by [SPILLEMAECKERS, Fernand, editor]
[54] leaves. 8vo, printed softcover, title on spine. N.p.: MTL, [1973].
An extremely scarce and important catalogue in the history of conceptual and minimalist art, edition of 250 copies. Sponsored by Brussels gallerist Fernand Spillemaeckers, the publication assembles contributions of all sorts (essays, text-based works, etc.) from Carl Andre, John Baldessari, Robert Barry, Marcel Broodthaers, Victor Burgin, Ian Burn & Mel Ramsden, Andre Cadere, Dan Graham, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Ryman, Joost A. Romeu, Lawrence Weiner, and Ian Wilson. WorldCat records only three examples in North American libraries.
“In March 1973, Spillemaeckers, together with De Decker and Maenz, decided to arrange a public discussion between artists in conjunction with a related exhibition at which these artists (and others) could present their work. The symposium, ‘L’art et son contexte culturel’ was held at La Cambre, a school of art, design and architecture in Brussels from 1-3 July 1973. Conceptual artists such as Andre, Art & Language, Broodthaers, Buren, Cadere, Haacke, LeWitt, Toroni and Weiner took part. It was intended that the symposium should be complemented by an exhibition and a publication of artists’ texts.
“An exhibition of Conceptual artists, including those who had taken part in the congress, was set up at the Museum Dhondt-Dhaenens in Deurle. It was intended that the show would include a LeWitt wall drawing, an installation by Buren and objects by Broodthaers. However, due to organisational problems the exhibition was cancelled just before the opening. Subsequently, Spillemaeckers decided to present the documentation, texts and artworks that existed in printed form in black folders on tables in one room of the museum. A Barre de bois rond by Cadere was the only physical artwork to be exhibited.
“Spillemaeckers also had the artists’ texts published in a booklet. A controversy over the legitimacy of this publication broke out between Spillemaeckers on one side, and De Decker and Maenz on the other. There were also tensions between Buren and Cadere, who had not been officially invited. Buren did not want Cadere to take part in the show, since he was irritated by Cadere exhibiting his [work] uninvited in other artists’ shows.”–S. Richard, Unconcealed: The International Network of Conceptual Artists 1967-77, Dealers, Exhibitions and Public Collections (2010), p. 148.
In near fine condition; extremities a little sunned & spine a trifle creased. Sticker of Art & Project to inside of upper cover. (Inventory #: 10678)
An extremely scarce and important catalogue in the history of conceptual and minimalist art, edition of 250 copies. Sponsored by Brussels gallerist Fernand Spillemaeckers, the publication assembles contributions of all sorts (essays, text-based works, etc.) from Carl Andre, John Baldessari, Robert Barry, Marcel Broodthaers, Victor Burgin, Ian Burn & Mel Ramsden, Andre Cadere, Dan Graham, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Ryman, Joost A. Romeu, Lawrence Weiner, and Ian Wilson. WorldCat records only three examples in North American libraries.
“In March 1973, Spillemaeckers, together with De Decker and Maenz, decided to arrange a public discussion between artists in conjunction with a related exhibition at which these artists (and others) could present their work. The symposium, ‘L’art et son contexte culturel’ was held at La Cambre, a school of art, design and architecture in Brussels from 1-3 July 1973. Conceptual artists such as Andre, Art & Language, Broodthaers, Buren, Cadere, Haacke, LeWitt, Toroni and Weiner took part. It was intended that the symposium should be complemented by an exhibition and a publication of artists’ texts.
“An exhibition of Conceptual artists, including those who had taken part in the congress, was set up at the Museum Dhondt-Dhaenens in Deurle. It was intended that the show would include a LeWitt wall drawing, an installation by Buren and objects by Broodthaers. However, due to organisational problems the exhibition was cancelled just before the opening. Subsequently, Spillemaeckers decided to present the documentation, texts and artworks that existed in printed form in black folders on tables in one room of the museum. A Barre de bois rond by Cadere was the only physical artwork to be exhibited.
“Spillemaeckers also had the artists’ texts published in a booklet. A controversy over the legitimacy of this publication broke out between Spillemaeckers on one side, and De Decker and Maenz on the other. There were also tensions between Buren and Cadere, who had not been officially invited. Buren did not want Cadere to take part in the show, since he was irritated by Cadere exhibiting his [work] uninvited in other artists’ shows.”–S. Richard, Unconcealed: The International Network of Conceptual Artists 1967-77, Dealers, Exhibitions and Public Collections (2010), p. 148.
In near fine condition; extremities a little sunned & spine a trifle creased. Sticker of Art & Project to inside of upper cover. (Inventory #: 10678)
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