Felix Gonzalez-Torres, Untitled ( Perfect Lovers), 1987-1990, Wall clocks, Edition of 3, 1 AP and Untitled, 1989/1990, Print on paper, endless copies and Untitled (Beginning), 1994, Strands of beads and hanging device, Installation view of Felix Gonzalez-Torres at Sprengel Museum Hanover, 1997, Photo: Michael Herling/Uwe Vogt, © The Felix Gonzalez-Torres Foundation, Courtesy of Andrea Rosen Gallery, New York.

Felix Gonzalez-Torres, Untitled ( America), 1994, Light bulbs, waterproof rubber light sockets and waterproof extension cords, Installation view of Felix Gonzalez-Torres: Specif ic Objects without Specif ic Form, Wiels Center, for Contemporary Art, Brussels, Belgium, 2010, Photo: Sven Laurent, © The Felix Gonzalez-Torres Foundation, Courtesy of Andrea Rosen Gallery, New York.

Felix Gonzalez-Torres, Untitled (Placebo), 1991, Candies individually wrapped in silver cellophane, endless supply, Overall dimensions vary with installations: Installation view of Felix Gonzalez-Torres: Specif ic Obj ects without Specif ic Form at Wiels Contemporary Art Center, Brussels 2010, Photo: Sven Laurent, © The Felix Gonzalez-Torres Foundation Courtesy of Andrea Rosen Gallery, New York.

Felix Gonzalez-Torres, Time, Authority, Art, and Existence

Felix Gonzalez-Torres, Untitled (Summer) , 1993, Light bulbs, porcelain light sockets and extension cord and Untitled, 1994, Framed C-prints, Edition of 2 and Untitled (Orpheus, Twice), 1991, Mirror, and Felix Gonzalez-Torres, Untitled ( Jorge), 1992, Framed C-print, Installation view of Felix Gonzalez-Torres: Specific Objects without Specif ic Form at Fondation Beyeler, Basel, Switzerland, 2010, Photo: Stefan Altenburger, © The Felix Gonzalez-Torres Foundation, Courtesy of Andrea Rosen Gallery, New York.

Felix Gonzalez-Torres, Untitled, 1991-1993, Billboard, Two parts: dimensions vary with installation and Untitled (Placebo), 1991, Candies individually wrapped in silver cellophane, endless supply, Overall dimensions vary with installation, Installation view of Felix Gonzalez-Torres: Specif ic Objects without Specific Form at Fondation Beyeler, Basel, Switzerland, 2010, Photo: Serge Hasenböhler, © The Felix Gonzalez-Torres Foundation, Courtesy of Andrea Rosen Gallery, New York.

Felix Gonzalez-Torres, Untitled (For Jeff), 1992, Billboard, Installation view of Felix Gonzalez-Torres, Magasin 3 Stockholm Kontshall, Stockholm, Sweden, 1993, Photo: Neil Goldstein, © The Felix Gonzalez-Torres Foundation
Courtesy of Andrea Rosen Gallery, New York.

Felix Gonzalez-Torres, Untitled ( Chemo), 1991, Strands of beads and hanging device, Dimensions vary with installation, Installation view of Felix Gonzalez-Torres, Rudolf Stingel at Neue Galerie am Landesmuseum Joanneum, Graz, Austria, 1994, © The Felix Gonzalez-Torres Foundation, Courtesy of Andrea Rosen Gallery, New York.

