Working Drawings

In 1966 Mel Bochner collected drawings, sketches and similar material from friends and colleagues for an exhibition he intended to make at the Visual Arts Gallery at the School of Visual Arts in New York. He had first intended to frame the material but when informed that the exhibition budget did not allow for such extravagances, he resorted to photo copying all the material in four editions and mounting it in four identical binders that he placed on four podiums in the gallery. Mel Bochner used a xerox machine because it was the most available tool for quick and affordable reproduction.

The equivalent today would be a colour digital printer. Using it we lost that "Xerox sameness filtering" of the material, but we were not trying to technically reproduce the 1966 show, we just took a smart idea that deserves attention and tailored it for our purposes. In their essence the ideas for our shows are very similar, if in a way also diametric – Bochner used Xerox and folders when faced with lack of money for presenting the works he wanted to show and we used printer and folders when wanting to curate a show without a budget. The main differences are in that the artists we had invited to participate knew beforehand that they would be creating for the folder, and that the material submitted would not get much altered in the reproduction process. Content-wise, our goal with this exhibition when it was first created was to bring as much good art as possible to a small, culturally undernourished city in southeast Estonia. So perhaps we were not doing this seminal curatorial piece justice, as we were not exactly ground breaking - showing art reproduced in folders on plinths has been done before, and our group of artists was not particularly revolutionary. Also, as curatorial endeavors go, constructing solemnly on basis of love for art, for enjoying it and showing it, seems like a rather naive and "mundane" concept. However, it does feel at times that loudly proclaimed passion for art is most radical and rare in curating today, so maybe we are not so far off anyway.

The exhibition was made possible with the support from Landskrona Stad, Agrippa Manufacturing AB and Esselte Sverige AB.


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	Working Drawings and Other Visible Things on Paper Not Necessarily Meant To Be Viewed as Art (After Bochner) (January 21 – February 5, 2017 at CAC Landskrona, Sweden)
CAC Bukovje/Landskrona is proud to present again an exhibition inspired by Mel Bochner's project "Working Drawings and Other Visible Things on Paper Not Necessarily Meant To Be Viewed as Art" originally executed in New York in 1966. Participating artists: Bengt Adlers (b. 1950 in Sweden), Conny Blom (b. 1974 in Sweden), Mel Bochner (b. 1940 in US), Kalle Brolin (b. 1968 in Sweden), Vasja Cenčič (b. 1973 in Slovenia), Martin Creed (b. 1968 in UK), Kajsa Dahlberg (b. 1973 in Sweden), Jeremy Deller (b. 1966 in UK), Ditte Ejlerskov (b. 1982 in Denmark), Milanka Fabjančič (b. 1982 in Slovenia), Vadim Fishkin (b. 1965 in Russia), Johan Furåker (b. 1978 in Sweden), Alexander Gutke (b. 1971 in Sweden), Felix Gmelin (b. 1962 in Germany), Carl Michael von Hausswolff (b. 1956 in Sweden), Ištvan Išt Huzjan (b. 1981 in Slovenia), Janez Janša (b. 1973 in Slovenia), Janez Janša (b. 1964 in Croatia) and Janez Janša (b. 1970 in Italy), Stine Marie Jacobsen (b. 1977 in Denmark), Lisa Jeannin (b. 1972 in Sweden), Žiga Kariž (b. 1973 in Slovenia), Clay Ketter (b. 1961 in US), Jukka Korkeila (b. 1968 in Finland), Anna Ling (b. 1971 in Sweden), Anna Lundh (b. 1979 in Sweden), Dušan Mandič (IRWIN) (b. 1954 in Slovenia), Miltos Manetas (b. 1964 in Greece), Jonathan Meese (b. 1970 in Japan), Miran Mohar (IRWIN) (b. 1958 in Slovenia), Kristina Müntzing (b. 1973 in Sweden), Jesper Norda (b. 1972 in Sweden), Björn Perborg (b. 1974 in Sweden), Magnus Petersson (b. 1971 in Sweden), Adrian Piper (b. 1948 in US), Andrej Savski (IRWIN) (b. 1961 in Slovenia), Klara Sax (b. 1997 in US), Lina Selander (b. 1973 in Sweden), Nataša Skušek (b. 1967 in Slovenia), Nina Slejko Blom (b. 1982 in Slovenia), Nedko Solakov (b. 1957 in Bulgaria), Mladen Stropnik (b. 1977 in Slovenia), Annika Ström (b. 1964 in Sweden), Stefanos Tsivopoulos (b. 1973 in Greece), Roman Uranjek (IRWIN) (b. 1961 in Slovenia), Borut Vogelnik (IRWIN) (b. 1958 in Slovenia), Leon Zuodar (b. 1977 in Slovenia), Ulla West (b. 1954 in Sweden) and Serkan Özkaya (b. 1973 in Turkey). Curated by Nina Slejko Blom & Conny Blom
In 1966 Mel Bochner collected drawings, sketches and similar material from friends and colleagues for an exhibition he intended to make at the Visual Arts Gallery at the School of Visual Arts in New York. He had first intended to frame the material but when informed that the exhibition budget did not allow for such extravagances, he resorted to photo copying all the material in four editions and mounting it in four identical binders that he placed on four podiums in the gallery. Mel Bochner used a xerox machine because it was the most available tool for quick and affordable reproduction. The equivalent today would be a colour digital printer. Using it we lost that "Xerox sameness filtering" of the material, but we were not trying to technically reproduce the 1966 show, we just took a smart idea that deserves attention and tailored it for our purposes. In their essence the ideas for our shows are very similar, if in a way also diametric – Bochner used Xerox and folders when faced with lack of money for presenting the works he wanted to show and we used printer and folders when wanting to curate a show without a budget. The main differences are in that the artists we had invited to participate knew beforehand that they would be creating for the folder, and that the material submitted would not get much altered in the reproduction process. Content-wise, our goal with this exhibition when it was first created was to bring as much good art as possible to a small, culturally undernourished city in southeast Estonia. So perhaps we were not doing this seminal curatorial piece justice, as we were not exactly ground breaking - showing art reproduced in folders on plinths has been done before, and our group of artists was not particularly revolutionary. Also, as curatorial endeavors go, constructing solemnly on basis of love for art, for enjoying it and showing it, seems like a rather naive and "mundane" concept. However, it does feel at times that loudly proclaimed passion for art is most radical and rare in curating today, so maybe we are not so far off anyway. The exhibition was made possible with the support from Landskrona Stad, Agrippa Manufacturing AB and Esselte Sverige AB.