Per Hüttner - Knowledge

590:. 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 366: 221: 243: 623:. 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: 628:

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.

232: 353: 340: 213: 25: 405: 641:"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: 392: 379: 90: 627:

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

606:

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

570:

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

673:

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

421:

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

326:

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

668:

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

640:

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

702:

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,

1188:

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.

1079:

1338:

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,

1004:

607:

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

1068:'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. 1210:

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.

615:'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. 1656:

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

1227:

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.

1056:

257:

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

1044:

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.

1774:

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

2138:

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

298:

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

674:

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

1808:. 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. 426:

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

1263:, 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. 196: 1952: 2456: 327:

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

142: 656:

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

204: 461:. 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 764:

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

1977: 521:

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

583:. 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. 529:

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

2446: 1583:

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

1442: 2309: 1483: 1034:

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

1829: 1758:

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

1742:"Pleasure and Pain all Rolled into One," BIDA 2003 - Exhibition catalogue from the exhibition at Centro de Arte de Salamanca, Spain, pp. 110–113 1606: 757:

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

679: 1857: 973:"Crash – The other versions", with postautonomy.co.uk, Liverpool Biennial, Liverpool UK and various public venues in Zürich, Switzerland (2008) 487:- looking at how the brain remains in a constant state of change and regeneration. He also created exhibitions, publications and lectures with 2451: 2059:

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

1279: 711:

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

586:

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

2481: 2018:

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

707:

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

246:

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

1949: 2183:

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

2019: 2007: 1914:"Joggaren har tagit en vilopaus", Anna Brodow, Svenska Dagbladet, Kultur s.9, May 12, 2007, Sweden. Online link (in Swedish) here 1571: 1454: 660:

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

699: 348:

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

2506: 2366: 2298: 2212: 2188: 2117:

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

2073: 2045: 1985: 1963: 1938: 1891: 1805: 1537: 1521: 1431: 1395: 1344: 1304: 1268: 1233: 1160: 1062: 1050: 1039: 1029: 1021: 1010: 1357: 2491: 2293:

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

1479: 1155:

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

925:

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

1621:

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

2377:

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

2313: 1724: 1299:

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

2398: 2382: 1780: 1763: 1747: 1675: 1216: 1194: 1176: 1098: 1085: 1073: 1016:(In)visible Dialogues, 2011, languages: English and Swedish, 240 pages, design by Åbäke. Published by Dent-de-Leone. 65: 2040:

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

940: 328: 43: 619:

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

146: 2496: 1915: 318:

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

1833: 2346: 632:

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

2501: 2486: 2068:

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

1487: 1584: 1516:"Filling the City with Dreams", errors, deceits, mistakes no 3, 2008, pp. 72–82, Cneai, Chatou, France 1869:

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

1596: 939:

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

1800:"Gongzhen - Sport in Art" pp. 88–91 Catalogue published by, Museum of Contemporary Art MoCA Shanghai 1645: 1532:

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

1381:"Med världen som arbetsplats," Anders Olofsson, Konstperspektiv pp. 24–27; April 2002; Malmö, Sweden 2137: 1996: 976:"Nothing to Declare", 4th. Oberschwaben Contemporary Art Triennial, Friedrichshafen, Germany (2008) 955: 2271: 2029:

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

1905:"Tundro, znaczy wolnosc" Marta Eloy Cichocka, Fotograficzny Biuletyn 09/2006 (58), p.48-50, Poland 1390:

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

979:"Art is always somewhere else", International Biennial of Young Artists, Bucharest, Romania (2006) 1709: 904: 814:(with biochemist Elias Arnér), curated by Lena Boëthius, Konstakademien, Stockholm, Sweden (2011) 587: 35: 2282: 2476: 919:

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

2234: 1818: 1426:

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

964:

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

637: 235: 224: 216:

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

2471: 1406:"How do we Keep on Meeting?," 9-10 Ottobre 1999, Oreste at The Venice Biennale, Italy, 1999 1260: 633: 620: 511: 278: 227:, 2011, phosphorescent copies of J. Bolin's Chairs with catalogue, created by Abake (night) 8: 687: 238:, phosphorescent copies of J. Bohlin's Chairs with catalogue, created by Abake 2011 (day) 2223: 2030: 47: 535: 514:(Concepts a Collection) they brought together artists and scientists to dialogue about 475: 2127:

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

2394: 2378: 2362: 2294: 2208: 2207:Ö- A Möbius Trip, Ed. Isabel Löfgren and Per Hüttner, Vision Forum, Stockholm, 2015. 2184: 2069: 2041: 1981: 1959: 1934: 1887: 1801: 1776: 1759: 1743: 1671: 1561:

