Shared Projects

It is just advertising…It is just ephemeral …YOU print it now…

Alongside the exhibition project “They Printed It!” at Kunsthalle Zürich

20 November 2015–7 February 2016
see below

New (self-)advertisements by
AES+F., åyr, Peter Aerschmann, Beni Bischof, Maja Cule, Critical Art Ensemble, DullTech™, Karl Holmqvist, Marcus Kraft, Juan López, Meier & Franz, Modeling Agency (Janus Hom & Martyn Reynolds), Helena Hernández and Rafael Koller aka The Niñxs, Sarah Ortmeyer, Angki Purbandono, PUNK IS DADA, Rosalie Schweiker & Maria Guggenbichler, Stipan Tadic, Britta Thie, Valentin Hauri, Valerio Pellegrini, Eva Vuillemin + Ruth Erdt.  

We, a group of students and lecturers of the Postgraduate Programme in Curating (led by Dorothee Richter), have invited artists to participate in the upcoming issue of accompanying the exhibition They Printed It!  at Kunsthalle Zürich. The exhibition deals with current and historical ephemera, Invitation cards, press releases, inserts, and other forms of artistic (self-)marketing.

The texts for this issue will be provided by Kunsthalle Zürich (ed. Maja Wismer), and it will include “Self-advertisements” by the invited artists. The printed version with all texts will follow; we are publishing the advertisments/inserts section as a preview right now. On-Curating Issue 27 !!

OnCurating Issue 27:
Ephemera: Invitation cards, press releases, inserts and other forms of artistic (self-)marketing
Ed. Maja Wismer and Dorothee Richter
With contributions by
Daniel Baumann, Michael G. Birchall, AA Bronson, Martin Jäggi, Anne Mœglin-Delcroix, Marianne Mueller, David Senior, Barbara Preisig

This 27th issue of OnCurating is dedicated to artistic ephemera. Ephemera not only serve to announce an exhibition but they are also the material evidence of a performance, or the work itself in the sense of conceptual art, their classification becomes unclear, and the categories are blurred. So it is not surprising that institutional art collections have tended to avoid exhibiting such materials until recently.

Ephemeral production by artists occurred in the ‘60s and ‘70s—suddenly all formats of exhibition making, of the distribution and production of invitation cards, press releases, inserts, and other forms of artistic (self-)marketing became part of the reorganization of the art field. Ephemera, editions, and invitation cards were seen as specific interesting objects; they did not only offer a space of self-representation, they also made art available to everybody.

From its revolutionary beginnings to its acceptance as a new genre, this kind of work is endangered today. Invitation cards are vanishing; they are being replaced by email, Facebook invitations, Twitter, and other fluid digital news.  The interviews are contributed by Kunsthalle Zürich on the occasion of the exhibition They Printed It! Invitation cards, press releases, inserts and other forms of artistic (self-)marketing.