Dienstag Abend Chicago

Cover the fridge with painted paper, so to make a three-dimensional painting that relates and interacts to its place, its situation by color.
This can be made from water-based paint and simple packaging paper on a roll or thicker or millboard ... for the Pepsi-lightbox on top of the fridge I suggest a piece of cardboard. If the paper already has a color (like brown paper or cardboard) it shall be primed first. The color shall be applied roughly and thick, in several layers, necessarily on both sides of the surface. By doing so its form will get slightly waved but overall it will stay quite flat. Brush strokes can be visible, dripping might occur. In general it is preferable that the painted paper maintains a handmade look and a weighty body.
After drying the painted paper shall be cut out freely with scissors or cutter and makes therefor flowing edges. Three shapes are developed according to the silhouettes of the fridge's left and right side and its light box on top. The mounting shall be done with pieces of tape rolled into loops or double-sided adhesive tape. It must be invisible.

Two color propositions

1. Advanced. Try to imitate the color of the floor or something in its immediate vicinity, literally or practically touching the fridge. By my experience a color does not have to be a precise rendition in order to look similar to a neighboring one.

2. Easy. Make a color out of the available leftovers around. In this case the mixture is made at best from more than two paint sources. There can be primer added, more paint from a neighboring boot, some grey or what is in reach.

ArtReview presents Dienstag Abend, Expo Chicago, 2014


1915 Pablo Picasso

In one of his letters Pablo Picasso aims to give his friend Guillaume Apollinaire a painter's advice. He argues that similar to the cannons, which back then were painted grey, the artillery would just as well remain visible to airplanes. Only the fact that they are jointly coated and dressed in solid colors would point out their form. Instead he suggests to daub the soldier's uniforms "with vivid colors and in bits of red, yellow, green, blue, white, like a harlequin."

In: Kenji Kajiya, The Aesthetics of Camouflage: The Art of a Military Design and its Transformation in Art, 2001