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#167 Antony Hamilton

Antony Hamilton (Australia)
Token Armies, 2019

Chunky Moves, Melbourne

Dance expanded.
Humans. Horse. Dog. Flowers. Props. Sounds. Lights. Ponchos. Audience.

Inspiring overriding of disciplinary boundaries.
Inspiring expansion of “what a dance (performance) could be”.
Inspiring volume of the space where there is no optimal vantage point from where you could see it all all the time – which ties into my current project on perspective.

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#163 Nick Cave

Nick Cave (b. 1959, USA)
Soundsuit, 2012

I’ve been looking for more interesting ways to present my sound pieces, the last one ending up in crochet. That kind of makes connection to Cave’s soundsuits – body-related objects referencing sound.

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#157 Ian Burn

Ian Burn (b. 1939, Australia – d. 1993)
Looking through a piece of glass, 1967-8

So, we are back again to self-referential works. I can only extrapolate and speculate why they were interesting in the 60s, and that is not so interesting for me. What is interesting is why I find them appealing today – in my present circumstances, regardless of the conditions of their making.

One new speculation is arising at the back of my head that it may be some unconscious opposition to contemporary attempts to make art “useful” for society at large by expecting it to deal with contemporary issues and reflect contemporary ideologies. Moreover, a lot of nonsense that is going on in the world may also be traceable to some kind of overthinking, of reading everything out there through interpretive ideological glasses, assigning excess meaning to things and then investing energy in fighting those self-created windmills. Maybe works that insist on their most direct – tautological even – reading, are offering a much needed escape or a wake-up call from it all? Maybe that’s why I am tempted to make them, too?

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#154 Franz E. Walther

Franz E. Walther (b. 1939, Germany)
Sehkanal, 1968

I like the idea of audience physically engaging with the work and often look for ways to incorporate such elements in my work. Here is a nice example of how it may work – and I especially like it for its conceptual quality. It is not just something you are allowed to touch in order to include tactility of the texture into your sensory reading of the work, but bodily engagement that activates concepts of distance and connectedness, seeing and not seeing, communication etc. Concepts materialised in ways bypassing verbal articulation are cool. I also like that audience engagement (beyond simply looking at work) is needed in order to complete the work.

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#149 Bernar Venet

Bernar Venet (b. 1941, France)
Indeterminacy, 2014

To be able to do things like that after quitting from art… Awe…

I’ve done a couple of works on much smaller scale and of much smaller beauty that have certain resemblance with this.

But it is for his early conceptual works (after which he resigned from art, to come back a few years later) that I wanted to place him on my list – only that I could not find any relevant images. And I was surprised to find plenty of this… monumental, almost minimalist.

I find support to some of my thinking in his avoidance of subjectivity and exploration of the border – or the interface – between art and science.

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#147 Robert Morris

Robert Morris (b. 1931, USA – d. 2018)
Box with the Sound of its Own Making, 1961

The MET

Why do I find self-referential objects exciting?
I don’t know. Maybe it’s this illusion of particular completeness and autonomy? Or strengthened emphasis on the object rather than its maker or conditions of its creation (although some might choose to trace the reference in opposite direction and think of all that it took to be made). Or some kind of anchorage to reality? …whatever that is, I keep painting a self-referential painting without a clear reason, too. Maybe I am doing it in order to find out why I am doing it.

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#139 Robert Rauschenberg

Robert Rauschenberg (b. 1925, USA – d. 2008)
Erased de Kooning Drawing, 1953

It’s like making a marble sculpture – ‘just remove the unnecessary parts’… Inspires me to seek for application of that principle in other media.

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#136 Marcel Duchamp

Dart Object 1951, cast 1962 Marcel Duchamp 1887-1968 Purchased with assistance from the National Lottery through the Heritage Lottery Fund 1997 http://www.tate.org.uk/art/work/T07280

Marcel Duchamp (b. 1887, France – d. 1968)
Objet-dard, 1951

It took me a while to decide what of Duchamp I should go with here.
It ended up being the Dart Object. The public answer is why not.

3 stoppages ?talon (3 Standard Stoppages) 1913-4, replica 1964 Marcel Duchamp 1887-1968 Purchased 1999 http://www.tate.org.uk/art/work/T07507

Marcel Duchamp (b. 1887, France – d. 1968)
3 stoppages ├ętalon, 1913-14

Oh no, this one is even better.
Scientific methods for art making.
Such a lovely blurring of categories – by doing, not just by talking.

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#133 Man Ray

Cadeau 1921, editioned replica 1972 Man Ray 1890-1976 Presented by the Tate Collectors Forum 2002 http://www.tate.org.uk/art/work/T07883

Man Ray (b. 1890, USA – d. 1976, France)
Cadeau

An old favourite I came to think of…
A thought as an object…
An object as a thought…

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#124 Catherine Sylvain

Catherine Sylvain (b. 1976, Canada)
Femme-Chute II ou La demeure, 2001

Transgression of borders and categories – conceptually and physically..