INTIMACY7 October 2008 - 30 November 2008 - Australian Centre for Contemporary Art
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INTIMACY
acca education
7 October 2008 - 30 November 2008
AUSTRALIAN CENTRE FOR CONTEMPORARY ART
Curator: Anna MacDonald
Louise Bourgeois (France)
Nan Goldin (USA)
Steve McQueen (UK)
Sophie Calle (France)
Mariele Neudecker (Germany)
Jesper Just (Denmark)
Gabrielle de Vietri (Aus)
Mutlu Çerkez (Aus)
Felix Gonzalez-Torres (USA)
Amikam Toren (Israel)
Margaret Salmon (USA)
Annika Ström (Sweden)
Felix Gonzalez-Torres
“Untitled” (Lover’s Letter) 1991
C-print jigsaw puzzle in plastic bag
INTIMACY is a meditation on the intricacies of human bonds. Featuring artists such as Louise
Bourgeois, Felix Gonzalez-Torres, Steve McQueen, Sophie Calle and Mariele Neudecker,
the exhibition explores experiences of passion, companionship, love and longing, as well as
disquiet, loss, loneliness and abandonment that can define intimate relationships.
Working in a range of media – from video to painting, photography to installation – and using
text, music and various other story-telling techniques, the artists represented in Intimacy
consider the ties between lovers, parents and their children, friends and workmates as well as
other, more elusive encounters between strangers.
Many of the exhibited works concentrate the viewer’s attention on one moment of an
encounter or one aspect of a relationship. Watching Margaret Salmon’s filmic portrait of first-
time mothers, Ninna Nanna, we become aware of the repetitive tasks and rhythms that define
the relationship between a mother and her child. Felix Gonzalez-Torres’s “Untitled” (Lover’s
Letter) presents one fragment of an unfathomable correspondence between two people.
Louise Bourgeois’s portfolio of drawings, 10AM IS WHEN YOU COME TO ME, speaks of the
daily arrival to the studio of her assistant and the intimate nature of working with someone
to realise a work of art. From these moments and in these fragments we can infer a wider
narrative and recognise some of the themes that universally shape close human relationships.
01
“The most successful of all political
acca education
moves are ones that don’t appear
to be ‘political’.”
Felix Gonzalez-Torres.
“Untitled” (Arena) 1993
20 watt light bulbs, extension cords,
porcelain light sockets
60 light bulbs on 18m cords
FELIX GONZALEZ-TORRES was born in Cuba in 1957 and grew up in Puerto Rico. He moved
to New York in 1979 and earned degrees in photography from Pratt Institute and the International
Centre of Photography.
Employing the techniques of the minimal and conceptual artists of the 1960’s and 70’s, Gonzalez-
Torres has worked with raw materials. He has used raw materials such as paper, piles of candies
and strings of lights to explore political themes and ideas about the boundaries between private
and public spaces, history and memory, and love and loss.
Like minimalist and conceptualist artists before him, Gonzalez-Torres addresses issues
surrounding the nature of the art object, its context and relationship to the viewer. However, unlike
the previous generation, Gonzalez-Torres uses minimalist strategies to express concepts of a
more personal and personally meaningful nature.
Gonzalez-Torres explores themes of transience and mortality. Many of his works are emphemeral.
In the case of the candy works, they can be consumed by viewers, who then become
participants in a cycle of accumulating, depleting and replenishing materials; a cycle like life itself.
Gonzalez-Torres’ use of ideas about transience, time and death stem from his real concern about
his own mortality.
Gonzalez-Torres’ “Untitled” (Arena) 1993 is an installation made up of a string of lights suspended
from the ceiling in ACCA’s foyer. Historically, the space of an arena is renound as a place
where sports such as those that involve combat take place. Gonzalez-Torres uses this as a
subtle reference to ideas about gender and sexuality. Gonzalez-Torres refers to the installation
of “Untitled” (Arena) as a symbol of his own intimate relationship with his partner. He often
suggested that his body of work was made for an audience of one – his partner. Interestingly,
“Untitled” (Arena) includes an optional musical element when installed, which along with the lights
gives the impression of a dance hall; a place for romantic rendezvous. Like his other light strings,
“Untitled” (Arena) recalls a stage set for a performance, inviting the viewer to dance under it.
