#165 David Batchelor

David Batchelor (b. 1964, UK)
Chromophobia, 2000

…also something I’ve had in mind both while working on “Colour Photograph” series as well as on the painting “XXVII Feminist Congress”.


#158 Mel Ramsden

Mel Ramsden (b. 1944, UK)
Secret Painting, 1967-8

AGNSW attributes this piece to Art & Language although it also states that it is signed by Ramsden. I did not dig into reasons behind. They may remain secret to me as well.

A lot of interesting things are going here. Another take on the Black square. A question to what extent artist’s intention for the work can ever be known for sure. A question of how and by whom meaning of a work is created. A question of what and to what extent needs to be made accessible to the audience for an artistic experience to be had. A question of the difference between the content and the form. An epistemological condition of the artwork in general.

I am testing many of those aspects myself, so this is most relevant.


#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?


#138 Christian Morgenstern

Christian Morgenstern (b. 1871, Germany – d. 1914, Italy)
Fisches Nachtgesang, 1905

A poem without sounds, yet plenty of meaning.

I’ve read about Hugo Ball reciting it at Cabaret Voltaire… I wonder how…

Otherwise it is an interesting way to pay attention to spaces in-between, in this case – in-between the words – and do something out of them. Something out of nothing is always interesting. OK, not always. When well done, like here.


#137 Aram Saroyan

Aram Saroyan (b. 1943, USA)
The world’s shortest poem, 1965


#121 Dan Graham

Dan Graham (b. 1942, USA)
March 31st, 1966, 1966


More relevant for what I am up to than anyone could guess.


#120 Bruce Nauman

Bruce Nauman (b. 1941, USA)
The true artist helps the world by revealing mystic truths, 1967

Philadelphia Museum of Art

The reason he came up on my radar screen is due to him being quoted saying ‘the only way to find out whether t was art was to do it’. It answers so many fundamental professional questions I was struggling with. Thank you, Mr. Nauman.

But this particular piece is also reflecting my own philosophy quite well even if I’ve expressed it in somewhat different words (‘making sense of the stuff that doesn’t’).

I also sharing his interest in ‘the edge between’ the traditional artistic (crafty) skill and the more evasive skill that nevertheless seems to be necessary in order to make meaningful art that does not employ the former…


#029 Lawrence Weiner

Lawrence Weiner (b. 1942, USA)
Vienna, 1991

Kept seeing it nearly daily throughout 2015 without knowing what it was…

He considers words to be sculptures.


# 021 Tony Cokes

Tony Cokes (b. 1963, USA)
Evil.66.1, 2016

Visited 07/07/2018 at Berlin Biennale
Linked in from

Very minimalistic text-only videos that can keep you watching for quite a while.


#020 Leningrad

Rock band from Russia

Music. Videos. Wit. Social commentary.