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Vol. 43 - 1995

Collaborations: tooltip

Insert: tooltip

Robert Smithson

Spine: tooltip

Christian Marclay


A Conversation. New York, 22 January 1995

  • Author: Juan Muñoz / James Lingwood
  • Artist: Juan Muñoz
  • Section: Collaboration

A Man in a Room, Gambling

  • Author: Gavin Bryars
  • Artist: Juan Muñoz
  • Section: Collaboration

Juan Muñoz and the Specularity of the Divided Self

  • Author: Lynne Cooke
  • Artist: Juan Muñoz
  • Section: Collaboration

The Art of Conversation

  • Author: Alexandre Melo
  • Artist: Juan Muñoz
  • Section: Collaboration

Essential Hesitations

  • Author: Mark Stevens
  • Artist: Susan Rothenberg
  • Section: Collaboration

On Walking and Working. An Interview with Susan Rothenberg by Joan Simon

  • Author: Joan Simon
  • Artist: Susan Rothenberg
  • Section: Collaboration

Painting as an Immense Feeling

  • Author: Jean-Christophe Ammann
  • Artist: Susan Rothenberg
  • Section: Collaboration

The Evolution of the Horse

  • Author: Ingrid Schaffner
  • Artist: Susan Rothenberg
  • Section: Collaboration

Carsten Höller—Getting Real

  • Author: Michelle Nicol
  • Artist: Carsten Höller
  • Section: Miscellaneous / Varia


  • Author: Fabrice Hybert / Hans Ulrich Obrist
  • Artist: Fabrice Hybert
  • Section: Miscellaneous / Varia

Whirling Dervishes

  • Author: Lisa Liebmann
  • Section: Balkon

Yucatan is Elsewhere. On Robert Smithson’s “Hotel Palenque”

  • Author: Neville Wakefield
  • Artist: Robert Smithson
  • Section: Les Infos du Paradis

Musée Incontinaire

  • Author: James Roberts
  • Section: Cumulus


  • Author: Daniela Salvioni
  • Artist: Mario Botta
  • Section: Cumulus

$ 32.00


The “demand for anthropological re-formulation”—de¬scribed by Michelle Nicol in her essay on Carsten Höller as an important feature of the nineties—also surfaces in Robert Smithson’s slide presentation on HOTEL PALENQUE, given over twenty years ago. For the astonished architecture students at the University of Utah, Smithson documents nothing short of a different view of the world. His slide lecture is published here as our Insert for the first time in its entirety. The impulse underlying Smithsons’s suggestion to read unexpected places and ob¬jects as a rich source of energy may be compared to Fabrice Hybert’s idea of transporting a truck-sized cake of soap from supermarket to supermarket and calling it TRADUCTION (Translation). This is perception with a new focus: Smithson invests a dilapidated hotel with the aura of ancient Mayan architecture, Hybert swims upstream in psycho-economic currents, and Carsten Höller analyzes the social, biological, and physiological processes of the human condition in the form, for instance, of self-strangulating flowers.

The Collaboration artists also weave nets of subtly far-sighted cultural perceptions around their viewers. In her conversation with Joan Simon, Susan Rothenberg humorously defines the principle currently directing her art as “walking and working.” The resulting energy flows, unbridled, in and out of her painting, and is linked by Mark Stevens in his essay “Essential Hesitations” to such contrasting phenomena as cave painting, Alberto Giacometti, and Philip Guston. For Juan Muñoz, anonymity is a spring of scenic images in which the viewers become participants in the action. They are drawn into mental spaces that branch out into undreamed-of regions. Juan Muñoz has created an object for the read¬ers of PARKETT, a piece of glass on which one has to breath to make a drawing appear for a few seconds. And Susan Rothenberg has come up with a startling bear skin—not a painted one, but a miniature latex imitation. Bice Curiger