02
acca education
Steve McQueen
Bear 1993
Video
STEVE MCQUEEN was born in London in 1969. Influenced by cinema history, McQueen
studied at the Chelsea School of Art London, Goldsmith College, London and Tisch School
of the Arts, New York. He lives and works between London (UK) and Amsterdam (NL) and is
represented by Thomas Dane Gallery, London as well as Marian Goodman Gallery, New York
and Paris. McQueen won the Tate’s Turner Prize in 1999 and will represent the UK at the 2009
Venice Biennale. McQueen’s Bear 1993 (10 minutes and 35 seconds in duration) is a silent black
and white film depicting two naked men looking at, wrestling with and then circling each other.
Bear is one of McQueen’s most recognised works and was purchased by the TATE in 1996.
The choreography of action that takes place in Bear sees McQueen (he is one of the male
figures), persistently disrupt the links traditionally assumed with the knuckled results of a
bloodied fight. He averts an aggressive reading of his work through the placement of tender
moments between the two male figures, where they unite and then embrace as if congratulating
each other. This sequence in particular dislocates the audience’s attention from that of
impending violence to feelings of acceptance and understanding that are all too rarely seen or
for that matter acknowledged in western masculinity.
The work is installed within a small and claustrophobic space. The projected image fills one wall
so that, from floor to ceiling, the two male figures appear larger than life. McQueen is interested
in the activity of audiences when they watch his films. The viewers breath, movement and gaze
become the centre of attention that the two men in McQueen’s film Bear, repeatedly circle,
embrace and then circle once again.
Key art elements and principles used by McQueen include scale, proportion, tone, form and
balance. McQueen primarily works in video, often using traditional materials such as 16mm
film and contemporary film making techniques such as DVD transfer, large projection and shot
repetition. McQueen references the style of historical cinema and photography in his work as
well as conceptual and performance art.
03
acca education
um i am all new here i moved here about six months ago i share a
flat with a friend and yeah basically just here to see what happens
and i am single however so anything could happen I suppose so
yeah i’d love to know where you live i’m just suppose ah yeah so
just basically tell me a little bit more about yourself as i said where
you live and ah you’re an artist um maybe elaborate on that a bit
like is it sort of a side thing that you like doing or and also what’s
your favorite food alright i hope to hear back from you bye
um i am… (27th November 2021), acrylic on paper, 2004
Mutlu Çerkez
um i am… (23 November 2021) 2004
acrylic on paper
MUTLU ÇERKEZ was born in London in 1964 and lived and worked in Melbourne until his
death in 2005. Çerkez studied at the Chisholm Institute of Technology and then at the Victorian
College of the Arts. Mutlu Çerkez’s estate is represented by Anna Schwartz Gallery, Melbourne.
Çerkez’s ‘Various Responses’ (2004) are inspired by the experience of using a dating profile to
meet women. Çerkez created a series of gouache paintings using the direct translation of the
messages women left for him in response to his dating profile.
The message um i am…, appears nervous and clumsy, but genuine and hopeful. The text is
unedited and presented without punctuation. From reading the messages viewers can infer
a great deal about the woman – to the extent that the viewer can infer the reason the woman
speaking in um i am… is single, has relocated to Melbourne, ready to “see what happens” with
her life, interested in getting to know Multu more and bluntly skeptical.
Consider how memebers of society are placing their private profiles on display in public spaces
more frequenlty. How is identity influenced by the creation of virtual profiles and consequently the
importance of trust in a digital environment?
04
acca education
Sophie Calle
Douleur exquise (Exquisite Pain) 1984-2003
Photographs and text panels
SOPHIE CALLE was born in Paris, France in 1953. As France's most famous conceptual
artist, Calle has been teasing viewers in a passionate and daring way with portraits of her
own life and images of the lives of strangers for the past 25 years.
