Thursday, November 24, 2005

Sold Out (svenduto)

during Triennale of Turin and Artissima
opening Friday 11 November 2005

Cesare Pietroiusti, opening night performance

including works by
Ylva Ogland and Konst2/Tensa Konsthall with Reala, Massimo Grimaldi, Jordan Wolfson, A Constructed World, Gabriel Lester, Olivier Babin, MIKE artist collective, Gabriele di Matteo, Douglas Ross, Tyler Rowland, Cesare Pietroiusti

The #6 edition of More Fools in Town, "Sold Out", focuses on artworks that lie in the space between objects that can’t be sold and works that have no object.

The idea for this project really comes, somewhat, from thinking about the works of Cesare Pietroiusti, where he has made prints that are signed but then inscribed with a text informing the owner that if they sell the work his signature will be ineffectual and the work will be worth nothing at all. And on the other hand the work of Tino Sehgal, performance works acted out by a performer, that can be bought by the collector, who in effect, receives nothing for the work - no object, no certificate. What creates value? Can value created by the experience of an artwork escape commodification? Is there any space to generate another kind of experience in an alterior space?

More Fools in Town, a collaborative project of Charlotte Laubard, Jacqueline Riva + Geoff Lowe, presents exhibitions and events in an apartment in the centre of Turin in a responsive and impulsive way that seeks a wider audience. It is a lo-fi, lo-hi energy interface with big aims.

more fools in town
via guastalla 19
10124 Turin

Wednesday, November 23, 2005

Installation images

Douglas Ross, Olivier Babin, Jordan Wolfson, Tyler Rowland
ACW, Cesare Pietroiusti
Olivier Babin, Jordan Wolfson
Gabriel Lester
Gabriele Di Matteo, Gabriel Lester, Ylva Ogland and Konsta2/Tensa Konsthall with Reala
Tyler Rowland, Mike artist collective
Mike artist collective

Saturday, November 05, 2005

Artists Works

Olivier Babin
the artist’s unique valid passport

Cesare Pietroiusti
performance 10,000 unique art works distributed for free 2005
in the exhibition NowHere Europe, Venice Biennale

A Constructed World
Dreams 2004-05
anodized medallions and hooks, dimensions variable

Massimo Grimaldi
Fading Love 2005
text (adhesive text when installed)
variable dimensions

Mike artist collective
exhibition flyer for Dudespace, Melbourne 2005

Tyler Rowland
from the series Banausic Labor 2005

Jordan Wolfson
1979 Moon Treaty 2005

Gabriele Di Matteo
video still from il ragazzo che tirò una pietra 2005
dvd 35 minutes

G Lester
Gabriel Lester
Panoptic Paste from the series Scetching with Mats 2002-05
This periscope installation connects a room (inner space) to the street (outer space). Numerous periscopes hang from outside, the street, to deep inside the room. Inside the room the spectator is literally surrounded by images (periscope-reflections) showing the activity and spaces outside. Much like a copy&paste system the sculpture copies one space into the other (from in to out or vise versa – out/in).

Douglas Ross
Harmony 2000
Humming along with the resonant tone of the washing machine in my home as it goes through its full cycle. Our continuous droning produces a strong third harmonic tone which is neither machine nor human.
single channel video (dvd) with stereo audio, 39 minutes 54 seconds
installation view of the kitchen at Parlour Projects, Brooklyn NY

Douglas Ross
Harmony 2001
Humming along with the resonant tone of the air conditioner at Sculpture Center prior to the building renovation. Our continuous droning produces a strong third harmonic tone which is neither machine nor human.
single channel video (dvd) with stereo audio, 59 Minutes
installation view, Sculpture Center, Long Island City, NY

Ylva Ogland and Konst2/Tensta Konsthall with Reala
Målarbok / Coloring Book
The works of Tracey Emin and Edvard Munch interpreted
by Reala, Ida Börjel and Lars Mikael Raattamaa, Konst2/Tensta Konsthall
Curator: Ylva Ogland, Co-Curators: Rodrigo Mallea Lira, Jelena Rundqvist, Graphic Design, Drawing: Reala (Samuel Nyholm & Jonas Williamsson), Poetry: Ida Börjel, Lars Mikael Raattamaa, Captions: Samuel & Ylva, Schemes: Samuel, Ylva & Jonas, Project Managers: Katarina Sjögren, Kim Einarsson, Assistent: Lisa Bergstršm, Translation: Anders Lundberg, Jesper Olsson, Peter Samuelsson, Proofreading: Jon Buscall, Print: Profiltryckeriet, Malmš, Bookbinder: Skånejobb, Malmš, © 2005 Konst2 / Tensta konsthall © 2005 Reala: drawings © 2005 Ida Bšrjel: poetry © 2005 Lars Mikael Raattamaa: poetry © 2005 Ylva Ogland:250905 Printed in EU, ISBN 91-975309-3-X


