Professional Documents
Culture Documents
I am Let-
Writ- ters
ing in Art
To Criti-
cism
Ed. An Paenhuysen
A collection of exercises from the online course
Creative Forms of Art Criticism and Writing.
4 Introduction
by An Paenhuysen
6 Hanako Fujii
to Chris Kraus
10 Mercedes Carriquiry
to Sophie Calle
14 Alex Bowron
to Jon
18 Annette Abel
to Harald Szeemann
20 Claudio Cravero
to Rirkrit Tiravanija
24 Flavia Dalla Bernardina
to Marina Abramovi
28 Marina Kassianidou
to Francis Als (in Four Parts)
32 Maeve Hanna
to curator Marnie Fleming,
Oakville Galleries (Canada)
36 Annalisa Pellino
to the non-participants of the
Forum of Italian Contemporary Art
38 Sarah Mercadante
to Nadia
42 Sujin Jung
to Fatih Akin
46 Voices
Introduction
4 5 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
An Paenhuysen
Open letters are a genre that art critics rarely use. open letter writing. Many art critics embrace the
If they ever did so, these letters didt seem to go impersonal and the objective, sometimes even to
viral. Its different with artists letter writing. There the point of avoiding a clear, singular positioning.
are several famous ones: Adrian Piper critiquing
art critic Donald Kuspit, Yvonne Rainer opposing Sincere and authentic might sound cheesy, but
museum director Jeffrey Deitch, DanhV fighting they define the spirit behind I Am Writing To... Open
with his collector Bert Kreuk. Letters in Art Criticism. These letters were written by
worldwide based art critics during the online course
Mostly, these open letters are written with emotion. Creative Forms in Art Writing at Node Center
The emotion tends often to be negative, coming Curatorial Studies Online. It is suprising, but all
from a place of anger. Open letters are a great way the letters ended up being positive, and this is not
for releasing that anger, protesting against injustice because negative thoughts were censured. Yet,
or denouncing malpractice with the knowledge that dont we all know that expressing gratitude is not an
also a wider audience will be informed. Instead, easy thing to do privately, and does it get any easier
the positive thank-you letter seems to be a rather when your praise goes public?
private matter.
Hanako Fujii
6 7 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
to Chris Kraus
Hanako Fujii
formal dedication to her late father. Its strange because because it is set in New Zealand and I am obsessed with
its a tired format, a ritual, but unavoidably personal and place. I also understand you went to Victoria University
expectedly devastating. Though the display was of more in Wellington. I only almost went there. I wonder if
strength than sadness. Her conviction and intellect was you would consider yourself a New Zealander. Im very
a lasting impression of her fathers influence. It was an interested in this sort of expat, migrant, dislocated life. I
embodied thank you. like to think that your idea of Lonely Girl Phenomenology
is related to this somehow. The Lonely Girl as the
It seems then that its difficult to talk about someones physically and metaphorically dislocated self. It could be
lasting impression without effectively embodying the the most un-lonely way of thinking.
result of their influence. I would hope that this open
letter is then both a self-conscious and subconscious I never realized the extent to which my thoughts are
display of the way I think, after having read your writing. influenced by place. Or influenced by a lack of place or too
Admittedly, I am unsure as to whether I am addressing many places. Its the contradiction of becoming insular.
you as Chris Kraus the author, or as the Chris Kraus I think this idea recurs throughout your novels the
within the characters of Chris, Catt and Sylvie. I am prominence of long-distance driving back and forth. Its
content with this ambiguity. Im also not sure if this is an relevant as I am about to leave New Zealand for some time
attempt to imitate your writing. I suppose it is indeed. and I am not sure if that means I will be a migrant again,
Thinking in a roundabout, contradictory way comes or an expat. I am resolutely useless in either category.
8 9 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
Hanako Fujii
its the pull of the Super Moon. Sometimes I find myself here. A thesis as an embodied performance, an ambitious
thinking that I am leaving to come back. attempt to un-bludgeon my subjectivity.
My assumption is that your novels are about you, only in In mentioning my friends dedication to her father, its
the sense that you use yourself to talk about something probably clear that I think ideas are best shown through
bigger than yourself. I would want to imitate your correspondence. When there is a dialogue to create a sort
writing in that regard. A selfless selfishness. I especially of instinctual affect. It makes me think of the lengthy
like when you talk about physical and metaphorical emails exchanged between myself and a friend from high
entrapment, as I connect it to identity politics and school after she moved to Los Angeles. We use these
the capitalist society we live in. Entrapment. Its the emails to talk to each other, and I think ultimately it
institution inside of us. helps us to talk to ourselves.