Calle is interested in the interface between our public lives and our private selves and the way
in which the happiest moments can also cause us the greatest suffering. Often compared
to Tracey Emin, although of an earlier generation, Calle’s ideas are centered on love, life and
death.
Using techniques akin to those of a private investigator, a psychologist, or a forensic scientist,
Calle’s work also includes her own behaviour so that her life, as lived and as imagined, has
informed many of her most interesting works. Some of her most famous works consist of
re-creating moments from other people’s lives, through following people and secretly taking
notes and photographs of them.
Calle’s narratives are constructed out of small fragments and traces of modern life, emotions
and events and include emails, address books, hotel rooms, sleeping, eating and traveling.
Calle’s Exquisite Pain is the record of an experience in 1985, when Calle won a bursary to
Japan for three months, and her boyfriend broke off the relationship the night before they
were due to reunite in India. Similar to the work Exquisite Pain is Take Care of Yourself, a
result of asking dozens of women—including an actress, a clown, and a dancer—to interpret
the break-up e-mail, together with other people’s stories about their worst moments of
suffering. The work reveals as much about her lost relationship as it does about the shared
experience of abandonment, absence, loss and longing.
In 2007, Calle was twice represented at the Venice Biennale. She is represented by Galerie
Emmanuel Perrotin, France.
05
acca education
Louise Bourgeois
10AM IS WHEN YOU COME TO ME, 2006
Etching, watercolour, pencil and gouache
on paper in portfolio, 20 pages
LOUISE BOURGEOIS is a French-born American artist. At the age of 96, Bourgeois is one of
the world's most admired sculptors. The Guggenheim, TATE Modern and the Pompidou have all
held major retrospectives of the artists work in the past two years.
Since the mid-1970s Bourgeois has been a magnetic figure for art critics, especially feminist
art historians and theorists. Her sculpture and installations can be repellent and sinister as well
as erotic and sensual. Her themes are highly personal, including her parents and childhood
in France, her domestic confinement and transcendence, her interest in a French tradition of
hysteria and creativity. But these subjects are also connected with larger issues, especially of
gender.
A major theme of her work in the 1940s was female confinement in the home. In a series of
drawings and paintings she portrayed the femme maison – the house woman or housewife.
Bourgeois would return to the femme maison throughout her career, exploring women’s
imprisonment in a “home” that was both a cage and the maternal body. In the 1990s, Bourgeois
combined her themes of confinement, sexuality and power in a series of cages, or cells.
Bourgeois’ 10AM IS WHEN YOU COME TO ME, a series of 20 panels in ink and red gouache
on paper, is a tribute to her assistant of 30 years, Jerry Gorovoy, who arrives in her studio every
morning at 10AM. Showing two pairs of red hands - one grasping in need, the work is poetic,
with hands dancing across sheets of music paper, similar to a story-board or animation stills. As a
viewer, we see the hands of time, the hands shared in relationship and a deep sense of intimacy.
Bourgeois’s work is held in the collections of most major museums around the world. She lives
and works in New York.
Louise Bourgeois is represented by Cheim and Read Gallery, New York.
06
acca education
Gabrielle de Vietri
The Visit – Part One 2007-2008
DVD
GABRIELLE DE VIETRI’S work explores the overlapping codes of social, professional and legal
interactions and transactions and creates alternatives, however absurd, to these often flawed and
habitual behaviours. Her text-based work, which includes legal contracts, publications, promotional
paraphernalia and merchandise, often expand to incorporate performances, videos and/or
sculptures. She relies strongly on the use of objects and their connotations to convey meaning. Her
work and creative output often sit precariously between art and commercial product. Her ideas are
influenced by the conceptual artists of the 60s and 70s, particularly in their use of language and
their deference to analytic philosophy. However, much of de Vietri’s work undermines the ideational
and linguistic purity and orthodoxy that was so important to that earlier period.
While her concerns are often humorous and sometimes cynical, de Vietri’s work always stems from
deeply sincere objectives, of generosity and inclusiveness and believing that no one person makes
a work of art in isolation.
