Per Hüttner - Knowledge

601:. He developed a series of photographs where he created shrines of commemoration in busy street corners of urban centres around the world. These impromptu sculptures suggested that an accident or act of violence had been committed in that specific place (while in fact they were fabricated by the artist). The work provoked complex discussions about differences and similarities between documentary traditions and the fictional. This investigation into the very fabric of reality has moved to the forefront in the artist's mature work about impermanence and change. In the catalogue text to his 2006 exhibition 377: 232: 254: 634:. The images were primarily shot at night with very long exposure times. The relationship between the individual and its search for personal liberty from social conventions again comes to the forefront in the dreamlike photography. In the catalogue text to the exhibition the work is discussed. In a typical style of the artist, it is hard to decipher who the author of the give text is and it even appears that the texts in different languages are written by different authors: 639:

is our prime responsibility to fight for the right to retain and enjoy this liberty for ourselves and others. This means that we need to have an extremely grounded belief in ourselves and the work that we do. Humanity will always be engaged in a battle to safeguard this freedom and maybe that is also a good definition of what an artist is – a confident defender of the aspects of the soul that cannot be defended any other way. It has always been like that throughout history.

243: 364: 351: 224: 36: 416: 652:"Imminent" all depict eccentric people engaged in obsessive research. The work compels the visitor to reflect on whether it is meaningful to draw a line between reality and fiction. In her long text about the latter exhibition, the curator Cecilia Canziani shows how both the problematic of the singular and the collective, as well as myth and its ability influence reality, is highlighted in the artist's work: 403: 390: 101: 638:

The uninhibited mental and/or physical space is very individual and extremely hard to define. But it is even more complicated, because this freedom can never be safe-guarded by consumerism, legislation or democracy anymore than the self-confidence that feeds it can be defended by a law. As artists it

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Ceaseless movement is not a way of gaining ever more exotic knowledge of the world; it is rather a way of cleaning out and rediscovering the self. This is what I see in Per’s work. When I face his images, the reality presented in them seems less a true physical reality than an invisible psychological

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Parallel to this activity Hüttner created a photography project entitled "Jogging in Exotic Cities" where the artist went jogging repeatedly in far away cities that remain exotic to a western audience. In the photographs we see the artist dressed in white clothes as he makes his way through bustling

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In the Quantum Police project, the above-mentioned problematic is taken even further. Here, the artist mixes (stolen or found?) police evidence material with interviews and fictional texts that describe elaborate conspiracy theories involving the police both in Europe and China. Delving deeper into

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as a global principle, especially how ideas of permanence and purity are used to perpetuate social, political and economical structures and how that influences human communication and interaction. The work often deals with transformation, change or various forms of transgressions of boundaries or

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until he created his base in Paris in 2002. Hüttner was one of the founders of the non-profit galleries Konstakuten in Stockholm (1996–2001) and The Hood Gallery in Los Angeles (2001–2003), the former was one of the first artist initiated galleries in the country and was important in creating a

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between singularity and collectivity that informs the political organisation of society. In "Imminent" it is not just the narrative that is fragmented, but also the characters and their multiplied personae. Different actors are cast in the same role, sometime one character is transformed into

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which focused on a series of conversations between artists and scientists at Konstakademien in Stockholm, Sweden. He also returned to these issues in a less direct way in solo exhibitions in France, China, England and Sweden. Installations such as "Do not Go Gentle", "The Quantum Police" and

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and the international research group OuUnPo. Contrary to the video work, where the sound is subdued, Hüttner often uses music in the recent performances and installations in order to purposefully create paradoxical and misleading timelines. These investigations into time,

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Per Hüttner: I am a Curator, 2005, 138 pages including 13 fold out colour pages, texts by Per Hüttner, Hannah Rickards, Celine Condorelli, Gavin Wade, Veronique Wiesinger, Duncan McLaren, Lisa LeFeuvre and Scott Rigby, language: English. Published by Chisenhale Gallery.

