also see: https://www.instagram.com/p/CiAsDLyqog_/
Untitled. (Turtle plastron). White ink on black print. Jesse Glass, 2016.
The burial of the cube reportedly took place in a local garden, but these photographs, referring again to the notion of the series or process, are the only proof that LeWitt’s actions actually took place. Without seeing the event taking place, or knowing what is held within the cube, Buried Cube relies on the idea, as opposed to a finished object. A conceptual piece, this work was produced shortly following the publication of LeWitt’s 1968 manifesto describing the new Conceptual art movement. In the manifesto, he declares, “The execution is a perfunctory affair. The idea becomes a machine that makes the art.” Likewise, by emptying this “burial”-like an actual interment, an extremely important, emotional, and personal affair-of content, value, gesture and expression, LeWitt disengages himself from the work and takes a strong “death of the author” stance. In his own words: “Once it is out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.”
also @ gammm:
Author: Luigi Viola
Time: video b/w sound 20’
Property of the artist, produced by C.A.V. Venezia
a walk along a trail that meanders through various places in the city, a long reading of poetry in the streets of Venice and among its people, through the quotation of texts of the high emblematic literature of ‘900, from Baudelaire to Villon, from Rimbaud to Dylan Thomas, accompanied by the shedding into the water channels of letters cut out of paper, like an innocent child’s play, while a black band, mourning, from time to time is used as a symbol of the prophetic poet’s blindness, of the darkness of the sense, the civic value of saying, the impossibility for the art of acting and producing changes outside of its own transformation.