Subject: Re: sold out - urgent
Date: 08 novembre 2005 2:10:37 CET

A statement from Kagoshima:

Art about art is insurance for perceived value. Si or no? It is still
interesting? I admit I value seeking value over ascribing value. Seeking
takes a lot of energy and making this work may also cost you dearly, but I
promise It is worth it. So, in this case I defer to you and Piero. He
always knew well how to add value. If you find him in Milano please let me

From: massimogrimaldi
Subject: Phrases
Date: 07 novembre 2005 18:12:53 CET

Hi Riva, hi Charlotte,
here below are the two phrases (I attach them as Word files also). In the list of the show's works they should appear as very long titles (actually you can think to this works as works whose concreteness is reduced to nothing, but only their titles), with the indication of their year (2005 for both of them) and the indication of their "subject": we can indicate their subject as simply as "phrase" or as "text without visual reference".
The first phrase concerns the idea of absence and loneliness, thought in abstract terms. It's a modified quote by Antonio Gramsci (more quotes are merged together). The second one regards the idea of presence, thought as an abstract form too. It's a modified piece of a 50 Cent's lyric. These type of works must be thought as something near to my text pieces (informally I call these phrases as "mini-texts") and they include quotes, modified quotes, extracts from private mails, abstract and formal ideas. Perhaps I'll put together all these phrases in a book in future.
Let me know if further infos are needed.
See you soon.


Abbiamo parlato spesso di come ognuno finisca col credere di essere il solo capace di sopportare con forza certi dolori e li nasconda agli altri. Anche il ricordo di questo tempo passato mi sconforta e mi amareggia. Non sapevo cosa scriverti, come scriverti, perché mi pareva che tu non volessi darmi nessun punto di contatto. Credo che sia giunto il momento di porre termine a questa condizione di cose e ciò può essere fatto se tu vieni da me, perché io non posso muovermi. Mi sento distaccato da tutto e da tutti. Sono immensamente stanco. Lascio che i giorni passino uno dopo l'altro.


I was a poor nigga now I'm a rich nigga getting paper now you can't tell me shit nigga cause I'll break yo face nigga you can find me in the fo' dot six nigga in the backseat fondling ya bitch nigga


Date: 10 novembre 2005 6:20:54 CET

“SOLD OUT” holds various connotations. All however seem related to the commercial world.
Whether it is in reference to the lack of product due to demand or supply (SOLD OUT…NO MORE AVAILABLE.) or in reference to a person who subjects themselves to a mainstream commercial arena for personal profit, wealth, and/or fame (Dude, he totally sold out.) Regardless, this phrase hinges on an anxiety due to lack of access or availability.

Lately, I have been wrangling with the phenomenon of documentation in art (and life) and the need to provide access to future audiences to an experience that was created to be available to the public for a limited time.

Personal Note: I depend mostly on others to document my objects and installations--in today's world were everyone has a digital camera this seems easy. I also personally chose not to document my performances and live art works, valuing real life experience versus mediated and controlled images (moving or still).

Of course, however, my projects do get documented and re-contextualized in life by the
people of the world (part accident/part serendipity)>>consuming culture and documenting
our experiences are important aspects in processing the world and seem to be the cornerstone of the world-wide-web. Nonetheless, I am interested in trying to find a new way of operating within the system/world, where I can maintain my vision and integrity, and not become dependent on documentation or anxious about it but rather keep creating new experiences and objects that frame the issues I am interested in dealing with through ART. Hence, leaving documentation to those that care. :End Note

In honor of the comforting reality that at some point this thing will surely not exist… is composed of six black fabric floor pieces made from memory of an installation I made for an exhibition in March of 2005.