Hanako
Mercedes
10 11 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
Carriquiry to
Sophie Calle Maybe the fact that you used your
writing, your photographs, your art
and mise en scene, made it so soul
stirring. Im not sure, it does still
not sound enough. The repeated
September 10, 2015 - 23:56 boards really created the sensation
Montevideo, Uruguay of time, and made it very Oulipo
style (personal stamp yeah..). If ever
Salut Sophie, somebody would ask me how does it
Mercedes Carriquiry
Mercedes Carriquiry
feel to agonizingly forget I will know
Im caught by your work. Dont get what to say.
cocky and stop reading; I havent
been snooping around for long. I I am not particularly a big fan of
actually met you (if I can say so) your art in terms of aesthetics but
in Colombia three years ago. I saw the mixture of your photographs
your exhibition douleur exquise and writing the moment I start
in Bogot. Im not sure if seen is reading, bang Im gone. Thats
the right verb, I suffered it. How probably what Auster talks about in
could you? I never though I could Leviatan, the ambiguity of what you
experiment grief ever (Im way do and the difficulty of classifying as
beyond insensitive), even less that I photographer/artist/writer is kind of
could own somebody elses angoisse. thrilling too.
12 13 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
Mercedes Carriquiry
but also hopeful. It definitely encour-
aged me to find the way to transmit
whats going on up there.
Bowron
to Jon
Dearest Jon,
Alex Bowron
frustration hit me hard. From a fountain of tears sprung my lifes
only true epiphany: I cared more about producing a competent
2-minute sketch then I did about anything else I had done
up until that point. I knew then that I needed art, and once I
understood how to get it, there was no turning back.
Alex Bowron
and reconfigure in ways that achieve the most amount of change
with the least amount of intervention. I respect your devotion to
building a life that requires you to function as a master of many
trades (researcher, explorer, laborer, engineer, administrator,
project manager) and a Jack of none.
to Harald
Szeemann
Ive tried to fight against them, Ive been obsessed
by them, Ive tried to banish them and although I've
Dear Harald, turned and twisted them, they became fundamental
parts of my very existence and carried me through life.
or Harry as you have always signed your letters I think you would be quite surprised how fundamen-
its been ten years now that you have died and quite tally things have changed the last decades in the art
often I am asking myself what I have done on this system. Although you had been fundamentally import-
day in February 2005. But no matter how hard I try I ant for the definition of the profession of a freelance
cant remember. Isn't it weird that sometimes only curator, I question that you would favor all the
retrospectively we understand the significance ongoing developments. Instead of a clearly
of events? Isnt it almost like history has the defined profession, curatorship has become a
tendency to be constructed retrospectively new fashionable career perspective along
Annette Abel
Annette Abel
rather than in the present? the lines of "I Curate, You Curate, We
Curate". Curatorial programs at uni-
Although I cant precisely remember versities, curators as artists, artists as
what I've done on the day of your death, curators, biennales, everything aesthet-
I can still remember that around the same icized, everyone can do everything but only
time I became aware of my obsession for a few seem to be able to do things properly.
art and decided to the disappointment of my
parents to give up my studies in literature. At You once said it is better to have just a few visitors
this point in my life verbs like curating, nouns like that are willing to truly see and feel the artwork
curator or definitions like artist-curators were instead of a 10000 exhibition visitors who do not truly
hardly on my mind. Nowadays, these words and ideas care. What happened to the purpose of art to comfort
rule my mind the disturbance and disturb the comfort?
During the last six years of my life, your work and your Harry, I am very well aware of the fact that you won't
theoretical bequeathal has turned into the main ally answer my questions and that the only thing that
of my thoughts and ideas.Many of your ideas have seems left for me now is to go once more on a long
accompanied my daily walks, they brought me to the walk by myself and talk to you in a thousand silent
verge of despair while interpreting them, Ive met- voices.
aphorically danced with them, Ive criticized them, Annette
Claudio
20 21 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
Cravero
to Rirkrit
Tiravanija
Claudio Cravero
Re: From relational art to utopian art probably know, discontents between the
two Kingdoms occur on a daily basis, and
Dear Rirkrit, religious restrictions avoid peoples leisure
in public spaces.
