Opening Walead Beshty's FedEx tube - a glass tube cracked and broken by its journey. The tube is made to fit the specifications of the FedEx packaging.
Our reflections in Walead Beshty's FedEx tube.
Picture taken by Matt Bowman as we try to remove the glass tube from the FedEx packaging without anyone getting cut by fragments of glass broken during the journey to the gallery.
Cristiano Lenhardt's Abraço Coletor/Hug Collector, 2002.
'The moments that I come into contact with postboxes are the moments that I send letters to people that I love'.
Ray Johnson works, with Carlos Ginzburg's CAYC (Centre of Art and Communication) yellow information sheet underneath, showing a work by Ginzburg called Piedra/Rock - a photograph of a large rock with the word 'rock' written on it. Ray Johnson received this publicity by mail from Argentina and drew a little cartoon figure masturbating on the rock of Ginzburg's work. Now a collaborative work by Ginzburg and Johnson, it is very fitting - another of Ginzburg's works was called Semen on the Ground. He took a vat of semen from the local hospital, poured it on the ground and photographed it.
Ray Johnson on the top of the case containing work by Edgardo Antonio Vigo, waiting to be hung on the wall. The work on the right says: 'Mail art is not a square, a rectangle or a photo, or a book, or a slide. It is a river'. Plus a mystery work, bottom left.
Dittborn's work + the envelopes it was sent in and those that will return it. See my post 'Installation - Dittborn's envelopes' for more information.
Assembling a replica of Felipe Ehrenberg's Arriba y Adelante.../Upwards and Onwards, whether you like it or not, 1970. The work is made up of 200 postcards that were se from London to Mexico City for the Salon Independiente in 1970. 'Arriba y adelante' was modernisation programme slogan of President Luis Escheverria, associated with the 1968 Olympics and 1970 World Cup. Shortly before the Olympics, government forces massacred over 300 student protesters at Tlatelolco square and due to increasing repression of the student movement Ehrenberg left for England. By separating the elements of his work, Ehrenberg ensured that the critical tone and risque subject matter were not censored.