alemnder Shabunovl Som o, War; While Cube Loño¡, Jale & Din6 ChaWaL Gió
toundal¡on Gmnt (for denlurc treatreil ffi art¡§¡caction). Mamni, Milan; 1998, Jale & Dirc Charyan Galetie
.:i:i:: :1u:rr:t:iat, :a, Daniel Templon, hr¡s; 1991, Six Feet Undü, llloly aibell

il!.0n4 &'eAtzArDlLLA TWo-PEBS0f\¡ EXHIBIT¡0NS (selectedl: 2006, Blue Nueq Gag0s¡an Ga¡|ery, New Yoñq, 1996, kyontl Niryana - loo
(üiié'áñ¡l'ürcrk in Sáiii&e0;:&i!ito R¡@) State TrEtyakov Gallery/Marat Guelmn, Mcor¿ ffrdle¡ Mudt is Never EMUgh P-How,fowo, Zem kinciple, Giít
ú¡a,1974. 2001-03 Suprumafrisr¡, 6'h Mmw Photo B¡Gntrial, House 0t Ma@ni, Milan, Chapmnwrld,hÉittl.e of Coilmpomry
sfute oi'Íedrnology (MS), Cambridge, Joufnalils, MMw cffual CorureMs, M.Guelmaa Art, london, and Grazer Kun§tvercin, GE¿ and Kunst-
ry liilependent Study ftogram, New Gallery, Mm4 8r@ rv6es, Kunlverc¡n Bcenhe¡m, Werke, Berlin; 1995, Jarre & oirc Chapann Gav¡nWrM\
rmond (M), 8¡úmond, VA. Mun¡dL Brre iv6et Galeria kito Cimino Sao Paulo; 2005, Emerpris, New York Zygolic awleratio,t, biogenetic
Calzad¡lla,Gu¡llermo: Born 1971, Havana, Cuba, 1999-2001 &¿e ilroses, Ethan cohen Fine Art, New Yo¡k Blue Noffc .h-ilblinated nodel lenla¡ged x l un ), vtáotia Mi.o
,:::""'i.áil iiii.!lege (U[AI,lgg&,Skor /hesan súool of Pa¡mins Gslerie Volker Diehl, Berlin, Brüe /V6e§, Knsllcaleriewietr, Gallery, London, &r1?g Me the HHd of hanú f6errr; B¡ding

:ll::liiiii¡d:§i¡lpture. 1 990,8Q¡¡iilá de Artes Plásti@§ (BFA), Vienna, &ue iVmes Galede lN SITU, Paris. &ue iVose& House Editions, London, JalG & Dit6 Chapmn, Anúéha-
san Juan, PR l,i,rt',:itt:::rlrir::rri B & D Slud¡o Contersoranea, Milan, fhe Vogue ol Labo¡, SdriFienko Gallery, Stodholmi 1994, Grcat Deeds Agai,ñ
M. Guelman Gallery MG@w &re rvos§, Kunsthallen the Dead, Vtúolja MÍo Gallery, l¡adoL Munnry & Daddy,
Asr id 3& C i¡ rl!: ¿086rf{áiiillr¡ne Paik Amrd t¡nalist, Hugo Brandts, Klaedefabrik odeasei 2004, Hit-ü-M¡s A,t (How Galleria Frano Tcell¡, M¡lan; 1993, Íhe DisasteÉ oi War,
Bos Prize Hnái*;,20{ll1:§itángiu Biennial Prize. 2003 to &rild Up wo¡k oÍ Ail Ju§ in tle Kitdtil), M. Guelman V¡ctor¡a M¡ro Gallery, Lodon; 1992, we Are Añists, Hal6
Penny Mccall toúriiiáió;.crarf. 2002 Joan Mitdrell Gallery, Mosow The Blre Noses,TheDisplay Gallery, Gallery, London, and Bue Coat Gallery, L¡verpool.
Foundation Graii:ri2@@ltl c¡das tellomhip. ftague;2003, Do I L@kUle I LÉeI?,SlaleÍteaya}otr
:::i::::::: i:iliii Gallery, Mmow Tw Agait§ the Rffiian Mali4 M.
TWB-¡:t!15tlt EX§1.&lIl§1..l.§.{selededl 2007 Ailon & Guelman Gallery, MGowaod Kiw, and State Rsiatr CLEGG & GUTTMANN
Cal a d i t I a, Cer(áí'i'óil¡úriiinporary Art, Kitalqushu, Meum tum Siheia Wtth Love Asenal,
St Petetsburg, lLive and wd< in ilew York Bed¡n and V¡ennal

l, Allo¡a & Calzaiiiiá|i*itá&apel Gallery London, Allorc Niány¡ Novgor0d, ,ósoÍrf Brue ry66, 200109¡61 M@um, Michael Clegg: Bom, Dúl¡n, 1957. L¡ves in Bedin.

& Calzadilla - lYakeilp, Rliaisane Soc¡ety, Chi@go, MGmw 2002, Tw AgaiBt the BNian Mafia Ktou Mart¡n Guttmann: Bom, Jeffilem, 1957. l¡ves in V¡enm.
Ailora & Cahai.§lb,.§&{¡sq(ine Gallery Londoa, Allora & Mmeunr, St Paesbury, me Contenpffi,y Siher Añists, M. Ihey began the¡r @llabont¡on in 1980-
C atzad i I la, Kw:í(hállé Zu¡ídt, Zutidl At to¡a & Cal za di I I a, Guelman Gallery, MGúw2001, an"ol-fow EruEioÉ

San trancis@ &hl'liÍit¡tute, San Francis@, Allora & 2, L-Gallery, MlMw 1999, fhe NewHoly tuol§. üthe 1W0-PERS0il EXfilBlTl0NS lsleded): 2007, Revollnion of
Calzadrl4 Lisaii:§l!,9!Silondon; 2006, Clamor, fhe Moorc Hholow oÍ fuúmile, Zvercv Csúer of Corfempomry the Foetic lánguage (E§ablishreñ of Corelation) - A
Spae, Miami, Conentlations 50: Allora & Calzad¡lla, Art, MGmw Cognitive Erercise for a Group of Fouf, Peflmne by

Dallas Museum of Art;:Dallas, Combine Platte¿ Sqeening Clegg & Guttmann, Georg Kárgl t¡ne Als, Vienna; 2006
event, tA M0CA.!§Atgeles, ¿atrdMar& Palais de Tolqo, Social Sdlptum, Commnity hÍrails and Spontaoeo§
Palls, (En)hop6, Galerié §lnntal Crousel, Pais, Atton & JAKE & DINOS CHAPMAN op€ms 1990 - 2006, Comerhouse, MandEster, Madr
calza¿¿la s,ru:Áfi&áiliifik Museum voor Aduele Kunst, ([ive and wrk in Londonl 6. Bohmnn ll, Kunlvefe¡n Braunsdw¡g e.V - Haus
Ghent, S@af lerie Chantal Crousel, CoDáme Dinos Chapman: Bom London, 1962. 1981, Bavmsboume SalveHGp6, &aursdlwig, Maú w. Boltmann,
,aüeri Streen¡ MOCA, {June 24, 2005); 2005, College of ñt. 1980-90, Boyal College of Art London. Seesion, Vienna; 2005 Social S@lptum, Cmmnity
DoMload, Atl AúBasel Miami Bead; 2004, Jake Chapman: Bom, chcltenhariL 1966.1905-88, Norih Forlraits and Spoúarcous operas 1990-2005, Georg
Unsfable Att m Gallery, London, Cidonism. l¡ndon Folytedrnic 1988-90, Royal College of &t. Kargl Fine tuls, Vienna; 2004 A Monumerf for Histori€l
Galerie Chamal:0iousel, Par¡s, Cralk 7ri Annual lc¡y'Vita Change, pemanemry ilstalled social solplufe, Rm
&evis Proiea, !*{il¡tg,g{¡§ontemporary Art (lcA), Bolon, Award and Prizes: 2003, Nominated lorlhe Tumer Rize, L[Hburg Hatz e.v, Berlin, Sha'at'nez oder die
Bad¡o Bevolt: Aiie PeÉ04 one Waf¿ Artil in Bes¡den@ [ondon veEdtobene tl¡bl¡othek Sigmund-Freud-Muscuril Vienna;

