PRINT February 2003


THE INSTALLATIONS BY FISCHLI & WEISS no less than the performances by Paola Pivi and Eric Duyckaerts carry out, in slapstick mode, deliberate inquiries into process. From the Gutaï group’s spectacular gestures to Wim Delvoye’s digesting machine, the works brought together in these pages by process-oriented painter Bernard Frize sustain the notion of the artist’s labor-intensive engagement with the mechanics of a work. In Mike Kelley’s Free Gesture Frozen, 1998, the spontaneity of the artist’s gesture is ensured a priori by the very nature of the medium—finger paint. By liberating new possibilities of play, Kelley has discovered a radical way of producing “process” as fiction, of, in Frize’s words, “making materiality readable as convention.” The artists convened here refuse a retreat to the unquestioned authority of art. For them, the decisions that make the work are based on a logic of

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