De Vietri’s earlier works, such as Announcement/Commandments 2007. consisted of imperatives
taken from the blurbs of self-help books. Her work, Relationship Contracts, a set of 11 legally
binding contracts detailed the intricate rights and responsibilities of each party in relationships such
as: the One Night Stand, Meaningful, Smile and Nod or the Workplace Romance. In NEW08, as
well as showing a video and sound works, de Vietri presented a rotating series of collaborations
with composers, singers and performers on certain days throughout the exhibition in which the
audience were invited to participate.
The Visit – Part One 2007-2008, explores the strained relationship which exists between de Vietri
and her father. Their tense and uncomfortable meeting conveys the difficulties of a once close
relationship to one that has become pained and distant. Here, what is left unsaid, reveals as much
about the relationship as what is said.
Gabrielle de Vietri currently lives and works in Melbourne. She is the founding editor of the annual
publication, Ideas Catalogue.
07
acca education
Jesper Just
The Lonely Villa 2004
Super 16mm
4 min 30 sec
JESPER JUST, born 1974, explores the complexity of gender in contemporary society. He is particularly
interested in the representation of masculinity and male stereotypes as delivered in mainstream film
and television. Just uses traditional narrative structures such as mise-en-scene to comment upon the
complexity of communication between men or man-to-man exchanges.
At ACCA, the lead characters in his films are more often than not male with a supporting cast of male
actors. In each of Just’s films, he begins with what every man should be and presents this idea through
traditional male costumes. Just questions the construction of male identity in western society by creating a
crisis through which the men in his film respond to. He challenges stereotypes of men as being emotionally
invincible, dominant and sexually aggressive. Female characters are obvious absences of from Just’s earlier
films, appearing mostly in paintings and posters.
In The Lonely Villa (2004) a number of old men sit in the same room away from each other waiting for the
telephones in front of them to ring. When his telephone rings, one old man begins to sing the Ink Spots’ “I
don’t want to set the world on fire”. The young man sings it to the older man, then he replie with address
unknown. The song acts as the dialogue for the old man’s telephone conversation with the younger man.
The relationship between the two men is ambiguous so the viewer is never really sure that the relationship
between the two men could be familial, friendly or romantic. The young man in this film and in other films
as well, is suggested to be Just’s alter ego.
I just want to start
A flame in your heart
In my heart I have but one desire
And that one is you
No other will do
I’ve lost all ambition for worldly acclaim
I just want to be the one you love
And with your admission that you feel the same
I’ll have reached the goal I’m dreaming of
Believe me
I don’t want to set the world on fire
I just want to start
A flame in your heart
In the work No Man is an Island II (2004) a room full of old men and one young man sit in a historic dimly
lit strip club. In what is a traditionally male dominated space, the young man begins to cry as he sings Roy
Orbison’s falsetto ballad of lost love, “Crying”.
Just’s works use song and singing rather than spoken dialogue. Just does this, as he believes music
supports the communication of emotion much more than spoken dialogue does. Each film uses high
production values, sometimes employing professional actors and crew to produce cinematic works. His
camera captures the subtleties of a range of human emotions including sadness and melancholy that are
often denied to male characters on the mainstream cinema screen. Stylistically, Just’s work is similar to
contemporaries such as Gus van Sant, David Lynch and Mathew Barney.
08
acca education
Amikam Toren
Carrots 2008
DVD
AMIKAM TORREN was born in Israel in 1945 and is now based in London. Toren’s art explores
themes of western consumerism and acquisition. He often works with found and discarded
objects. Since the 1970’s Toren has been exploring the relationship between form and content,
object and representation, and between the languages of sculpture and painting. Toren produces
works through destroying and reconstructing things.
Through his methods of deconstruction the artist questions the idea of perfection. The beauty in
his work being the inherent conflict in the artist’s belief that something imperfect can be complete
or can be perfectly incomplete.
Toren “chooses to define himself in terms of fragments rather than whole items-pieces of base
“underdog type” objects such as teapots, cups, saucers and milk bottles that are readily available
and are valued at only a few pence…broken and discarded on skips, in gutters and underneath
the stalls of street markets.”
