An indefinite request

for installation proposals

RR haiku 011

 

Call for proposals

RR haiku 011

Certificate of Authenticity

Exhibition as Object—Object as Exhibition

Essay from

A. Will Brown

 

Call for Proposals

 

The Stolbun Collection LLC is pleased to announce a request for proposals to exhibit its RR haiku 011,

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The call for proposals is open to anyone, anywhere, and across any space as long as the work is shown in a setting that is frequented by more than one person, is shown for a specific duration, and is treated as a unique object that conforms to Rozendaal’s specifications. The work can be shown individually, with artworks by other artists, or with non-art objects and ephemeral materials. Proposals will be accepted in any form.

 

The intention of this open call is for RR haiku 011 to be shown continuously and indefinitely at varying locations in order to challenge traditional notions of art and exhibition making. This project is an ongoing collaboration between Seth Stolbun, Rafaël Rozendaal, A. Will Brown, and the various institutions, individuals, and spaces that will show the work.

 

 

Please submit all proposals to seth at stolbun.org

TSCRR115

Rafaël Rozendaal RR haiku 011

 

 

Exhibition as Object—Object as Exhibition

A. WILL BROWN

Nothing lasts forever. What about a contemporary art exhibition?  There are many artworks and exhibitions that conflate duration and space, as well as those that blend display, repetition, and concept. A few notable examples include Hans Ulrich Obrist’s do it, Andrea Fraser’s Museum Highlights, Tom Marioni’s Drinking Beer With Friends is The Highest Form of Art, Sol Lewitt’s wall drawings, Petra Cortright’s YouTube based video works, Jens Hoffmann’s Americana, and the many sets of reproducible Fluxus instructions and scores. While the presentation of challenging exhibitions and artworks is nothing new in the history of art, the environment for such projects continues to shift. Some of the more radical and ephemeral changes of late include online based exhibitions and artworks, a landscape of challenging performances, and an array of self-published books and typographical projects. What do these changes imply about the future of exhibitions?  Is it possible to have a contemporary art exhibition that never ends? What would it mean to show one artwork that is simultaneously both object and exhibition—exhibition and object?

 

What kind of artwork, artist, and network would make this possible? Imagine one poetically, even impossibly simple, yet conceptually rigorous piece—installed across various forms, with uncomplicated rules for display—exhibited forever.

 

Rafaël Rozendaal has made such a work, in fact, a series of them, they are haiku. Much of Rozendaal’s oeuvre, including his ongoing series of websites and a curatorial project called Bring Your Own Beamer (BYOB), blend artwork and exhibition through continual display, instructions and participation. His catalogue of websites operate as users click the mouse and initiate the software to execute one or more simple repetitive functions. These functions often involve morphing geometric shapes and vibrant blocks of color that swirl and move rhythmically.  Further, his website works are always on display, and get millions of unique views each year. BYOB is an open platform for one night gatherings that asks participants to bring their own projectors to screen videos, films, and gifs. BYOB can take place anywhere around the world, and Rozendaal keeps track of where and when they occur. The relationship between Rozendaal’s work and that of conceptual pioneers like Sol LeWitt and Lawrence Weiner is striking. However Rozendaal’s conceptual project—including a seemingly endless series of interactive websites, a shifting set of open platforms, mirror and projection based exhibitions, and simple yet rigorous certificate based works—uniquely addresses the present paradigm.

 

Rozendaal’s haiku works each offer a few rules for those who collect and exhibit them. In the case of the specific work RR haiku 011 “is it good/is it bad/at least i tried”, which is owned by The Stolbun Collection, the certificate of authenticity reads: choose a wall; paint two equal pink rectangles (slightly apart); apply text on top of right rectangle; text color = black; font = trebuchet ms; paint color. The final stipulation is that each haiku can only exist in one place at a time as a unique object for the duration of that exhibition.

 

In the fall of 2015 five essays inspired by Rozendaal’s haiku were published online (atleastitried.org) to coincide with the exhibition at least i tried at The School of the Art Institute of Chicago. The exhibition and web project were organized by Seth Stolbun, founder of The Stolbun Collection LLC.

 

 

A. WILL BROWN is a Curator and Writer. He is a Founding Curator and Deputy Director of Monument Lab and the Curatorial Assistant of Contemporary Art at the Museum of Art, Rhode Island School of Design. He has held curatorial positions at the Kadist Art Foundation, Wattis Institute for Contemporary Arts, Crown Point Press, Triple Base Gallery, and the Aspen Art Museum. Brown is a regular contributor to Daily Serving, Hyperallergic, Studio International, and Art Practical.

 

 

 

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