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

1533: 1517: 1427: 1391: 1340: 1300: 1264: 1229: 1212: 1190: 1172: 1156: 1094: 1081: 1069: 1058: 1046: 1035: 1025: 1017: 1006: 922:

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

712: 38:

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

933: 761: 708: 156: 2441: 1458: 2431: 2350: 2312:, p.134 Formas Unicas da Continuidade no Espaco, 33 Panorama da arte brasileira, 2126: 1956: 1817:

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

1728: 1696: 1610: 1549: 1478:

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

1361: 695: 466: 427: 168: 2442:

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

2436: 929: 530: 423: 264: 186: 132: 491: 365: 2465: 961:

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

724: 526: 2150:

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

900:

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

220: 2457:

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

2260: 2106: 2084: 1721: 1667: 1146:"A Western Runner," Laurent Devèze, Mare Articum 1, pp. 58–63, 2002, Poland 785: 728: 691: 564: 418: 242: 2332: 2095: 231: 2361:

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

2247: 1632: 967:

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

910:

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

801: 720: 653: 612: 576: 515: 462: 435: 352: 339: 323: 160: 413:

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

954:

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

522: 503: 488: 291: 117: 95: 89: 988:"Slowdive", Yerba Buena Center for the Arts, San Francisco, USA (2002) 525:

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

295: 2410: 2317: 991:

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

944: 665: 649: 599: 595: 507: 458: 443: 431: 308: 212: 2261:

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

1415: 866:, Contemporary Art Gallery, National Museum, Szczecin, Poland (2006) 2149: 839: 821: 767:

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

736: 683: 669:

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

661: 450: 315: 2452:

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

1933:, 2007, Published by Vacio 9 and The Romanian Cultural Institute. 1280:

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

1646:

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

572: 499: 484: 449:

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

176: 172: 164: 916:

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

404: 282:

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

2343: 2321: 1455:"OuUnPo and Globalisation on Global Art and the Museum website" 948: 884:, Xposeptember, Liljevalchs Konsthall, Stockholm, Sweden (2005) 805: 740: 580: 552: 540: 480: 391: 319: 304: 300: 254: 200: 121: 2437:

Per Hüttner interviewed by Studio Crasher in Los Angeles, 2018

1507:

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

1443:

Interview with the artist on David Roberts Art Foundation blog

994:"Fasten Seatbelts", Galerie Krinzinger, Vienna, Austria (1998) 378: 829: 732: 716: 646: 608: 556: 470: 454: 2426: 1852: 1850: 1171:

Per Hüttner. Stockholm: Föreningen Curatorial Mutiny, 2004.

751: 1980:, Ed. E. Arnér and P. Huttner, Published by Dent-de-Leone. 1950:

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

1791:

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

1117:

Contemporary Art Gallery, National Museum, Szczecin, Poland

832:, China; The Old Police Station and Cartel in London(2011). 704: 675: 657: 439: 430:

and explores the genre in innovative ways by provoking the

374:

Installation at Lambert Gallery, mirrors and halogen lamps.

2283:

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

2167:

The artist's official website retrieved 20 September 2018

1847: 1295: 1293: 1291: 1289: 1287: 982:"20 Years!", Bonniers Konsthall, Stockholm, Sweden (2006) 495: 438:

of the visitor as well as by reflecting on notions about

2447:

Per Hüttner interviewed by the Inclusion in London, 2013

2034: 1973: 1971: 1126:

Zendai Contemporary Art Exhibition Hall, Shanghai, China

777:

What is Potential? Exploring Aristotle, Art and Medicine

636:

from 1992, Hüttner and Arnér created a project entitled

361:

Installation at Cartel, London, Police badges and mirror

2432:

Official website for the (In)Visible Dialogues Project

2163: 2161: 2159: 2157: 1334: 1332: 1284: 1255: 1253: 1251: 1249: 1247: 1245: 1243: 1241: 985:"BIDA 2003", Centro de Arte de Salamanca, Spain (2003) 543:, Repetitive Time at The Art Museum in Gothenburg and 422:

borders. The artist is inspired by French philosopher

1968: 1330: 1328: 1326: 1324: 1322: 1320: 1318: 1316: 1314: 1312: 1129:

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

913:

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

894: 848:, Fei Contemporary Art Center, Shanghai, China (2010) 698:

in London and as part of experimental projects like

2272:

The organisation's website, retrieved 25 March 2021

2154: 1901: 1899: 1238: 970:

Concrete Poetry, The Hayward Gallery, London (2011)