Toren’s work also expresses his concern with aspects of language: meaning, interpretation and
signature. Toren uses ready made paintings as material for work and by cutting the shape of text
out of these explores this theme of aspects of language. By adding his own signature above the
signature of the artist he explore the notion of the artist’s signature.
Toren’s Carrots 2008 (his first video work) comprises of 17 minutes of footage of six of the artists
experiences over the last 40 years. The work is narrated by Peter Strickland and displays Toren’s
gift for story telling. It includes a number of unlikely tales, one being a story of a woman steering a
blind man into a lamp post. The beauty being in this, and the other quirky tales, the artist’s ability
to make the implausible plausible.
09
acca education
Margaret Salmon
Ninna Nanna 2006
16mm b/w and colour transferred to DVD,
sound
MARGARET SALMON is an American born photographer and filmmaker, currently living in
the UK. Salmon originally trained as a photographer, and studied film at the school of Visual
Arts, New York. Salmon’s influences range from John Ford to Luchio Visconti and her practice
developed from the New Wave, Neo-realism and Cinema Verite of the 20th century.
Salmon examines social issues in her works that are characterized by their use of visual images
and sound. Salmon’s films express a feminine perspective and are enigmatic, haunting family
dramas.
Salmon’s Ninna Nanna 2006 is the artist’s first major work since finishing her masters’ degree
and giving birth to her daughter. The title comes from the name of the traditional Italian lullaby that
the women she film sing to their children. The film explores the representations of motherhood
in society and presents three Italian mothers in different stages of motherhood. It is filmed in the
mother’s domestic space. The lullaby seems to simultaneously soothe the mothers, babies and
audience. Salmon’s initial idea for this piece was to make a trio of films on the universal theme
of motherhood. Shot with a hand held Bolex camera from the 1930’s; the style of the film is
reminiscent of classic Italian movies by Fellini and Rossellini. The work is projected onto three
screens as a triptych.
Salmon captures the loneliness and isolation faced by the first-time mothers and the
repetitiveness of the maternal tasks they perform on a daily basis.
Some of the significant formal elements and principles used by the artist are colour (absence of
colour), the use of black and white film, the grainy texture of the film, the large scale of the work.
10acca education
Annika Ström
10 New Love Songs 1999
DVD
ANNIKA STRÖM sings in 10 New Love Songs, “I don’t sing…I don’t sing…I don’t sing
anything…sentimental”. The video work 10 New Love Songs is exhibited in the foyer of ACCA’s
gallery on a television monitor. 10 New Love Songs permeates the cavernous space, filling it with
sound and song. The work sings about experiences of being lucky and not so lucky in love.
The songs are charming and familiar and grow on you like all good songs do. Swedish artist
Ström song’s accompany images she has collected through the experience of traveling. Along the
way, Ström meets various people who invite her into their homes and they talk sympathetically
about falling in love, the complexities of furniture and singing.
The songs Ström sings detail the ways in which we live our lives. Through the emotional
landscape of her digital video camera we see Ström become familiar with the strangers she
converses with. In one story, we are invited into an older man’s house. He enjoys showing Annika
around and elaborates in detail about which chair he like to sit when he is talking on the telephone
or the chair he likes to sit in when he is reading.
11acca education
Mariele Neudecker
Winterreise 2003
Video
MARIELE NEUDECKER traveled along the 60th parallel north, to places such as Oslo, Helsinki
and St. Petersberg to make her 90-minute film Winterreise. The film is inspired by Wilhelm Müller’s
poems that explores the rejection of a man by his lover. The work is structured by a Schubert
composition – the song cycle of Die Winterreise and journeys through landscapes of some of the
coldest and most inhospitable locations in the world.
A sample of Wilhelm Muller’s Die Winterreise:
3. Frozen Tears 6. Flood Water 19. Illusion
Frozen drops are falling Many a tear from my eyes A light does a friendly dance
Down from my cheeks. Has fallen in the snow; before me,
How could I have not noticed Its cold flakes absorb I follow it here and there;
That I have been weeping? Thirstily the burning woe. I like to follow it and watch
Ah tears, my tears, When it’s time for the grass to sprout The way it lures the wanderer.
