Art in Ruins
Art in Ruins was formed in 1984 as a collaborative interventionist practice in art and architecture, staging exhibitions, and publishing texts, by artists Hannah Vowles and Glyn Banks.[1][2][3][4]
History and practice
Art in Ruins, based in Bloomsbury, London, utilizes 1960s conceptual art strategies popularized by Art & Language and Gilbert and George.[4] Works include Trust Us (1997) and We Like You (1995).[4] Their reaction to current art is "iconoclastic"[5] with "a sort of supersensitivity to the politics of art."[6] They curated the exhibition "Our Wonderful Culture" (St George's Crypt, Bloomsbury 1995) and collaborated with Stewart Home, Ed Baxter, and others on "Ruins of Glamour, Glamour of Ruins" (Chisenhale Gallery 1986) and "Desire in Ruins" (Transmission Gallery, Glasgow 1987).[7][8][9] Since the early 1990s, they have been satirising self-expression and focusing on art's economic basis.[10] Art in Ruins "may be a group, but they are first and foremost a demolition squad whose target is the last vestiges of value........more than a name," Art in Ruins "is a whole programme."[11]
Their work has been exhibited in major cities throughout Europe.[12][13][14] They have been on the faculty of the Art and Architecture program at the Kent Institute of Art & Design,[15] and with the Academy of Fine Arts, Munich. In 1991 Art in Ruins were awarded the DAAD Berliner Kunstlerprogramm Stipendium. An exhibition concerning Third World Debt and migration entitled “Conceptual Debt” was shown at the DAAD Galerie Berlin [16] followed by the discursive event on art activism "trap" with Stephan Geene and Büro Bert at Kunst Werke Berlin in 1993. [17]
Art in Ruins has been in limbo since 2001. This 'silence' is the subject of an artist's project[18][19] and it has also been the subject of two editions of "Wavelength" arts programme on Resonance FM.[20][21] Their website is at Art in Ruins and debt trap kunst praxis
Art in Ruins themselves have said "... it may be that it is our extremely visible failure to be indexed in the recent history of the dominant culture that is our greatest success."[22]
Notes and references
- ↑ Hannah Vowles and Glyn Banks (1995). "Dramatising Contradictions". Ctheory.net.
- ↑ Glyn Banks and Hannah Vowles (1987). New Realism: From the museum of ruined intentions. London: Gimpel Fils. OCLC 19809582.
- ↑ Watson, Gray (1986). Art in ruins. London: Institute of Contemporary Arts. ISBN 0-905263-06-5. OCLC 22669762.
- 1 2 3 Coles, Alex. "Appearances are Against Us", Art and Text, Los Angeles, July 2000.
- ↑ Corris, Michael. Artforum, New York, September 1991.
- ↑ Beech, Dave. Art Monthly, London, July/August 1998.
- ↑ "Festival of Plagiarism".
- ↑ "Ruins of Glamour/Glamour of Ruins".
- ↑ "London Art Tripping: A Psychogeographical Excursion".
- ↑ Jones, Jonathan. The Guardian, London, 15 December 1999.
- ↑ Perrin, Frank.European Guerillas "Kanal" No 2, April/May 1992
- ↑ "Contemporary Utopias, Latvian Centre for Contemporary Arts, April/May 2001".
- ↑ "Krieg".
- ↑ "Radikale Bilder".
- ↑ "Building for tomorrow: the Canterbury School of Architecture".
- ↑ Irit Rogoff (2000). Terra Infirma: Geography's Visual Culture. London and New York: Routledge. ISBN 0-415-09616-2. pp 56-60.
- ↑ Matthias Michalka, ed. (2015). to expose, to show, to demonstrate, to inform, to offer: Artistic Practices around 1990. Cologne: Walter Konig. ISBN 9783-86335-813-6.
- ↑ Weinmayr, Eva. "Art in Ruins and Unknown Stranger, London 1994, an unpublished project for Frieze (Occasional Papers & FormContent, London)". Eva Weinmayr. Retrieved December 8, 2014.
- ↑ "(pause) 21 scenes concerning the silence of Art in Ruins".
- ↑ "Destruction in Art part 8".
- ↑ "Ed Baxter on Art in Ruins".
- ↑ "Trust Us. Art in Ruins and Unknown Stranger, London 1994, an Unpublished Project for Frieze".
Further reading
- Art in Ruins (1991). New Work. London: Gimpel Fils. OCLC 78371071.
- Musée Sainte-Croix (1990). Resistances : Absalon, Art in ruins, Véronique Joumard, Serge Kliaving : Poitiers, Musée Sainte-Croix, 16 Mars-15 mai 1990. Poitiers: le Musée. ISBN 2-903015-10-4. OCLC 81658785.
- Mirjam Weston (1992). Conceptual Debt. Arnhem: Gemeentemuseum Arnhem. ISBN 90-72861-12-4.
- Christine Frisinghelli and Manfred Willman, eds. (1994). "Camera Austria" (47/48). Graz, Austria: Manfred Willman. ISSN 1015-1915.
- Nic Clear, ed. (September 2009). "Architectures of the Near Future". Architectural Design. London: Wiley & Son: 92–95. ISBN 978-0-470-69955-3.
- Hannah Vowles and Glyn Banks, Art in Ruins (January 2010). "The Triumph of Culture". RIBA Journal. London: Atom Publishing: 36–39. ISSN 1463-9505.
- Glyn Banks and Hannah Vowles (March 2011). Arthur and Marilouise Kroker, eds. "The Triumph of Culture". CTheory.net. Victoria, Canada: University of Victoria.
- Boris Gorelik (2013). Incredible Tretchikoff: Life of an Artist and Adventurer. New York: Art/Books. p. 268. ISBN 9781908970084.
- Antony Hudek, ed. (2014). The Object. Massachusetts, USA: MIT Press. ISBN 9780262525763.