The Hut Project Painting with Art & Language

from: http://blipblipblip.co.uk/archive/THP_AL.html

The Hut Project Painting with Art & Language Art & Language and The Hut Project 30/05/13 – 20/06/13 He pulled the mirrors off his Cadillac - YEAH - 'cause he doesn't like it looking like he looks back... The Hut Project, 2013 The Hut Project, The Baroness, 2012, Artificial flowers arranged by Xanthe Edmunds, stolen log, oversize acrylic wine glass, beach sand; Drilled OSB board 210 × 160 × 150cm approx. Baldwin, M., Harrison, C. and Ramsden, M., Art & Language In Practice, Vol.1: Illustrated Handbook (Barcelona: Fundació Antoni Tàpies, 1999) p.199  This Places Everything The Hut Project, 2013 The Hut Project, Conceptual Beard, 2011, Black and white Inkjet print (photo-documentation of Christopher Bird's participation in Ryan Gander's We Are Constant, 2009), Digital C-type print in black wooden frame with card mount (photograph of The Hut Project Painting with Art & Language taken in the dark, as per The Hut Project, Untitled by Giorgio Sadotti, 2009, as per The Hut Project, It's to Me, It's You: Giorgio Sadotti, 2008 (being Alfred Johansen, Untitled, 1966 by Elmgreen and Dragset, 2004)), 10L vinyl matt emulsion in 'Limoncello Green' (Edition 5 of The Hut Project, It's Not Me It's You: Vanessa Billy, 2008) dimensions variable Baldwin, M., Harrison, C. and Ramsden, M., Art & Language In Practice, Vol.1: Illustrated Handbook (Barcelona: Fundació Antoni Tàpies, 1999) p.227 Pepperoni The Hut Project, 2012 Digital video  00:00:09 [looped] Baldwin, M., Harrison, C. and Ramsden, M., Art & Language In Practice, Vol.1: Illustrated Handbook (Barcelona: Fundació Antoni Tàpies, 1999) p.209   Baldwin, M., Harrison, C. and Ramsden, M., Art & Language In Practice, Vol.1: Illustrated Handbook (Barcelona: Fundació Antoni Tàpies, 1999) pp.129-130 Old Kunst The Hut Project, 2008 Digital C-type print, wooden frame 56 × 41cm With the best will in the world I can't see with the best will in the world I can't see with the best will in the world I can't see with the best will in the world I can't see With the best will in the world I can't see a swastika The Hut Project, 2013 - ongoing Acrylic paint on Inkjet print on canvas dimensions variable Map of Itself Art & Language, 1967 Letterpress print, edition of 50 37 × 46cm Baldwin, M., Harrison, C. and Ramsden, M., Art & Language In Practice, Vol.1: Illustrated Handbook (Barcelona: Fundació Antoni Tàpies, 1999) pp.277-278 Untitled The Hut Project, 2013 Recovered parquet  12' × 12'  The doubles series normally asks a mid career artist to invite another, younger artist, with whom they have some form of artistic relationship, to make an exhibition with them. This time, for the fourth show in the series, The Hut Project have nominated the more established Art & Language. The Hut Project are presenting both new works and works recombined from earlier pieces. They have also selected works by Art & Language to act as 'keys' to their own - presented as renderings of the interpretive texts written by Art & Language for each work in the book 'Art & Language in Practice', 1999.  This exhibition has been undertaken with permission from Art & Language.  The Hut Project is a collective formed in London in 2005. 'They have very quick fingers.'(Gavin Wade) Recent group exhibitions include 'Open 18', Oriel Mostyn, Llandudno, 'Assembly', Jerwood Space, London, London and 'Abstract Cabinet Show', Eastside Projects, Birmingham. Recent solo exhibitions include 'But aren't they interesting? Aren't they nice to look at?', OHIO, Glasgow, 'Giles Said...' and 'It's Not Me It's You', Limoncello, London and 'Old Kunst', ICA, London (as part of 'Nought to Sixty').  The name Art & Language was first adopted in 1968, to refer to a collaborative practice that had developed over the previous two years between Michael Baldwin and Terry Atkinson, in association with David Bainbridge and Harold Hurrell. In 1970 Ian Burn and Mel Ramsden merged their separate collaboration with Art & Language. The journal Art-Language was first published in May 1969 and a second journal The Fox was published in New York in 1975-6. From 1976 the genealogical thread of Art & Language's artistic work was taken solely into the hands of Baldwin (b. 1945) and Ramsden, (b.1944) with the theoretical and critical collaboration of these two with Charles Harrison (1942-2009).  Recent solo exhibitions include 'Art & Language', Museum Dhont- Dhaenens, Deurke, 'Art & Language', Garage cosmos, Brussels, 'Letters to The Red Krayola', Kadel Willborn Gallery, Dusseldorf, 'Art & Language', Migrosmuseum fur Gegenwartskunst, Zurich, 'Official Squares Again', Galerie Grita Insam, Vienna and 'Portraits and a Dream', Lisson Gallery, London. Recent group exhibitions include 'Materialising "Six Years": Lucy Lippard and the Emergence of Conceptual Art', Brooklyn Museum, 'Critical Episodes 1957-2011' Museum of Contemporary Art Barcelona, 'Invisible, Art about the Unseen, 1957-2012' Hayward gallery, London, 'Erre, Variations, Labrinthiques' Centre Pompidou, Metz, 'Double Bind, Arretez d'essayer de me comprehendre' Villa Arson, Nice and 'Mirror-Mirror, Then and Now', University Art Gallery, Sydney.