And are you so tepid There blows a mild wind, Ah, a man as wretched as I am
That you freeze to ice And the ice will break apart Is glad to fall for the merry trick
Like cool morning dew? And the soft snow melt away. That, beyond ice and night and
Yet you burst from the wellspring Snow, you know about my longing, fear,
Of my heart so burning hot, Tell me, where does your course lead? Shows him a bright, warm house.
As if you wanted to melt If you just follow my tears, And a loving soul within
The entire winter’s ice! The brook will soon receive you. Only illusion lets me win!
You will flow through the town with it,
In and out of the busy streets;
When you feel my tears burning,
There is my sweetheart’s house.
12“My biggest influences
acca education
are my friends”.
Nan Goldin
Nan Goldin
Heartbeat 2000-2001
Projection of 246 colour slides
(‘Prayer of the Heart’ composed by Sir John Taverner and
performed by Björk and the Brodsky Quartet)
NAN GOLDIN is best known for her magnum opus The Ballad of Sexual Dependancy (1978 –
1993). The Ballad, as it is affectionately referred to, is a collection of photographic slide projections
exploring gender roles set to recorded music. The Ballad was first exhibited in makeshift venues
around the emerging Manhattan club scene in New York City. Goldin’s reputation was cemented
in the history of contemporary photographic practice when The Ballad was shown at the Whitney
Biennale in 1985.
Fast forward to the second year of the 21st century. The Centre Pompidou commissioned Nan
Goldin to create a new work in honor of her retrospective: Heartbeat was the result. The work is
inspired by The Ballad and explores the intimate relationships of five couples that are also Goldin’s
friends. Heartbeat is set to Sir John Taverner’s composition “Prayer of the Heart”, and performed
by Björk and the Broadsky Quartet. Through the entire body of Heartbeat is the sonic rhythm
of a heart beating. The sound in combination with the music and images creates a moving and
mesmerising installation.
Heartbeat is a cerebral and demanding work that engages the viewer with the emotional nature
and physicality of intimacy.
Nan Goldin is represented by Mathew Marks Gallery, New York.
13LEARNING ACTIVITIES:
acca education
Use these learning activities are a starting point for approaching the art in Intimacy in Year 10 and VCE.
Art & English:
Study classic love stories such as Romeo & Juliet, Gone With The Wind, Pride and Prejudice, Wuthering Heights or
The Great Gatsby.
Students write their own love story or love poem inspired by a work they have seen in Intimacy.
Art & Science:
What attracts us to our companions? Pheromones are chemicals that are released into the air by animals to alter
the behaviors of other animals of the same species.
Do opposites attract?
How is the idea of Ionic bonding between negative and positive ions presented through an artist’s work in
Intimacy? Displacement between ions.
Electrical attraction – for example: the relationship between positive and negative.
How do the artists in Intimacy use these ideas in their work?
Art & Maths:
Two, Doubles, and Duo’s – What is the significance of the number 2 in Maths?
Does the number 2 have a history?
Two is the smallest and the first of the prime numbers.
Research the history of the numeral two and identify how artists have used the concept of two in a selection of
works in Intimacy.
Art & Music:
The common thread of music links a range of art works in Intimacy.
Students write and compose their own love song and record using GarageBand or an alternative sound-editing
program.
Save the song as MP3 and burn to CD.
Analyse the representations of love in this song and compare to a song from the 1970’s such as The Carpenters
“Close to You”. Compare with a contemporary song such as Beyonce’s “Crazy in Love”. How are these songs
similar and different?
Art & Health:
Sexual/Relationship education – How do students understand the idea of intimacy?
Do they share a common understanding of the meaning of intimacy in the context of relationships between
themselves and others?
Explore the idea of intimacy as represented in the artworks exhibited.
Art & Media:
How do artists and photographers represent love?
Is it always a positive experience?
What about feelings of longing, desire, loss and death that are associated with the process of loving?
Are these emotions as equally represented through the exhibition?