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The Quantum Police, with texts by Anne Klontz; Johnny Ross and Willie Hansen (1969) and a short story by Wang Xiao Ping (in Chinese and English). Design by Erik Månsson, 96 pages in full colour + 5 fold-out sheets. Published by Lambert Gallery and Vision Forum 2011,

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one. I see a negotiation and dialogue between the artist’s inner and outer worlds. In this psychological landscape, he describes his worries, his pursuit of human sentiment, and his insistent rejection of a stylized or superficial life. It makes me think of the

1079:'Per Hüttner: Repetitive Time, 2006, 116 pages including 30 colour plates, texts by Lena Boëthius, Laurent Devèze, Per Hüttner, Claire Canning and Stéphanie Nava, language: English, design by Henrik Gistvall. Published by Göteborgs Konstmuseum. 1221:

Per Hüttner: Repetitive Time, 2006, 116 pages including 30 colour plates, texts by Lena Boëthius, Laurent Devèze, Per Hüttner, Claire Canning and Stéphanie Nava, language: English, design by Henrik Gistvall. Published by Göteborgs Konstmuseum.

626:'s idea of xiao yao you or "moving carelessly". This philosophy does not only detail how to move freely across physical space, but is also a metaphor for how humans can transcend different kinds of obstacles and achieve a freedom of the spirit. 1667:

pp. 111–164, pp. 263–279, Barnaby Drabble, Stop making Sense: The Ends of Curating and the Beginnings of the Exhibition, Thesis submitted to the Edinburgh College of Art in fulfilment Of the requirements of the Degree of Doctor of Philosophy

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Per Hüttner: Xiao Yao You, 2006, 96 pages including 10 fold out colour pictures and multi-foldout cover, texts by Bo Nilsson and Zhang Wei, languages: English, Swedish and Chinese, design by byboth. Published by Guangdong Museum of Art.

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visual artist who lives and works in Paris. He is mostly known for his photographic work and for his interactive, changing and travelling exhibition projects. A number of monographs about his practice has been published including

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Per Hüttner: Democracy and Desire, 2007, 158 pages (A3) including 10 colour fold out pages. Languages: English, Swedish, Spanish and Rumanian. Design by Åbäke. Published by Vacio 9 and The Rumanian Cultural Institute.

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Simona Nastac, "The Sublime overcoming of the UltimateFrontier of Art: Its Rediscovery" p. 111, Absent Without Leave (AWOL), Biennial of Young Artists, Bucharest 2006, Published by Meta and Goethe Institut Bukarest

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Documentation in Pikene på Broen's annual report 2018 p.44 (in Norwegian and English). The document contains information about the events in Norway and Russia only. Link to pdf version online, retrieved 25 March

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on 11 February 1967. His father Bengt, who was Jewish, died in a car accident in 1971 and he was brought up by his Protestant mother with his sister. He moved around Sweden until the age of 24 when he moved to

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questions of authenticity, the artist has also staged events that cross the boundaries of academic presentations, guided tours, and performance art. These have taken place at institutions like MACRO in

1819:. The exhibition travelled to Museum of Guangzhou Art Academy; RCM Gallery, Nanjing; Shenyang, Museum of Lu Xun Art Academy; Sichuan Fine Arts Museum, Chengdu and Today Art Museum, Beijing. 437:

and particularly interested in how the relationship between larger political, economical and social structures affect the individual and vice versa. His work dialogues with the history of

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culture of self-organisation of artists in Sweden. He is also one of the founders of the residency programs Norrköping AIR and initiator of the experimental research group

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recounts that once upon a time, human beings had two heads, four arms, four legs, they were complete, a whole, a unity. Because of their arrogance they were punished by

215: 472:. He was one of the first artists to create installations that used computers as a sculptural element and at the same time allowing them to present vast and complex 775:

and Jean Claude Saintilus) Lenin, Murmansk; Ä’vv Skolt Sami Museum, Neiden; Terminal B, Kirkenes; Fristaden, Stockholm and Putte's Bar & Pizza, Helsinki. (2018)

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In the late 1990s Hüttner took his interdisciplinary experiences and implemented these into a series of exhibitions investigating the relationship between the