820:, curated by Anne Klontz, Valerie Lambert Gallery, 2224:Review of exhibition on Konsten.net (Swedish only) 1738: 1736: 1552:, MAMA, p.30-31, September 1994, Stockholm, Sweden 1309: 872:, Göteborgs Konstmuseum, Gothenburg, Sweden (2006) 854:, ERBA and Musée du Temps, Besançon, France (2009) 307:1991 to 1992. He graduated from Konsthögskolan in 2191:Documentation of the event on p.236, 237 and 239. 1206: 1204: 1202: 903:Start in the Middle, (curated by Dansehallerne), 860:, Guandong Museum of Art, Guangzhou, China (2006) 303:to study. He studied at Hochschule der Künste in 2463: 1896: 1686:Tank Book, Thames & Hudson; 2002; London, UK 1484:"Intrude: Art & Life 366 | 介入：艺术生活366天" 1149: 46:policy. There may be relevant discussion on the 1733: 1093:Stockholm: Föreningen Curatorial Mutiny, 2004. 779:Wellcome Collection Reading Room, London (2015) 594:that displayed a large body of the work at the 2179: 2177: 2175: 2173: 2055: 2053: 1570:"Elias Arnér and Per Hüttner," Tom Sandqvist, 1199: 42:It may need editing to conform to Knowledge's 794:Galleri Fagerstedt, Stockholm, Sweden (2015). 838:at Zendai Contemporary Art Exhibition Hall, 2170: 2050: 652:, perhaps the best known of his dialogues, 2409:"Curatorial Mutiny @ Nylon," Lee Triming, 2393:20 År, pp. 36–39 Maria Bonniers Stiftelse 1111:Göteborgs konstmuseum, Gothenburg, Sweden. 760:The Boundaries of Death Challenged, (With 400:Framed Colour Photograph Mounted on Dibond 387:Framed Colour Photograph Mounted on Dibond 88: 2203: 2201: 2199: 2197: 1114:Guangdong Museum of Art, Guangzhou, China 752:Solo exhibitions and touring performances 723:in London as well as in public spaces in 494:that dealt with the relationship between 469:to develop work based on research on the 66:Learn how and when to remove this message 1886:, p. 33, Guangdong Museum of Art, 2006. 664:of love, also serves as a symbol of the 403: 390: 377: 364: 351: 338: 241: 230: 219: 211: 1712:, p.56-61; June–August 2002, London, UK 1708:"Artists on the Move," Duncan McLaren, 932:(with Isabel Löfgren, Samon Takahashi, 890:, Chisenhale Gallery, London, UK (2003) 2464: 2333:http://visionforumouunpo.blogspot.com/ 2194: 1830:"Interview with Hüttner in Art Review" 1699:, p.50-51, April–May 1999, London, UK 1120:Bonniers Konsthall, Stockholm, Sweden 1105: 1480:Shanghai Zendai Museum of Modern Art 465:. The artist also used contemporary 18: 2482:People from Oskarshamn Municipality 1856:"Per Hüttner", Francesca Pagliuca, 1670:18; p.270-272; 2003; New York, USA 13: 2314:Museu de Arte Moderna de Sao Paulo 1123:Abecita konstmuseum, Borås, Sweden 941:Museu de Arte Moderna de São Paulo 895:Group exhibitions and performances 826:Putting Out the Fire with Gasoline 314:His life has since been marked by 14: 2518: 2420: 1722:Yuerba Buena’s exhibition archive 1574:, January 1993, Helsinki, Finland 1416:http://norrkopingair.blogspot.ch/ 1860:117, p. 102, 2006, Milano, Italy 1598:3 in 1 Curatorial Mutiny, Part 4 602:the curator, Zhang Wei, writes: 23: 2403: 2387: 2371: 2355: 2337: 2326: 2303: 2287: 2276: 2265: 2254: 2245:"I Am A Curator" Paul O’Neill, 2239: 2228: 2217: 2143: 2131: 2120: 2111: 2100: 2089: 2078: 2062: 2023: 2012: 2001: 1990: 1943: 1919: 1908: 1872: 1863: 1822: 1811: 1794: 1785: 1768: 1752: 1715: 1702: 1689: 1680: 1666:A Tasty Treat, James Westcott, 1660: 1650: 1639: 1624: 1615: 1604:, Issue 60, June - August 2001. 