Tag: stuart brisley

BERLINDE DE BRUYCKERE | Aktuell | Ausstellungen | Leopold Museum

Kiki Smith; ‘Nuit’

Janine Antoni, Graft, 2013. Maple tree, maple table, and urethane resin,
detail of site-specific installation at the Mattress Factory, Pittsburgh.

Alina Szapocznikow, noga, 1962, gips

Stuart Brisley, ‘Louise Bourgeois’ Leg’ (2002, Performance Object – plaster, ironing board, wood) Courtesy of the Artist and Hales London New York © the Artist. Photo: Andy Keate

Rebecca Warren ‘An Intimate Scene’ (2004)

Louise Bourgeois – Untitled (With Foot No. 2)

Louise Bourgeois J’Y SUIS, J’Y RESTE, 1990 Pink marble, glass & metal 35 x 40 ½ x 31 inches 88.9 x 102.9 x 78.7 centimeters
Anonymous – Female feet Greek & Roman nd marble Private Collection, Avignon

Berlinde de Bruyckere – September 14, 2003 Wax, Epoxy Resin, Wood Private Collection, Rome

stuart brisley

And for today… nothing, 1972

Performance

Gallery House Goethe Institute, London

Performance duration: App 2 hours each day for 2 weeks.

I lay in a bath of black water in the bathroom of Gallery House for approximately 2 hours each day for two weeks.

In the wash basin and on a ledge next to the bath I laid out some offal. During the two weeks the offal decayed, flies laying eggs and maggots hatching out to feed.

There was a low light in the bathroom so it was difficult to see exactly what was in there. The door was left ajar. The only sign of movement was that of a body rising and falling in the water when breathing in and out. The stench of offal was overpowering.

I made a film based on this work entitled Arbeit Macht Frei (16mm 20 mins). The film is in black and white and colour. It reflects the total rejection of what lay behind the title – the words enshrined on every Nazi concentration camp, translates as Work Makes Free. It is a deliberation on death.

Stuart Brisley

The performance 10 Days happened during Brisley‘s DAAD artist exchange to Berlin. During this performance, which took place between 21 to 31 December 1973, Brisley offered the food he would usually consume to his audience, essentially living without any source of food for the whole 10-day duration of the performance.

Brisley recreated the performance at the Acme Gallery in London between 21 and 31 December 1978.    
     
Mitchell Algus 2011

Source: stuartbrisley.com

halogenic:

‘Beneath Dignity, Bregenz’ (1977) – Stuart Brisley

“The materials which (Brisley) employed were water, chalk, powder (flour) and paint (black and white). He made five separate statements using each of the materials, working in all for four days.” (x)

‘Beneath Dignity, Bregenz’ (1977) was performed in conjunction with an exhibition of British art in Austria (Englishe Kunst der Gegenwart in September 1971); Brisley was invited by Norbert Lynton to take part. Brisley had worked during this year on an Artist Placement Group project in Peterlee in a community of miners and the title is indicative of his sympathy with the miners, and the lowness (and implied loneliness) of their working conditions. The work that preceded it had a similar preoccupation with digging and working in appalling conditions.

In Bregenz he was presented with a strikingly different environment: a picturesque town by the side of a lake (Lake Constance) with a small mountain behind. This work is a response to this setting, the movement from mountain to flat ground and the lake (from the vertical to the horizontal). He chose to work on a quayside, using five roughly constructed frames which marked the limits of his physical reach. The materials which he employed were water, chalk, powder (flour) and paint (black and white). He made five separate statements using each of the materials, working in all for four days. In order to reduce the drama of the work (a character that Brisley abhors) the fifth frame was a mixture of black and white. On the last day the audience was large and Brisley avoided a climax to the work by jumping into the lake and swimming, replicating his drawing action in water, another medium. He describes his action here as similar to the other works in the Tate’s collection, showing a preoccupation with formal, sculptural problems. It is possible however that Brisley may, in hindsight, be emphasising this aspect at the expense of his political concerns.