I
 2003, De@mpcitiory'Remstitut¡on Bedin _ lgl8: tuti Coosmded Catas¡oph§, CGA lftakyrrhu, Eee, Keep Gellsóaft, Uibeck I ggg, litherever w are is Mrceun
Capital¡m, Avant-Gade, Art, Atonal M6iq Galer¡e SrTerf /, Galfer¡ Ni@la¡ Wallnet CopenhageD 2OOZ How aE Neuer Bedioer Kuns{veEin, Berl¡o; 199g, Genereus
Christian Nagel, Berl¡n; 2002 NegatioN o, Str¡ct Ordec
Wu today?, Galletia Masim de Carlo, Milan forcrfes Mimdm Gallery (One-nighr Exibit¡on), Newyork CU1E,
fuardt¡sm, Cubiil and Synmpated MGiq Amer¡can F¡ne SrrurluB, F¡9. 229, Gailerie Helga Atdevar, Madrid, Sprengel Mmum, Hanover.
Arts, NewYork 2001 Minisler md Senatoren _ fulitisúe lltGet , Sala Monteda/Fondacid l.a Ca¡E, Barelona,
Physiognomísde Fragmnte, Galerie Christ¡atr Nagel,
S6pended Spae,fats lshi¡ ca[ery, Totqo;2001, faki?g
sulpturetalw Fempective calleria
Cologne, Knoradedge
ftae, a¡rid , Zu]iú, Opening SoM, Gallery
Kutrsiha[e TEBESA HUBBARD/
LiaRulm, Milan and the Valencia B¡enniat 2000 The I{w
Historiel SoEr Stadiutrt, proposl for a pemanent
Tanya Bonaldar, Yotk, A nom De¡ined by ¡ts ATEXANDER B¡BCIiLEB
/4@siár7,,itf Stalen$ MGeum for Kunf, Copenhagen,
{Uve and mr* in Aust¡n, TeEs)
publicsolpture omisioned bythe Deúsúe Bank Galle¡i Niolai Wallner, Copenhageo. -Uoienstr. 160,,, Te¡esa Hubbard: Bom Dublio lEland, l96E. 1985-88, BEA.,
Fanldurt/Main; lg99 D¡e sioben Bri¡d€tr von Kainigsberg, KlGtefelde, Belin, &wilñ Strud¡uB, Íig. nt, Univenity of Teng Austin. 1988, yale Sd|ool of A,t, MFA
a tempomry publ¡cproiect iñallation in Duisburo; 1997 hrtihts, FnnHuilM; 2OOO,Zwisúen aileren Ereigoi$en Sfllpture Progmm. 1987, Slovr¡ñegan Sdrool of pairfing
1897-Ihe f¡st Z¡onit CongB in Basel, Kutrsthalle Basl, Galer¡e für Zeitgends¡sdte Kuñ, teipzigr Boslytr O)deyg and Solpturq Skor^¡hegan. 1990-92, M.EA., frlova Sút¡a
The Speaker,s Platlom ol cri$ldrúen, Gri6kirden;
Gallery, Sydoef, tggg,Galleri
Niolai Wallner, Copenhagen, Gollege ofArt and Design, Halilax sine 2000, profest
1996 lhe Sid( llt, calerie Christian Nagel, Cotogne.
Sout "Powrles Structur6. t¡g. 57{0,,, Ihe pro¡ect, New
Depatrent of ftt & Art Hist ory, lrn¡veEity of Tem, at
Ihe Sid< Soul ll, Ame¡ien F¡ne Arts, New yo& .Ihe Sid< Volic 1998, Dug Dow Gallery/ tuwrt* Strudw, Fig. Austin. 20M - pr6enl, Coe Faohy, Milton Arery Graduate
Soul-Morb¡d Fasi-nation and Behay¡oml Resardt ¡n 45, Galleri 18& Beyl¡aükAn Mmum, Reykiav¡k lgg7, Sdool of the Arts, Bard College.
M¡m Sm¡ology, Beality W and Avam-Garde Arl, Grazel fuwilñ Strudurea Gallery Campbells Oms¡onally. Alexander B¡rchler: Bom Baden, Switzerland, 1962. 1985,
Kunstverein, GE4 1995 &eaking DoM the Boundaries Copetrhagen
Un¡ve6ity of AIt and D6ign, Helsinki. 1983{7, Súule tür
betwn tut and Life, The New Sdrool for Smial fiwardr,
G6{ahüng, Basel. 1990-92, M.tA., Nova Scotia College
Irlewyoft i993 Ihe Fim¡ny Mffiic L¡bmry a temporary
of Art and D6ign, Hal¡fax lg93-94, lmtuEi UniveEity of
public proied, Unité, Fim¡rif t99f lhe Opetr tublic libmry, EVA & ADEI.E
Gmz, Gmzer KunstveE¡n, Gra¿ NordaNtad-Skatstedt
Zür¡dt. 2004- p@nt. Core Faolty, Mihon Avery Gmduate
([¡ve and wr* in Berlitr] SdDol of the Arts, Bard College.
calleri, Stoddolr[ l98O Galér¡e Hñnot, p¡ri$; i987 Jay Ihe biogEphy of Eva & Adele @rNiitrfs itself as ,Coming oú
Gomey Modem Art, Newyork Galerie Aóim Kubinsti, of the f ulrrc'; Eva, heiglf I 76m, Busi I 01 m, Waisr, 0l a¡r H¡p6 Awards and Prizes {slected): 2006, Landis + Gyr Stiftutrg
S-tuttgart; 1984 Galerie Tan¡a Grunen, Cologrc; 1983 96m. Adele, height 161m, &§t 86m, Waist, 6Bm, Hips 96m. toundat¡o[ Zug {rB¡dsory gnil ¡n Londotr} 2003,
A¡leg0ri6 of Stod( Édrange, 0lsen Gallery, New york Eva is Ardrian atrd lmircd as a pa¡iloi Adele ¡s Gemn, and
Kunskedñ Basel-Stadt Comm¡sion AMrd, Basel;
1982 M¡úelle lad|omky, tutrerpen; i98t cmup Fo]traits
lfained as a ufptor. 1999 l{ational Rize of Fne Arts, Swis Federal Offi@ of
ol Ereartiv§, Am¡na Nose¡ Gallery, Newyolk
Culturc; 1998, Swis FedeEl off¡e of Cuhure, R6¡dency
TWo-PERSoN EXHIBtTt0NS (sete.redl:2008, Tell it Lite Fellomhip, l(ütrstlertaus Bethan¡etr, Belirl (undkedit
a fulanid Pldure, Mwum der Modeme Sa¡zburg, Basl-Starlt, Basel (stipendl t992, Nat¡onal prize of tine
ETMGBEEN & DRAGSET Rupeniom, Salzbufg; 2001, Eva &Adele Daueryeit, &ts, Snis tederal Ofl¡e of Culture, B6idenq Fellorchip,
{Uve and wrk itr Berl¡n) White Tffih Corf empowy, HaÍúutg, Aryels, Dev¡ls & E6idency Fellorchip Akadem¡e SdllN Solitude, Stuttgart
M¡chael Elmgreen: Bom, Cop€nhagen, t96L Sex MmsfeÉ, Clairc Olivei, Nffi york Eya & Adete, fuik
1996, Maoor AIt pr¡ze, Museum of Comemporary art, Basel
lngar Dragset; Bom, Trondhe¡m Nomy, 1969. van Uffhoú, Galer¡e Ron Mandoq A¡rrtedam; 2006, AleEnder Clavel F0undation ftize Biehen, yukon Afs
They met in 1 995 and their @llaboration began s@n thereafter iVEOrV, Galerie Kai Fo6blom, Hetsinki,
Golderc ManiÍe§, Ceritre Besidency Gmm, Whitehore, Baslet Kurslverein
Mard, Stuttgart, tas, calerie Jér6me
Galerie &igitte Tnwl Prize, Kursthalle Basel; lgg4, Kurstkedit Basé|.
TWo-PERS0N EXfi tBtTtoNs lseteded'l: 2007, Dma de Noimil, hris;2005, Deathoi fuúmle,Clairc S'tadt, Art¡st St¡peDd; I990-92, Feltomhip Nova Smtia
&rer§, Mürster Sqlp(urc proiect, fhis ls Íhe Firf/. Day olivea New York Hu* of Filturing, Sprengel Meum, College ol Arf and D6igc 1909, fe¡tomhip, BaIIft Centrc
U My Lire, Malmii K!¡stha[, Malm; 2006, DrbgÉe, Han0ver 2004,
ACI Galerie &igitte Madr, $ungart, for the Ats, Badf.
Galeríe Emmanuel hrotio Miam¡, Would yu üle your Get on W Witgs,l§-Ahfrtoi§, Musée, Ceilre d,art
Eggs A Little Dillerent 7fuis Momírgl Galleda Mmimo modeme et @mmpomine, Toulous, BU TBU, Galerie TWo-PERS0N EXHtBtTt0NS (setededl: 200i, Tem
De Carlo, M¡lan,nD lrci leñal SelÍ,fal@ lshii callery, Asbaek Copenhagen, GeEúlNre Geltsúaft, Galqie Hubbar¡l/Alenndq Efirúls, The Modem MuseutrL tot
Iolqo, The WelÍare Show Serpemine Gallery, London, Midtael Súuftz, Belitr, The coya Installation, V¡lla Aureñ. Worth, Teffi; 2006, fe6a Huttbad/Alemde¡ B¡tdtlet,
and The Forer Plant, To rcr¡toi ZOO', prada Marla, ñt LG Angel6; 2003, Sál, Galerie Jér6me de No¡mod, Galerie Baóam Thum, BfJilia, Hou* with fuol, Miani
Production tuoü Balhoom Mala, Mala, TeEs, Trre h,tis, h¡,rting thrw, Centro Culturel Andra0( Mallom,
Briglttaw ol Shady liveg Galeria Helga de A¡vear, Madrid,
tur M@um; 2005, Íw Hubha¡üAlenúer Bidúet
S@lpture intle Pa¡{aviila XptBA"
Zreibrüdcn, Efurirg Museum Samlung Goe!¿ Mi¡iúL Little frdu6 at MB.
End Stat¡ú, B,,hq Íotndarion, I{ew york The Wellare
Cmpany, Galetie Kai toGblm, Hels¡nli, WatemBiq ore$ llo6e, Cerrtm Galego de Alt e Comemp0Éne4
Sáo!a{ Bergeo Kursthall, Bergen, and Baffig Foundation, V¡d6 Sdlpturc - Steir¡sdrer Hertts, Gmz. ¿060, calerie Sail¡ago de Cmpostel4 fruop, Bob von Omuu¿ Zür¡dr,
V¡enna; Wrong callery, NewYotl\ Linien§/fn* 160, Neue & Edition tutelier, Gra¿ Day W Day hinting,TheNod]ic Etliaiog the Da,tc Rñper Meum 0f Contemporary Añ,
lfii¡te Galerie Kfosielelde, 8f,)tlia:2004 tnteyentiol g7, Watemlour Mreeum, Sláham; 2002, Dorále seff- Kams City, Single Wide, l<aise¡ t¡,lithelm MBeutrL
Sprcngel MEeum, Haaovet J$t a S¡ryle Wmg Move, frrfá]ils Gal¡eri sefan Andesm, Umea; 2(,0f , ¿060, lfJeleld, New Spaes, Énakothek der Modem, Mün¡dt,
Modem London, ¡ltaving Ererg¡B # 04. Aspeke .tet
Tate
Neuer Sáósisdrer K{nfiwrcin" Ot6de¡; Get on W Siryle Wtule, Heztiyauuseum ol Contemporary An, hmel;
Samlug alhriút, Museum FollMng, Esea; ZOO3, Shotf Caroel
Mag's, Par¡s Photo, du LoMe, par¡g E @re, 2004, SingleWidemitrey Meum of Arnerien At|
Csf, Fondazione Trussrdi, M¡lan, Spaed Oüf, hrtih¡s, Galerie de I'E.E.EA,N., Nantes; 2000, ¿OCo, Modeme
FraaWwtJM: &,tis
at Ahria, USA" Hu* with ft/ol,fa¡ya Bonaldar Gallery,
Diaris, Galerie Emanuel hnotin.
Pais, Phone Hwe,faoya Booakdar Gallery New york
Galer¡e Saadand Museul¡l,
SaaÉrüdcn, CtÉe{p & NewYot*, lluv
with fbor, Mceum für Gegenmrts¡on$t,
Blowup, Gale.ie Jétüne de No¡moil, paris, and Oveúcd( Baset 2003, Eigáf, Cenro calego de fute Coderporánea,
 of Arts, seoul, and s¡ngapore Añ Museum, singapore
Kurstverein, bdwigsburg; 1S96, BodySáop, Galerie K¡dmat
Sarfiago de Cmpostela, Tercsa Hubhad/Alennde¡ (touring e)óibition), Aere et Gilles - Le Gñnd AmouL
Eden, Tel Aviv.
Bird¡Ier Vera Munro Gallery, Hamburg, CouW üne Boad' Galerie Jéróme de Noimnt, Paris; 2003, fiere ef Gtl'e§
Galerie Bañam fhum, Bcrlin; 2002, ful Pae toundation Miller Gallery'
Bolanique, Brusls, trere ef 6t'rre§, Robert
for cortemporary Art, San Amonio, Kunsthalle zu Kiel' NryYoy'rc 2002, frene et G¡lle§ - AmdE non @ur'
Kiel, Kunslmuseüm St Gallen, Tarrya Bonakdar Gallery'
TIM NOBLE & SUE WEBSTER
KunstHaus Wien, Vienna, and Galerie Jér6me de Noimont'
(Uve and wrk in London)
NewYork 2001, Mmum Ha6 lange and Esie6' Kreleld' e)óibitiotli 2001, Ptere et Giiles NN
Paris, (touring
Tim Noble: Bom Stroud, Gloueste6h¡re,1966 1985{6
Hu¡s Mamille, Foundalion for PhotograPlry, Amierdam'
Musum ol Contemporary Art, NewYo& lhe Yerba Buena
toundation College, Cheltenham Art College, 1986{9'
Gallery 8ob von O6ouw züriú;2000, A6e'¿l Bonaldar- center forThe Añs. san tranc¡s (tour¡ng e)dribit¡on);
NottinghamTreil lJnive6ity. 1989'92, Dean Clough'
Janou Gallery. NewYork 'Werk Baum' National Gallery in Plffi et Gilles, Éalel/e Jér6me de No¡mont at the FIAC'
(with Halifax 1992-94, Royal College oftut, Lordon'
Hamburger BahnhoI, Mñeum of ComempoEry Art Paris (2001); 19S9-2000, Plene et Gilles,f¡ttn Taidem@o'
Trctrt
Sue Webster. Born Le¡e6ter, 196,. 1986{9 Noitingham
soph¡e Calle and Rerry Madowitsdr), Bedin; |999' Motion Turhr; 1998-99, Pere et G,7res, Museo de Bellas Art6 de
Galerie Barbara Thumm, Eerl¡n, National Gallery
Unive6itf 1989-92, Oean Clough, Halilax 1992-94' Audited
Adua, Val¿ncia, valencia. Ee¡re et Gill6, Ménoire de voyage'
(unofficially) Royal College of Art. London
of Modem and Coilempomry fut, Prague, G@gofs Bom' Giná Art spae, Tolqo, eú¡bition
Shise¡do Gallery
Gallery Bob von OMUW Züriú; 1998, Al€dem¡e SúlN
organized lor the Year ol rfaae i¡ Japat, Piere et Gill6
TWo-PE&S0N EXHlElTl0NS (seleded): 2007, Sening
Solitude, Sfrrlrpirg, Kür§tlerfiaus Bethanien, Berlin; 1997' - Dow WolelÉ, Galerie Jér6re de No¡mont, Paris;
Suggelion, The Wrong Gallery, Tate Modem, LondotL UK ;
SrowPrae, Museum fÚr Gegenwrtslonst, Basel, Gallery 1gg1 , Die Weft von Plere ef Cirres. Fotomuseum, Muniú'
2006, PolymrphoG Perue6e The trcud Meum'
London'
Bob von 06ouw ZÚrich.
Piene & Gitt6 - Git ard Grrfter; Gallery of Modem Ar1'
ülci 2005, fhe Ctory Hore, Bortolami D8yan, New York
Glasgow 1996-97, ¿e§ Ha¡siÉ de la Fotét - Jolis Voyo6'
The Joy ol Sex Ktlile Gallery, Seoul, The New Baúañans'
Galer¡e Max Hetzler, Bedi¡, Ptene el Giiles, A'C'C'
CAC Málaga, Centm de Añe ConterPoranes, Málaga;
MUNTEAN/BOSENBLUM Galer¡e, Weimar, Piere et Gilles, Wngt ans d Anour
(1976
2004,Moden A,t k Dad, Modem Ñt, london ' Iin Noble
{L¡ve and wrt in V¡ctrna and tondon) - ,996/, Maison Eumpéenne de la Pholograph¡e, Paris;
& MÉeum of Fine Arts, Bogo¡i 2003' fin
Sue Webster,
Markus Munlean: Bom ¡n GEz, 1962 and
New 1gg5 Piere et Gitt6, Roslyn Oley Gallery, Sydney,
Nobte & Sue Webstü, PS.l Coilemporary Art Centef'
Adi Rosenblum: Born in Haifa,l962. ABtfalian Cerfer for Coilempomry Alt, Melboume' and
Yo./r',2002, Nad(Magic, frfw Pro¡8cts, London' G'al'y
They began their mllaborat¡on in 1992. Wellington City AÉ Gallery, Wellington, and Auddand
Amngem16 lÁl¡loaKeYtr6 Gallery, t'iiltotr Keyn6' flea'
City Art Gallery, Auddand, (touring e)óibition), Annual'g5'
¿ffe tb BüáDrbr¡, Statemnts at An Ea§el; 2001,
TWo-PEñS0N EXHlBlTl0l'¡s (sleded): 2008, Samluns "sfarf Sh¡sido Gallery Ginza Art Spae, Tolqo; 1994 Pem ef
Esl Eivail¡ttung, Klostemeub€rg, V¡enna; 2007' Tcam GmtiÍiatiü, GagÉian Gallery, Beverley Hills' Califomia;
I YoU' Deirút Gr:rres, Chapelle du Méian, Ben@rfrcs lÍternationales
Btitish Wittttife,ModemAlt, London,
Gallery, NewYork Arario Gallery, Seoul, Galerie für
2OOO,
de la Photogmphie, Atl 6, Piere d GillÉ, 12 Ca*
Pro¡ect§,NewYork rürasteE o¡ the Uoiveffi, Ds§Ie
Zeitgenósisúe Kuns, Leipzig, Museu CHIADo' l¡sbon; d'tute, M¡lan; 1993 Áásord &ep-s,úw Raab Gallery'
tute Foundation, Athem; 1999, fhe Newturharians' Chisenhale
20ñ, Mak Death Listen, MUSAC, Muse0 DE ds Pays de la Loire'
London, Galerie du Salon, D.B.A.G.
Gallery, London, New h,ba¡iaÉ, Spaex Gallcry'
The
Contemporánea, [éon, Ceilre d'Al Sama MdniÉ' CASM'
et Gilles, Galeúe Samia Saouma, Paris'
Narrlesi Pietre
Ereter ul( 1998, yogre U§, Habitat, K¡ngs Boad' London'
BaElona, &trdt & Partner, Zü¡iú, MAK Vieaaa, We Live Matdt: Eerc et Gilles, Galler¡a ll Poúe, Bom; 1992'
WolV Modem &t. londoai1g$l, Hme Chane' Biv¡ngton
i, Iu'rigft, Kunsthalle Budapel; 2005, Dtb@ Maureen Plerc et Gill6, Baab Caler¡e, Berl¡tr, ñem et Gill6'
ftm Slrcet, Londo[ 1996, &r'frisr¡ BÚDis¿ lndependent Art
Pafey, London, Jad( Hanley, Los Angel6, F'r Away
Rüsisúes MreufIL D¡agh¡lev Center of Modem Art'
& Partner, Berlitr, V¡ennale' Gañenbau' Spae, London
lit4ty, Gakie Arndt
Saint-he6burg, Plerc et Gilles" Raab Galerie. London;
Vteaaai 2004, kiq in and ott of love too mny tim6
lgg}-01, Piem et Gitl6, H¡6drl & Adler Modem, New
mt6 it hardüto tove, Aulml¡8n Ceñre for ContetrPorary Eere ef Girles, Pam Par ll de Shibuya' Tolqo'
Art, Melboume, fowsoo, tb row Geolg Kargl, V¡enna' PIERRE et GILLES York 1990,
saints, Galede
and osaka {touring e)óibition); 1988, ¿¿s

