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- archives contemporary art - jean-dominique carre - 52 rue mazarine f -75006 paris france- archives.carre (at) wanadoo.fr

 

 

victor burgin

 

 

Victor BURGIN: ALL CRITERIA... 1970.


Print.
Two one-sided white card leaves, text printed offset black.
Text in English.
Leaf: 29.7x21 cm.
Dated, numbered and signed in black pencil by V. Burgin in the lower margin of the second page.
Edition of 50.

One of the "Enonces Performatifs".
The term "Enoncés performatifs", "Performing utterances" in English, was created by Alfred Pacquement in the French contemporary art journal "Art Press" in 1972 and used again by V. Burgin in the catalogue "Passages".

Also available:

THIS POSIITION... 1969 (see the picture)
ALL CRITERIA... 1970
(see the picture)
ALL SUBSTANTIAL THINGS... 1970
(see the picture)
TOUT MOMENT... 1970
(see the picture)
TOUS LES CRITERES... 1970
(see the picture)
TOUTES LES CHOSES MATERIELLES... 1970
(see the picture)

See the texts


Reference :
"All criteria..." is reproduced in "The new art"(1972), in "Concettuale Europeo 1966-76"; in the catalogue of the V. Burgin retrospective show "Passages", at the Musée d'Art Moderne, Villeneuve d'Ascq, 1991; in the catalogue Reconsidering the object of art (1995) p.95; in "New Art in the 60s and 70s Redefining Reality", Anne Rorimer, 2001; in Conceptual art, Phaidon, 2002 p.126; in "Art conceptuel, une entologie" p.160.
- All Substantial Things is reproduced in "Conception Conceptual Documents 1968 - 1972 (2002) p.38.
- All Substantial Things and Any Moment are reproduced and documented in the catalogue Frac Nord-Pas de Calais collections, (1996).
- "Any moment..." is reproduced in "Conceptual art" ,1998, by Tony Godfrey p.169; in "Art conceptuel, une entologie" p.148.

 

 

Victor BURGIN: TOUT MOMENT... 1970.



Print.

Two one-sided white card leaves, text printed offset black.
Leaf: 29.7x21 cm.
Text in French.
Dated, numbered and signed in black pencil by V. Burgin in the lower margin of the second page.
Edition of 20.

One of the "Enonces Performatifs".
The term "Enoncés performatifs", "Performing utterances" in English, was created by Alfred Pacquement in the French contemporary art journal "Art Press" in 1972 and used again by V. Burgin in the catalogue "Passages".

Also available:

TOUS LES CRITERES... 1970 (see the picture)
TOUTES LES CHOSES MATERIELLES... 1970
(see the picture)

See the texts

Reference :
"Toutes les choses matérielles..." is reproduced in the catalogue "10 ans", Daniel Templon (p.23).

 

 

 

Victor BURGIN: "VI". 1973.


Victor BURGIN: "VI". 1973 Victor BURGIN: "VI". 1973

..(Two first leaves).


Work in ten parts.
Each part is constituted of a black and white full-page litho offset picture, with text in the lower margin; and one page, text printed black.
Loose.

In total, 20 one-sided leaves: 10 with a picture and 10 with text.
Each leaf: 29.7x20.9 cm.

Edition size: 9 copies + 2 A.P.
This copy is one of the two Artist Proofs, numbered 1/2.

Signed and editioned by V. Burgin on the reverse of the last (20th) leaf in black pencil.

Condition: As new.

 

Victor BURGIN: "VI". 1973




(here a framed copy, in one of the possible installation methods).

 

 

 

The ten text leaves:

I
A complex of phenomena so integrated as to to be seen as unit with properties not derivable from the parts of that unit in summation; a sector of a given perceptual field identified, at a given moment, as a whole and as having attributes more extensive than the sum of the attributes of it constituent elements; a gestalt
II
1. A gestalt serving to direct the attention with respect to some thing other than that gestalt; a signifier
2.1. A signifier which is to some degree isomorphic with its referent, one which is motivated
2.2. A signifier whose referent is construed from a knowledge of arbitrary conventions governing the use of that signifier and only from that knowledge, one which is unmotivated
III
1. A corpus of signifiers and of rules governing their combinations, in common use within a society for the interpersonal communication of commonly accessible meanings; a totality of signifying elements and relations; a code
2. A corpus of signifiers and of rules governing their combination, abstracted from a code, employed within a society for the interpersonal communication of meanings additional to those construed in strict conformity to the established code; a sub-code
IV
An assembly of signifiers drawn from and structured according to a code; a message
V
1. That signified by a message which in accord with a code may be identified by both sender and receiver as constituing the explicit, manifest, content of that message; that which remains invariant in translation; that which, in accord with III 1, is denoted by IV
2. That signified by a message which in accord with a sub-code may be identified by some senders and some receivers as constituing an implicit, latent, content of that message; that which, in accord with III 2, is connoted by IV
VI
1. The juxtaposition of a visual image and a supplementary linguistic message, this latter indicating prefered meanings from amongst the connoted meanings of the former; anchorage
2. The juxtaposition of a visual image and a complementary linguistic message indicating a meaning not signified by either of the component messages; relay
VII
A complex of propositions concerning constituents of the natural and social world, and the relations between these constituents, generally accepted in a given society as describing the actual and necessary nature of things; taken-for-granted realities of everyday life; pre-given determinations of individual consciousness; that which is commonly held within a given society as a necessary frame of reference for the projection of individual actions; that which is considered necessarily, in the nature of things, to be the case; a world-view
VIII
1.1. The individual elements of which a world-view is composed; all things which are defined within a given society as discrete entities; cultural units
1.2. Those cultural units by which the worth of a thing or of an action is judged; conceptions ideally governing individual selections from alternative courses of action; standards by which the desirability of modes of behaviour and the goals towards which behaviour is directed are assessed; values
IX
Those assemblies of cultural units which, emphasising values, provide the context within which individual biographies and institutional orders may be legitimated; typifications of common-sense thinking which provide order for the subjective apprehension of biographical experience; contingent frames of reference for the projection of individual actions; systems of concepts which give individual experiences their meanings; ideologies
X
1. Complete congruence between the sub-codes of sender and receiver with a resultant decoding of a message in terms of the prefered meanings of the sender; interpretation of a message in the context of full concordance of ideologies
2. Partial congruence between the sub-codes of sender and receiver with a resultant decoding of a message in terms of an amalgamation of the prefered meanings of the sender with the prefered meanings of the receiver; interpretation of a message in the context of partial concordance of ideologies
3. Complete incongruence between the sub-codes of sender and receiver with a resultant decoding of a message in terms of the prefered meanings of the receiver to the exclusion of the prefered meanings of the sender; interpretation of a message in the context of discordance of ideologies