We were introduced to one another on
the occasion of your trip across UAE with With all that in mind, I was also reflecting
Philippe Parreno and Anri Sala. Actually, on the word Utopia. It originally stems
we didnt talk exactly in person there, but, from ancient Greek and stands for a non-
nevertheless, I was so much seduced by place, both ideal and unattainable. This
our silence in that conversation that I feel image is something that recurs frequently
such a level of propinquity with you, so I can when we think about Eden, paradise, or
call you friendly dear. In fact, this silent whichever garden with luxuriant greenery.
likemindedness pushes me to get in touch However, it is a matter of fact that a garden
with you to involve you in one of my biggest exudes sensuality in every corner with its
dreams. And if it is true that greatness is vegetal extracts. Exactly the way you did by
usually accompanied by audacity, I dare to planting tea seeds, aromatic plants and a
ask you as follows: thousand of roses. In the end, the roots of
22 23 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
Claudio Cravero
listening to the present, the less frightened
by the future we become. Beyond any kind
of differences and overshadowing conflicts.
Since as a dreamer I am convinced that
dreams can come true, I am thinking
that visionary non-places can become
real and not only ideal. From your lesson
on relational art we have learnt that the
strength of contemporary art resides in the Lets think about it, and feel free to ask me
power to transform the goals into means. any further questions after perusing my
If you think about your interventions and attachment.
performances, you and Philippe have always
wished to reach an authentic relationship I look forward to receiving from you and
with the public attending your dinners. sharing dreams.
But the same relationship, which was meant
as an end of your process, became the All my best utopias,
means to reach. Wasnt that amazing? Claudio
Flavia Dalla
24 25 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
Bernardina
to Marina
Abramovi
Dear Marina,
I imagine that I will be all excited talking about things I dont know,
things that I didnt read, experiences I did not have. While youll be in
silence, with those profound eyes of yours, saying one or two things
very gently in a generous way. Sometimes youll say things you dont
want to, although you believe in them. This is what happens when you
perform life: you live so much, you experience so much that you dont
have room for words. Its all in your body like tattoos you cant never
erase. Your life and your performances are one. Or you are a shadow of
your own life, performing a constant performer role.
26 27 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
Flavia Dalla Bernardina
Flavia
Marina Kassianidou
28 29 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
Marina Kassianidou
Marina Kassianidou
The Silence The space was quiet. The film had ended space and to discover that your work
and was about to restart. The benches were was mainly a video with a story and an
full and people were standing along the unidentified duration. I started watching,
walls, whispering. I found some space near not sure how long I would be able to stay
a corner. The whispers faded as a nearly I had to get to Istanbul Modern in half an
mute landscape of ruins, with wind gushing hour for a talk by another artist.)
through the wild vegetation and stray rocks,
appeared on the screen. I stood on my The Birds A few moments into the film, bird sounds
toes, peering between peoples heads and are heard, softening the muteness of the
shoulders and swaying left and right. ruins and the harshness of the wind.
The person standing in front of me a
(Before continuing, I should mention that, very tall man by my standards moved,
in general, I have little patience for videos blocking my view. I tilted to the right to
and films in an art exhibition, let alone a regain access to the landscape. A nearby
biennale. I especially dislike long videos woman glared at me and I nearly tumbled
that follow a set story with a beginning, over. As the bird sounds grew louder, I
middle, and end. I find their attempts to realized that I hadnt turned off my cell
control my time rather frustrating. As an phone. Then I remembered that it wasnt
artist working with drawing and collage, working. Since arriving in Istanbul, I had no
I have a different relationship to time. I signal. Nobody could call me.
30 31 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
Marina Kassianidou
Marina Kassianidou
The Silence As the film proceeds, the sounds diminuendo. Before I end, I have the following request:
In attempting to reach out to something other If you ever use the bird instruments for
the non-existent birds, the landscape, the another piece and need performers, can you
past the performers become tired and fall please let me know? I cannot read music
asleep amidst the ruins. sheets and I am completely tone deaf. Give
Returning to silence felt odd. It was me one of those instruments, however, and
technically the same silence we began let me run in a field, and I am confident I
with the landscape, the ruins, and the could sing, eventually.
wind. Nobody in the audience moved or
whispered. The man in front of me and the With best wishes,
woman nearby seemed hypnotized. I had Marina Kassianidou
Maeve Hanna to
32 33 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
curator Marnie
Fleming, Oakville
Galleries (Canada)
Dear Marnie Fleming,
I never saw it, your final show Youve Before moving out west, I did see
Really Got a Hold on Me, from the your Freedom of Assembly. The title
permanent collection. But for me, it itself: quick, witty and clever. As I
really summarizes the strength that grow, I intend to keep a list of witty
you had as a curator of contempo- titles that I can return to: titling an
rary art. On Oakville Galleries web- exhibition is a challenge in itself.