Bilingual bricks: Google as "Valley Song"

from:  http://languagelog.ldc.upenn.edu/nll/?p=7104#more-7104


Bilingual bricks: Google as "Valley Song"

Here is a closeup of a remarkable work of installation art that is being shown at this year's Venice Biennale:

There is a short article on this thought-provoking work in Art & Science Journal. Written by Lea Hamilton and entitled "Lost in Translation: Shu Yong’s Guge Bricks", it includes five exceptionally clear photographs.

Anita Hackethal has written a brief essay about the artist and his work: "shu yong: great wall of guge bricks at the china pavilion". Since Hackethal's essay is both informative and illuminating, plus being well illustrated, I quote here the opening two paragraphs:

in his installation for the venice art biennale 2013, chinese artist shu yong constructs a sculptural reflection on the divide between eastern and western values and the 'googlization' of culture in contemporary society. yong solicited 1500 different maxims, quotations, mottos, and popular phrases from fellow chinese citizens and translated them word by word into english using google. he then wrote both the chinese and corresponding english literal translation for each selection in calligraphy onto a piece of xuan rice paper, which was embedded into an individual transparent brick of cast resin, shaped to the proportions of those in the great wall of china.

the resulting mass of 1500 'guge' bricks forms a solid wall in the exhibition courtyard, before crumbling into disorder at one side. they are an artifact to a particular moment in time and culture, where newly popular circulated words join traditional quotations before all are subjected to machine translation that jumbles and displaces their significance: 'into a new era' and 'marching towards science' join 'garlic you cheap' and 'boy crisis' in the translated english. shu yong finds these bricks a fitting metaphor for the ways that eastern and western cultures remain divided: even in the age of globalization and realtime communications, the transparent wall will remind us to confront the hidden 'walls' between different countries, nations, and individuals. at the same time, the chinese public's inclusion of words like 'photobomb' among the bricks is a reminder of cross-cultural influences.

In case you were wondering, "guge" is the Chinese transcription of "Google": Gǔgē 谷歌 (lit., "Valley Song"). However, since we're dealing with simplified characters in the PRC, Gǔgē 谷歌 conceivably could also mean "Grain Song", but I don't think that's what Google intended. The simplified character gǔ 谷 ("valley; grain") collapses two traditional characters, gǔ 谷 ("valley") and gǔ 穀 ("grain") into one. This is the same type of problem that led to the monumental confusion between "dry" and "f*ck", which we have covered in this and other posts on Language Log.

[h.t. Petya Andreeva]

A.J. Bocchino

http://www.ogilvy.com/News/Press-Releases/May-2010-Ogilvy-New-York-Hosts-New-Language-Art-Exhibition.aspx

A.J. Bocchino collects headlines and photographs from different media sources including the New York Times, The Washington Post and Newsweek. This information is used as data for systems that generate complex drawings and sculptures. His projects are driven by an analysis of the mass media as well as the processes of accumulation, archiving and record keeping. In these particular works, he has excised the main headline from the front page of the New York Times every day for six years: 1929, 1930, 1931, 1932, 1933 and 2008.

