The Artist makes use of a school notebook to explore issues ranging between artistic freedom, knowledge and production. In a game of optical illusions, the viewer juxtaposes a lined sheet with the sky as background, elements which have already been previously worked on by Camnitzer, thus opening up new interpretive possibilities.

Luis Camnitzer [Uruguai, born in Lubeck, Alemanha, 1937] lives and Works in York. Represented by the galleries Alexander Gray; Parra & Romero. Recent solo shows: Reina Sofía [Madrid, 2018]; Short Stories, Alexander Gray [New York, 2017]; Dibujos, Parra & Romero [Madrid, 2016]. Participated in La Biennale di Venezia [1988]; Bienal de São Paulo [1996]; Documenta, Kassel [1982, 2002, 2006].

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Lined sheets, blue cover, white sticker with red rims, and rubber stamp. Elements that are inherent in the most popular models of Brazilian school notebooks are used by Camnitzer as a medium to host his Annotations.
Michael Glasmeier[1], in his review of the work Documenta Projekt (2002),  installed at Documenta 11, of Kassel, concludes that the vast possibilities of interpretation proposed by works such as those represent poetic teachings, capable of introducing us to the alphabet of our own new perceptions and thoughts, with a renewed momentum.
The work consisted of an all-white room and a clothesline on which a towel hung motionless (covered with cement). There was also a small fan, turned off, and the sound of wind, besides a door disguised on the wall, and some angles depicting the sky.
Glasmeier draws this conclusion not only as a result of his onsite analysis, but also based on Camnitzer’s own description in the catalogue that commemorates the 50th. anniversary of Documenta:  “One interpretation saw the works exhibited, objects that even at that early stage played with the line between reality, fantasy and memory, as the product of an artist who believed himself to be free, as a token of which he strove for originality – in vain, however, because he was embroiled in aesthetic clichés and matters of style. The second interpretation perceived the installation as an evocation of the world of a political prisoner, by which lights the works were  hallucinations of freedom. Another failure, since the author – the prisoner and the artist alike – remains irrevocably caged in the acute consciousness of his cell.” [2]
The Cuban artist Antonio Eligio (Tonel) [3], in turn, understands some of Luis Camnitzer’s works as self-portraits (in continuation to the series Self portrait, 1970, 1972, 1972 itself). Among them he cites The Book of Holes (1977). To gain this understanding, he argues that it is necessary to learn more about the artist’s physiognomy, since one of the three images comprising this work shows Camnitzer holding metal contours suggesting a book. The other two images show the same contours in his hands framing the sky. When we bump into this work we do not only witness the gesture, but also how powerfully this tiny low-profile book absorbs the landscape surrounding it – devouring everything in the vicinity of it. However, this is a porous book, thus making its real completion impossible. He therefore concludes that the book plays the role of a guide, as a filter, to help the reader edit or compose his/her own reality.
Those readings help us conclude that we are unable to register any interpretation of an art work or a given reality  in a static, immutable or finite manner. This is the proposal of Annotations by Luiz Camnitzer, whether the reader’s finite or infinite interpretations fill out the book or not.

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[1] Michael Glasmeier. “The Gracián-Cervantes Impulse: Luis Camnitzer’s Pedagogical Pradigm”. In HERZOG, Hans-Michael (Ed.). Luis Camnitzer. Zurique: Daros, Ostfildern: Hatje Cantz, 2012, pp. 173-174.
[2] “Luis Camnitzer”. In GLASMEIER, Michael (Ed.) 50 Jahre/Years documenta: 1955-2005. Diskrete Energien / Discreet Energies. Göttingen: Kunsthalle Friedericianum Kassel, 2005, p. 47.
[3] Antonio Eligio (Tonel). “Luis Camnitzer: The Hand That Holds the Horizon”. In HERZOG, Hans-Michael (Ed.). Luis Camnitzer. Zurique: Daros, Ostfildern: Hatje Cantz, 2012, pp. 198-199.

1 Michael Glasmeier. “The Gracián-Cervantes Impulse: Luis Camnitzer’s Pedagogical Pradigm”. In herzog, Hans-Michael (Ed.). Luis Camnitzer. Zurique: Daros, Ostfildern: Hatje Cantz, 2012, pp. 173-174.

2 “Luis Camnitzer”. In glasmeier, Michael (Ed.) 50 Jahre/Years documenta: 1955-2005. Diskrete Energien / Discreet Energies. Göttingen: Kunsthalle Friedericianum Kassel, 2005, p. 47.

3 Antonio Eligio (Tonel). “Luis Camnitzer: The Hand That Holds the Horizon”. In herzog, Hans-Michael (Ed.). Luis Camnitzer. Zurique: Daros, Ostfildern: Hatje Cantz, 2012, pp. 198-199.

Annotations

Luis Camnitzer

2015

ISBN 9788567769059
100 pages
20 x 27 cm
Portuguese/English
450 copies
R$ 120,00
[50 special hard cover, numbered and signed copies]
to buy, send na e-mail to contato@ikrek.com.br