I Saw Your Work But I Never Saw Your Face (detail)
Archival pigment print on backlit paper, in a hand painted copper frame
Folded & framed: 20" x 16"
Unfolded & unframed: 20" x 32"
2011
I Saw Your Work but I Never Saw Your Face / J'ai vu ton travail, mais je ne t'ai jamais rencontré
L'escalier (Lorna Bauer, Vincent Bonin, Yuki Higashino, Jon Knowles)
Art Metropole, Toronto
2011
L'escalier (Lorna Bauer, Vincent Bonin, Yuki Higashino, Jon Knowles)
Art Metropole, Toronto
2011
⤹ L'escalier Edition (pdf)
⤹ Two texts about The Fall 1 (pdf)
⤹ Two texts about The Fall 2 (pdf)
Two Texts About The Fall
by Yuki Higashino
⤹ Two texts about The Fall 1 (pdf)
⤹ Two texts about The Fall 2 (pdf)
Two Texts About The Fall
by Yuki Higashino
This work was made as collaboration and shown at Art Metropole in 2011. It consisted of a double-sided limited edition print with a parallel text reviewing a concert by the band The Fall, written by Andrew McLaren and a review of this review by Yuki Higashino.
During the 1990s, site-specificity was endowed with a special value - but in many cases, the site became mobile, as artists were increasingly transient. In 1997, an Austrian schilling was produced with the image of the Secession building on it. That same year, this Viennese institution hosted the exhibition Cities on the Move, curated by Hans Ulrich Obrist and Hou Hanru. In their statement, the curators quoted Rem Koolhaas, defining cities as "unstable configurations." A few years later, after the consolidation of the European Union, a group of institutions became nodes in a network of bodies, art, and critical discourse. Many protagonists within this network were using English as their common language, much like a currency. The schilling is still on sale at the gift shop of the Secession, and you can sometimes find 50 cent euro coins bearing the same iconography.
During the 1990s, site-specificity was endowed with a special value - but in many cases, the site became mobile, as artists were increasingly transient. In 1997, an Austrian schilling was produced with the image of the Secession building on it. That same year, this Viennese institution hosted the exhibition Cities on the Move, curated by Hans Ulrich Obrist and Hou Hanru. In their statement, the curators quoted Rem Koolhaas, defining cities as "unstable configurations." A few years later, after the consolidation of the European Union, a group of institutions became nodes in a network of bodies, art, and critical discourse. Many protagonists within this network were using English as their common language, much like a currency. The schilling is still on sale at the gift shop of the Secession, and you can sometimes find 50 cent euro coins bearing the same iconography.
Image Captions
I Saw Your Work But I Never Saw Your Face
Archival pigment print on backlit paper,
in a hand painted copper frame
Folded & framed: 20" x 16"
Unfolded & unframed: 20" x 32"
2011
(first two images are details)
⤹ Information
This work was made as collaboration and shown at Art Metropole in 2011. It consisted of a double-sided limited edition print with a parallel text reviewing a concert by the band The Fall, written by Andrew McLaren and a review of this review by Yuki Higashino.
During the 1990s, site-specificity was endowed with a special value - but in many cases, the site became mobile, as artists were increasingly transient. In 1997, an Austrian schilling was produced with the image of the Secession building on it. That same year, this Viennese institution hosted the exhibition Cities on the Move, curated by Hans Ulrich Obrist and Hou Hanru. In their statement, the curators quoted Rem Koolhaas, defining cities as "unstable configurations." A few years later, after the consolidation of the European Union, a group of institutions became nodes in a network of bodies, art, and critical discourse. Many protagonists within this network were using English as their common language, much like a currency. The schilling is still on sale at the gift shop of the Secession, and you can sometimes find 50 cent euro coins bearing the same iconography.