The headlines are listed in chronological order and are color-coded according to subject. This project examines the parallels between the economic collapse of the 1930’s and that of today.

Bocchino received an M.F.A. from Tyler School of Art at Temple University, Philadelphia. He has had solo exhibitions at White Columns, NYC; Urban Glass Gallery, Brooklyn, NY; and Hemphill Fine Arts, Washington, DC.

www.ajbocchino.com

Empty Texts

http://radicalart.info/nothing/text/index.html

    nothing               radical art              

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Nothing to read

Empty texts [abstract]

Laurence Sterne: Two black pages (Vol. I, Chapter XII); two marbled pages without text (Volume III, Chapter XXXVI); blank page (Volume VI, Chapter XXXVIII); two empty chapters (Vol. IX, Chapter XVIII and Chapter XIX). In: The life and opinions of Tristram Shandy, Gentleman.   London, 1759-1767.

Vol. I, p. 73

Vol. IX, p. 69

Fra Elbertus [Elbert Hubbard]: Essay on Silence. East Aurora, NY: Roycroft, 1905. (56 pp.) Vasilisk Gnedov: Untitled poem. In: Smert' iskusstvu [The Death of Art], Petersburg, 1913. The cycle Smert' iskusstvu consists of 15 one-page poems. The last one, labelled "Poema Kontsa (15)" ["Final Poem (15)"], is  untitled and empty. The other poems, labelled "Poem 1", "Poem 2", etc., have one-word titles (except for "Poem 14", which is untitled), and consist of one line, one word, one syllable, or one letter. A narrative interpretation of Smert' iskusstvu is proposed by Crispin Brooks in: The Futurism of Vasilisk Gnedov. (University of Birmingham, Department of Russian, 2000.) On several occasions, Gnedov presented live "readings" of his empty poem. "His hand drew a line: from left to right and vice-versa (the second cancelled out the first, as plus and minus equals zero). The 'Final Poem' is indeed a poem of nothing, graphically represented – a zero. The future ultimate road of LITERATURE is – SILENCE, where the WORD, I say, will be replaced by the BOOK OF REVELATIONS – the BIG INTUITION. – the death of ART!" Ivan Ignat'ev in his Introduction to Smert' iskusstvu "He came out gloomy, stony-faced, exactly in the 'Khlebnikov manner', was silent for a long time, then slowly raised a heavy fist – and said in a low voice 'That's all!' ['Vse!']" G. Adamovich: "Nevozhmosnost' poezii." In: Kriticheskaya proza. Moscow, 1996 [p. 335]. Margaret Anderson (ed.): The Little Review, Vol. III, No. 6 (September 1916). [Thirteen text pages, all empty] I loathe compromise, and yet I have been compromising in every issue by putting in things that were “almost good” or “interesting enough” or “important.” There will be no more of it. If there is only one beautiful thing for the September number it shall go in and the other pages will be left blank. Come on all of you!” [Margaret Anderson: "A Real Magazine" The Little Review, Vol. III, No. 5 (August 1916), p. 2]
Vasilisk Gnedov: Untitled poem ["Poema Kontsa"], 1915	Man Ray: "––  ––  –––––" In: Francis Picabia (ed.): 391, # 17 (June 1924), p. 3.	Man Ray: Mots Croisés (1930's?)

Pascal Claude: "Préface." In: Yves – Peintures. Madrid: Fernando Franco de Sarabia Maître Imprimeur, 1954.		j.c. van schagen: "introduction." In: herman de vries: wit / weiss, 1962.
herman de vries: untitled (wit is overdaad / white is superabundant). arnhem: herman de vries, 1961. (22 pp.) herman de vries: wit / weiss. arnhem: m.j. israel, 1962. (200 pp.; with an empty introduction by j.c. van schagen.) [paperback reprint: stuttgart: edition hansjörg mayer, 1967; third revised edition: bern: artists press, 1980.] Christine Kozlov: 271 Blank Sheets of Paper Corresponding to 271 Days of Concepts Rejected. February-October, 1968. [Displayed in: Number 7. Paula Cooper Gallery, New York, May 18 - June 15, 1969. (Group show organized by Lucy R. Lippard).] Idries Shah: The Book of the Book. London: Octagon Press, 1969. Jirí Valoch: Book about Nothing. (55 pp.) Brno, 1970. bpNichol: A Condensed History of Nothing. (8 pp.) Toronto: Ganglia Press, 1970. Ian Wilson: Art and Project Bulletin 30 (November 30, 1970). Fred Forest: "Titre de l'œuvre 150 cm2 de papier journal". Le Monde, January 12, 1972. Reprinted in Tribune de Lausanne (Switzerland),Jornal do Brasil, Jornal da Tarde, O Estado Sao-Paulo, Fohla de Sao Paulo, O Globo Rio de Janeiro, Jornal do Bahia, Diaro de Parana, Zero Hora Allegré, Ultima Hora (Brasil), Clarin (Argentina), Eksit (Belgium), Sydsvenska Dagbladet (Sweden), Télérama, Ouest-France (France).