Reproduced in:
Victor Burgin: Work and commentary (1973)
Flash Art, June 1974 p. 31 and p.59
Catalogue Paul Maenz "1970 - 1975"
+ - 0 du 15, June 1976
Gratuit n°2, June 1979
Between" (Basil Backwell N.Y. - Institute of Contemporary Arts, London) 1986
New Art in the 60s and 70s Redefining Reality, Anne Rorimer, 2001
Catalogue of the auction house Cornette de Saint Cyr, Drouot Montaigne, Paris, June 19, 2002

"A work of 1973, VI, furnishes another variant of text and image combinations. Here, the same photograph is repeated in tandem with a changing narrative and, in this case, includes socially pointed subject matter. Appropriated from a British mail order catalogue, the photograph presents the image of a happy, nuclear British family. Large-type captions, composed by the artist, deal directly with dominant social values and beliefs in order to suggest links between photographic and verbal content. The first, for example, maintains 'Any physical object is to be positively valued only if it may be instrumental in the achievement of a goal' and the last, 'Precipitance in the achievement of goals is to be positively valued.' Likewise, the remaining captions comment abstractly on the positive value of goals. They are interpretatively linked to the photograph by expectations incurred in relation to their proximate positioning beneath the image. Another, separate group of texts written by Burgin in the theoretical language of structuralism, runs concurrently through the work in counterbalance to the consumerist values embedded in and evoked by text and image. The work in this way, lays bare the methods employed in its construction rather than cloaking them in the manipulative terms of advertising. At the same time, it proffers such methods to decode the proselytizing texts and images rampant in modern society."
Anne Rorimer, in "New Art in the 60s and 70s. Redefining Reality", 2001.

.

 

 

Victor BURGIN: Work and Commentary. 1973.
Artist book.
(174)p. Softcover. 23.5x15.4 cm. Latimer New Dimensions, London, 1973.

 

 

(Group show) Palais des Beaux-Arts / Bruxelles Paleis voor Schone Kunsten / Brussel, 9-1-1974 - 3-2-1974
Carl Andre / Marcel Broodthaers / Daniel Buren / Victor Burgin / Gilbert & George / On Kawara / Richard Long / Gerhard Richter.

Exhibition catalogue/Artist publication.
100 unpaginated pages/plates. Text in French-Dutch. Wrappers. 20x20 cm. Published on the occasion of the exhibition organized by Yves Gevaert at the Palais des Beaux-Arts, Brussels.
Orignal contributions by C. Andre, M. Broodthaers, D. Buren, V. Burgin, Gilbert and George, O. Kawara, R. Long and G. Richter.
Each contribution is an original work specially created for this publication by the artists, in relation -or not- to the work exhibited in the show:
Carl ANDRE : 6 drawings;
Marcel BROODTHAERS: 10 typographical combinations (Jardin d'Hiver + Fount Shemes + The Art of Fine Printing is tho Arrange Type so as to produce a Graceful and Orderly Page that puts no Strain on the Eye + Invitation pour Un Jardin d' Hiver (Palais des Beaux-Arts Bruxelles 1974);
Daniel BUREN: 15 plates silkscreened with stripes in various colors;
Victor BURGIN: a Textpiece;
GILBERT & GEORGE: Art for All: 7 b/w offset photos;
On KAWARA: Telegram;
Richard LONG: 3 black and white photos;
Gerhard RICHTER: 1024 colors in 4 permutations (4 plates).
Palais des Beaux-Arts/Paleis voor Schone Kunsten, Brussels, 1974.

 

 

Victor BURGIN: Two essays on photography and semiotics. 1976.
Artist book.
24p./pl. Texts in English: "Photographic practice and Art theory"; "Socialist formalism". Softcover. 30.5x21,2 cm. Robert Self, London, 1976.

 

 

 

 


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Merci de nous contacter.



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a__/r__/c__/h__/i__/v__/e__/s__
archives contemporary art - jean-dominique carre
jean-dominique carre
52 rue mazarine f -75006 paris france
tel. (33)(0)1 43 54 12 64
contact: archives.carre (at) wanadoo.fr



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