"I really doubt a member of KEK or an aficionado of Broodthaers actually wants an explanation, but a photo's worth a thousand words, one's i agree with more than the curators write up."
CHARLES STANKIEVECHDie Mauer (The Wall), 2009Nine vinyl records with coversCourtesy of the artistCharles Stankievech (b. 1978) is a Canadian artist who often usesinstallation and sound art to tell stories inspired by landscape, architectureand history. Embedded in this practice, Stankievech's minimal installationDie Mauer intertwines languages of conceptual art, cold war iconography,institutional critique and rock ‘n’ roll pop culture. In 2009, exactly 30 yearsafter the album release (1979) and 20 years after the fall of the Berlin Wall(1989), the artist bought all The Wall vinyl records by Pink Floyd for sale atthe popular Mauer Park Market in Berlin. That day, there were 9 used LPsof various editions and prices available from various independent sellers. Inthe context of Ha Ha Road, the long assemblage of freestanding covers withtheir album art of white bricks daubed with graffiti resonates with the ideaof the “barrier” at play in the exhibition’s title. But positioned on the galleryfloor, due to their specific design, the covers make a humorous reference alsoto one of the UK’s greatest art scandals ever: the vandalisation of CarlAndre’s Equivalent VIII at the Tate in the 1970s. Protesting the idea of “apile of bricks” actually being art, someone smeared this work with paint. Wewould invite you to be a little more gentle.
As an art historian[citation needed], Shearer posited that many of Marcel Duchamp's supposedly "readymade" works of art were actually created by Duchamp. Research that Shearer published in 1997, "Marcel Duchamp's Impossible Bed and Other 'Not' Readymade Objects: A Possible Route of Influence From Art To Science", lays out these arguments. In the paper, she showed that research of items like snow shovels and bottle racks in use at the time failed to turn up any identical matches to photographs of the originals. However, there are accounts of Walter Arensberg and Joseph Stella being with Duchamp when he purchased the original Fountain at J. L. Mott Iron Works. Such investigations are hampered by the fact that few of the original "readymades" survive, having been lost or destroyed. Those that exist today are predominantly reproductions Duchamp authorized or designed in the final two decades of his life. Shearer also asserts that the artwork L.H.O.O.Q., a poster-copy of the Mona Lisa with a moustache drawn on it, is not the true Mona Lisa, but Duchamp's own slightly-different version that he modelled partly after himself. The inference of Shearer's viewpoint is that Duchamp was creating an even larger joke than he admitted.[5]
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