tt never facrs that tell, Tate &itain (and Glouester Boad

wrk in Par¡s)
(L¡ve and
Samia Saouma, Paris; I 986, Pierc et G¡llr - Naufrage'
preiecl), Londou 2003, MaÍreen Paley, hterim A]l' London'
Pierre Commoy: Bom La Bodle-surYon, 1950 Studied
Galerie d6 Ar¿n6, i,¡imes, ivadnge, Galerie Sam¡a
fi¡i¡' fherc is a sileaÉ to fill' ErologEphy ¡n Geneva (¡merrupred by military sruies)
Galler¡a Ran6 Noso, Saouma. Paris; 1985, Ee¡re ef Gi,,e§, The Ñt G¡na Spae'
Gilles Blanchard: Bom, la Haw, 1953' Early 1970s'
Saláerger Kunslvercin ,Salúutg, Nú to be' Nú to be at :rolsto, Pletre et GillÉ, Galerie Salum Art Coñempomin'
all, Posdle Hol, Salzburg, Art Unlimited, Ba$l; 2002'
ludied at ihe Eole d6 Beau-Añ§ la Havrc
Avignon; 1983, Eere ef 6t7res, Galerie Te)ómun' Paris'
Ihe¡f ollaboration began after meeting at a KeEo
fo DE tua De Appel, AtrBterdam, Bí,'¿oard§, l(unsthaffi
Brcgetrz, Somer Cortemporary, Tel Av¡u 2001' ¿osf n boú¡que openiru, in Anum 1976

wildemñ f dvi,,le Georg Kargl' vienna'

the savage
Maurcen Paley, lilerim A¡r, London, Ñt & Conept' Par¡s'
Two-PEBsoN ExnlBlrlous {slscr edl,zool, Pimet D0UG & MIKE STARN
(tivc and Work Brooldyr' NGwY0dd
Cirres Gal€rie AndEa C arilút,Ztriúr,Comspm'!ilws
Ch¡oPmiectroom, Los Angeles; 2000. Susnne Kulli'
MBée D'Offiy/ Art CüfflPoa¿ Musé8 D'OEay' Paris' Doug & Mike slarn: Bom' New Jssey' 1961'
st Gallen, Staimenús, tut Basl, steirisder Hertst'
Plne et Gitl6, lloviag eñibitim) Mosow Hw ol I 982{5' Sdlool of tlE Musdm of t¡re Art' Bo6lon'
Minoritengaler¡e, Gra4 Wtere else SEGESSI0N' Vienna'
Moffi¡, ilarüle Palae'
t always tett yN the tnlth unles ú úw
I am lying to PhotograPhy, The Manege, and

you Kunlhaus Glaru§, Minoritangaler¡e, Jad(f llon' RusianM§sum,stFete]ѧlg,PtereetGilt*Dübte-AwafdsandPubliccommissions:2005/03,lietmpolitan