Maeve Hanna
Maeve Hanna
page I read: On the occasion of my
retirement, I am taking this oppor- You were two steps ahead at every
tunity to share some of the acqui- turn, vigorously researching in your
sitions that resonate most strongly quiet office that overlooked Lake
for me. art that has moved me, Ontario. When I climbed the stairs
challenged me and made me think in the morning to go to my shared
in new and unexpected ways during office I would peer into yours at the
my twenty-plus years here. It is a top of the stairs. There you would be
sentence that says a lot about your at your desk, overlooking a beautiful
curatorial practice: compassionately bay window with a view of the Lake.
and gently caressing art into exhibi- You showed me a webcam you had
tions so they sang to the visitor. set up outside that was taking stills
34 35 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
Maeve Hanna
own and a view where you wrote, paintings even. You looked at
and you did so beautifully. collage from, as Joni Mitchell might
say, both sides now and more
Your exhibitions had moods, for the even, multiple angles, and in such
walls changed with each new install. innovative and compelling ways.
Deep burgundy or gold. Sometimes
shy grey and others, the deepest Thank you for sharing your
black. Then a glowing pink, like the knowledge, your curatorial vision.
happy cheeks of a newborn baby. You have had a resonating impact
Freedom of Assembly was a on me.
Maeve
Annalisa Pellino to the
36 37 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
Annalisa Pellino
Annalisa Pellino
to Nadia
Dear Nadia,
Sarah Mercadante
met.
Sarah Mercadante
How is it possible to feel such a connection with only three
encounters? Maybe two passionate souls always end up
speaking together. By the way, when I explained to you my
way of working, you told me that it was the same mindset that
made you create a gallery.
Our work will cross during the next decades. I dont care if it will
be by mail correspondence, in a gloomy caf or during a fleeting
visit of our respective events as long as we stay in touch.
Yours sincerely,
Sarah
Sujin Jung
42 43 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
to Fatih
Akin Probably, my thought expressed here above is
inspired by nowadays Korean art scene. The fact that
I watched this film right now is fortunate and great
timing, haha. Because, nowadays, there are many
places that are being remodelled and those places are
used for exhibitions, cafs, etc. However, what I was
thinking about is a little different: I would like to make
an exhibition about those kind of places. It would be
an exhibition for the soul, just like the chefs dishes
in your movie are for the soul. Arent you curious
about this exhibition, which might be fantastic? I will
give you a sneak peek just in case you are really really
Dear Fatih Akin curious about this:
Sujin Jung
Sujin Jung
Today, I watched your film Soul Kitchen, which I always Hello, I am todays tour guide! The exhibition is based
wanted to watch but, for some reason, I did not do so. on the film Soul Kitchen directed by Fatih Akin. Have
My friend, who likes Japanese film, recommended it you ever thought about an exhibition that is based
to me and the movie title made me think it would be a on a film? In the film, the main character bought an
Japanese film. Talking about food (of course, it might old warehouse and remodelled it into a restaurant.
eventually be talking about something through food) So, we can see an old warehouse being changed into a
is a trend in Japanese film. Well, obviously not! Its a restaurant where everyone can not only have dinner
German film! That was really interesting and funny to but also enjoy their time. This way it turns from being
me, haha. an abandoned place into a location where everyone
want to hang out. We can see the human relationships
However, what is more impressive than how silly I was, inside this transformed place. This exhibition focuses
is the location of this film and the human relationships on that moment in the film. Its about places that
it displays. It makes me want to do an exhibition based change from being a factory, a motel in the past, to
on film! Watching your film, I cannot help thinking being used as an art museum. Plus, it deals with the
I would like to visit your Soul Kitchen and create a relationships and events inside those places. Lets
similar kind of place. move on to the first room. Its most interesting that
44 45 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen
we are seeing the places inside the place. I mean, this art
museum was also a warehouse before. However, recently
it was remodelled and now it holds this exhibition! You
can still see some traces. So, I can say that this show
Sujin Jung
Sujin Jung
displays kind of art-works inside a kind of art-work!
Oh, the must-do thing in this exhibition is actually the
exhibit-related program, which is also a tour! You can
visit those places in person. If you want to participate,
make a reservation as soon as possible, because its really
popular! (To Be Continued)
How was the guided tour? I hope you enjoy this. Imagine P.S. I wish I could send you a voice-file of my guided tour, haha!
that this exhibition happened for real. How awesome it
would be. Hahaha. Oh, I almost forgot to say this, I have
never seen this kind of lovely film before; thank you very
much for making this film! Oh, lets talk about other
subjects in this film later, definitely!
Best wishes,
Sujin Jung
Voices
46 47 I am Writing To... Open Letters in Art Criticism (Notebook), ed. An Paenhuysen