2010 Olivia Giacobetti

As sometimes, there is a theme leading to an utterly tight bound composition. So tight that multiple accords and juxtapositions seem to fuse into one controlled sphere. Complete container or geometric volume – you have to inhale it and let yourself sink in order to get to the bottom of its obscure details. There is bitterness, a rarer and profound quality within a structure. There is green. There is powder and butter as in orris root. There are carrot seeds and filmy patchouli as from moist soil on roots. Carrot seeds and bitterness. Carrot seeds and powder. Carrot seeds and vanillized orange peel. There is sweetness. Sometimes bitter tastes sweet. This type of sweetness appears gauzy within floral systematics, which makes up for a kinder feel. As if sometimes, there is a homely theme which leads you into the inner world of a bubble or a bobble or a multilayer ball. Naturally it is a mistake to state choosing is a point it.

On Love les carottes by Olivia Giacobetti for Honoré des Prés, 2010


1980 Design Office

"Design Office began in 1980 as a way to practice art outside of the gallery system. The first projects involved friends’ apartments. D.O. was to be sort of a reflective intervention into the lifestyle of the clients. Objects and a physical change to the interior based on the personality and desires/needs of the client. The design activity was not meant to be well executed or look a certain way, have a certain look or style. If anything it was a lo-fi aesthetic using or recycling other aesthetics."

Kim Gordon on Design Office, Coming Soon at Gagosian Gallery, Los Angeles, 2014

Constanze Schweiger, Untitled for pinacoteca, 2015
Part of the exhibition Kim Gordon: Honeymoon Habit by Anne Speir and Constanze Schweiger, pinacoteca, Vienna
Photography Thomas Ries

"8 Spring Street. Clients: a couple, two musicians/artists. […]

With the two new items added to the apartment and painted
a color that is simultaneously street oriented, in a defined
state, and rich looking, the project will not be resolved until
the clients buy a smaller refrigerator."

Excerpt from Kim Gordon, "Honeymoon Habit", originally published in Real Life Magazine, no. 5 (Winter 1980). The text is part of the book Kim Gordon, Is It My Body? Selected Texts, Sternberg Press, 2014


1961 Claes Oldenburg

"… I am for an art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself. … I am for an artist who vanishes, turning up in a white cap painting signs or hallways. … I am for art you can sit on. … I am for the art of bread wet by rain. …"

Excerpts from Claes Oldenburg's "Statement" for the Environments, Situations, Spaces catalog, New York, 1961


1966 Sonia Delaunay

"The issue is learning again how to paint and finding new means of doing it. Technical and plastic means. Color liberated from descriptive, literary use; color grasped in all the richness of its own life.
A vision of infinite richness awaits the person who knows how to see the relations of colors, their contrasts and dissonances, and the impact of one color on another. Add to this the essential element – Rhythm – which is its structure, movement based on number.
As in written poetry, it is not the aggregation of words which counts, but the mystery of creation which yields or does not yield feeling. As in poetry, so with colors. It is the mystery of interior life which liberates, radiates and communicates. Beginning there, a new language can be freely created."

Sonia Delaunay, untitled text for portfolio of prints (Milan: Galleria Schwarz, 1966); in The New Art of Color: The Writings of Robert and Sonia Delaunay, ed. Arthur A. Cohen. Translated by David Shapiro and Arthur A. Cohen. New York: Viking Press, 1978, p. 213-214.