1589: 1577: 1564: 1555: 1542: 1526: 1510: 1501: 1472: 1447: 1436: 1420: 1409: 1400: 1384: 1375: 1350: 1179:. With a text by Duncan McLaren 878:, Vacio 9, Madrid, Spain (2006) 800:, Alam + Petrov and Casa Punk, 798:Poseidon Recreates Lake Texcoco 197:Maria Bonnier Dahlins Stiftelse 2344:Event info on museum's website 1273: 1221: 1182: 1165: 1140: 1101:. With text by Duncan McLaren. 746: 1: 2251:275, p.7-10, 2004, London UK. 1997:Press release at Kunstaspekte 1695:"TalePiece," Caroline Smith, 1133: 998: 253:(born 11 February 1967) is a 2507:Swedish contemporary artists 2427:Official Per Hüttner website 2008:Press release at Art in Asia 907:, Copenhagen, Denmark (2019) 808:with Jean-Louis Huhta (2014) 417:Hüttner's work investigates 409:Filling the City with Dreams 285: 147:Hochschule der Künste Berlin 7: 2492:French installation artists 1636:; Apr2004, Issue 275, p7-10 788:, Stockholm, Sweden (2015). 357:Quantum Police Installation 344:Quantum Police Installation 10: 2523: 771:Wayob, Galleri Fagerstedt 192: 182: 152: 138: 128: 103: 87: 80: 1548:"Labyrinthen i Gdansk," 956:Embassy of Sweden, Tokyo 828:, Manufactura's Studio, 773:Stockholm, Sweden (2017) 700:The Invisible Generation 334: 205:Konstakademien Stockholm 143:Konsthögskolan Stockholm 1710:Contemporary (magazine) 958:/Yokohama, Japan,(2013) 928:Normalcy, Moderna Bar, 905:Kunsthal Charlottenborg 588:documentary photography 824:; DKTUS Stockholm and 671: 630: 617: 414: 401: 388: 375: 362: 349: 247: 239: 228: 217: 2497:Swedish photographers 2413:, p.79, May–June 2001 1978:(In)visible Dialogues 812:(In)Visible Dialogues 643: 638:(In)Visible Dialogues 625: 604: 407: 394: 381: 368: 355: 342: 245: 236:(In)Visible Dialogues 234: 225:(In)Visible Dialogues 223: 215: 44:neutral point of view 16:Swedish visual artist 1931:Democracy and Desire 1927:Democracy and Desire 1585:The book on WorldCat 1261:Democracy and Desire 634:Begrepp - En Samling 621:Democracy and Desire 512:Begrepp - En Samling 446:and the human body. 396:Catharis (Amsterdam) 290:Hüttner was born in 279:Democracy and Desire 688:Rockbund Art Museum 383:Rebirth (Bucharest) 2502:Postmodern artists 2487:Conceptual artists 2349:2011-01-25 at the 2235:Exhibition website 2107:Nowiswhere issue 9 2096:Nowiswhere issue 8 2085:Nowiswhere issue 7 1955:2009-02-18 at the 1727:2010-07-21 at the 1609:2008-12-03 at the 1106:Public collections 876:Democracia y Deseo 536:Chisenhale Gallery 476:Pitt Rivers Museum 415: 402: 389: 376: 363: 350: 248: 240: 229: 218: 2367:978-3-940748-27-0 2299:978-83-63365-35-6 2213:978-91-980725-4-9 2189:978-2-37896-024-7 2074:978-952-67484-1-2 2046:978-91-978934-2-8 1986:978-91-978934-3-5 1964:978-1-870699-88-4 1939:978-91-633-0548-1 1892:978-91-631-9345-3 1806:978-7-80703-744-6 1538:978-0-9556107-0-7 