Richard Kostelanetz: Tabula Rasa (1000 pp.) New York, NY: Archae Editions, 1978. Richard Kostelanetz: Inexistences (666 pp.) New York, NY: Archae Editions, 1978. "If Kostelanetz's stance seems rather self-consciously art historical and self-justifying, it may be that he is only interested in the already established idea of blank books. For artists like Manzoni and de vries it was more a question of fulfilling a personal obsession, while Kostelanetz seems to be just carrying out a whim, adding an academic footnote to his adoptions of older art forms, making a wilful noise rather than a respectful silence." [Michael Gibbs: All or nothing. An anthology of blank books. Cromford, Derbyshire: RGAP, 2005, pp. 34/35.] Hans Bossmann (ed.): Dagblad Zonder Nieuws. Empty newspaper, published from March 22 until December 4, 1998. (Amsterdam, Stichting Stilte!) German edition: Zeitung Ohne Nachrichten (published from April 28 until December 4, 1998). English edition: Daily Without News. Hans Bossmann (ed.): Tijdschrift Zonder Nieuws. Quarterly magazine, 36 pages. Amsterdam: Stichting Stilte! 1998. Anne Lydiat: Lost for Words... 09-09-1999.

Sophie Calle: Le Livre Vierge, 2000

Empty space in books and magazines

Vincenzo Agnetti: Libro dimenticato a memoria, 1969.

Robert Barry: The Space between pages 29 & 30. In: Vito Accconci & Rosemary Meyer (eds): 0-9, 6 (July 1969). Robert Barry: The space between pages 74 & 75. In: Vito Accconci & Rosemary Meyer (eds): 0-9, 6 (July 1969). Michael Asher: Pages 42 and 43 [glued together]. In: Vision, 1 (1975).

Empty texts [denotational]

Christian Morgenstern: "Fisches Nachtgesang" In: Galgenlieder, 1905.

Pierre de Massot: The Wonderful Book. Réflections on Rrose Sélavy. Paris, 1924. Reprinted in: Étant donné Marcel Duchamp, n° 2, (February 2000), pp. 97-120. Len Shackleton: "The average director's knowledge of football." Chapter 9 in: David R. Jack (ed.):Len Shackleton, Clown Prince of Soccer. His autobiography. 1955. Jes Petersen: Piero Manzoni. Life and Works. Flensburg/Glücksburg: Petersen Presse, 1963. (102 pp.) Available online through the Issuu page of Gian Paolo Guerini. Reprint: Berlin: Petersen Press, 1969. George Lincoln Rockwell: Great Achievements of the Negro Race. Arlington, Virginia: The American Nazi Party, 1967. (16 pp.) It seems that different versions of this book exist. The author is sometimes specified as J. Watts Turnbull, and the publisher as Sons of Liberty in Metairy, Louisiana or in Hollywood, California. Victor David Dinnerstein: "The Wit and Wisdom of Spiro T. Agnew" Los Angeles, CA: Price Stern Sloan, 1969. Anon.: The Official Government Nuclear Survivors Manual. Everything that is known about Effective Procedures in Case of Nuclear Attack. (192 pp.) Bill Adler Books, 1982. Enzo Apicella: Memorie di uno sinemorato [Memories of an Amnesiac], 1983. Margaret Turner: Joshua Sofaer. A Biography. London, 1997. Jan Voss: Dieter Roth in Greenland. Amsterdam: Boekie Woekie, 2005. James Wright: "In Memory of the Horse David, Who Ate One of My Poems." Collected Poems.Middletown, CT: Wesleyan University Press, 1971 (p.197) Don Paterson: "On Going to Meet a Zen Master in the Kyushu Mountains and Not Finding Him."God’s Gift to Women, 1997.