594:. The project remains one of Hüttner's most well known to date. It has been shown in museums in the US, Spain Poland, Romania, Austria, China and Sweden. 540:

and Gavin Wade. Other noteworthy exhibitions that dealt with these issues and that engaged the audience in continuously reshaping the exhibition include:

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Per Hüttner "It's good to Be an Artist Again" p. 211 Yugoslav Biennial of Young artists Vrsac 2004, Published by Centre for Contemporary Arts - Belgrade

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The Imminent Interviews, 2010, 90 pages, languages: English and Chinese, published by Fei Contemporary Art Center, Shanghai and Vision Forum 2010,

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Magdalena Lewoc, p. 5, City Matrix of Life, Exhibition catalogue - Metropolis, Contemporary Art Gallery, National Museum, Szczecin, Poland, 2005.

1753:"Pleasure and Pain all Rolled into One," BIDA 2003 - Exhibition catalogue from the exhibition at Centro de Arte de Salamanca, Spain, pp. 110–113 1617: 768:

Transversal Madness, (with C. Neusser) Satyrianas festival, Sao Paulo, Brazil, F4Libre, Cuarnevaca, Mexico and El Dia D, Mexico City (2019–2020)

690: 1868: 984:"Crash – The other versions", with postautonomy.co.uk, Liverpool Biennial, Liverpool UK and various public venues in Zürich, Switzerland (2008) 498:- looking at how the brain remains in a constant state of change and regeneration. He also created exhibitions, publications and lectures with 2462: 2070:

OuUnPo, edited by Claudia Squitieri and Samon Takahashi, texts by OuUnPo, designed by Åbäke published by Dent-de-Leone and Vision Forum, 2013.

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that started like a creative writing exchange in the Anglo-Austrian magazine Nowiswere and that has led to interventions in museums like the

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In 2004 he developed the performative aspects in the above-mentioned project and tied it back to a research about the limits of reality and

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Nathan Delancey, Les Mutations Actives de Per Hüttner, pp. 40–41, Novo Numéro 7, 03 2010, ISSN 1969-9514. Online version (in french) here

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and the impermanent nature of knowledge have further been developed in an ongoing collaborative research with the Turkish writer/curator

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Installation view of poster project "Young Dictators" (Hitler as child), by Per Hüttner at public location in Melbourne, September 2009.

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Art performance maneuvre coeffcientss de visibilité, Ed. Michel Collet and André Létourneau,(in French), les presses de réel, 2019.

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and divided in two halves: men and women. Since then, we look for completion in the other, and such- arguably - along as being a

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Installation at Cartel, London, Chinese and English copy of Franz Kafka's "The Trial", clamp and forensic evidence and mirror.

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Jean Matthee, pp. 47–48 Space Matters, leaflet published by Tate Modern and NTNU’s Faculty of Architecture and Fine Art, 2011

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Troubled Waters (2015) 10th Baltic Contemporary Art Biennial, Contemporary Art Gallery, National Museum, Szczecin, Poland,

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Per Hüttner and Gavin Wade interviewed by Barnaby Drabble, Marianne Eigenheer (Hg.) Curating Critique, ICE Reader 1, 2008,

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Troubled Waters, 10th Baltic Contemporary Art Biennial, Contemporary Art Gallery, National Museum, Szczecin, Poland (2015)

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David Gauntlett, "Creative Explorations New Approaches to Identities and Audiences", pp. 119–20. Routledge, London, 2007

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Absent Without Leave (AWOL), Biennial of Young Artists, Bucharest 2006, Published by Meta and Goethe Institut Bukarest

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Cecilia Canziani, The Imminent Interviews - Per Hüttner, Fei Contemporary Art Center, Shanghai and Vision Forum 2010,

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The Invisible Generation, ed. Gerrie van Noord, design Marie Proyard, Published by Vision Forum, Stockholm, Sweden.