TraEportat¡m Arf hüity (South Fsry leminal} Mulñ-
Nil York Magazin 4, &egen4 1 999, Galleria tran6
Je 1976 - iln\, Galeile t{stionale du Jeü de Paum'
pailait' mdia hÉallation 2000' thc Msdal Awrd' Sdml
Paris; 2006/07, fiém ef Gitles - Un mn'te
Nmro, Turin, Geüg Kargl, v¡enna, ChiBgo Pm¡ed 8mm' Museum of Ene Arts' BostoD 1995' Nlimal Endoment
Gal8rie JérOm de Noi mrrt,Pafi'üzlli Piere et Giltes'
Chi6go, DfWt{MtM, Brooldyn, NewYork 1998, ¿otre'y lor the Atts Gnnt' 1 992' lilemational Centsr lor
Búruspedlive, Mtreumol Gonlmponry Ñt' Shanghai;
Fad§, Kunsthalle, Ludcnmlde, §'aynoái', City Racing'
London, Sraymo¿í Galer¡e sh¡ft, Bedin, &op'e fioreve¡l
2o¡4,ñemetGitt6'EearrfilulDEgo¿seoulMGeumPhotogmphf§lnfinityAMrdlorFineAttPhotogmphy'
 1 986, Masd|ustts Co[ncil of the tuts, tb¡¡oEh¡p Leo Casiell¡ and Stux Gallery, Nw york 1988, Irrike ard l¡ving R@In Amfe]dam, Galerie Six Friedridr, Münúen,
¡n ftotography. 1 987, l'¡at¡onal Endoment Ior the DNg Stam Selecred Wok rgSt-A7, Honolulu AHderry Dan¡el Neraóurg Gallery,
Newyork 1987, Daniel Netaóurg
Arts Grarf. 1985, Filth YearTrarelling Sdilo6hip. ol Art, Honolulu, and Unive6ity Art Mceum, Univetsñy Gallery, New York Anna Friebe caler¡e, KOln; 1985, Galerie
0f Califom¡a al Bedcley, and Wadsmdh Athenaeum, Six Éiedr¡ú, Münúen, Anna kiebe calerie Kóln
fWO-PER§0N EXHIBITI0N§ (setectedl: 2007, Dwg aú Hartford, and Muse[m of Coilemporary Art, ChiEgo, t98B
Mile Stam: Blad( htlff 2000-2M7, The hirt CeÍtet, mnt. Stux Gallery, New York Leo Catelli Gallery, New
Philadelph¡a, a I leverythingthafr3rrya Wetterliog Gallery, York 1987-88, fhe Ctuist SeieaMwum ol Modem A¡t, JANE AND TOUISE WIISON
Stoddnlm, /lrew Worb (wrking title), Weinte¡n callery, San Éarcim, and The John and Mable B¡ngling Museum (Live and Work in London)
M¡nneapolis; 2006, .4áso,pfrbz + Iraf,flrbsrb4 Stedeli¡k of Alt, Sarffiota, Forida; 1987 Stux Gallery Bcton; 1986, Jane & Louise W¡lson; Bom 1967, Gre8t Brita¡n.
M6eum de Lakenhal, LeideL Oppositim of Coilcidents, Stux Gallery, New York 1988, Stux Gallery, Boston. 1986{9 Dun€n of JordaGione College of Art,
Tordr Gallery, Amf erdam, alleverythiMhatisyou, BEtú¡ia
Dundee, BA F¡ne At (Louis), Nemstle F0lyteún¡c,
Gallery Aspen, Colom do, Mike and Dow Sta¡rl Galeaa BA tine At (Jane). 1 990-92 Gotdsmiths College,
Metta, Madrid; 2005. ,4 bsotption + IfaMisioL
The ATIGE STEPANEK & London, MA Firc At (Jane & Louis) 1993
Natiooal Amderry 0f Scienffi, Wash¡ngron D.C. (tnvell¡trg STEVEN MASTIN
eiihjlionL lnpemarene, Leo Castell¡ Gallery, Newyork {Uw and wrkitr Cologne and Berlin} Awards & §rants: 1993 Bardays young Afist Amrd. 1996
2004, Gnvity of üght, t¿irgfabritcn l(unsthalle, Slodóotm AI¡ce Stepanek. Bom, 1954, Bedin. ,g8t-82 DAAD Sd0la6hip, Bedin - Hannouer, Gomny. I99I
{travell¡ng súibit¡ool, Beárhd yor E/e The Neuberger Mafinb Súml of &t, 1974{0
S't London. Part time Piofsos at the Ku6t AEderry, Oslo. I 9!r9
Musum of Art at A¡rdlffi College, R[dtase, New yo]k Akadmie der hildenden Kütrstg Mundeo. Nom¡nated tüihe Tumer prize. 2000 IASES, lmemat¡onal
(travelling eñibition), /fl a regative lallitg dow to the Steven Maslin: Bom,1959, London. 1979-79 St Artit's Studio PtogEm in Swden, Stodóolril B6¡dency
ligltt a silhoaefte veins Ílowing with blaú visihte to th$ Martin's Súml of An, l979-79, Kingstotr
London. Fall. 2001- 2005 EfematAssor For clffigowM.EA
Mles blind eyes, qom Wetterling callery, Slodóolm, Polytedrtriq, K¡ngston-upon-Tham 2002 Amrded D0cto6 of Civil Law DCl, Northumberland
T$hodai¡i, Nin lkqda Gallery, Tava, Japa¡, Attnded univesily. 2004 B$idenc1 at the Sdlool of Fitre
fo lr¡áf, Baldwin Gallery, Aspen, Goloredo, Ooug & Awards a¡d Prizes: 2001, Kunstpreis der Stadt tutc SoFA Gallery, Chrisúurd|, NewZeatand.
M¡l@ Stan¡, lahmaaa Maup¡n Gallery, Newyodc 2003, Nordhom, Stárltisóe Galerie Nodhom.
Attncled to Ligt¡t, Stephetr Wirtz callery, SaoFnnc¡s,
TW0-PEñSoN EXI{|BITI0NS (setected): 20ffi Jane & Louie
Absorption ol üght, lis Sette callery, S@ttsdale, Arizona, TWo-PEñS0N ÉXHl8lfl0¡tS {seleded}: 200?, calerie Jean- Wr7soL Haundr of Venimn, Zuridr, The New &utalists,
and Galer¡e &rak Seoul, and Tordr Gallery, Anrsterdam, Luc& Taloko Riúard, Paris, calerie Volker Diehl, Berlin; lison Gallery, londoni 2005, Erevhü, Blñel Gallery,
atrd HaN Mayer, Diisseldort 200l4Z, Ahil¡ptiu o¡ 2006,Tord, ArEterdam, Galeria Leyendeder Santa Gruz Ho!úoa, Broken t¡m, Hattm Gallery, Neffistle Upotr
Wrtz Gallery, San trancim; 2001, ,Very
¿\igáf, Stephen de Tenerile; 2005. Fabian & Claxde Walter Gale¡ie, Ziriú, TWe, fhe Koot Ga¡det, Collaboration on M¡úael 1ippett
lUoft Weinstein Gallery, Minneapolis; 2000, dad<fuke, hrdy Hids Gallery, Lofldon; 2004, Galerie Jean-Luc & opem, Boyal open House 2, london; 2004 Jrre & ¿orrbe
Baldwin Gal¡ery Aspen, Colotado, Doug and Milc Stam, Talc¡o Riúard, Paris; 2003, A¡dar callery, Mosmw Galer¡e ll4lso4 Bergen Art MNum, Bcqen, NoMy, Erelráo,
GlMatr Gallery/Súool of the M6eum of Fne AÍs, Thomas Behbein, Kóln; 2002, Galer¡e Vollcr Diehl, Berlitr, - Jare & louise Wilsn, 303 Gallery, New york Jrre
b*on, fumoe,rt CorredioL M@um of F¡ne Artg Galeria Fedro Cera, L¡sboa, furdy Hids Gallery, London; & Loui* Wililn, Íondazione Davide Halevim, Jrre &
Bolon: 1999, Fay Gold Gattery, Artal|la; 1998, &oa Oü, 2001, Kunstpcis der Stadt Nordhom, Stádt¡súe caler¡e Louiff Wilsn, De Npel. Ansterdam, /4 Fee & Anmymus
7De S¿4 Baldwin Gallery, Aspen, Colomdo &acksuz Nordhom, Nordhom (with Beate ciitsóow} 2000, Stdio Monurenl fuii M. Mceum, Fori, tinland, Ja, e & Loai*
&rmed Leo Catef i, NNYotk 1997, S¡ze of the Earth D'Ane Ratfaelli, TrcÍto, Aidatr Gallery,
f
Mosow sefan Mrson Umea 8¡ldmeet, Uma, Sreden; 2003, Á Fre€
The f¡¡ends ol Phologmphy/Ihe Amd Adam Celrter, San Stux Gallery, NewYodc 1999, Galeria LeyendedGf, Santa & Anonym$ Moowe,rt, Bahic C€mre for Contemporary
Franciw; 1996, Doug aú M¡lc Stffi; Betrcpedive, Cm de Tenerife, Laurc cen¡llard callery, London, Mu*um &t,
Overuaden M¡n¡stry of Culturc, Copenhagen, ,rerrb triátr;
Gateshead, Cerfre de fuografia, Salamane, liwn
Sdtlm Hardenberg, Velbert, Daffiqu¡ne, &usels; Gallery, london; 2002, Kumt.Wedc, Bediü2OOO StatCity,
Fay Gold callery Atlarta; 19tt5, cater¡e BEk Seout, ,rerrc lhieme Damstadt, Eliabeth Cherry
1998, Galerie Arel 303 Gallery, ¡lew Yo]k Bem¡er / El¡ads, Athe ns, S:tasi City
líád, hce/MacGill, NewYork 1994, Doug aod Mib Stam: ComempoEry Art, Tu6on, Stefan Slux Gallery, New york & Cnut Spae, Ml¡ Us Visal &ts Centre, Cambridge
Sphüe of hflret@, Po.tlaod Museum of Arr, turtland, Galerie Vollcr Diehl, Berlin, Tordr, Arsterdam; f992, Laurc MA 1993/2000 Tumer hize, f*e Ga|/rery, London; 1999
Spedruheliog¡aphs lco Caste¡li, New york f gg3, Doug and Genillad Gallery London; tgg6, Johnen & Súaittle, Kiitn, Jarc and Loui# Wilnn Serpefline Gallery, London,
,t ik€ Sfam, Na6h¡ma Coilempomry &t Museum, Kagam, Rüd¡ger Sdriittle, MündleG Galerie für LandsúaftslorK, Crm. Us$ Gallery, London, sf$icr1ry Hamüurgel
Japan, Ma*ing fine: Doug and Mib Stam, Nilional Hamburg, GalleriTommy Lrnd, odere; t995, T0rú, l(u¡sthallo, Hambuq; 1998 ,{&Bh?rbds, Bnsdq Srasi
Gal¡cry of Vidoria, Melbourne; 1992, yellowa1d &ue AnrterdafiL Laure Gen¡llard Gallery, London, Galeria Ciry 303 cal¡ery, ilew Filn Sfirrs Atri-EI Ga[ery,
YodC
Louv¡efloor - A hojed, Galer¡e Thaddeus Ropaq pari§ Leyendedar, Santa Cruz de Tenefle; tg94, Daniel Ner¡/üurg Tokyo; 1 997 Stffi Ciry, Kunsivmio Hannovor (Touring lo
Leo Castelli, ftlewYork 1991, Muttipl*, }aetuaúil Gallery, New york Forum tl¡ldender Kiirlsler, Es€o, The Ku6lEm Mun¡dl Ceúre dart Contempmin, Genew;
Gallery, NewYork (¡n @-opemtion nrith l-eo Gastelli. New Cor¡dor, Beyk¡avik Galleri Tmnry Lund, Odem, Jan Mot & Kumtwrlc, Berlin), Ja¿e ail! Louis Mlson,lÍA" lt¡d¡w:
Yoilil;1990-91, Doug a,il,ilú:le §faz Bahimre Museum oser van den Boogaad, &uwlg palmenganen, FranKuU 1996 Galleria S.A"LES., Rom (pat of the &irbh Art
ol tut, Baltimop, and Ceilertor tine Afs, M¡ami, and Maiu f993, Johnen & Sdiittle, Kótn, Galede Votker Dieht, Fegivall 1995 "ilompatl§", chisenhale Gallery, Londm
Baffer Gallery, univeEity of Hou$on, TeEs, and Ceritel Berlin. tl¡a &dylhr, Bno, Vera van Laer Gallery, Knollc, (toffing to BeM¡id( Gy|noG¡um Gallery, Beaüd(-upon-
torlhe Ene Ats. Cinc¡noati, and The Ako Museum Galeria leyendedar, Sarta Cruz de Tenerire; lgg2, Galeria Treed, "Cnwl spae", M¡lú Gailery, Loodon; tg94 Jare
of Art, Akon, ohio; 1990, Fred Hoffman Gallery, Sarfa Mar Elmda, Madrid, Galled Tommy Lund, Oderc, l9$, and loui& Wson, *it¡$h AD¡ed ll. Galsi8 KriEiryer,
Moni€, Mario D¡a@no Gallery, Boston, Stux Gallery, New Galeria Leyendedcr, Santa Cruz de Tenerife; 1990, calefa Vien¡a, Rout6 1 &9 Nuth, AqF,laiú. Rmm, t¡ewyoú
York Leo Cffitell¡, NewYork Galertie Afoine Candau, Leyended@r, Sama Cruz de Tenerife, The L¡ving Rooln
Pa¡is; 1989, Atim llcda Gallery, Tolqo, Arre Fnnk Gruup, Amterdam 1989, Tord-onru5i Galerie Kó|ry 1988, Ihe
 17
S*rrn" L"ng", Was wil tm, isf tetzttidt and Dinos & Jale Chaprnan', t ory LiúeI {Six Feet Under),

