Parkett 66: An invitation to roam through space. In the new issue
of
Parkett, Angela Bulloch, Daniel Buren and Pierre Huyghe
probe unexplored
potential in works of art that betoken acts of piercing, stretching and
occupation. The elaborately staged colors, movements, sounds and even
icy
cold of these evolving works reach out into mental spaces as well, where
their extreme immateriality eludes easy accessibility. This is art of an
unbridled intensity that challenges viewers and readers.
The old, illusionist aspects of art have been blurred and transformed by
fantastic set pieces of reality in Angela Bulloch’s oeuvre.
In his essay
“The Simulation of Simulation,” Martin Prinzhorn shows how,
through
inversion, source materials lead to interesting illusionist effects.
Bulloch’s TECHNICOLOUR, evokes the history of movies. Reduction
and
extension of meaning open out into illimitable realms that elude easy
accessibility: In Bulloch’s pixel boxes, three rods of colored
light are
capable of generating no less than 16 million colors. For her edition
for
Parkett, Bulloch captured four out of those 16 million color
combinations
and froze them in time, in one horizontal still. Juliane Rebentisch and
Andrew Wilson also contribute to the discussion of Bulloch’s
digital and
behavioral manipulations.
For his collaboration with Parkett, Daniel Buren designed a
special insert
entitled, “De la broderie à la dentelle,” and 78 unique,
laser-cut
tablecloths for his edition for Parkett—both use the standard 8.7
cm
format of his stripes. The spatial effects and colors of his spectacular
exhibition at the Centre Pompidou last summer addressed the
“visual
pleasure” of the “decorative as strategy” that
Pompidou curator Alison
Gingeras defends in her essay. Anne Rorimer looks at Buren’s
rejection of
a singular and static viewpoint, which is at the core of his artistic
practice. In their conversation, Buren and Huyghe analyze the dissolving
ambiguities, overlappings, and displacements of categories such as
painting, architecture, sculpture, or abstraction and fiction.
Rooms are, indeed places in which untold points of view can be tested,
sometimes reaching into terra incongnita as in Pierre
Huyghe’s poetic
quest for “the invention of a no-knowledge zone” at the
Kunsthaus Bregenz.
Jeremy Millar takes us on a tour of the exhibition,
“L’expédition
scintillante, a musical,” which consisted of works in sound,
light, steam,
ice, cold, smells, literary and musical references, and processed
quotations. Hans Ulrich Obrist and Huyghe talk with Luc Steels,
professor
of artificial intelligence, about time, Annlee, linguistics, and
collaboration. Robert Hobbs considers Huyghe’s often-overlooked
poster
projects from the mid-’90s. For his edition for Parkett, Huyghe
has
created a wind chime that is not a readymade. Although a familiar tune,
hidden away in the many accidental sequences of sound, may “ring a
bell,”
the work remains open to the wind.
Also in this issue:Thyrza Nichols Goodeve and Giuliana Bruno,
author of
Atlas of Emotion, discuss the writer’s study of the
relationship between
affect and space. Edward Dimendberg looks at Allan Sekula’s fish
story,
Tsukiji. Plus: Roberto Ohrt on Monica Bonvicini; Nato
Thompson on artistic
“liars”; and Greg Hilty on art and science.
To explore the new issue, view the new editions, read selected
essays in
Parkett’s signature design, search the more than 1,000 Parkett
articles,
send E-cards of your favorite editions, join our mailing list, and
subscribe, please visit http://www.parkettart.com You
may also visit us,
and view the new issue & editions in person at ARCO, Madrid (February 13
–
18) and The Armory Show, New York (March 7 – 10).
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