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Date & Time

Tuesday, January 17, 2017 - 9:00 AM to Friday, March 17, 2017 - 4:45 PM

Location

Regenstein Library, The Special Collections Research Center

Admission

Free

More Information

http://news.lib.uchicago.edu/blog/2017/01/04/concrete-poetry-concrete-book/

Contact

Joseph Regenstein Library
773-702-4685

Description

Exhibition--Concrete Poetry, Concrete Book: Artists’ Books in German-speaking Space after 1945

In the same decades that artists affiliated with Fluxus explored action-based, performative strategies set on disrupting the conventions of both art and everyday life, the book emerged as a significant artistic preoccupation. Not only were books important for anthologizing ephemeral action-based art, but they became in their own right sites of artistic experimentation with cognitive, visual, and tactile experience. Drawing on the remarkable collection of rare artists’ books housed in the University of Chicago Library, Concrete Poetry, Concrete Book explores how artists in Austria, Germany, and Switzerland investigated the material and technical forms of the book. Referring to the way that language takes up space on the page, arrests the eyes, and insists on physical interaction, works of konkrete poesie (concrete poetry) tested the material display of language, focusing on the object-quality of letters and words. To accommodate this dual staging of textual production and reception, artists’ books took on unusual forms, as in Gerhard Rühm’s kinetic book bewegung (motion, 1964) and Hansjörg Mayer’s reinvention of the alphabet in the fold-out book typoaktionen (type-actions, 1967). At the same time that artists’ books often activate the process of reading, they also deemphasize textual cognition, foregrounding instead touch and materiality, as exemplified in die-cut multi-colored cellophane pages of Dieter Roth’s bilderbücher (picture-books, 1957) and in Wolf Vostell’s unreadable 20-pound Betonbuch (Concrete Book, 1971).

Concrete Poetry, Concrete Book is part of Concrete Happenings at the University of Chicago, a collaborative series of public exhibitions, screenings, symposia, and other programs that mark the return of Wolf Vostell’s colossal Concrete Traffic (1970) to public view following a major conservation effort. Concurrent exhibitions at the Neubauer Collegium for Culture and Society and Smart Museum of Art delve into other aspects of the Fluxus movement and Vostell’s work. Learn more about all of these projects at arts.uchicago.edu/concretehappenings.

Curator: Caroline Lillian Schopp, PhD candidate in the Department of Art History.