Cesúiúte eaáhlen: km¡l uill Hilla *dEt, efiib. el., NewYo]k 1997, PP. 147-53. The Étalogue
EiÍÍührung in das Leben ürd Weú Muniú,2005 with fs doubled slalll atrd ffibon6 and gold{eaf
gble
edged pages is a deliberate parody of lhe Holy
18
Jammn, fuslmodem iffi, ü the Cuftunl
Fredric
l0 oprephilia (eument
lngic oÍ Ldte Capitaliil, Durham NC. 1 991 . Jam§n lerement eating)
Copraphagia and

my be seen in some respects and a late devotoe of lwing) hffi a long liteEry atrd visual arts history' lt ¡s dEtribed
the traditioml Franldurt sdlml, Beniamin, Adomo, in the Marquis de Sade's Jül,heand, in Surealiil, re arc

Hodóeimr, wño sim¡larly sougtú to revise Mailiil reminded ol it in Salvad0r Dalí's painl¡ng The bguhdw Game,
,929, diagmmmat¡Elly ¡llustmted in Bata¡l¡e's Doffint§,
:1,:,..1.fhe,fit ,rdres in question are almost Érta¡nlythose
"gan Deember 1929. See Dam Ads, Dalí London 1982, p 6S'
oi ihá'iáitmy arores around Liverpool Street' the large railMy
:l:lláái6iii¡¡he Ear of London ln lad one of Gilben & George's ili . TRANSGBESSION' Therc is ds Plefo MaEo¡i's Mede {a¡t¡sta (90 em, '1961)'
PROHIBITION AND TABOO see Gemno Celant, Eeru Maumí efil¡h. HLluadoa
. ,,rrl:l:iiiúilS sdlpture perfomane§ took plae under the ardres alist Marc Oüinn alm used
'irr:,:r:lllr,:l'riii:aable 1998, p. 274. Ihe mntemporary
Street, El (near to Limehouse Stat¡on) in 1970
1
Jacqus Denida, h¡s om emrent in a sr¡6 of 'Shit Pa¡flings', see Ma¡c
lnamate lways by Wll Self, David Ihorp and Mark
',,,; 4 weirlrop) 'FoE and SigniliEtiof¡ i¡ W¡iting aill Difterefle, Alan Bas Aainn:
1ll' Bud Flanagan (born Chaim Beuven
Gisboume), London 1998. Referene hffi already bBn mde
I 869-1968, Chesney Allen {1893-1982) (tm6l.), GhiEgo atrd London 1978: rcpriiled, London 1993, p 3
with regard tothe *ri6
on th¡s sub¡ed by Gilbert & George
2
"'"' .""llll'l'l' 5
op cit note 2' p 47 Geoqe Bataille, "The fsrival, orlheTlansgmion of
' 1 1
lt my be oincidemal (bú nonethd§ appmpíate) thai
ri::rl:::lt_ RohibitioÑ in The AHNí share' Robert Hudey (transl )'
6 Dominique taporle's ,rilory of §áif ms published ¡n English
vol. ll,'Ihe Hifory ol Eroticim', NMYorkf 991, pp'
., ttiu., p. eo
at this time by Cambridge M§. 1993. originally wittetr
89-94. The te)ú orig¡nat6 lÍom ¿'Eofim, Paris, 1957
r::::lrll:Illiihái itr Pari$ in 1968, it ms pübli§hed in tE[E 6lhB Histoire
our nrt Means', statement by the añists in GrtÓel
3 Affitt la Mede (Prulogre) in 1 978. h dealt e)rt eGively with
& George: The Complete Pidurcs 1971-85' rcÜodued Barill", 'lh" sdt*a of sovere¡gnlf in fhe tte

the buried (a pun) hisrory of bod¡ly Mste and effluents'

i¡ The Wotds of Gilbeí & Georye: With Po¡lnits ol the §rarc, Bobeil HudeY ftnml. ), wl. lll, New York I 991 ,
to r99¿ London 1997, p. 149 pp. 213-23 though or¡ginally iileded # the th¡rd
Artists tron 1986 I2
uolluffi ú La Pa,t mutlite, the tBú ms witten The use of the mnnequ¡n has a long, trerrtieth-

8 e t953, bui only published ¡n 1976 Entury h¡siory of use in the visual arts, beginn¡ng with
Viraly Komar, Komar/Melam¡d: Tw Soviet a§ early
De Chirim, the kendr Surealist lntenalional e)ó¡bition
diss¡Zetrt arfistt London and New York I979
I B"tuill",'Pr"f"o' Meaning otthe General using mannequiffi in 1938, and in the post-wr period

9 AHNI!
"nd'The
Sha@Robert Hurley (traml ), artils l¡ke Duane Hanson, John de Andrca and morc reeÍl
Carrer Ratdiff, Konat & Melanid, NewYork 1988' p 17 E@nü!V in the
vol. l, NewYod(1991, pp' g-14,19-26. "1 havetried ¡n @ritempomry altists Chafl6 Bay and Ron Mued(

10 vain io make dearlhe notion d ihc'gencml mnoÍry'

Ihe artisib oitique ol we§tern (notably Aneri6n) forms of 13
the 'e)Qenditure' {the '@mumption'} of walth, See Dryid talmner,'Doctorin'the Betard¡s', in
art patronage and Ensumption Ms developed later' see Joann in vñiú
Wyp¡iercki (ed.), Alel§andr Melamid (author)' Vitaly Komar rlher than production, ffi
the primry ob¡ect," P' I chapmnw¡ld,lot. ciL ), n. p. Ihen is a deliberate pun on Dl

Who (a popular &it¡shTV sciene fiction sri6that hffi lafed

laúhotl, hint¡ng by Nunbe6: Konar & Melam¡d's Sc¡ent¡fic 5
B"trill"'" irllurn* on the visual arts hffi been enoruE, §0m forty yeats in ulh¡drthe Dodof has úanged manytims),
Gu¡de to Art,NewYotkl997, and Berkeley and Los Angeles 1998
'relard' and the
$€lled'darkside ol Sunealim', and the non-wrd 'Reladid rañidr plays upon
not onlywith regard to rhe
l1 bú als lo many @metrFofary art preditioneB, sm 'TardiC the Polie Boxt¡me tmvel madline Ed by the Dodor'
Peter wollen, Konat and Melam¡d:
H¡story Painting, Edilhutgh 1985 llademve¡SuMliffi Gutge &taille aml D0CUMEM|S,

e,óib. Et., South Bank Centn fttbtietions, t'ondon 2006

1{
George Louis lederc Comte de Bffon {1707-78) ffi a

12 trendt natunlisi u/ho developed devolutionary theoriB 0f

ttlay/ Ahranovic Pe¡f omanffi g76-t 988' e*tlb'
1

5
ttrteniewwith Sarah Keil'Gonder Blende§', mutation to e)Qlain the d¡ve6if¡Etion of types within specie§
@1., StedliikVan Abbemuseum, Eindhoven,'1997
frme 0¿f, May 1-8. 1996, pp. 18'19 (p 18) and the serual ori0¡n ol speci6. H¡s relevam herc may be

!3 due only to the the fact that his ideas wre ogounded by Percl
Prul Kokk",'An l,,t"ruiewwith UlaY
7
See: Douglm Fogle, 'A S€tologiel Aesthetie Byshe Shelley (r792-1822) and Marv Shelley (1797-1851 )
ard Abramovic, ibíd, P 1'19 qeat¡otr of
an idluential badqmund to her
lor the lircd 0l See¡ng' in Chapmnm¡ld, eñih' and fomed
l4 61., london 1996. The showl]avelled t0 lhe GEzer ÉankelEtein. The Etalogue Chapnanwthlis intmdued ¡tr
Thomas McEvilley, 'Eth¡6, Esthet¡6, and Felation in the wrk
Kunstvotein, Graz, and Kunst'Wed@, Bedin, in
'1997 pseudo-Gothic s¡pt asmiated with lhe Go(h¡c homr traditiotr'
of Marina Abramovic aadUlay' in Modus V¡vendi: Wotk 1980-
85 eú¡b. mt., StedeliikVan Abbemuseum' Eindhoven' 1985 15
8
ln tem of implicit referetrm to Bataille, s@ Georg¿ ln their atalogue lloly ¿iáerthe Chapmsn's e)(Íetrded le)d
15 Batditte: VÉioÉ o¡ EE§, Seleúed W¡ititgs 1927-1939,
(winen by Jake but ollaboEt¡vely agreed) is a s¡mulamm of
The series of desqiptive quotes for the¡r Mrks i§ lrom
Allan Stoeld (ed. and itrtD.), Allan Stoeld with Carl B' a bmk or ep¡lle lmthe Bble, as ¡sthe g6nenl aPpeanne
tJlay/Abnmovic Perf oman@s 1 975-1 988'!'ttidt preserf s the
Lovitt and Donald M. Leslie, Jl (tmnsl'), Iheory and book h ¡s linered with südl hallucinatory language
o, the
performanes in ind¡vidual sedions that are not paginated
Hilory of Uterature, vol. 14, Minnesla 1985 and litled 'Pleasumblc Disgust in lhe Iheatn of Abhomre:

16 Spa§¡cThough, Teminal fis and Hypeóolic Anrbivalane',

op ,it., not" 13, p. ll7
I 'Bevelatim: A Gonve§ation betwen Roberl R@nblum pp. 5-76; "&tt fuddae is noither a boy nor a girl ¡¡o'
 tuddae is ¡Bt plain ruddae. ry birrhriglf Fuddae is a Ntrional Cenlm de Arte Reina Soría, Madr¡d l9g4/5) relffi lo an ¡derior @py ol ar existitrg tyle. ln the nincteemh
dimvorel organ, a loosely $poíed odonalúm,,, p. 2g
entury it ¡dered snt¡meilality and relodram, but ¡n rhe
26
&ian o'Dohery (a.ka. patrid( helatrd), ,zs¡de fáe lrentieth eilury hstaken on many differcnt theoret¡Él
16
deollated or headles body
The the mvor m White Cube: the ldutogy ol the callery Spae, &)¡*Ele,!, impl¡etions. See: Clemnt GrcenbeIg, .The Avant Garde and
ilftstration (dsigDed by AndÉ Mmnlfor Bataille,s L6 tugetB, lotrdon 1976, e4anded edition ,l986 Kii$út' i¡ Añ and Culture, Nsw yod( I 971 ; Hemnn Brodr and
Bd¡eticn\iN Acéphale u/tridt En Im 19:16-39 John Hargraves Geit ild Zeitgeig: 'Íhe Spitit in an llnspiritual
27
Elmgren & Dragaa: fúeruiew with Jem Hoffmn, ,49e, NewYork mpr. 2003; TheodorAdomo, Cutture tndustry,
I7
Therc are Freudian re{ercnB lhreughoú ihe early literature Spa6d out (tuwrlx Sfructu6), pp.32_37 0lord, rcpr 2001 . Ihe above authoE wuld sem to agree
and a freud ep¡gmph begim the Chapman tef ir Hoty Lihet. See
on the pcition {albeit diffeGntly argued) of a fom 0f false
d$ Leo BeÉni, r¡irGeb@kThe Freudian hdy kydnamlysis 28
Ma¡t Ftaúer (qraor), 't-ove in rhe late Capital¡sr @nscio6n§. fosfmodemim with its cdectic indusivenes
ard Á4 New Yolk I 990. is a telling early illfluen@ on their wrk Dystopia: Cming Together is Divim, ¡n lhe Joy and with appropriat¡on ani$s l¡le Jeff KmN has made a surc
olser e,óib. 6t., Ssoul 2005, pp. t0_12 definit¡on wen mrc diff¡Blt. As a EUlt literatuE on rhe
1 8
Bataill", 'Fro. E otic láughter t0 t roh¡bition,, ¡n lrre
29
sub¡ect over the last lwlrty"five yea6 has bolm enom§
Iea6 af Ems, San Bancis t 989, p. 66. "ln mG¡dering Alex Corfon, The Joyof Se4 ltndon2002. Ihe book has
erotic¡$¡i the humn m¡nd ¡s faed with its tr6i been ¡n @nt¡nuous publ¡etion sine its release ¡n 1972 4
Mrrlor" Mr,rf"", Adi B@nblum in wetsalion
fundanemal diff¡dhy. E¡oticim, ¡n a $ense, h laughable "nd
with Gerith I ryn Evam, lo Die For Muntean/
30
... Allusion to the erot¡c
alwys epable of areusing
¡s The t"- m -ined &itish üitic Hertert
by the famous nMnblun efiih. áa., Amterdam 2002 , p. 55.
irerry." It should not be m¡sed either that Erc m a God, Bead in rclation to the amrd windng ulÉurc h the The quotat¡on usd ffi stated hy BGeúlum.
Irequently rupffiemed and depided as a ,puerile drild,. British Paülion at the Venie tlennale in 1952. An important
origiml Frcndr te)ll, ¿ 6 lam6 de E¡os, pa]is 1961 aspecl ol Lynn ChadwidCs early wrk the Ge 0f ffi 5
Leon Battisa Alberti , On hinting l14t4l, lftol. il, 431,
reld¡ng and ñmblage. The gmup ¡nduded Beg &fler,
19
Tt"i, initi"l
London, repr. 1991, pp. 7&-79: 'Therc should be Me bodios
6'Bue I{G6. took plae as Lynn Chadwick, Bemard Meado$. Kenneth Amitage, John that fae tomrds G,
"dribit¡on and othe6 going amy, to riglf and
me New Holy FNls, or the Hlmlw ol futlomile da Hoshn, Rob€rt Adam, Elizabeth Éink Eduardo paoloz¡ left. Ol thm sme pafs should be show tomds the
the Yverev Center of Coniomporary fut, Mmw in l9!lg. and, marginally, Henry Mmrc. SB Denn¡s Far aod Eva spectatots, atrd otheG should be tumed amf $m should
At th¡s timthey wE an eNmble that ¡nduded Dmitry Cha&nú, LW Chadwidt$alptü W,tha Cmptete be m¡sed upMrds and other d¡rccted doMmrds.,,
R¡lnyg¡n, l(omtantin Shotn¡kov and sreEl othe6. Frun I I I wt nt ed C at a Iog re, I I 4 Z -2 M5, |!{ad Humphties 20ú
lim to tim theystills@nd dher art¡t-patic¡paotslor 6
Op. .it., ,ot" 4, p. 53
thc purp66 of spmilic preieds or mnifesiat¡om 31
Jeffrcy Deirdr.'Ead(Mag¡C itr tin Nobte & Sue
WebsteE Wasted louth, NMyo*2006, 7
20
n. p. ewrc Ripa lanologi4 Somc I 593. A¡ enomsly ¡rlluemial
&¿e lVm, elrib. mt., Trctyakov Gallery/ emblem bookfü the depidion ol figurcs, fom and pos
Maf¡n Gudmn Art Fomdtion, Z0lt6, p. 5 32
Another *mingly spontaneoE añ wí( exils @lled in lhe lTrh and 18rt emuriÉ As an hbtoriEl, statrdard
Ut¡titled Stile Fomatiot. Death Ualleyllggll-
21
B"ari, B,f ,'Trhrg plae, in Íaúng plw:
¡¡ ¡s a c¡rde of te)c it hc been tmnslated and rcprinted many lim.
stna the añ¡st ereqtted ¡n Death Valley, USA, shaped m a
Íhe Wo,ts oÍ Midttrl EIWM & hryar Dn}set, heaí atrd haüng the letteE T & S @ntnlly pla ed, tin l,lohte 8
§ee: Dave Hidcy, "the Del¡€cy of Rod(-Anrl-Roll, in Ari,
eúib. @t., ostf¡tdereo pp. t2_32 añ &úa¡ia$,Itrdm ill6
Sue Websec me New 1999, p. 4 Guitar Essays ol Aft and rmmcf
[G Angeles t997,
2 pp. 96-1 Ihe dEtor and qitic Dave fl¡dcy ffi a red(
01 .
Hen¡i Ls{ibrc, The Muctiü ol Spae,Ll¡don 33
David Bansn, 'Howto be young &itish music sñic and witer of pop smgs in the late ,60s and
atrd o)úüd 1991, Frfldr originat. 1974 A¡ti$s for Futr and Prof:ta', 'lin Noble aú Sre early '70s. His ffiy giG a sere ol the tone of lhe period
23
Websü fhe ilew furharia$, pp.S_l and the musicsere in the United Stat6 at that tim.
Dotolhea von Hantelmm, 'product¡on of Spae - Spae
of Production' ¡n Spaed ürt (fuwrlñ Stnfrtu6), 9
See: Abay'Desúec fuint it ilaú, e,rtib. Ela., Galsie Volker
eúib. cf., ftanMurt-amMain 2003, pp. gH3 I!! ",GENDER AND DESIRE Dieh¡, Beflin, and Galerie Suzanne Tamiéve, paris, 20f)4

24
l, rhis, Elmgrcn & DragM arc indebted t0 earlier pcit¡ons lJudirh l0
&iler,il. fte Computsry Max Em« frequemly Elered to hiNlf in the th¡rd peMn
lilc Datr cmham, cordon
vis-á.vis spaE adopted by af¡sts 0der of Se¡/Gender/D6irc' i¡ Gende¡ lmuhles, London 1999, and the third eye Ms the 'eye of the unmmious self,.
Il,lana-Cla* and lawene We¡nei Se Dan Gmhan ,Theatei pp. 9-11: "... the d¡tindion betwen sexand geoder sil6 CId0ps-li&e, s¡ngleeyed figures appear lnquently in rcds,
C¡nom, Fow/, ¡n ,ock W Beligiü: Witirys ilrf proieds, the argumrf that r^ñatever biolog¡61 irtmctability sex appeats paliolarly in the 1920& Se: ,tt¿xEut, Barelona 1984, ill.
1965.1990,Canbtidge, Mñ. and londm 1993, pp. 170-.09 to havq gendel is flltumlly oBlructed: hmB gender i$ .the
pp. t56-57. Gmrge Bara¡lle @lled the sre th¡rd eye
25
neither the EUsl wh of sex nor as semingly lired ñ sf,,, pineal eyd as the oye ofimdiate existetrE. See: ,lll plneal
An of an etrpty spao is not u/ithoú prceden@
"úibition Eye', VB¡,N oÍ Ew§: Selected W¡iti\gs tg2l-gg,fhqry
2
- sve that tm paintets lahouEd in the Ehigreen & Swn Stemrt, '0bie ds ol D6irc, i¡ OD longing, and Higory of L¡temture, vol. 14, M¡nnesia 1994. p 82
DEgset spae. YB Klein e)óibited an mpty 0allery D[]lhm and london 1993, pp. 132-{9: "Within the
spae and vitr¡ne tr ¿e vide (Ihe Void), * lds Clert callery, developmont of dfturc with¡n the e)dEnge e@nfiry, t1 -There rc
Pads from 28 Apr¡l-l2 May, t9S8. Se, Siidra St¡dr
an old mmn u¡ho l¡ved ¡n a shoe. She had s
the satdt for authentic e)geriene and, omhively, mny úildren, she didnl loow h¡hat to do. She gave thm me
led.l, Ws Klein, ethih. 6t., ostf¡ldem 1998, pp. 134-35. the sardt for the aúhentic ob¡ect bem sit¡61.,, brdh without arry bread; she rniripped thm all soutrdly, and
(Ihe erdribition m
also shom at the Meum Lüdwig
*il themto bed." The Geman or English origim of this nusery
Colognq l(urrtammlug Nordrhe¡n Wesffalen, and MGeo 3
whut -nrtit,rt* titsdt ¡s diffiult to def¡ne but, in its ofigin, rlrym are still mdt debated. one ol the earl¡est illGtEtioE
 1 2 lNlt to ln¡ury Giitt¡ngen 2004
War Callot Goya Dü( e)óib. @t', London 1998; Jale & Dinos Chapman,
(1 81 0-gG), made ¡tr 1875 Bom in D¡sa6tes of
is by Joseph Martin Kmnhe¡m
ms an enomGly influenúial @louled Bobel Hugh6, Goya, London and llewYork2003 13
Magdeburg, Kmnheim The defene also induded a ¡efeene to Roberi
primmaker mvod to Ed¡nburgh, then finally lo London' e
r^¡ho De Koon¡ng DBWing oI 1953'
3
"Ihe orpce (or ederc to fall), thal
odaer ra¡hidr Rausdtenberg's mrk elled Effied
1846. His mlour pdtrts wrc d¡riribúed rhreughout Eumpe' ill p 50
& DitrG Chapman: Bad Art for Bad People
irrcred¡ably mmes a dopper, is mpml and dedh; it Sse Jake

