Tag Archives: Skulptur Projekte Münster


PIERRE HUYGHE—UUMWELT, at Serpentine, recalls the artist’s earlier environmental projects Untilled (2011–12, Documenta 13 in 2012) and After ALife Ahead (Skulptur Projekte Münster, 2017).

“These are neither installations nor performances. They come close to a living organism, or what one could call complex systems.” — Flora Katz


Through February 10.

Serpentine Gallery

Kensington Gardens, London.

Images and installation views: Pierre Huyghe, UUmwelt, 2018. Courtesy the artist and Serpentine Gallery.


The unofficial mascot for the fifth decennial Skulptur Projekte Münster—through October 1, 2017—is a cartoon of a man holding a drink and a cigarette exclaiming, “This shit rocks!” In the year of the previous exhibition, the Henry Moore Institute and its curator Penelope Curtis initiated and published the MODERN SCULPTURE READER (2007)—which quickly sold out and fell out of print.

Five years later, the J. Paul Getty Museum sponsored a second edition of this essential volume on twentieth-century sculpture, which includes:

Essays by Eva Hesse (“Contingency”), Apollinaire (“Duchamp–Villon”), Vito Acconci (“Notes on Vienna”), and Benjamin H. D. Buchloh (“Michael Asher and the Conclusion of Modern Sculpture”). Interviews with Louise Bourgeois, Robert Smithson, Rachel Whiteread, Bruce Nauman, and Richard Serra. Excerpts from longer pieces—Robert Irwin’s “Notes Toward Conditional Art,” Rilke on Rodin, Wilhelm Worringer on abstraction, Carl Einstein on African sculpture, and Allan Kaprow on assemblages and happenings.

The 70 texts—artists’ statements, newspaper and magazine articles, poems, transcribed lectures and interviews—are arranged chronologically, and edited by Jon Wood, David Hulks, and Alex Potts.

MODERN SCULPTURE READER (Leeds: Henry Moore Institute/Los Angeles: Getty Publications, 2007 and 2012).

Claes OldenburgGiant Pool Balls—which was made for the first Skulptur Projekte Münster in 1977—covered with graffiti. Image credit: Rudolf Wakonigg/LWL, 1977/©1987 Skulptur Projekte Münster.

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Nicole Eisenman shows me a party scene entitled ANOTHER GREEN WORLD. I proudly yell ‘Eno!’ and she confirms that that’s the record she was listening to for days. The title also comes from the critic Northrop Frye, who contended that, in Shakespeare’s work, the characters were always going into the woods to find another mode of knowing or being—the green place that, in Eisenman’s sentiment, is where the poet or artist’s always gotta go.” — Eileen Myles*

In its current SELECTIONS FROM THE PERMANENT COLLECTION show, MOCA Grand Avenue is exhibiting Eisenman’s ANOTHER GREEN WORLD (2015) in its south galleries. Don’t miss it.

(Eisenman will also be showing work at the decennial Skulptur Projekte Münster, June 10 through October 1, 2017.)



MOCA GRAND AVENUE, 250 South Grand Avenue, downtown Los Angeles.



*Eileen Myles, “Nicole Eisenman’s Green World,” Frieze, April 28, 2016:


Nicole Eisenman, Another Green World, 2015. Oil on canvas, 128 x 106 inches, (325.12 x 269.24 cm) Image credit: Nicole Eisenman and MOCA

Nicole Eisenman, Another Green World, 2015.
Oil on canvas, 128 x 106 inches, (325.12 x 269.24 cm)
Image credit: Nicole Eisenman and MOCA