Compare how Intimacy challenges our understanding of love defined by the culture in which we live and then
compare these findings to what we see on television and in film.
Alternatively, are the ideas of intimacy, love and desire represented differently in other cultures?
Art & Philosophy:
So what is love and how do we define it in our society?
Read excerpts from Plato’s Symposium (for example, Socrates’ speech about love) and compare with Roland
Barthes’ A Lovers Discourse.
Alternatively read excerpts from Alain de Botton’s Essays in Love and discuss with reference to the works in
Intimacy.
Art & History:
How has the concept and tradition of love changed over time?
Have conflicts of love contributed to historical events?
Are the artists in Intimacy documenting the idea of love in reaction to or in support of political agendas?
Art & Visual Communication:
Do advertisers use ideas about love and intimacy in their advertising campaigns?
Is the theme of love used regularly to communicate to a wide audience?
What symbols are used by advertisers to communicate the idea of love?
Art & Drama:
Write a short script for a performance based upon love.
Read scripts such as A Streetcar Named Desire to assist with your preparation for this task.
Base your own script upon a work in Intimacy.
Art & Psychology:
“One is very crazy when in love.” Sigmund Freud – Do you agree?
Conduct a survey to determine what exactly Freud meant by this statement.
And what about the works included in the exhibition Intimacy, are the artists and their subject matter just as crazy
in love?
14List of Works: Further Reading:
acca education
John Armstrong, Conditions of Love (2002)
Felix Gonzalez-Torres
Roland Barthes, A Lovers Discourse (1978)
“Untitled” (Lover’s Letter) 1991
Charles Baudelaire, Intimate Journals (1930)
C-print jigsaw puzzle in plastic bag
Alain De Botton, Essays in Love (1993)
“Untitled” (Lover’s Letter) 1991
Sigmund Freud, The Psychology of Love (1905 – 1931)
C-print jigsaw puzzle in plastic bag
Erich Fromm, The Art of Loving (1956)
“Untitled” (Arena) 1993
Plato, The Symposium (400BC)
20 watt light bulbs, extension cords, porcelain light sockets
Linnell Secomb, Philosophy and Love (2007)
60 light bulbs on 18m cords
William Shakespeare, Sonnets (1609)
Annika Ström
10 New Love Songs 1999 Links:
DVD
www.annikastrom.net
Steve McQueen
www.jesperjust.com
Bear 1993
www.andrearosengallery.com
Video www.thomasdane.com
Amikam Toren www.annaschwartzgallery.com
Carrots 2008 www.storegallery.com
DVD www.anthonyreynoldsgallery.com
www.galerieperrotin.com
Mutlu Çerkez www.cheimread.com
um i was… (23 November 2021) 2004 www.matthewmarks.com
acrylic on paper
oh hi look…(17 November 2021) 2004
acrylic on paper
um i am… (27 November 2021) 2004
acrylic on paper
you sound like… (30 November 2021) 2004
acrylic on paper
hello i just… (20 November 2021) 2004
acrylic on paper
ah hi i’m… (21 November 2021) 2004
acrylic on paper
hi i thought… (29 November 2021) 2004
acrylic on paper
Jesper Just
The Lonely Villa 2004
Super 16mm
4 min 30 sec
No Man is an Island II 2004
DVCAM
4 min
Courtesy the artist and Galleri Christina Wilson
Gabrielle de Vietri
The Visit – Part One 2007-2008
DVD
Margaret Salmon
Ninna Nanna 2006
16mm b/w and colour transferred to DVD, sound
Mariele Neudecker
Winterreise 2003
Video
Sophie Calle
Douleur exquise (Exquisite Pain) 1984-2003
Photographs and text panels
Louise Bourgeois
10AM IS WHEN YOU COME TO ME, 2006
Etching, watercolour, pencil and gouache on paper in
portfolio, 20 pages
Nan Goldin
Heartbeat 2000-2001
Projection of 246 colour slides
(‘Prayer of the Heart’ composed by Sir John Taverner and
performed by Björk and the Brodsky Quartet)
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