1 2
eck'E a & Adele', et'fib' d', Eva & Athle: up6ets sven morc violently the one r¡/ho mnlrenfs it as
Robe,t 14
The effeús ol both shod( and laughter, and the fact
Ff

k /tt6eu,r¿ Ostfilden '1999'

P 67 lngile dtane," Jul¡a Kr¡steva,'Appreaúing
and lallacious
WheE Evetwe Are
that in a state of shock mr human Eadion is often that of
Abiedion' ¡n Pow§ of Homr An Esay on Ab¡ect¡on'
Leon S Bordiez (trañ|"), New Yod( 1 S82, p 3
laugtfer, h6 been e)densively disffied in relation to Jake
13
& Adele: Logo ¡ltedia1lasrik-Wngs-Lingede, e'iih' d" 'FowE of
and DinG ChapmaB wd( Se Tanya BaMn,
Eta
Ostl¡lrlen 2000; {se §ays by lhea Hercld and G6¡ne l-ast}
Laughte/, and Davo Beeú, 'Shodc A Repori on CoiletrPoEry
lhe rheory of the úizome hffi been a onsiderable irfluene'
4
Art' in Jake & D¡nc chapman: Bad Art for Bad People
1{
Paolo fl¡andri, 'At as tho lnvemion of L¡le" sine it speats io the pGl-modem or late Bpital¡st idea ol
Taie t¡verpool, 2006, 6?-85, pP. 99-1 1 0 ffipectirely
a lateml ratherlhan the vert¡61 mdel of dimutse
lt is a PP.
ertib. d, CttM Ew&,4de,e, (Coming out ol
the Ffure), Hanmv8r 1997, PP 28-35 deerfEd @neF thsl many be seen 6 being analogoG 15
l,¡omn lfteblan (ed.), Mimr¡ng Ev¡l: Nai lmgery/Bcent
with intermnnectivity and the iilemet and the §pEad ol
fut, f{ew Yor* 2002. The book al$ siled ffi an elóiblion
15 lhe Fl[l(, Gesúleme globalisation. See G¡ll6 Deleue, 'htmduú¡on Rhizome'
See: Madr Gisboume'L¡fe in
Etaloque at lhc same tim at the Jeu/ish Mueum, New York
in AThou$nd Plateaus: CaPitalism and Sdrizophrenia'
Geltsdnlt Ew & Adete,oú¡b. 6t., BGrlin 2004, Pp' 5-15
Bian Ma$umi (transl.), tondon 1987, pp' 3-25
1 6 Chri«emn, 'The Young London Art S@ne of the
Torben
16 'Gends ldolrtitY and Authomhip
Soe: Sabine Kamprnann,
5
Walks Arr Ce,,t",. B,illiafi ! I'¡M tut Eom London, 9(h' in Corp$ Delicti. e)drib. €t., Copetrhagen 1S95, pp 48-51
ElrA & ADEIE - ¡ust about "Over lhe Boutrdar¡B 0l
Gende{'in EIA& ADEII: Dav q lhy hinting,$otdic eúib. mt., Minneapolis and Hoüston, 1995' The etalogue l7 Feter Súieldahl, 'Vl. Jane & Loüise Wl$n" e)ó¡b'
took llE lom 0l a Bitish tabloid nesPapel
Waterulour Mmur|t Ostlilden 2003, pp 52-62
mt., Jane & Loui* Wilsm, London 1999' pp' 3-6
6
17
Dan careren and BemaldMraadé, Plm et Sil Ed*in landsee, (1 892-73) ws onc oI the lavou]ite 18
6 ruo., p. a
t'mw ñry\üe,976-96, Cologne 1996 pairteB of Orcen Vicforia, and the fact that the mrt
eiil6,
l¡rsl show ¡n an &¡lliant e)óibition of yBa ari h the United 19
L¡s corin, in an imeru¡M u¡ith Jane and Louise
t8
od- vrllo, E¿BBE Ef GilrÍs ciitttidrc Stat6 ffi
not lGl on the ChaFnan Brothets' See Sir Edwin
@t., Tale Gallery, London, and Philadelph¡a W¡lsn, Jane & Lou¡s Wilson, serPeÍtine Gallery p' 6
lórper, Munidr 2006 ; (frem rhe frendl 16 Lands4r, ex

@,F ttivh- Éere et Gi"es Paris 2006 Mwum of Aft, Philadelphia, 1982, pp' 174-175' A no§lalg¡c 20
¡mage 0l &itishn§fam¡liarthrough mrry s¡mlam
Miúel toueuh, 'Panopticim' in Disciple and Pun¡sh'

london 1991, pp. 195-220. Jane and Lou¡se Wil$n further

19 0l labels lomd on ertain Sottish t¡ñ¡sky botll6'
Éicilrena¡, Éere d eiil* saitos andthe sea, cologne2005
omphGisd their ioters§t in the Pampti@n in a pro¡ed in Las
7 'NietBúe and lti§eva on the Politi6 Vog6 ¡n lhe OPtilru Cinma in Cae/s Palae, aho itr 1999'
20 sB als: Kelly Ol¡ver,
D"n car"ren, Ae* á 6'7'e§, London 2000'
of poetq/ in Smial TheorY and Prad¡e 5, 3, Fall 1989'
Plm et GillÉ - Bet¡osPedr're, M@ur of Contemporary 21
Lisa Conin' oP' cit 'P
B
pp. 305-20; Gill6 Dcleue f{iet6úe & ftilNphy'
&t, Shanghs¡, 2005, Eem et GiltÉ ' &auliiul úngm' Seotl
Hugh Toml¡mn (tmBl.), london 1996; Gmrges
Museum ol Al, 2005 and SiryapoE Att Mreum' 2004 22
ttid., p. ro
Bata¡lle, On Niet6dle, republ London2001
2t
M¡d,"| Behrami, fiem et citt6: tottyse 23 §ul'e with only one
8 A'Mobius or'Mob¡us band', is a
Fcler, compulsive Besúy, cambridge
lnagimire, catil¡dlow (Coilrc Nat¡onal dB
Hal
"trip'
Mffi and London 1993 side and only one bomdary @mponenl' h has the trEthemat¡Él
Ñts Plastiqu6 FIACBE), Pails 1988
property of boing non-orientable. h is al$ a ruled urfae lt
g ms disvmd ¡ndePendently bythe Geman malhematicians
"B"u,oy rill b" -*lsive dwill not be at all," is a quotalion
bken fmm André &etonb lamous novel Nadia' 1928 Augrxi Ferdinand Mobi§ and Johantr Bededict LBing in 1858'
iJV. WAR, CBIME, POWER AND
SOCIAL SCULPTURE 10
24 gen"ml or"ruiow of the development of Teres
Th" titl" d.rir"* f.m treud's'lmroductory Fo,
"
(ed ) ¡n Hubbad and Alennder fl¡rdrle/s wrkse Teffi
1 Lectuffi on B"ydDanalysiC; JamB Stnúey
Chdstopher Tumer, 'Great Deeds Agaimt Dead Atists: Brdller Wild Walls, B¡eleleld 2001'
HubharÜAlemnder
The Standard Edition 0f the complete P§yúolog¡Él
How the Chapman Mhets Nearly Changed Their f{ame
Wods of Sigmund treud, london 1986 The publiEiion sered 6 the Elalogue for the añilC
to Goya', e)óib. Et., Jske & Dinc Chapman: Bad Art eróibition in 200t/2002 lhat tEwlled to the Haus Lange/
Ior Bad hoDle, Tate L¡wrpool,2006, pp 37-53 the
11 Haus Esles, lteleld, the Huis Matseille, Ar§terdaG
lt is another mrd-play. ln the UK and the Uniled Statss lsrge
for Photogmphy, AtrBterdam, the KunstveEin
úaritable tundEising preiects on television arc otten 6lled
Foundation
2
The Goya sries of etú¡ngs ms eated c 1810-15' but dm Sl. Gallen KuIÉmEum and the FurÉhallq Kiel'
a 'Telelhon', der¡ved no doubt fmm'MarathÚn" Childrcn's
to thoir hoñil¡c visal omeils wrc
not publ¡shod until 1863'
progmming ai differem iircs of the yoa§ lollow lhe sre
long after the añilb dealh. fhe order in $iriú the
plates 25
m
thercloE beyond the ontrcl of panem. The use ol etd'a-sk8tdFthon satirisE the of N Tem Hubbanl/Aennder Brdller, HouseW'rth Poo¡'
wc $b6equeúly printed
r lfuIÉm@um Basel, MEum lür GegenMrtdorÉ' 2004
kancim Jm dl¡ldEn inthis my, $ñile al$'etú¡ng'often hm in English
lhe artif and sme speulatim rcmaiE Str
de Goy8, the Disastffi of War, London and NswYork1968:
a sst 0l sNd Nciations. childhood and seruality arc
25
E. súletd¡gge {ed.), clegg & Guttnann:
rcverlar apalt itr lhc wd6 ol Jake & D¡nG ChaFnan'
Anthony Griffiths, Jüliet Wil$n-Baleau and Johtr Willett'
 1l
Mmurent For Hisior¡@l Change and Ohor Smial C* h* (¡n **ot¡n trith Dragst atd 2005. Se abo Ara,Á a l,üfre Éríis; Ef
. Veoi@ Emle
Sdlptur6. Comnity Portmits And Spoilanmus BrqH), Tnldümtiild Acts' ¡n Tarolrg 20i¿5, ard E Woded hiúiry 2d hague flmniat,2tXt5
0per6 1990-2005, Beil¡n and V¡enna 2005 nru, p.37. llerc, En¡neetr bspeátiru!
21
12
Th" E* Nou"g r- Agahr;. tta BE iil
tu All* IGF*r * Chihfs Hatr nE Art d Ntu f,qnw il,rrnq, iitffi and tow, 2003
\, = PEBFORMANCE, SEXUAT Ber@y ild Londm axl4, Ben¡ilin H.D. Ediloft ld at.), 22
Ma*cbhoure,'Lil eintheñi¡t, EE & Mete
AND SOCIAL ANABCHY E)@imÍts ¡n tlB Way Nlan ltapowad Bohst CgdtlwC*lMnft eú¡h @t., calsie
1
Wfus - Ewnts, 0W§ rmÍer¡ts W6hirlglm and MidrmtSduha am4, pp, it_15
to, *'ft"*m p*it¡* m sfq8 pqfmm, s Jarella london ADo, atrd Allan (apwand Jell t{dley, 6sa¡r
G. Beirelt and Jeph R Road (edrl Cnúbal rDmy ú tlB gwiqg ú Arf aú ¿.tre BqHey and totrdm 2003.
ail Mm, A¡ttA¡fu atd lfldo01992 0n Camle SómHn, w Carde Sdwmm U'[ - HISTOBY, MEMOBY AND NOSTATGIA
hnqiry lw EñiÉ - @s, hteti*w hajuts,
2
Roua*ooto"rg, Arr* Att hdnnrwiiltottpFrelr., Carúri{e drd Lonrforr2002, ardfna HrufffTorary I
Sren t«ategmd, 'Reollocfim h a dimrded gErEt' in Irp
Lordm 2001 (Bisd ditiwh ab Ot ú ,6riw Mwn mnt s ÍlM fulm fw
[,túre ?7ia, Joy Cmplete Clws ú ilhsttqte $ehaed atr'§ w namy
Mw Art ad tlp úiú, 1949-tgtg,tiltun,tgqg llllodo ard SeMed Wititgs, Nwydkt gTg
tlwylm Hatoto Dertuh D6dq f gg8, p t2g
dd Hñ linilá rñ d h yie !,52-1 994, MEÉB ¡Flliml
1