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The journey into the human soul was further developed in another photographic series from 2006 to 2007 entitled

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and constant movement where travel and international dialogues are core to his life and practice. He lived in

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From 2007, Hüttner has returned both to a dialogue with science and to working with video. In a sequel to

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A Score for an Entire City, Don't Look Back, ed. U. Ferm and M. Ångerman, Platform, Vasa, Finland 2011,

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Xiao yao you, Catalogue de 15e Biennale d'image, April 2008, Nancy, France - published by Gérard Louis

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Formas únicas da continuidade no espaço, 33 Panorama da arte brasileira (Curated by Lisette Lagnado),

1811:"Gongzhen - Sport in Art" pp. 88–91 Catalogue published by, Museum of Contemporary Art MoCA Shanghai 1656: 1543:

Springhill Institute Report on Activities, pp. 32–39, The Springhill Institute, Birmingham, UK, 2007

1392:"Med världen som arbetsplats," Anders Olofsson, Konstperspektiv pp. 24–27; April 2002; Malmö, Sweden 2148: 2007: 987:"Nothing to Declare", 4th. Oberschwaben Contemporary Art Triennial, Friedrichshafen, Germany (2008) 966: 2282: 2040:

Exhibition organized in collaboration with Sweden's participation in the Shanghai World Expo 2010.

1916:"Tundro, znaczy wolnosc" Marta Eloy Cichocka, Fotograficzny Biuletyn 09/2006 (58), p.48-50, Poland 1401:

Springhill Institute Report on Activities, p. 110, The Springhill Institute, Birmingham, UK, 2007

990:"Art is always somewhere else", International Biennial of Young Artists, Bucharest, Romania (2006) 1720: 915: 825:(with biochemist Elias Arnér), curated by Lena Boëthius, Konstakademien, Stockholm, Sweden (2011) 598: 46: 2293: 2487: 930:

Gärning – Fotografi ur Göteborgs konstmuseums samling, Göteborgs konstmuseum, Gothenburg (2016)

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The Invisible Generation ed. Gerrie van Noord, Published by Vision Forum, Stockholm, Sweden.

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An Opera in Five Acts, David Roberts Arts Foundation, London, UK (with Fatos Ustek) (2012–13)

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Putting Out the Fire with Gasoline, Used motor oil and chicken blood tempera on window, 2011

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The organisation Vision Forum's website about the performance, retrieved 25 March 2021

2405: 2389: 2373: 2305: 2219: 2218:Ö- A Möbius Trip, Ed. Isabel Löfgren and Per Hüttner, Vision Forum, Stockholm, 2015. 2195: 2080: 2052: 1992: 1970: 1945: 1898: 1812: 1787: 1770: 1754: 1682: 1572:

Reflektionen und Reaktionen, p. 42, published by Karl Hofer Gesellschaft, Berlin 1991

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Human Parallells, Collateral Event, Biennale Jogja XIII, Yogyakarta, Indonesia (2015)

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or has been extensively edited by the subject or by someone connected to the subject

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Introduction to Hüttner's solo exhibition at Blå Porten at Liljevalchs Konsthall

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Intrude ART VS Per Hüttner, pp. 54–55, Intrude Art, Issue 04, 2008, published by

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Per Hüttner interviewed by TV in Shanghai, China. English with Chinese subtitles

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Transmedia, (curated by Yang Qingqing), Palais de Tokyo, Paris, France (2013)

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Documentation on the technology developer's website, retrieved 25 March 2021

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The Power of Ontologies, 2084, Catalysti, The Cable Factory, Helsinki (2020)

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Information about artist's previous exhibitions on Italian website undo.net

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Barnaby Drabble, Nothing to Declare, Verlag für Moderne Kunst Nürneberg,

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Le choix de titre est un faux problème, CNEAI Paris, Paris, France (2011)

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AnAtomic (performance with 1+1=3), Folkteatern, Gothenburg, Sweden (2019)

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Performance documentation from Zendai MOMA, Shanghai, February 28, 2008.

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Godzilla and the Phoenix, OuUnPo-Japan, Wacoal art Center, BankART and

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and the exhibition. In 2001 he co-curated an exhibition at Nylon with

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3 in 1, Nylon Gallery, London, UK (with Gavin Wade and Goshka Macuga)

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Documentation on the organisation's website, retrieved 25 March 2021

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The Electric Brain, (with 1+1=3) Bibliothèque Charcot, Paris (2018)

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another, reminding us of the quest for unity that Plato describes."