Related work

Hans Reimann: "Bedrucktes Papier." In: Kobolz. Leipzig: Kurt Wolff Verlag, 1917, pp. 1-2. John Cage: "Lecture on Nothing" (1950) In: Silence. Middletown, Conn.: Wesleyan University Press, 1961.

Anthology

MIchael Gibbs: All or nothing. An anthology of blank books. Cromford, Derbyshire: RGAP, 2005. Recommended! This anthology was the most important single resource that we used in putting together this web-page. But its perspective is somewhat broader, and it describes many books that are not mentioned here. Gibbs' anthology can be ordered fromBoekie Woekie (books by artists), Amsterdam.

Quotes

"Write nothing! Read nothing! Say nothing! Print nothing!" "O nichevokakh v poezzi." In: Sobachii iashchik. Moscow: Hobo, 1921, p. 8. "Wovon man nicht sprechen kann, darüber muß man schweigen." Ludwig Wittgenstein: Tractatus Logico-Philosophicus. London: Routledge and Kegan Paul, 1922, Statement # 7. "In der Kunst ist es schwer etwas zu sagen, was so gut ist wie: nichts zu sagen." Ludwig Wittgenstein, ca. 1932-1934. Vermischte Bemerkungen, p. 50.  "To love, to admire, to adore, have as expressions of their truth the negative signs of the power to express oneself. Everything that is strong in feeling and everything that excites a sudden reaction from a remote source immediately dislocates the complex mechanism of language: silence, the exclamation, or the cliché are the eloquence of the moment." Paul Valéry: Mauvaises pensées. Paris: Gallimard, 1943, p. 83. [In: The Poetics of Paul Valéry, trans. Jean Hytier. New York: Anchor Books, 1966.] "The most beautiful and perfect book in the world is a book with only blank pages, in the same way that the most complete language is that which lies beyond all that the words of a man can say. Every book of the new art is searching after that book of absolute whiteness, in the same way that every poem searches for silence." Ulises Carrión: “The New Art of Making Books” Kontexts no. 6-7, 1975. Das Theaterstück, in dem schweigend auf völlig leerer, lebloser Bühne der Vorhang zwei Stunden lang aufbleibt, um das Nichts, die Stille "aufzuführen". Willy Hochkeppel: "Transformation der Kunst und die Ästhetik der analytischen Philosophie."  Kunstforum International 100 (April/May 1989), p. 215. "I have no idea what to write. That box full of words is there somewhere of course. And the regulations of how one is to chain those words are in reach. But I lack the idea of what I would want to paraphrase. Can that be a problem? If so, can it be solved? Should it be solved? Is a white sheet of paper not better than one with typographical stains? Dirty paper! A matter for librarians to hold in trust a lot of it. Poor people! I feel like reading books with blank pages. There Boekie Woekie, books by artists, comes in handy, because we have for sale, thanks to Cornelia who makes them, something we call empty book by BW, various sizes, differently many pages EUR 4.- to EUR 11,50." Jan Voss: Diary, June 20, 2002.

Nothing as a concept

http://radicalart.info/nothing/concept/rien/index.html

  Concept Art        Nothing       Radical Art (Home Page)         

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"Nothing" as a concept: explicit statements

Ben Vautier
"Défense d'Afficher", 1958	"JE SIGNE RIEN FAIRE", 1961 "Rien", 1964	"No photo here"
J'ai rien à vous montrer. Il y a tout à voir. (1979)	Rien n'existe pas (1991)	Nichts! (2002)

Robert Filliou  LE FILLIOU IDÉAL not deciding not choosing not wanting not owning aware of self wide awake SITTING QUIETLY, DOING NOTHING "Action poem", Paris, 1964. Performed in 1965 at the Café au Go-Go in New York as Part Two of the action poem Yes.

John Baldessari, 1966-1968

Joseph Kosuth: Blank, 1967

Joseph Kosuth: Nothing, 1968

Stefan Brueggemann, 2003	Stefan Brueggemann, 2004
Mel Bochner, 2004	Neil Robert Wenman: Nothing, 2004

Reference Robert Filliou: "Yes. An action poem." In: A Filliou Sampler. New York: Something Else Press, 1967, pp. 5-10.