13
dart modme C€rfE Gmg6 hrnpido¡, Pdb 1994 t B* Orrg*t Taki,E Ha@ p. § 2
Agu*¡, ft* h¡¡o, 'l¡ol¡ m tangffi Spectm ¡n a
3
qdm d Arú¡guity' ¡n Mu,rtw ard MM
U.l"gni, (rbo lo* s urophilia r uilñnis) b a ffil 14
Yirr* Villr*|, D* Rmn, tu{rcn & Dngst, ñlrtu Ddh tireaAtfrt2006, pp. 89-gl
fá¡ú wilh peíliparfs dsiving pledrc lun uim tu Maúa Ehgm & rraútrt Cologm 2007
-bydri*ing üirc, uimú¡ng in Flüth ürirEting 3
the tm nrodmity, lm nñ¡d| lffi the tradiliml añ qitim¡
mm ohe ff lEirg üimted upo[ Cdlrm
15
Fo, g*l *l* lfld Art, s Jeür"y
on lhstnB and &ian bqimingsof Modmirrr smlm Clnrlc Baudelaircb
flplHis m 'goldil duffi' tr lmtq sports, Wallbled§-l lad ffil EwimmotatAf, tmdotr 1S!8, and fffi sayd1863 The hiilsof Modem l,fe- ¡n
Gills A. Iiberglim, landÁrÍ, Pilb I gg5. For mEgEpl§ tu&la¡É SehÁd Witirys m kt a,ú Attisrs,¡{d.
4
ñ" trrdit¡- d
Brlidr hrnaing ¡ictu6 h ls4. tor a * BM *nitlwo MrcpeAiw l¡hr*§ I 9i5-l 973, PE OEru€r, Cilüfidge ard lddon 1922, pp. 39t-435.
músr?oBy puH¡Etixt Malcolm Cmmck Cdflúl s e¡óih eú.1909, Jarc fiilrúnE ülwHoriut&tfigart Coir*leÍtly, althilgh Fobatfy wittm arund 1859/60,
ñwik &ilklt, Atmian ail Mr Sptittg tut lm Gmno Midnd He¡za.utiláal§l
1S)9, and Celañ, it appearcd in puui6tim at s€dly ¡n sm tim §
tlE Mü hilúiñintlawqiniailhwú EB MatFI:slE Déiw wfrE úercfiEt elfbited.
Ár¿ 2007. 'np wk
a trihne ro lim l¡ohleb tatlH atd
b prr with HeideggB)tlE fatiEr fuuB
'6 Tl*y -uirm. 1i,
filily ñiat¡mlnidffrry, 6 ! ¡dl storhc Bfti{l
vúth nith rcgardlo mdantlEoris m plEnsBplogy nE a
f*tlE Urdop,*t *¡ hitdy of cmimltb siieri mnH,
tráditim il¡dtho nat¡ob lm d b¡r+lEtdr¡ng iltd huf¡ru otEpts l$flh by Edmld Hwd
arc elabtrdtod at w AlbeÍ Afhadeff, lhe Balt ú tlg tt|fdt§, Cfuimfr,
{1059-1938), ¡n a urúorof boobon htuit¡m ard Att ilil| Ba@ MwaúlLtrdtrrd NtryoIk2002
5
Th" t* b th" * o flEir lalgc trmognpft ¡ilrosped¡o. For l¡lauie Me¡leutunty (l9ll&{l I e
Wb§,6d YenhlJallYül<atd Indo0 ZXt6 nn ñwbgy ú h,Wiu(1946) and hb sis d 5
Alice Stepanekm a DAADsdElarCrip tudHt
olleded ñys IrlshriTp¿trof ftrEpú¡ían fist tnBl. ¡n at s't Matinbsd|ml of Art lfldon
5
tt *x W Ogi*tsrirymM timt¡B ild n de0tric 1963. Boih hm ben publidEd in tIlIffi editim
plrrp medmim Se Eárad yeúr?rü illBtHtin {ffi 6
f* lmk'l'§"g"' ¡ n Ni@ &Wtdy'*M,ttasrr¿ eúib. Er.,
pqimted), t lm Su b ladt¡ng atdTm uritEúing. 1 7
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ard Mffi
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18
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o the qb sEpolded like a planet in the a¡r
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2 lflddt 2003''low¿afñ'6
19
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20
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in ltode YúEt o0. cit', note

3
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& J¿KL & DIIJOS C'tlA?lviAl4, &'&er,'tet'§§t'' í'95

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{

*t iJi- ;. --;r/lt-. --'/. -

 A Book bY MARK GISBOURNE & uLF MEYER ZU KUETNGDORF
@ Prestel Verlag
Text bY Mark Gisbourne
Mun¡ch Berl¡n London New York' 2007
(preface'Multipte Authorsh¡p' bY CLEGG & GUTTMANN)
@ for the works illustrated, bY the artists' their heirs or
Ed¡ted bY L)lf Meyer zu Kueingdorf
assigns, w¡th the exception of the follow¡ng:
Mar¡na Abramovic, Eva & Adele, Steven Maslin' Doug
and
Product¡on/Book Design: MZK-Ulf MeYer zu Kue¡ngdorf
ZYlla M¡ke Starn, Al¡ce Stepanek and UlaY, bYVG B¡ld-Kunst'
German translat¡on: HeMb Engelmann & Susanne Bonn 20O7
E n g I ish tra n slatio ns : An d rew Bore ha m

Ed ¡tor¡a t d i rection : Ch r¡ stoph e r WYn n e' M u nich

Mark G¡sbourne & Ulf Meyer zu Kueingdort

would like to thank the follow¡ng:

R ac he t Ph i It ¡ pps/Tate M odern, Londo n'

Elena Heitsch/Haus der Kunst' Munich
(exhib¡tion and press r¡ghts' Gilbert & George)
V¡tati Komar/Komar & Metamid' Dr' Mar¡na Sandmann/
Galer¡e Art Sandmann, Berl¡n
Mar¡na Abramov¡c & Utay, Antie Ananda MÜtler' Braunschweig
Bernd & Hilta Becher, Dorothee FischeL Claudia Pasko/
Ga I e r¡e Kon rad F ¡scher, D ü sse I do rf
Rosenthal' Carol¡ne
Ma¡ke Abetz & Oliver Drescher, Robert Goff ' Cass¡e
+Rosenthal, Berl¡n and New York' Markus Schneíder' Berlin
Stummel/Goff
Blue Noses, Alice Stepanek & Steven Maslin' Ania Luneva/Guelmann
V¡llemin'
GallerY, Moscow and Volker D¡eht' Anne-Sophie
An n-Katr ¡ n Steff e n/Ga ler ¡e Vol ke r D ¡eh I' B e rl ¡n

Jane&LouiseW¡lson,Altora&Calzad¡lla'N¡chotasLogsda¡l'ElenaCr¡ppa'
J u styna N i ew¡ ara/Lisson G a I I e ry, London

Jake & Dinos Chapman' JaV Jopt¡ng' Soph¡e Gre¡g/

wh¡te Cube GallerY, Londan data ¡s
Kargl' The L¡brarY of Congress Cataloguing-in-Publ¡cat¡on
Ctegg & Guttmann, Muntean/Rosenblum, Georg data: a
available. B r¡t¡sh LíbrarY Catatoguing-in-Publ¡cat¡on
Evelyn Appinger/Georg Kargl F¡ne Arts' Víenna
catalogue record for this book ¡s available from the
Br¡tish
Teresa Hubbard & Atexander Bírchler' Barbara Thumm/Galerie Barbara Thumm' Berl¡n in the
Elmar Vestner' Lena Kiessler/ Library. The Deutsche B¡bt¡othek l¡sts th¡s publ¡cat¡on
Míchael Etmgreen and lngar Dragset, Martin Klosterfelde' Deutsche Nat¡onatb¡bl¡ograf¡e; detailed b¡bl¡ographic
data ¡s
Klosterfelde Galerie' Berl¡n
Eva & Adele, Berlin ava¡lable on the lnternet at http://dnb.ddb de
London
11m Nobte & Sue Webster' Andrew MacLachlan/Scumbags'
Prestel Verlag, Kónig¡nstraBe 9' D30539 Munich
W¡th special thanks to David Hughes (89) 38 17 09-35
Travers/ Telefon +4g @g) 38 17 Og-0, Telefax +49
P¡erre et Gilles' Emanuelle de No¡rmont' Ludyv¡ne www.Prestel de
Galer¡e JérÓme de No¡rmont' Par¡s
Doug & M¡ke Starn, Gaudéricq Rob¡liard' New York
B¡mal Saha Prestel Pubt¡sh¡ng Ltd', 4, BloomsburY Place
London, WClA 2Oa
Bercht¡g/ Tel.: +44 (O2o)7323 5004, Fax : +44 1020) 7636 8004
JÚrgen Krieger' Eckhard Hollmann' Anne Schroer' Frauke
Prestel Verlag Munich, Berlin, London' New York
Prestel Pubt¡sh¡ng, gOO BroadwaY' Suite 603
NewYork, N.Y 10003
and for the¡r personal ass¡stance Anne Ma¡er'
Ant¡e' Beate & Lyd¡a
7¿¡ 1 a1 (212) gg5 2720, Fax': +1 (212)995 2733
www.Prestel.com
Mark, mY Love & Respect. Ulf, July 2007

Print¡ng & B¡ndíng: Longo Fotol¡tho' Bozen

tsBN 978 3-791 3 381t7-7

§ ,Á(f & ,i|lÜS C'r\P¡'tA!:l, ?itt:it: :a-r !

Kytlrl, C *u ttc:sY J aY J ot: itr tgllll CtJl)

Ya L: k i :{)r/ ¿, i; *t l"l\; r
*e:§t t{r§§.irdr§ §er§§'s, 2