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List of publications by Hüttner at the Royal Library in Stockholm.

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List of publications by Hüttner at the Royal Library in Stockholm.

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C: International Contemporary Art, Wntr, 2004 by Fergal Stapleton

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In the late 1980s and 1990s much of Hüttner's installations used

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0/0 – for Jeanette, Bonniers konsthall, Stockholm, Sweden (2016)

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2007. The Imminent Interviews 2010 and The Quantum Police 2011.

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Per Hüttner interviewed by Studio Crasher in Los Angeles, 2018

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Nick Muzyczka, Shanghai Global Times, Monday December 27, 2010

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Interview with the artist on David Roberts Art Foundation blog

1005:"Fasten Seatbelts", Galerie Krinzinger, Vienna, Austria (1998) 389: 840: 743: 727: 657: 619: 567: 481: 465: 2437: 1863: 1861: 1182:

Per Hüttner. Stockholm: Föreningen Curatorial Mutiny, 2004.

762: 1991:, Ed. E. Arnér and P. Huttner, Published by Dent-de-Leone. 1961:

Hüttner's contribution to "Has Man A Function in Universe?"

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Realitäten, Fotogalerie Wien, Fotobuch nr. 35/2005 p. 34-35

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Contemporary Art Gallery, National Museum, Szczecin, Poland

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and explores the genre in innovative ways by provoking the

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Installation at Lambert Gallery, mirrors and halogen lamps.

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The theatre's website (in Swedish) retrieved 25 March 2021

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The artist's official website retrieved 20 September 2018

1858: 1306: 1304: 1302: 1300: 1298: 993:"20 Years!", Bonniers Konsthall, Stockholm, Sweden (2006) 506: 449:

of the visitor as well as by reflecting on notions about

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Per Hüttner interviewed by the Inclusion in London, 2013

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Zendai Contemporary Art Exhibition Hall, Shanghai, China

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What is Potential? Exploring Aristotle, Art and Medicine

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from 1992, Hüttner and Arnér created a project entitled

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Installation at Cartel, London, Police badges and mirror

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Official website for the (In)Visible Dialogues Project

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borders. The artist is inspired by French philosopher

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Museu de Arte Moderna de São Paulo, São Paulo, Brazil

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Gossip Cards, Museo Jumex, Mexico City, Mexico (2017)

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in London and as part of experimental projects like

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The organisation's website, retrieved 25 March 2021

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Concrete Poetry, The Hayward Gallery, London (2011)

