Dec
5
Untitled
Notes on potential projects.
In particular Poste Restante:
The art object seen as an undelivered letter, held in reserve by the gallery for a recipient whose identity and location are incompletely known.
Collected by Eric Fredericksen
ecfredericksen at gmail dot com
Nov
7
Jun
15
"The Berlin Key, or How to Do Words with Things"
Bruno Latour’s 1991 essay is one of the guideposts for “Poste Restante,” and served as the subject for a conversation between curator Eric Fredericksen and artist Gareth James at Artspeak, Vancouver, BC, on May 21, 2011.
Poste Restante at Artspeak
The first version of Poste Restante ran April 9 to May 28, 2011, at Artspeak in Vancouver, BC. Parcels, boxes, and postcards arrived from Jason Dodge (Berlin), Hadley+Maxwell (Berlin), Allison Hrabluik (Vancouver), Aaron Flint Jamison (Portland, Ore.), Sam Lewitt (New York City), Heather and Ivan Morison (Brighton, UK), Avigail Moss (Maastricht), Pamela Rosenkranz (Zurich/Amsterdam), Matt Sheridan Smith (New York), Dexter Sinister (New York/Los Angeles), and Oscar Tuazon (Paris). Hadley+Maxwell gave a performance at the opening. Jacques Tati’s film “Jour de Fête” was screened. Eric Fredericksen gave a talk and then held a public conversation with artist Gareth James.
Jan
9
USB Dead Drops
‘Dead Drops’ is an anonymous, offline, peer to peer file-sharing network in public space. USB flash drives are embedded into walls, buildings and curbs accessable to anybody in public space. Everyone is invited to drop or find files on a dead drop.
Nov
28
“What is irreplaceable in the work of art? What makes it far more a voice of the spirit, whose analogue is found in all productive philosophic or political thought, than a means to pleasure? The fact that it contains, better than ideas, matrices of ideas—the fact that it provides us with symbols whose meaning we never stop developing. Precisely because it dwells and makes us dwell in a world we do not have the key to, the work of art teaches us to see and ultimately gives us something to think about as no analytical work can; because when we analyze an object, we find only what we have put into it.”
Merleau-Ponty, “Indirect Language and the Voices of Silence,” reproduced in F.R. David, “Keep it to Yourself,” Spring 2009, p. 184
Nov
18
“If we consider the [art] works in their untouched actuality and do not deceive ourselves, the result is that the works are as naturally present as are things. The picture hangs on the wall like a rifle or a hat. A painting, e.g. the one by Van Gogh that represents a pair of peasant shoes, travels from one exhibition to another. Works of art are shipped like coal from the Ruhr and logs from the Black Forest.”
Heidegger, “The Origin of the Work of Art.” Poetry, Language, Thought, Harper & Row, 1975.
Vito Acconci’s contribution to “557,087,” curated by Lucy Lippard for the Contemporary Art Council of the Seattle Art Museum, 1969.
Sep
1
“‘There’s more evidence to come yet, please your Majesty,’ said the White Rabbit, jumping up in a great hurry; ‘this paper has just been picked up.’
‘What’s in it?’ said the Queen.
‘I haven’t opened it yet,’ said the White Rabbit, ‘but it seems to be a letter, written by the prisoner to—to somebody.’
‘It must have been that,’ said the King, ‘unless it was written to nobody, which isn’t usual, you know.’” Lewis Carroll, Alice’s Adventures in Wonderland. Brought to our attention by Dieter Roelstraete in F.R. David, Winter 2009. http://www.deappel.nl/publications/p/132/
‘What’s in it?’ said the Queen.
‘I haven’t opened it yet,’ said the White Rabbit, ‘but it seems to be a letter, written by the prisoner to—to somebody.’
‘It must have been that,’ said the King, ‘unless it was written to nobody, which isn’t usual, you know.’” Lewis Carroll, Alice’s Adventures in Wonderland. Brought to our attention by Dieter Roelstraete in F.R. David, Winter 2009. http://www.deappel.nl/publications/p/132/
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