Conceived as in-situ work, Banausic Labor (with a little help from my friends, Rachael + Kirk) consisted of the arduous activity of removing broken Oak floorboards from the back showroom/office of a gallery. These “holes” were then patched with different “wood” type materials that I found on walks around New York City. The found materials consisted of a Christmas tree (halved and stripped to appear as if it was bisected by the floor), a remnant from a bed frame made from MDF and laminated with fake wood grain, a piece of birch plywood painted gold, a fence post made of recycled plastic (Trex), two 20’ boards of a “super” wood (Ipe), and a metal appliance face that replicates the appearance of wood grain (this face has been hinged and serves as a portal to access the space under the floor). By repairing the floor with construction materials, I created a work that functioned more as architecture than as art. However, due to the noticeable contrast between floor and object, these alien substances triggered a shift in one’s experience of the space, thus bringing attention to the ground. Once discovered, the secret hatch served as a door into the process and intention of the work.

A Couple of Personal Notes: This work was not for sale but served as a record of my labor over the week of installation. Also my friends, Rachael and Kirk, contributed to the piece through their kind hospitality of housing and feeding me during my visit to New York thus, their acknowledgement in the title.

The title for this new piece, In honor of the comforting reality that at some point this thing will surely not exist… is taken from a found note, which lives under the floor of the gallery. In honor of the comforting reality that at some point this thing will surely not exist… documents the “negative” space that was created in the aforementioned process of replacing broken floorboards with appropriated "wood" type materials. Serving as a pseudo-monument/document to time-passed, memory, and to the space under the floor, this piece evokes an in-between state not quite ready for consumption/digestion. However, this is undermined by highlighting the individual personalities of each of the surrogate floorboards through the motley activity of sewing. Embracing the blankness of the black would not suffice in this investigation into experience.

Banausic Labor… has since become permanent and is available for anyone to experience as long as the gallery is open. It is located at Murray Guy Gallery in New York.

Some Questions:

Can I create an artwork across the Atlantic that makes available the experience/process of a permanent site-specific installation in New York? What gets lost in the process? Is the new work inaccessible if not linked to its muse? Does it manifest its own unique experience(s)?

From: cesarepietroiusti
Subject: Re: from Charlotte - invitation to the More Fools in Town upcoming project
Date: 24 ottobre 2005 10:24:31 CET

dear c+j+g,
thanks a lot for your proposal,
in the last few months, having produced several (physical, unique, signed,
etc.) artworks to be distributed for free, i was actually thinking to a
shift towards a situation where object artworks are given for free while
stories are given in exchange of money (it's somehow an old tradition, that
of the "professional" storyteller...).
therefore i am thrilled by your idea. we can talk more about it, of course.
re the show, i am very glad to participate. maybe, rather than "exhibiting"
a piece, i would prefer to distribute some pieces: i have several thousands
leftovers from venice - in the attachments (pag. 5 of the pdf; and in
italian, in the word document) are some notes about that work in general.
talk to you soon, ciao,

----- Message transféré de Douglas Ross -----
Date : Mon, 17 Oct 2005 22:57:25 -0400 (EDT)
De : Douglas Ross
Adresse de retour :Douglas Ross
Sujet : Re: from Charlotte - invitation to the More Fools in Town upcoming
À : Charlotte Laubard

Dear Charlotte,


i will email you something, things, ideas, soon.
i'm working on many deadlines now and traveling soon...but of course i
would like to contribute to this installment of MFIT.
certainly questions of value/valuation never cease to be primary.
it refuses to be completely devalued... that old question of value.
let me think about it for a few days.


----- Message transféré de -----
Date : Mon, 17 Oct 2005 22:43:31 +0330
De : Natascha
Adresse de retour :
Sujet : Re: from Charlotte - invitation to the More Fools in Town upcoming
À : Charlotte Laubard

dear charlotte,
thanks for your mail and the invitation. I'd love to take part. but it is very short notice and I will be travelling until that date. I'm still in iran in the middle of a project, which is going really well but I'm superbusy. unfortunatly I doubt it's possible for me to participate although I like your concept and the questions that you raise. what a pity! we haven't been very lucky concerning meeting and collaboration. hopefully we will be the next time!
looking forward to another chance.
all the best

On 17 Oct 2005, at 14:58, Charlotte Laubard wrote:

Dear Natascha,
I hope you are well and that your trip in Iran is going well. I am writingto you about a modest project I am organizing in Turin. I hope you might be interested in participating.