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

1967 Alison Knowles

Once she had the invitation to go to tea. She arrived at his door with eleven color swatches in her attaché case and the kindest smile on her face. She found a thin cloud of smoke floating above the open door; in no time the room was filled with people. Hands holding trays went high atop their heads. She kept herself in constant movement. She noted, order had become play.
So now about the color swatch: it was for him to select exactly the hue or tint of red-orange and blue that he wanted to have for the print that she was going to silkscreen later. Eleven times she had made a red circle on black Color-aid paper but in different intensities and each time overlapped it with a blue. There was Torch Red, Flame, Bittersweet. He chose one. The color swatch went on the windowsill and the ones he had not selected went back into her case. She thought, even though all is proceeding as foreseen, there must have been an irregularity somewhere along the way.
So the tea party proceeded and at some point his wife got up to go to the window, perhaps she wanted to open it. She looked down onto the windowsill and there was the color swatch, left out, designating his choice. She held it up and said, “When did you do this?” He got up from the table, walked over to the window, toward the fluttering paper and said, “Give me a pencil.” He signed the color swatch. He put the pencil down. After all he did not return to the table as he had left for the window.
Here the curtain falls vertically and the question is now, what is that? Is that a work of art? Is that something that helps in the methodology of doing the print? Is it one of his numerous rounds acted out in the moment?
The artifacts, in their arrangement, as they stood, showed a general affinity of opinions. They seemed neither unsettling nor distracting. Only the attaché case felt unnaturally heavy as she picked it up on the way out. Everything seemed fine. Nothing is wrong. And in the end there will be time.

Above: 10th Street, New York, 1967. Alison Knowles and Marcel Duchamp looking at color swatches, produced in connection with the silkscreen edition accompanying the cooperation on the Emmett Williams publication Sweethearts with Something Else Press in 1967.

Vier "Hands" und Floralozone

Michael Part, 2003-2006

Hand 21

1 – Andy Partridge and Harold Budd, Hand 21
2 – Andy Partridge and Harold Budd, Missing Pieces of the Game of Salt and Onyx
3 – Jacob Kirkegaard, Labyrinthitis II
4 – Ø, Olematon
5 – John Hughes Daydream, Drinking Gasoline
6 – John Hughes Daydream, Terrible Things
7 – Heat Wave, Oakland, Slowmotion

Hand 22

1 – Andy Partridge and Harold Budd, Hand 22
2 – Delia Gonzalez and Gavin Russom, Rise
3 – James Murphy and Tim Goldsworthy, Rise Remix

Hand 20

1 – Andy Partridge and Harold Budd, Hand 20
2 – Moby, Is That You Mo-Dean Remix (Herparella)
3 – Mike Harding, Broken Rain
4 – People Like Us, In the Waking
5 – Jana Winderen, Mae Taeng
6 – J.O.Y., Sunplus A – Sunplus
7 – Hypnotic Brass Ensemble, War
8 – Roboterwerke, Rockbots (Stevie Kotey Edit)
9 – Moebius & Plank, Conditionierer

Hand 19

1 – Andy Partridge and Harold Budd, Hand 19
2 – Kraftwerk, Ohm Sweet Ohm
3 – Henrik Håkansson, Central Park
4 – A. Burger, Device C
5 – Henrik Håkansson, Central Park
6 – Penguin Cafe Orchestra, Sketch
7 – Martin Rev, My Strange World
8 – Moondog, Oasis
9 – Tin Man, Constant Confusion
10 – Virgo Four, Deep Blue
11 – Shed, Keep Time
12 – Ø, S-Bahn
13 – Kraftwerk, Klingklang
14 – Kelan Phil Cohran and Legacy, The Dogon
15 – Arthur Russell, Make 1, 2 (Gem Spa Dub)
16 – Starship Commander Woo Woo, Master Ship

Playlist in colaboration with Michael Part for Four Hands and Floralozone, Wellwellwell and Fluc, Vienna, 2014