1522:978-2-912483-60-7 1432:978-91-978934-2-8 1396:978-0-9556107-0-7 1345:978-91-978934-5-9 1305:978-91-978934-4-2 1269:978-91-633-0548-1 1234:978-91-631-9345-3 1161:978-3-86588-451-0 1063:978-91-631-9345-3 1051:978-91-633-0548-1 1040:978-91-978934-4-2 1030:978-0-9561885-5-7 1022:978-91-978934-3-5 1011:978-91-978934-5-9 713:Wacoal Art Center 598:Museum of Art in 210: 209: 76: 75: 68: 2514: 2414: 2407: 2401: 2391: 2385: 2375: 2369: 2359: 2353: 2341: 2335: 2330: 2324: 2307: 2301: 2291: 2285: 2280: 2274: 2269: 2263: 2258: 2252: 2243: 2237: 2232: 2226: 2221: 2215: 2205: 2192: 2181: 2168: 2165: 2152: 2147: 2141: 2135: 2129: 2124: 2118: 2115: 2109: 2104: 2098: 2093: 2087: 2082: 2076: 2066: 2060: 2057: 2048: 2038: 2032: 2027: 2021: 2016: 2010: 2005: 1999: 1994: 1988: 1975: 1966: 1947: 1941: 1923: 1917: 1912: 1906: 1903: 1894: 1876: 1870: 1867: 1861: 1854: 1845: 1844: 1842: 1841: 1832:. Archived from 1826: 1820: 1815: 1809: 1798: 1792: 1789: 1783: 1772: 1766: 1756: 1750: 1740: 1731: 1719: 1713: 1706: 1700: 1693: 1687: 1684: 1678: 1664: 1658: 1654: 1648: 1643: 1637: 1630:"O'Neill, Paul, 1628: 1622: 1619: 1613: 1593: 1587: 1581: 1575: 1568: 1562: 1559: 1553: 1546: 1540: 1530: 1524: 1514: 1508: 1505: 1499: 1498: 1496: 1495: 1486:. Archived from 1476: 1470: 1469: 1467: 1466: 1457:. Archived from 1451: 1445: 1440: 1434: 1424: 1418: 1413: 1407: 1404: 1398: 1388: 1382: 1379: 1373: 1372: 1370: 1369: 1360:. Archived from 1354: 1348: 1336: 1307: 1297: 1282: 1277: 1271: 1257: 1236: 1225: 1219: 1208: 1197: 1186: 1180: 1169: 1163: 1153: 1147: 1144: 934:Jean-Louis Huhta 852:Do not Go Gentle 762:Jean-Louis Huhta 157:Installation art 114:11 February 1967 113: 111: 92: 78: 77: 71: 64: 60: 57: 51: 27: 26: 19: 2522: 2521: 2517: 2516: 2515: 2513: 2512: 2511: 2462: 2461: 2423: 2418: 2417: 2408: 2404: 2392: 2388: 2376: 2372: 2360: 2356: 2351:Wayback Machine 2342: 2338: 2331: 2327: 2310:Lisette Lagnado 2308: 2304: 2292: 2288: 2281: 2277: 2270: 2266: 2259: 2255: 2244: 2240: 2233: 2229: 2222: 2218: 2206: 2195: 2182: 2171: 2166: 2155: 2148: 2144: 2136: 2132: 2125: 2121: 2116: 2112: 2105: 2101: 2094: 2090: 2083: 2079: 2067: 2063: 2058: 2051: 2039: 2035: 2028: 2024: 2017: 2013: 2006: 2002: 1995: 1991: 1976: 1969: 1957:Wayback Machine 1948: 1944: 1924: 1920: 1913: 1909: 1904: 1897: 1877: 1873: 1868: 1864: 1855: 1848: 1839: 1837: 1828: 1827: 1823: 1816: 1812: 1799: 1795: 1790: 1786: 1773: 1769: 1757: 1753: 1741: 1734: 1729:Wayback Machine 1720: 1716: 1707: 1703: 1697:Creative Camera 1694: 1690: 1685: 1681: 1665: 1661: 1655: 1651: 1644: 1640: 1629: 1625: 1620: 1616: 1611:Wayback Machine 1594: 1590: 1582: 1578: 1569: 1565: 1560: 1556: 1550:Daniel Birnbaum 1547: 1543: 1531: 1527: 1515: 1511: 1506: 1502: 1493: 1491: 1482: 1477: 1473: 1464: 1462: 1453: 1452: 1448: 1441: 1437: 1425: 1421: 1414: 1410: 1405: 1401: 1389: 1385: 1380: 1376: 1367: 1365: 1356: 1355: 1351: 1337: 1310: 1298: 1285: 1278: 1274: 1258: 1239: 1226: 1222: 1209: 1200: 1187: 1183: 1170: 1166: 1154: 1150: 1145: 1141: 1136: 1108: 1001: 897: 870:Repetitive Time 754: 749: 696:Hayward Gallery 467:medical science 412: 