 

Museum für Moderne Kunst
Domstrasse 10
+49 69 21240076
Frankfurt am Main
Felix Gonzalez-Torres.
Specific Objects without Specific Form

January 29-April 25, 2011

Frankfurt’s MMK Museum für Moderne Kunst hosts that final leg of the traveling retrospective, Felix Gonzalez-Torres. Specific Objects without Specific Form, previously shown at WIELS Contemporary Art Centre in Brussels and the Fondation Beyeler in Basel. Including both rarely seen and more known paintings, sculptures, photographic works, and public projects, this major exhibition reflects the full scope of the Gonzalez-Torres’s short but prolific career. Born in Cuba, Gonzalez-Torres settled in New York in the late 1970s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications in 1996, at the age of thirty-eight. He participated in the art collective Group Material in the 1980s, was an engaged social activist, and in a relatively short time developed a profoundly influential body of work that can be seen in critical relationship to Conceptual art and Minimalism, mixing political critique, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards, often using ordinary objects as a starting point — clocks, mirrors, or light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. With those pieces, as with his lightstrings, billowing voile curtains, his word “portraits” mixing historical events and personal data that can continuously be changed over time by their owners, or his twin ticking clocks that will inevitably fall out of sync, Gonzalez-Torres was consistently exploring the connections between time, authority, art, and existence. Those artworks are premised, like so much of what he did, on instability and potential for change. As artist Lawrence Wiener once said — thus inspiring this exhibition’s title–Gonzalez-Torres had managed something simple but entirely radical: artworks that were “specific objects that had no specific form.” The result is his profoundly human body of work, intimate and fragile even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the author as the ultimate form-giver, the exhibition as a place to look but not touch).

This exhibition proposes an experimental form that is indebted to Gonzalez-Torres’s own radical conception of the artwork. At each of the stages of the exhibition tour, namely at WIELS, the Fondation Beyeler and, now, at the MMK in Frankfurt, the show is initially installed by the exhibition’s curator Elena Filipovic and, halfway through its duration, is completely reinstalled by a different selected artist whose own practice has been influenced by Gonzalez-Torres. At the MMK, Tino Sehgal will reinstall the exhibition as of March 18. Sehgal, who is also an artist with work in the MMK collection, sees a great affinity with the work of Gonzalez-Torres and his own artistic approach. As a result, Sehgal will, for his contribution to the exhibition, not only reinstall the exhibition with a partially new checklist, but will also devise a special choreography so that daily changes can be enacted to the presentation of Gonzalez-Torres’s artworks. Both versions of the exhibition are installed in close dialogue with the MMK architecture and continue this traveling project’s attempt to refute the notion that an exhibition has to be something immutable or that a retrospective should offer a single, authoritative narrative. The entire project’s experimental curatorial concept thus attempts to respond and pay homage to the Gonzalez-Torres’s own thinking and practice.

The exhibition concept was devised by Elena Filipovic and initiated by WIELS Contemporary Art Centre, Brussels in collaboration with the Foundation Beyeler, Riehen/Basel, the MMK Museum für Moderne Kunst Frankfurt, and the Felix Gonzalez-Torres Foundation, New York.

Felix Gonzalez-Torres, Untitled ( Blood), 1992, Strands of beads and hanging device, Installation view of Felix Gonzalez-Torres: Traveling at The Hirshhorn Museum and Sculpture Garden, the Smithsonian Institution, Washington, D.C, 1994, © The Felix Gonzalez-Torres Foundation, Courtesy of Andrea Rosen Gallery, New York.

Felix Gonzalez-Torres, Untitled, 1988, Wooden pedestal and photocopy on paper, endless copies, Pedestal: and Photostats, Installation view of Felix Gonzalez-Torres at Hamburger Bahnhof, Museum für Gegenwart, Berlin, Germany, 2006, Photo: Jens Ziehe, © The Felix Gonzalez-Torres Foundation Courtesy of Andrea Rosen Gallery, New York.

Felix Gonzalez-Torres, Untitled (For Stockholm), 1992, Light bulbs, porcelain light sockets and extension cords, Installation view of Felix Gonzalez-Torres: Specific Objects without Specif ic Form, Wiels Center for Contemporary Art, Brussels, Belgium, 2010, Photo: Sven Laurent, © The Felix Gonzalez-Torres Foundation, Courtesy of Andrea Rosen Gallery, New York.