831:, curated by Anne Klontz, Valerie Lambert Gallery, 2235:Review of exhibition on Konsten.net (Swedish only) 1749: 1747: 1563:, MAMA, p.30-31, September 1994, Stockholm, Sweden 1320: 883:, Göteborgs Konstmuseum, Gothenburg, Sweden (2006) 865:, ERBA and Musée du Temps, Besançon, France (2009) 318:1991 to 1992. He graduated from Konsthögskolan in 2202:Documentation of the event on p.236, 237 and 239. 1217: 1215: 1213: 914:Start in the Middle, (curated by Dansehallerne), 871:, Guandong Museum of Art, Guangzhou, China (2006) 314:to study. He studied at Hochschule der Künste in 2474: 1907: 1697:Tank Book, Thames & Hudson; 2002; London, UK 1495:"Intrude: Art & Life 366 | 介入：艺术生活366天" 1160: 57:policy. There may be relevant discussion on the 1744: 1104:Stockholm: Föreningen Curatorial Mutiny, 2004. 790:Wellcome Collection Reading Room, London (2015) 605:that displayed a large body of the work at the 2190: 2188: 2186: 2184: 2066: 2064: 1581:"Elias Arnér and Per Hüttner," Tom Sandqvist, 1210: 53:It may need editing to conform to Knowledge's 805:Galleri Fagerstedt, Stockholm, Sweden (2015). 849:at Zendai Contemporary Art Exhibition Hall, 2181: 2061: 663:, perhaps the best known of his dialogues, 2420:"Curatorial Mutiny @ Nylon," Lee Triming, 2404:20 År, pp. 36–39 Maria Bonniers Stiftelse 1122:Göteborgs konstmuseum, Gothenburg, Sweden. 771:The Boundaries of Death Challenged, (With 411:Framed Colour Photograph Mounted on Dibond 398:Framed Colour Photograph Mounted on Dibond 99: 2214: 2212: 2210: 2208: 1125:Guangdong Museum of Art, Guangzhou, China 763:Solo exhibitions and touring performances 734:in London as well as in public spaces in 505:that dealt with the relationship between 480:to develop work based on research on the 77:Learn how and when to remove this message 1897:, p. 33, Guangdong Museum of Art, 2006. 675:of love, also serves as a symbol of the 414: 401: 388: 375: 362: 349: 252: 241: 230: 222: 1723:, p.56-61; June–August 2002, London, UK 1719:"Artists on the Move," Duncan McLaren, 943:(with Isabel Löfgren, Samon Takahashi, 901:, Chisenhale Gallery, London, UK (2003) 14: 2475: 2344:http://visionforumouunpo.blogspot.com/ 2205: 1841:"Interview with Hüttner in Art Review" 1710:, p.50-51, April–May 1999, London, UK 1131:Bonniers Konsthall, Stockholm, Sweden 1116: 1491:Shanghai Zendai Museum of Modern Art 476:. The artist also used contemporary 29: 2493:People from Oskarshamn Municipality 1867:"Per Hüttner", Francesca Pagliuca, 1681:18; p.270-272; 2003; New York, USA 24: 2325:Museu de Arte Moderna de Sao Paulo 1134:Abecita konstmuseum, Borås, Sweden 952:Museu de Arte Moderna de São Paulo 906:Group exhibitions and performances 837:Putting Out the Fire with Gasoline 325:His life has since been marked by 25: 2529: 2431: 1733:Yuerba Buena’s exhibition archive 1585:, January 1993, Helsinki, Finland 1427:http://norrkopingair.blogspot.ch/ 1871:117, p. 102, 2006, Milano, Italy 1609:3 in 1 Curatorial Mutiny, Part 4 613:the curator, Zhang Wei, writes: 34: 2414: 2398: 2382: 2366: 2348: 2337: 2314: 2298: 2287: 2276: 2265: 2256:"I Am A Curator" Paul O’Neill, 2250: 2239: 2228: 2154: 2142: 2131: 2122: 2111: 2100: 2089: 2073: 2034: 2023: 2012: 2001: 1954: 1930: 1919: 1883: 1874: 1833: 1822: 1805: 1796: 1779: 1763: 1726: 1713: 1700: 1691: 1677:A Tasty Treat, James Westcott, 1671: 1661: 1650: 1635: 1626: 1615:, Issue 60, June - August 2001. 1600: 1588: 1575: 1566: 1553: 1537: 1521: 1512: 1483: 1458: 1447: 1431: 1420: 1411: 1395: 1386: 1361: 1190:. With a text by Duncan McLaren 889:, Vacio 9, Madrid, Spain (2006) 811:, Alam + Petrov and Casa Punk, 809:Poseidon Recreates Lake Texcoco 208:Maria Bonnier Dahlins Stiftelse 2355:Event info on museum's website 1284: 1232: 1193: 1176: 1151: 1112:. With text by Duncan McLaren. 