399: 386: 373: 360: 347: 337: 288: 270:Repetitive Time 169:performance art 124: 115: 109: 107: 99: 94:Per Hüttner in 83: 72: 61: 55: 52: 41: 28: 24: 17: 12: 11: 5: 2520: 2510: 2509: 2504: 2499: 2494: 2489: 2484: 2479: 2474: 2460: 2459: 2454: 2449: 2444: 2439: 2434: 2429: 2422: 2421:External links 2419: 2416: 2415: 2402: 2386: 2370: 2354: 2336: 2325: 2302: 2286: 2275: 2264: 2253: 2238: 2227: 2216: 2193: 2169: 2153: 2142: 2130: 2119: 2110: 2099: 2088: 2077: 2061: 2049: 2033: 2022: 2011: 2000: 1989: 1967: 1942: 1918: 1907: 1895: 1871: 1862: 1846: 1821: 1810: 1793: 1784: 1767: 1751: 1732: 1714: 1701: 1688: 1679: 1659: 1649: 1638: 1623: 1614: 1588: 1576: 1563: 1554: 1541: 1525: 1509: 1500: 1471: 1446: 1435: 1419: 1408: 1399: 1383: 1374: 1349: 1308: 1283: 1272: 1237: 1220: 1198: 1181: 1164: 1148: 1138: 1137: 1135: 1132: 1131: 1130: 1127: 1124: 1121: 1118: 1115: 1112: 1107: 1104: 1103: 1102: 1088: 1077: 1066: 1054: 1042: 1032: 1014: 1000: 997: 996: 995: 992: 989: 986: 983: 980: 977: 974: 971: 968: 965: 962: 959: 952: 937: 930:Moderna museet 926: 923: 920: 917: 914: 911: 908: 901: 896: 893: 892: 891: 888:I Am a Curator 885: 879: 873: 867: 861: 855: 849: 843: 842:, China (2010) 833: 818:Quantum Police 815: 809: 795: 789: 780: 774: 768: 765: 758: 753: 750: 748: 745: 531:I am a Curator 424:Gilles Deleuze 370:Quantum Police 336: 333: 287: 284: 265:I am a Curator 208: 207: 194: 190: 189: 187:Conceptual Art 184: 180: 179: 154: 153:Known for 150: 149: 140: 136: 135: 130: 126: 125: 116: 105: 101: 100: 93: 85: 84: 81: 74: 73: 31: 29: 22: 15: 9: 6: 4: 3: 2: 2519: 2508: 2505: 2503: 2500: 2498: 2495: 2493: 2490: 2488: 2485: 2483: 2480: 2478: 2477:Living people 2475: 2473: 2470: 2469: 2467: 2458: 2455: 2453: 2450: 2448: 2445: 2443: 2440: 2438: 2435: 2433: 2430: 2428: 2425: 2424: 2412: 2406: 2400: 2399:91-631-8973-9 2396: 2390: 2384: 2383:973-86344-5-8 2380: 2374: 2368: 2364: 2358: 2352: 2348: 2345: 2340: 2334: 2329: 2323: 2319: 2315: 2311: 2306: 2300: 2296: 2290: 2284: 2279: 2273: 2268: 2262: 2257: 2250: 2249: 2242: 2236: 2231: 2225: 2220: 2214: 2210: 2204: 2202: 2200: 2198: 2190: 2186: 2180: 2178: 2176: 2174: 2164: 2162: 2160: 2158: 2151: 2146: 2140: 2134: 2128: 2123: 2114: 2108: 2103: 2097: 2092: 2086: 2081: 2075: 2071: 2065: 2056: 2054: 2047: 2043: 2037: 2031: 2026: 2020: 2015: 2009: 2004: 1998: 1993: 1987: 1983: 1979: 1974: 1972: 1965: 1961: 1958: 1954: 1951: 1946: 1940: 1936: 1932: 1928: 1922: 1916: 1911: 1902: 1900: 1893: 1889: 1885: 1881: 1875: 1866: 1859: 1853: 1851: 1836:on 2012-03-08 1835: 1831: 1825: 1819: 1814: 1807: 1803: 1797: 1788: 1782: 1781:973-86344-5-8 1778: 1771: 1765: 1764:83-86136-54-5 1761: 1755: 1749: 1748:84-7949-127-2 1745: 1739: 1737: 1730: 1726: 1723: 1718: 1711: 1705: 1698: 1692: 1683: 1677: 1676:0-9723063-5-8 1673: 1669: 1663: 1653: 1647: 1642: 1635: 1634: 1627: 1618: 1612: 1608: 1605: 1603: 1599: 1592: 1586: 1580: 1573: 1567: 1558: 1551: 1545: 1539: 1535: 1529: 1523: 1519: 1513: 1504: 1490:on 2011-07-13 1489: 1485: 1481: 1475: 1461:on 2013-10-14 1460: 1456: 1450: 1444: 1439: 1433: 1429: 1423: 1417: 1412: 1403: 