Concept Art: Speech Acts

 from: http://radicalart.info/concept/SpeechActs/index.html

Concept Art: Speech Acts 

Expression of emotions      Assertions     Questions     Answers     Creations, curses and greetings      Suggestions and requests      Accusations     Appeals, predictions, proposals, threats      Art against art    Speech Acts        Concept Art        Radical Art (Home Page)         Text Paintings: Expressive Speech Acts Fears Ben Vautier:"J'ai peur de m'être trompé sur le sens de la beauté vrai" – 1959 Ben Vautier: "J'ai peur de n'avoir plus rien à dire." – 1995   Hopes & Ambitions Ben Vautier: "J'espère que cette toile ne vivra jamais une guerre atomique" – 1960 Ben Vautier: "J'aimerais faire rire" – 1995 Ben Vautier: "Ich will berühmt sein." Boasts Ben Vautier: "Je suis le plus important" – 1970 Salvo: "Io sono il migliore" – 1970   Regrets "J'ai voulu abandonner l'art mais j'en ai fait de l'art" – 1970 "Je voulais faire du nouveau et j'ai fait comme les autres" – 1973 "Je voulais être important et il n'y a pas d'importance" – 1973 Explanations & Apologies Sigmar Polke: "Höhere Wesen befahlen: rechte obere Ecke schwarz malen!" 1969 Ben Vautier: "Il faut me prendre comme je suis. Je ne peux pas être autre chose que moi-même." 1977 Sadness Ben Vautier: "J'ai le caffard" – 1970 Bas Jan Ader: "I'm too sad to tell you." 1970       Existence On Kawara: "I am still alive" – 1973 Barbara Kruger: Untitled ("I shop therefore I am") – 1987       Health Timm Ulrichs: "Ich kann keine Kunst mehr sehen!" – 1975 Tim Ayres: "I'm getting much better" – 2003       Consolation Tim Ayres: "We don't live forever anyway" – 1992           Speech Acts        Concept Art        Radical Art         Assertions  Ben Vautier "La seul gauche va dans le sens de l'histoire ..." – 1959 "Au commencement était le verbe" – 1992 "We are pigs" – 1995   Jenny Holzer: Truisms "Money creates taste" – 1977 "Private property created crime" – 1979/1981 "Slipping into madness is good for the sake of comparison" – 1993/1994 "You are a victim of the rules you live by" – 1990 "Murder has its sexual side" – 1993/1994 "Abuse of power comes as no surprise" 2004 "True freedom is frightful" – 2006 "The future is stupid" Extrenal Link: Holzer's Truisms        Barbara Kruger Untitled ("In space no one can hear you scream") – 1987 Untitled ("Your body is a battleground") 1989      Speech Acts        Concept Art        Radical Art         Questions Can we say that a kind of grammatical chasm exists between the form of the proposition and that of the question? Is there a kind of world, as it were, of the question, whose difference, verging on the suspicion of a kind of lack, sets it in perpetual opposition to that other world, that of the statement? [...] And when it comes to actions, are there those that one could designate as interrogative? And what about objects? Robert Morris: "Professional Rules." Critical Inquiry, 23 (Winter 1997).    Ben Vautier "Qui vous dit qu'il n'est pas beau ce tableau?" – 1961 "C'est beau n'est-ce pas?" "Est-ce bien de l'art?" – 2005 Mario Merz "Che fare?" 1968 Jenny Holzer         "What urge will save us now that sex won't?" 1983, 1985 "When you place your hand on the Bible, do you think about eternal questions: why are we here instead of nothing?" 2004 Barbara Kruger  Untitled 1991 Look for the moment when pride becomes contempt. Who is free to choose? Who is beyond the law? Who is healed? Who is housed? Who speaks? Who is silenced? Who salutes longest? Who prays loudest? Who dies first? Who laughs last?    