Garage Cosmos

Art by Delegation

22 February – 11 April 2014

A collector's view

Global art and creation open to all in the art of the 60s-70s: from the delegation of the making of an artwork in favor of a knowing public to the transfer of artistic initiative to a public of creators. 

Artists asking other people to carry out their artwork have been subject to recent interest. This was brought to the forefront by Randy Kennedy's article entitled Tricky business of authenticity published in the International New York Times (Saturday-Sunday 21-22 December 2013). The article refers to the presence of damaged or poorly made works of art by ​​Judd, Flavin and Morris in the collection of the Guggenheim Museum, works previously in the Panza di Biumo collection. Randy Kennedy writes: “Judd was among a wave of postwar artists to introduce the idea of industrial fabrication — the removal of the artist’s hand — to the conception of art. And most of his best-known geometric objects, in plywood, metal and other materials, were made by specialty craftsmen. But this hands-off delegation, far from distancing him from the work, seemed only to deepen his control, one of many facts that Panza, who died in 2010, failed to grasp, Judd said.” The delegation here appears to be based on thorough technical requirements, which were wrongly observed by the collector. But the carpenters relied on for completion of the work did not yet use in 68-70 in Europe, as in the United States, Panza being Italian, materials as trivial as plywood, hence design errors in manufacturing. And the question, at first purely technical, led into a study of knowledge and customs. It may not be due to monetary concerns as suggested by Judd but rather out of carelessness that Panza failed to comply, as he adapted to the idea of creation open to collectors, the public and other artists, such as suggested by the works of art in the exhibition. This is the heart of the subject; art now belongs to the public. This delegation is endless: as part of a chain in Broodthaers, permanent in Filliou, super-temporal in Isou and Sabatier, perpetual and for all, pertaining to the domain of public freehold, in the case of Isou, Filliou and Weiner. Would Panza have succumbed to the intoxication born out of the possibility of an unlimited creation open to all? We shall partake to this exhilaration of creation as either actors, embarked artists, or accomplices observing multiple experiments proposed around the idea of creative delegation in the 60s-70s. 
     The artists displayed in the exhibition are contemporaneous with minimal artists, they belong to other movements such as Conceptual art, Fluxus and Lettrism. They are: Art & Language, George Brecht, Marcel Broodthaers, Robert Filliou, Gérard Gasiorowski, Isidore Isou, Nam June Paik, Roland Sabatier, Daniel Spoerri and Lawrence Weiner.

This exhibition is part of Art Brussels' programme, with the participation of Keymouse 

Robert Filliou, Permanent Creation Tool-box., 1969
Daniel Spoerri, Tondre un oeuf (proverbes), 1964. Prendre les tableaux au piège (proverbes), 1964 .Variation on a meal, Eaten by Letty Eisenhauer, 02 /1964
Isidore Isou, Le Mur des amoureux, 1965 – 2003. Lawrence Weiner, … and then relegated to another gender, 1972. George Brecht, Piano Event, 1962 – 1983
Robert Filliou, Permanent Creation Tool Box, 1969. Roland Sabatier, OEuvre d’art supertemporel (La cible), 1963–1964. Cerf volant (Roman supertemporel), 1965