1397: 1393: 1387: 1378: 1364:on 2009-09-30 1363: 1359: 1353: 1346: 1342: 1335: 1333: 1331: 1329: 1327: 1325: 1323: 1321: 1319: 1317: 1315: 1313: 1306: 1302: 1296: 1294: 1292: 1290: 1288: 1281: 1276: 1270: 1266: 1262: 1259:Per Hüttner: 1256: 1254: 1252: 1250: 1248: 1246: 1244: 1242: 1235: 1231: 1224: 1218: 1217:91-631-7127-9 1214: 1207: 1205: 1203: 1196: 1195:91-631-5132-4 1192: 1185: 1178: 1177:91-631-5131-6 1174: 1168: 1162: 1158: 1152: 1143: 1139: 1128: 1125: 1122: 1119: 1116: 1113: 1110: 1109: 1100: 1099:91-631-5131-6 1096: 1092: 1089: 1087: 1086:91-631-5132-4 1083: 1078: 1075: 1074:91-631-7127-9 1071: 1067: 1064: 1060: 1055: 1052: 1048: 1043: 1041: 1037: 1033: 1031: 1027: 1023: 1019: 1015: 1012: 1008: 1003: 1002: 993: 990: 987: 984: 981: 978: 975: 972: 969: 966: 963: 960: 957: 953: 950: 946: 942: 938: 935: 931: 927: 924: 921: 918: 915: 912: 909: 906: 902: 899: 898: 889: 886: 883: 880: 877: 874: 871: 868: 865: 862: 859: 856: 853: 850: 847: 844: 841: 837: 834: 831: 827: 823: 819: 816: 813: 810: 807: 803: 799: 796: 793: 790: 787: 784: 781: 778: 775: 772: 769: 766: 763: 759: 756: 755: 744: 742: 738: 734: 730: 726: 725:New York City 722: 718: 714: 710: 706: 701: 697: 693: 690:in Shanghai, 689: 685: 681: 677: 670: 667: 663: 659: 655: 651: 648: 642: 639: 635: 629: 624: 622: 616: 614: 610: 603: 601: 597: 593: 589: 584: 582: 578: 574: 568: 566: 562: 558: 554: 550: 546: 542: 538: 537: 532: 528: 527:Goshka Macuga 524: 519: 517: 513: 509: 505: 501: 497: 493: 490: 486: 482: 478: 477: 472: 468: 464: 460: 456: 452: 447: 445: 441: 437: 433: 429: 425: 420: 410: 406: 397: 393: 384: 380: 371: 367: 358: 354: 345: 341: 332: 330: 325: 321: 317: 312: 310: 306: 302: 297: 293: 283: 281: 280: 275: 271: 267: 266: 261: 256: 252: 244: 237: 233: 226: 222: 214: 206: 202: 198: 195: 191: 188: 185: 181: 178: 174: 170: 166: 162: 158: 155: 151: 148: 144: 141: 137: 134: 131: 127: 123: 119: 106: 102: 97: 91: 86: 79: 70: 67: 59: 49: 45: 39: 37: 36:autobiography 32:This article 30: 21: 20: 2405: 2389: 2373: 2357: 2339: 2328: 2305: 2289: 2278: 2267: 2256: 2246: 2241: 2230: 2219: 2145: 2133: 2122: 2113: 2102: 2091: 2080: 2064: 2036: 2025: 2014: 2003: 1992: 1945: 1930: 1926: 1921: 1910: 1884:Xiao Yao You 1883: 1880:Xiao Yao You 1879: 1874: 1865: 1858:Tema Celeste 1838:. Retrieved 1834:the original 1824: 1813: 1796: 1787: 1770: 1754: 1717: 1704: 1691: 1682: 1668:Zingmagazine 1662: 1652: 1641: 1631: 1626: 1617: 1601: 1597: 1595:Neal Brown, 1591: 1579: 1566: 1557: 1544: 1528: 1512: 1503: 1492:. Retrieved 1488:the original 1474: 1463:. Retrieved 1459:the original 1449: 1438: 1422: 1411: 1402: 1386: 1377: 1366:. Retrieved 1362:the original 1352: 1275: 1223: 1184: 1167: 1151: 1142: 1091:Per Hüttner. 1090: 936:etc.) (2014) 887: 881: 875: 869: 863: 858:Xiao Yao You 857: 851: 845: 835: 825: 817: 811: 797: 791: 786:Nobel Museum 782: 776: 770: 729:Philadelphia 692:Tate Britain 672: 644: 631: 626: 618: 611:philosopher 605: 592:Xiao Yao You 591: 585: 571:cities like 569: 565:Philadelphia 560: 548: 545:Participate? 