Speech Acts        Concept Art        Radical Art         Answers Edward Ruscha: "Very True", 1974 Stefan Brueggemann: "No, No, No, No", 2005  Edward Ruscha: "OK"       Sylvie Fleury" "Yes To All", 2005           Speech Acts        Concept Art        Radical Art         Performatives Creation Robert Rauschenberg: "This is a portrait of Iris Clert if I say so" 1961 Curses   Edward Ruscha: "Oof" – 1963      Ben Vautier: "Malheur à par qui le scandale arrive" Christopher Wool: "Fuckem if they can't take a joke" – 1992 Salutes Peter Norman, Tommie Smith, John Carlos: The Black Panther Salute, 1968  Klaus Staeck: Wir setzen uns durch, 1968       Ben Vautier: "Ciao viva!" – 1984 Ian Hamilton Finlay: "Je vous salue Marat" – 1990 Haim Steinbach: "Yo." – 2004    Tracey Emin: "I kiss you" – 2006          Speech Acts        Concept Art        Radical Art         Suggestions & Requests  Suggestions   Ben Vautier: "Buvez Coca-Cola frais" – 1960           Ben Vautier: "Le Bon Lait"        James Rosenquist: Win A New House For Christmas, 1964      Robert Indiana: Eat, 1962      Robert Indiana: Die, 1962        Ben Vautier: "Regardez ailleurs" – 1965     Ben Vautier: "imaginez autre chose" – 1965     Ben Vautier: "L'internet est inutile. Rentrez chez vous."       Stephen Kaltenbach: Advertisements in ArtForum, 1969          Jenny Holzer: "It is in your self-interest to find a way to be very tender." Dennis Oppenheim: Stutter Pen, 1994 Christian Robert-Tissot: Sans Titre ("Smile Baby. Life is fun.") – 1995     Barbara Kruger: Façade, 2005 (Detail) Banksy: "Abandon Hope (Weekdays 9am-5pm)"   Requests   Ben Vautier: "Regardez-moi; cela suffit." 1966 Bas Jan Ader: "Please don't leave me" – 1969 Gerrit-Jan de Rook begging in the streets of The Hague, ca. 1970.     Jenny Holzer: "Protect me from what I want" – 1979/1981 Christopher Wool: "If you can't take a fucking joke you can get the fuck out of my house." – 1992 Olivier Mosset: Sans Titre ["Help"], 2002 Graham Park: "I need your assistance" – 2006            Speech Acts        Concept Art        Radical Art         Barbara Kruger's Accusations Untitled ("Your moments of joy have the precision of military strategy"), 1980 Untitled ("Your manias become science"), 1981         Untitled ("You construct intricate rituals which allow you to touch the skin of other men"), 1981        Untitled ("You are not yourself")       Untitled ("Your comfort is my silence"), 1981 Untitled ("I am a slice of your life"), 1981           Art against art        Speech Acts        Concept Art        Home Page: Radical Art         Appeals, predictions, proposals, refusals, threats  Refusals Asger Jorn: "L'Avant-garde se rend pas" 1962     Barbara Kruger: Untitled ("We don't need another hero"), 1987 Appeals Ben Vautier: "Liberta per tutti"  Ben Vautier: "Pas d'art sans vérité" Guy Debord: "Abolition du Travail Aliéné", 1963 (Text on 1959 "industrial painting" by Giuseppe Pinot Gallizio) Guy Debord: "Dépassement de l'art", 1963 Guy Debord: "Réalisation de la Philosophie", 1963 Reference Robert Ohrt: Phantom Avantgarde. Eine Geschichte der Situationistischen Internationale und der Modernen Kunst.  Hamburg: Lutz Schulenburg, 1990 (pp. 266/270/329). Acknowledgment Guy Debord images thanks to XB2N. Proposal Ben Vautier "Let's fuck" 1979           Threats Barbara Kruger: Untitled ("We will undo you") – 1982    Ben Vautier: "Les temps sont venus" – 1999       Predictions        Ben Vautier: "Le marché de l'art s'écroule demain à 18h30" – 1990      Jenny Holzer: "The beginning of the war will be secret" – 2004      Art about art          Statements against art        Paradox       Art & Life     Radical Art  [homepage]       Art against Art   Ben Vautier: "Pas d'Art", 1961 Jörg Immendorf: "Hört auf zu malen!", 1966 Ben Vautier: "L'Art est Inutile / Pas d'Art / A Bas l'Art", 1965 Timm Ulrichs: "Ich kann keine Kunst mehr sehen!", 1975 John Baldessari: "I will not make any more boring art", 1971