Composition as Explanation

Part 1, November 12, 2013
Hacked IKEA furniture | Elisabeth Kihlström, Nobody is doing nothing Nobody is doing nothing

Part 2, November 19, 2013
Mühlbauer, M13518 Kuno Adam | Michael Part, Nr. 88.11

Part 3, November 26, 2013
Tin Man (Johannes Auvinen), Vienna Blue | William Wegman, Blue Period

"There is singularly nothing that makes a difference a difference in beginning and in the middle and in ending except that each generation has something different at which they are all looking. By this I mean so simply that anybody knows it that composition is the difference which makes each and all of them then different from other generations and this is what makes everything different otherwise they are all alike and everybody knows it because everybody says it."

Gertrude Stein, “Composition as Explanation“, 1925

2006 Lanvin

Clear and light colors have always been a Lanvin trademark. One within Jeanne Lavins' palette is a green inspired by Diego Velázquez' paintings. For her only daughters wedding to the Count de Polignac in 1925 she came up with a powdery pink which she subsequently included into her collections and labeled Polignac. And her copy of the blue which Fra Angelico used in his fresco for the Niccoline Chapel became the designer's true signature color. Today many years after Madame Lavins' passing Lanvin still exists. It is named the oldest French fashion house, dating back to 1905. Michele Obama was photographed in Lanvin sneakers while volunteering at the food bank (2009), Lanvin became guest designer for one collection at H&M (2010) and the official producer of the London-based football club Arsenal FC (2013). In 2006 by than artistic director Alber Elbaz introduced a new packaging for the line which supposedly features a bright pastel hue version of Madame's favorite blue, which outgrew the blues in Angelico's fresco into a bubble-gum-soft-serve-forget-me-not-flower-baby-blue matched with a stark black silk ribbon.

Blaue Blume

"Salvia, lavender, hollyhock, scabiosa"
on painting zwei – Ludwig Kittinger, Constanze Schweiger. Photograph: Thomas Ries (detail)

Sich ganz dem Zufall überlassen. Von oben betrachtet werden zahllose Bestimmungen sichtbar, gestreut über einen offenen Grundriss. Kornblume im Feld. Rittersporn. Heliotrop oder Aster. Zurücktreten, die Ärmel hochkrempeln, nach einer Zigarette greifen. Hier also, mitten im Grün, ein kleines Blau. Immergrün. Alles, was zwischen den einzelnen Farbpunkten liegt, verschwindet. Blassblaue Wegwarte, in dem Bereich wo Kiesel, Sand und Wiese ineinander übergehen. An so einer Stelle bücken und die Schnürsenkel richten. Tollkirschenblüte. In ihrer unmittelbaren Nähe steht die Trichterwinde. Vorstellungen und Eindrücke mischen sich, seine eigenen Gesten gehören ihm nicht mehr. Linsenblüte, zusammen mit Salbei und Indigolupine in einem bunten Sack. Alles in einem, so entsteht eine Verbindung. Nachts. Schwarz schluckt Blau. Eigentlich fühlt er sich nirgendwo zu Hause. Vergissmeinnicht, draussen am Zaun vor dem Garten. Im Garten blaue Hortensien. Hier wird Blau durch die Zugabe von Alaun und Essig an den Boden provoziert; frostig, fern und klar zu erkennen. 

  Am Morgen dann werden Iris und Hyazinthen aus dem Kühlraum in die Auslage gestellt. Gleich unterhalb eine Ritze im Asphalt, in die alles verschwinden und aus der alles wieder auftauchen, zu Pulver vermahlen und in eine festumrissene Form gebracht werden kann.
  Und so beschreibt Novalis in Blüthenstaub (1802) seine Vorstellung von Zukunft: „Vor der Abstraktion ist alles eins, aber eins wie Chaos; nach der Abstraktion ist wieder alles vereinigt, aber diese Vereinigung ist eine freie Verbindung selbständiger, selbstbestimmter Wesen.“ 

on painting zwei: Ludwig Kittinger, Constanze Schweiger, Pinacoteca, Vienna, September 2013