544: 534: 520: 516:metaphysical 474: 448: 419:impermanence 416: 408: 395: 382: 369: 356: 343: 329:Vision Forum 313: 289: 277: 274:Xiao Yao You 273: 269: 263: 259: 250: 249: 62: 53: 33: 2472:1967 births 2248:Art Monthly 1925:Per Hüttner 1878:Zhang Wei, 1633:Art Monthly 882:Per Hüttner 802:Mexico City 792:The Silence 747:Exhibitions 721:Tate Modern 709:Fatos Üstek 654:Aristofanes 577:Mexico City 518:questions. 492:Elias Arnér 471:human brain 463:information 436:imagination 428:performance 324:Los Angeles 260:Per Hüttner 251:Per Hüttner 161:photography 129:Nationality 82:Per Hüttner 56:August 2010 2466:Categories 1840:2010-08-21 1494:2010-09-07 1465:2012-09-25 1368:2009-05-16 1358:"Platform" 1134:References 999:Monographs 523:art object 504:human body 489:biochemist 457:and other 292:Oskarshamn 118:Oskarshamn 110:1967-02-11 96:Copenhagen 2411:Flash Art 2318:Sao Paulo 1929:, p. 52, 945:Sao Paulo 666:dialectic 650:Symposium 613:Zhuang Zi 600:Guangzhou 596:Guangdong 559:, and at 508:Stockholm 459:new media 451:computers 444:knowledge 432:curiosity 309:Stockholm 286:Biography 139:Education 48:talk page 2347:Archived 1953:Archived 1725:Archived 1607:Archived 846:Imminent 840:Shanghai 822:Brussels 737:Yokohama 705:duration 684:Bordeaux 662:metaphor 561:Basekamp 502:and the 316:nomadism 268:, 2004; 262:, 2003; 183:Movement 177:curation 836:unknown 647:Plato’s 609:Chinese 573:Chennai 500:science 485:England 473:at the 296:Småland 255:Swedish 173:writing 165:drawing 133:Swedish 2397: 2381: 2365: 2322:Brazil 2297: 2211: 2187: 2072: 2044: 1984: 1962: 1937: 1890: 1804: 1779: 1762: 1746: 1674: 1602:Frieze 1536: 1520: 1430: 1394: 1343: 1303: 1267: 1232: 1215: 1193: 1175: 1159: 1097: 1084: 1072: 1061: 1049: 1038: 1028: 1020: 1009: 949:Brazil 864:Tundro 806:Mexico 783:V8skan 741:Athens 581:Lusaka 553:Xiamen 541:London 481:Oxford 411:, 2008 398:, 2007 385:, 2006 372:, 2011 359:, 2011 346:, 2011 320:London 311:1993. 305:Berlin 301:Berlin 276:2006, 272:2006, 201:IASPIS 193:Awards 122:Sweden 34:is an 1572:Siksi 830:Wuhan 733:Porto 717:Tokyo 557:China 510:. In 455:video 335:Works 2395:ISBN 2379:ISBN 2363:ISBN 2295:ISBN 2209:ISBN 2185:ISBN 2139:2021 2070:ISBN 2042:ISBN 1982:ISBN 1960:ISBN 1935:ISBN 1888:ISBN 1802:ISBN 1777:ISBN 1760:ISBN 1744:ISBN 1672:ISBN 1657:2010 1534:ISBN 1518:ISBN 1428:ISBN 1392:ISBN 1341:ISBN 1301:ISBN 1265:ISBN 1230:ISBN 1213:ISBN 1191:ISBN 1173:ISBN 1157:ISBN 1095:ISBN 1082:ISBN 1070:ISBN 1059:ISBN 1047:ISBN 1036:ISBN 1026:ISBN 1024:and 1018:ISBN 1007:ISBN 739:and 719:and 694:and 680:CAPC 676:Rome 658:Zeus 645:"In 579:and 549:CEAC 440:time 434:and 322:and 175:and 104:Born 98:2007 715:in 682:in 563:in 551:in 547:at 539:in 533:at 506:in 496:art 479:in 2468:: 2320:, 2316:, 2196:^ 2172:^ 2156:^ 2052:^ 1970:^ 1898:^ 1882:, 1849:^ 1735:^ 1600:, 1311:^ 1286:^ 1240:^ 1201:^ 947:, 943:, 804:, 743:. 735:, 731:, 727:, 686:, 678:, 575:, 567:. 555:, 498:, 483:, 453:, 442:, 331:. 294:, 203:, 199:, 171:, 167:, 163:, 159:, 145:, 120:, 1843:. 1497:. 1468:. 1371:. 1347:. 1076:. 1065:. 1053:. 1013:. 951:. 112:) 108:( 69:) 63:( 58:) 54:( 50:. 40:.

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index