2. Ausstellung Haus Bill, Bernd Lohaus/Lawrence Weiner (Exhibition Haus Bill, Bernd Lohaus/Lawrence Weiner), 1996
Box set composed of a brown cardboard box with a printed white label (Ausstellung Haus Bill, Bernd Lohaus/Lawrence Weiner, 16. Juni- 30. august 1996) containing: 1- small spiral bound book titled Bernd Haus, includes images of artworks and text by Daniel Manzona; 1- small white box with label‚ 5 Works by Lawrence Weiner. The Weiner multiple contains 5 sharpened (Koh-i-Noor Hardtmuth) pencils (cedar) with texts printed in silver and gold. English, German. Published by Haus Bill, Zurich, Switzerland on the occasion of the exhibition Bernd Lohaus/Lawrence Weiner, curated by Daniel Manzona.
Weiner box: 1/2h x 7w x 2d in / 1.27h x 19.05w x 5.08h cm
Book: 4h x 6w in / 10.16h x 15.24w cm Box: 1h X 6 1/2w x 8d in/ 2.54h X 16.51w x 20.32d cm
LW018
$ 300.00
The text on the pencils read:
Graphite + Steel In Motion
Graphite + Stone In A Box
Graphite + Water & In A Puddle
Graphite + Paper & In A Line
Graphite + Wood & In a Pile
Lawrence Weiner (1942-2021) was a leading American conceptual artist, known for his subversive deconstructions of object and language structures. His text-based sculptures were often executed directly onto gallery walls, inviting collaborative effort from the viewer through their interpretive interactions. The pieces were also collaborative in the sense that they were not necessarily written by Weiner in his own hand, but delegated to a sign painter through specific instruction. Later, a model formulated with the aid of Seth Siegelaub and Robert Projanksy allowed for the sale of Weiner's concepts, with the new legal owner able to realize the concept however they saw fit. Weiner’s practice can be summarized by the contents of his early piece Declaration of Intent (1968): “The artist may construct the piece; the piece may be fabricated; the piece need not be built; each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership” Though his writing was often evocative of conceivable action and material, Weiner was of the belief that the imagined gesture alone could constitute a fully realized artwork.
Bernd Lohaus explores the rigorous formal language of wood, stone and paper as they exist in their most reduced and simplest states. He is also fascinated with the meaning and rhythm of words, and works with language as a whole material, writing or engraving letters on wooden sculptures. Initially trained in classic sculpture, Lohaus later studied under Joseph Beuys at the Kunstakademie. The formal simplicity of his sculptures suggests American Minimalism, but his preference for the history of materials points in other directions.