757: 13: 1: 2262:275, p.7-10, 2004, London UK. 2008:Press release at Kunstaspekte 1706:"TalePiece," Caroline Smith, 1144: 1009: 264:(born 11 February 1967) is a 2518:Swedish contemporary artists 2438:Official Per Hüttner website 2019:Press release at Art in Asia 918:, Copenhagen, Denmark (2019) 819:with Jean-Louis Huhta (2014) 428:Hüttner's work investigates 420:Filling the City with Dreams 296: 158:Hochschule der Künste Berlin 7: 2503:French installation artists 1647:; Apr2004, Issue 275, p7-10 799:, Stockholm, Sweden (2015). 368:Quantum Police Installation 355:Quantum Police Installation 10: 2534: 782:Wayob, Galleri Fagerstedt 203: 193: 163: 149: 139: 114: 98: 91: 1559:"Labyrinthen i Gdansk," 967:Embassy of Sweden, Tokyo 839:, Manufactura's Studio, 784:Stockholm, Sweden (2017) 711:The Invisible Generation 345: 216:Konstakademien Stockholm 154:Konsthögskolan Stockholm 1721:Contemporary (magazine) 969:/Yokohama, Japan,(2013) 939:Normalcy, Moderna Bar, 916:Kunsthal Charlottenborg 599:documentary photography 835:; DKTUS Stockholm and 682: 641: 628: 425: 412: 399: 386: 373: 360: 258: 250: 239: 228: 2508:Swedish photographers 2424:, p.79, May–June 2001 1989:(In)visible Dialogues 823:(In)Visible Dialogues 654: 649:(In)Visible Dialogues 636: 615: 418: 405: 392: 379: 366: 353: 256: 247:(In)Visible Dialogues 245: 236:(In)Visible Dialogues 234: 226: 55:neutral point of view 27:Swedish visual artist 1942:Democracy and Desire 1938:Democracy and Desire 1596:The book on WorldCat 1272:Democracy and Desire 645:Begrepp - En Samling 632:Democracy and Desire 523:Begrepp - En Samling 457:and the human body. 407:Catharis (Amsterdam) 301:Hüttner was born in 290:Democracy and Desire 18:Democracy and Desire 699:Rockbund Art Museum 394:Rebirth (Bucharest) 2513:Postmodern artists 2498:Conceptual artists 2360:2011-01-25 at the 2246:Exhibition website 2118:Nowiswhere issue 9 2107:Nowiswhere issue 8 2096:Nowiswhere issue 7 1966:2009-02-18 at the 1738:2010-07-21 at the 1620:2008-12-03 at the 1117:Public collections 887:Democracia y Deseo 547:Chisenhale Gallery 487:Pitt Rivers Museum 426: 413: 400: 387: 374: 361: 259: 251: 240: 229: 2378:978-3-940748-27-0 2310:978-83-63365-35-6 2224:978-91-980725-4-9 2200:978-2-37896-024-7 2085:978-952-67484-1-2 2057:978-91-978934-2-8 1997:978-91-978934-3-5 1975:978-1-870699-88-4 1950:978-91-633-0548-1 1903:978-91-631-9345-3 1817:978-7-80703-744-6 1549:978-0-9556107-0-7 1533:978-2-912483-60-7 1443:978-91-978934-2-8 1407:978-0-9556107-0-7 1356:978-91-978934-5-9 1316:978-91-978934-4-2 1280:978-91-633-0548-1 1245:978-91-631-9345-3 1172:978-3-86588-451-0 1074:978-91-631-9345-3 1062:978-91-633-0548-1 1051:978-91-978934-4-2 1041:978-0-9561885-5-7 1033:978-91-978934-3-5 1022:978-91-978934-5-9 724:Wacoal Art Center 609:Museum of Art in 221: 220: 87: 86: 79: 16:(Redirected from 2525: 2425: 2418: 2412: 2402: 2396: 2386: 2380: 2370: 2364: 2352: 2346: 2341: 2335: 2318: 2312: 2302: 2296: 2291: 2285: 2280: 2274: 2269: 2263: 2254: 2248: 2243: 2237: 2232: 2226: 2216: 2203: 2192: 2179: 2176: 2163: 2158: 2152: 2146: 2140: 2135: 2129: 2126: 2120: 2115: 2109: 2104: 2098: 2093: 2087: 2077: 2071: 2068: 2059: 2049: 2043: 2038: 2032: 2027: 2021: 2016: 2010: 2005: 1999: 1986: 1977: 1958: 1952: 1934: 1928: 1923: 1917: 1914: 1905: 1887: 1881: 1878: 1872: 1865: 1856: 1855: 1853: 1852: 1843:. 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