Super Conceptual Pop
In 2000, Stefan 叠谤眉驳驳别尘补苍苍 began Show Titles, an iconoclastic, never-ending list of exhibition titles made available to all by the artist 鈥� which requires only the use of capitalized Arial Black and asks only to appear in the list of artists and works shown.
Situated between Dadaism and conceptual art, historical references that 叠谤眉驳驳别尘补苍苍 likes to quote, here is a short sample, from among over 800 titles available, to confirm this heritage: 鈥淭he New conceptualists鈥�, 鈥淯nconceptual鈥�, 鈥淧ost-invisible鈥�, 鈥淚ntellectual disaster鈥�, 鈥淲hy didn鈥檛 you make it larger?鈥�, 鈥淲hy didn鈥檛 you make it smaller?鈥�, 鈥� Don鈥檛 read books鈥�, 鈥� Stolen thoughts鈥�, 鈥淎lready made鈥�, 鈥淪mart punk鈥�, 鈥淎rt at the age of extinction鈥�, 鈥淐ontinually revealing multiple routes of entry and exit鈥�, 鈥淭hings on the wall鈥� , 鈥淢ake art without hands鈥�, 鈥淲hen I shit I look at Andy Warhol鈥檚 books鈥�, 鈥淯nproductivism鈥�, 鈥淏ad conceptual artist鈥�, 鈥淪uper conceptual pop鈥�. Through this list, a resolutely humorous portrait of the artist emerges. Dadaist and conceptual? Perhaps. But officially, pop and conceptual 鈥� even, as 叠谤眉驳驳别尘补苍苍 puts it, 鈥渢wisted conceptual pop鈥�. The 鈥淪uper conceptual pop鈥� exhibition takes as its starting point one of 叠谤眉驳驳别尘补苍苍鈥檚 eponymous Show titles to champion a new, twisted chapter in the relationship between conceptual and pop aesthetics in contemporary creation. Through the works of Pierre Bismuth, Martin Creed, Camila Fairclough, Bertrand Lavier, Jonathan Monk and Elsa Werth, among others, this twist offers a fresh approach to conceptual art, that simultaneously celebrates a form of nihilism, reminiscent of Dada, and exhibits itself in the realm of amusement and merchandise. A joyful conceptualism!
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In 2000, Stefan 叠谤眉驳驳别尘补苍苍 began Show Titles, an iconoclastic, never-ending list of exhibition titles made available to all by the artist 鈥� which requires only the use of capitalized Arial Black and asks only to appear in the list of artists and works shown.
Situated between Dadaism and conceptual art, historical references that 叠谤眉驳驳别尘补苍苍 likes to quote, here is a short sample, from among over 800 titles available, to confirm this heritage: 鈥淭he New conceptualists鈥�, 鈥淯nconceptual鈥�, 鈥淧ost-invisible鈥�, 鈥淚ntellectual disaster鈥�, 鈥淲hy didn鈥檛 you make it larger?鈥�, 鈥淲hy didn鈥檛 you make it smaller?鈥�, 鈥� Don鈥檛 read books鈥�, 鈥� Stolen thoughts鈥�, 鈥淎lready made鈥�, 鈥淪mart punk鈥�, 鈥淎rt at the age of extinction鈥�, 鈥淐ontinually revealing multiple routes of entry and exit鈥�, 鈥淭hings on the wall鈥� , 鈥淢ake art without hands鈥�, 鈥淲hen I shit I look at Andy Warhol鈥檚 books鈥�, 鈥淯nproductivism鈥�, 鈥淏ad conceptual artist鈥�, 鈥淪uper conceptual pop鈥�. Through this list, a resolutely humorous portrait of the artist emerges. Dadaist and conceptual? Perhaps. But officially, pop and conceptual 鈥� even, as 叠谤眉驳驳别尘补苍苍 puts it, 鈥渢wisted conceptual pop鈥�. The 鈥淪uper conceptual pop鈥� exhibition takes as its starting point one of 叠谤眉驳驳别尘补苍苍鈥檚 eponymous Show titles to champion a new, twisted chapter in the relationship between conceptual and pop aesthetics in contemporary creation. Through the works of Pierre Bismuth, Martin Creed, Camila Fairclough, Bertrand Lavier, Jonathan Monk and Elsa Werth, among others, this twist offers a fresh approach to conceptual art, that simultaneously celebrates a form of nihilism, reminiscent of Dada, and exhibits itself in the realm of amusement and merchandise. A joyful conceptualism!
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