Edited by Danh Vo, Caroline Bourgeois, Julie Ault, Heinz Peter Knez, Stefan A. Peterson.
Exhibition curated by Danh Vo and Caroline Bourgeois
Texts by Patricia Falguieres, Elisabeth Lebovici, and Amy Zion
Photography by Heinz Peter Knes
Danh Vo’s conceptual artworks and installations often draw upon elements of personal lived experience (his own, the lives of his parents and other family members) to explore broader historical, social or political themes, particularly those relating to the history of Vietnam at the close of the twentieth century. The works shown in this book—closely related to an exhibition at the Pinault Foundation in Venice—in addition to Vo’s site-specific installations, include some curious old works of art from Venetian museums and collections, provocatively chosen by Vo to establish an unprecedented dialogue between past and present.
Beautifully designed, comprehensive exhibition catalogue with two inserted booklets (text book with words by Patricia Falguieres, Elisabeth Lebovici, and Amy Zion; and exhibition guide/artist profile book and work list), with the main book entirely made up of elegant colour photographic imagery by Heinz Peter Knez of the exhibition itself and the wonderful collection of works assembled. Profusely illustrated with installation views, works and details, featuring the work of Leonor Antunes, Nairy Baghramian, Giovanni Bellini, Constantin Brancusi, Marcel Broodthaers, Giovanni Buonconsigliodetto Il Marescalco, Hubert Duprat, Michael Elmgreen & Ingar Dragset, Luciano Fabro, Peter Fischli and David Weiss, Felix Gonzalez-Torres, Petrit Halilaj, David Hammons, Roni Horn, Peter Hujar, Tetsumi Kudo, Bertrand Lavier, Zoe Leonard, Francesco Lo Savio, Lee Lozano, Robert Manson, Piero Manzoni, Sadamasa Motonaga, Jean-Luc Moulène, Henrik Olesen, Pablo Picasso, Sigmar Polke, Carol Rama, Charles Ray, Auguste Rodin, Cameron Rowland, Andres Serrano, Nancy Spero, Sturtevant, Alina Szapocznikow, Paul Thek, Harald Thys & Jos Degruyter, Danh Vo, David Wojnarowicz, Martin Wong.
- The Slip of the Tongue
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The Spirit of an Era
The 2012 exhibition catalog from the National Art Center, Tokyo, documenting the first Tokyo retrospective of Gutai works covering all it’s periods. In his essay, “Gutai: A Utopia of the Modern Spirit,” editor Shoichi discusses the reasons for the movements four decade omission from Tokyo artistic investigation. The author argues that while Tokyo dismissed Gutai, it was equally misunderstood in the West. Underlying all of these misgivings was Yoshihara’s desire for the emergence of a new spirit after war torn Japan. “It seems that Yoshihara truly believed that pursuing new horizons in art was connected to the liberation of the spirit and would help people live a better life in turbulent times as well as contributing to the development of the human race as a whole…If Yoshihara believed that art would force Japan, after its military defeat, to become a modern nation of the sort that it was destined to be before the war, and a country that could engage in discourse on equal terms with the West based on a shared set of values, one might also say that Gutai offered him a practical means of achieving the goal of a ‘Utopia of the modern spirit’ that was thoroughly characteristic of someone who had been steeped in the liberalism of the ‘20s…” Other essays include Yukako Yamada’s, “Approaching the Finale: The Osaka Expo,” which traces the evolution of Gutai’s parting gesture, and “From Ashiya to Amsterdam: Gutai’s Exhibition Spaces,” by Naoki Yoneda, which discusses various Gutai exhibitions both at home and abroad, but focuses on the architectural space of the Gutai Pinachotheca. The main text breaks the movement into early, middle and later periods, with extensive photo documentation of each. English translations are provided at the conclusion of the work, as is a “Gutai Chronology,” and “Biographical Sketches of the Artists,” as well as a complete listing of works in the exhibition.
- GUTAI: The Spirit of an Era
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