2013 Karel Martens

"it's a matter of common sense and instinct
somewhere there is a box with the right answer.
it's about finding this box and the key to open it.
the only thing you have to do is to make it Alice blue.
or alizarin crimson. or amber. or amethyst. or aqua. or aquamarine. or asparagus. or azure. or beige. or bistre. or black. or blue. or bondi blue. or brass. or bright green. or bright turquoise. or bright violet. or bronze. or brown. or buff. or burgundy. or burnt orange. or burnt sienna. or burnt umber. or camouflage green. or cardinal. or carmine. or carrot. or celadon. or cerise. or cerulean. or cerulean blue. or chartreuse. or chestnut. or chocolate. or cinnamon. or cobalt. or copper. or coral. or corn. or cornflower blue. or cream. or crimson. or cyan. or dark blue. or dark brown. or dark cerulean. or dark chestnut. or dark coral, or dark goldenrod. or dark green. or dark indigo. or dark khaki. or dark olive. or dark pastel green. or dark peach. or dark pink. or dark salmon. or dark scarlet. or dark slate gray. or dark spring green. or dark tan. or dark tangerine. or dark tea green. or dark terra cotta. or dark turquoise. or dark violet. or denim. or dodger blue. or eggplant. or emerald. or fern green. or flax. or fuchsia. or gamboge. or gold. or goldenrod. or gray. or gray-asparagus. or gray-tea green. or green. or green-yellow. or heliotrope. or hot pink. or indigo. or international Klein blue. or international orange. or jade. or khaki. or khaki (X11). or lavender. or lavender blush. or lemon. or lemon cream. or light brown. or lilac. or lime. or linen. or magenta. or malachite. or maroon. or mauve. or midnight blue. or mint green. or moss green. or Mountbatten pink. or mustard. or Navajo white. or navy blue. or ochre. or old gold. or olive drab. or orange. or orchid. or pale blue. or pale brown. or pale carmine. or pale chestnut. or pale cornflower blue. or pale magenta. or pale pink. or pale red-violet. or pale sandy brown. or papaya whip. or pastel green. or pastel pink. or Paul mauve. or peach. or peach-orange. or peach-yellow. or pear. or Persian blue. or pine green. or pink. or pink-orange. or plum. or powder blue. or Prussian blue. or puce. or pumpkin. or purple. or raw umber. or red. or red-violet. or robin egg blue. or royal blue. or russet. or rust. or safety orange (blaze orange). or saffron. or salmon. or sandy brown. or sangria. or sapphire. or scarlet. or school bus yellow. or sea green. or seashell. or selective yellow. or sepia. or silver. or slate gray. or spring green. or steel blue. or swamp green. or tan. or tangerine. or taupe. or tea green. or teal. or teené. or terra cotta. or thistle. or turquoise. or ultramarine. or viridian. or wheat. or white. or wisteria. or yellow. or zinnwaldite perhaps.
or keep it as it is."

Karel Martens, Full Color, Roma Publications, Amsterdam, 2013, p. 143-145


Dienstag Abend Chicago

Covering the fridge with painted paper, so to make a three-dimensional painting that relates and interacts to its place, its situation by color.

This can be made from water-based paint and simple packaging paper on a roll or thicker or millboard ... for the Pepsi-lightbox on top of the fridge I suggest a piece of cardboard. If the paper already has a color (like brown paper or cardboard) it shall be primed first. The color shall be applied roughly and thick, in several layers, necessarily on both sides of the surface. By doing so its form will get slightly waved but overall it will stay quite flat. Brush strokes can be visible, dripping might occur. In general it is preferable that the painted paper maintains a handmade look and a weighty body.

After drying the painted paper shall be cut out freely with scissors or cutter and makes therefor flowing edges. Three shapes are developed according to the silhouettes of the fridge's left and right side and its light box on top. The mounting shall be done with pieces of tape rolled into loops or double-sided adhesive tape. It must be invisible.

Two color propositions

1 Advanced. Try to imitate the color of the floor or something in its immediate vicinity, literally or practically touching the fridge. By my experience a color does not have to be a precise rendition in order to look similar to a neighboring one.

2 Easy. Make a color out of the available leftovers around. In this case the mixture is made at best from more than two paint sources. There can be primer added, more paint from a neighboring boot, some grey or what is in reach.

ArtReview presents Dienstag Abend, Expo Chicago, 2014


1967 Alison Knowles

Once she had the invitation to go to tea. She arrived at his door with eleven color swatches in an attaché case and the kindest smile on her face. She found a thin cloud of smoke floating above the open door; in no time the room was filled with people. Hands holding trays went high atop their heads. She kept herself in constant movement. She noted, order had become play.
So now about the color swatch: it was for him to select exactly the hue or tint of red-orange and blue that he wanted to have for the print that she was going to silkscreen later. Eleven times she had made a red circle on black Color-aid paper but in different intensities and each time overlapped it with a blue. There was Torch Red, Flame, Bittersweet. He chose one. The color swatch went on the windowsill and the ones he had not selected went back into her case. She thought, even though all is proceeding as foreseen, there must have been an irregularity somewhere along the way.
So the tea party proceeded and at some point his wife got up to go to the window. Perhaps she wanted to open the window. She looked down and there was the color swatch, left out, designating his choice. She held it up and said, “When did you do this?” He got up from the table, walked over to the window, toward the fluttering paper and said, “Give me a pencil.” He signed the color swatch. He put the pencil down. He did not return to the table as he had left for the window.
Here the curtain falls vertically and the question is now, what is that? Is that a work of art? Is that something, which helps in the methodology of doing the print? Is it one of his numerous rounds acted out in the moment?
The artifacts, in their arrangement, as they stood, showed a general affinity of opinions. They seemed neither unsettling nor distracting. Only the attaché case felt unnaturally heavy as she picked it up on the way out. Everything seemed fine. Nothing is wrong. And in the end there will be time.

Above: 10th Street, New York, 1967. Alison Knowles and Marcel Duchamp looking at color swatches, produced in connection with the silkscreen edition accompanying the cooperation on the Emmett Williams publication Sweethearts with Something Else Press in 1967.