{"id":18676,"title":"Edward \u0026 Nancy Kienholz Documentation","dimensions":"closed: 6.4 x 26.7 x 29.2 cm, open: 5.1 x 57.8 x 29.2 cm","date_begin":"1971-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":113,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Edward Kienholz, L.A. Louver Gallery","cached_tag_list":"Sanguine Barok Kienholz Five Car Stud","publishing_process_id":1,"annotation":"","date_end":"1972-01-01","reference":"","stream_count_app":24,"permalink":"sawdy-documentation-book","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/211/medium_500/Sanguine_exhibition_view_photo_M_HKAcc_4_8.jpg?1527778119","cached_actor_names":"Edward Kienholz","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Miscellaneum","nl":"Miscellaneum","fr":"Miscellaneum"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/211/large/Sanguine_exhibition_view_photo_M_HKAcc_4_8.jpg?1527778119","poster_credits":"(c)image: M HKA, courtesy Edward Kienholz, L.A. Louver GAllery","translations":[{"locale":"en","short_description":"\u003cp\u003e\u003cstrong\u003eVIDEO\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026quot;Story of an Artist,\u0026quot; 1962, directed by William Kronick\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;Kienholz on Exhibit,\u0026rdquo; 1966, directed by June Steel\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy of Nancy Reddin Kienholz, and L.A. Louver, Venice, California\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eDISPLAY CASE\u0026nbsp;1\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e1972 documenta 5\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eCatalogo della mostra / Exhibition catalogue, 1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eEdizione originale / Original edition\u003c/p\u003e\r\n\r\n\u003cp\u003ePubblicato da / Published by documenta GmbH/Verlagsgruppe Bertelsmann GmbH\u003c/p\u003e\r\n\r\n\u003cp\u003eBiblioteca Fondazione Prada\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Studio Luc Tuymans\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eQuaderni Fondazione Prada\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eFive Car Stud, Kienholz #5\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAnno II, maggio 2016\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eKienholz: Five Car Stud, 2012\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy of Studio Luc Tuymans\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eDISPLAY CASE 2\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEdward Kienholz \u0026amp; Nancy Reddin Kienholz\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSawdy Documentation Book\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1971\u0026ndash;72\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCollection of L.A. Louver, Venice, California\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy: of the artist and L.A. Louver, Venice, California\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEdward Kienholz a/to Harald Szeemann e/and Annette Allwardt, 21.08.1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eLettere battute a macchina / Typewritten letters. \u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Harald Szeemann papers, The Getty Research Institute, Los Angeles.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026copy; J. Paul Getty Trust\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eAnnette Allwardt a/to Edward Kienholz, 27.09.1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eLettere battute a macchina / Typewritten letters. \u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Harald Szeemann papers, The Getty Research Institute, Los Angeles.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026copy; J. Paul Getty Trust\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEdward Kienholz \u0026amp; Nancy Reddin Kienholz\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSawdy Documentation Book\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1971\u0026ndash;72\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCollection of L.A. Louver, Venice, California\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy: of the artist and L.A. Louver, Venice, California\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eFive Car Stud\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVedute dell\u0026rsquo;installazione a / Installation views at documenta 5, 1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eStampe digitali / Digital prints\u003c/p\u003e\r\n\r\n\u003cp\u003ePhoto: Heyne Fotografie\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy of L.A. Louver, Venice, CA.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026copy; Kienholz and documenta Archiv\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEd. Kienholz Documenta 5, 1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Belga Image\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe archival materials related to\u0026nbsp;\u003cem\u003eFive Car Stud\u003c/em\u003e\u0026nbsp;are the result of a research conducted by Fondazione Prada at the Getty Research Institute, Los Angeles and at the documenta Archiv, Kassel on the occasion of the exhibition\u0026nbsp;\u003cem\u003eKienholz: Five Car Stud,\u0026nbsp;\u003c/em\u003eFondazione Prada, Milan, 19 May 2016-19 March 2017, curated by Germano Celant. The documents selection was achieved by Chiara Costa.\u003c/p\u003e\r\n","description":"\u003cp style=\"text-align: justify;\"\u003eTogether, Edward and Nancy Kienholz create confrontational installations, assemblages and environments: life-size characters in a recognisable setting and in a characteristic silent pose surrounded by banal objects. Their oeuvre constitutes a ferocious commentary on racism, sexual stereotypes, poverty, greed, corruption, imperialism, patriotism, religion, alienation and \u0026ndash; above all \u0026ndash; moral hypocrisy.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn 1972, Edward Kienholz was asked by Harald Szeeman to take part in documenta 5\u0026nbsp;(a leading exhibition that takes place every five years in Kassel, Germany), where the installation\u0026nbsp;\u003cem\u003eFive Car Stud\u003c/em\u003e\u0026nbsp;was shown for the first time: nine life-size figures and five cars in a harrowing night time setting.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe installation shows a circle of masked white men, lit by the headlights of the surrounding cars, who are in the act of pinning down and castrating a black man. In two of the vehicles, a child and a white woman \u0026ndash; the son of one of the attackers, and the companion of the victim \u0026ndash; witness the scene with powerless desperation.\u0026nbsp;\u003cem\u003eFive Car Stud\u0026nbsp;\u003c/em\u003eis a timeless blow, an indictment of white supremacy and racist violence.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAfter documenta, the installation disappeared into a Japanese museum collection. In 2008, Nancy Reddin Kienholz, the wife and collaborator of Edward Kienholz, started the total restoration of\u0026nbsp;\u003cem\u003eFive Car Stud\u003c/em\u003e\u0026nbsp;at the Kienholz Studio in Hope, Idaho. It was exhibited again at the Los Angeles County Museum of Art in Los Angeles (2011-2012), the Louisiana Museum of Modern Art in Denmark (2012) and at Fondazione Prada in Milan (2016-2017), which bought the work for its collection.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn\u0026nbsp;\u003cem\u003eSanguine/Bloedrood\u003c/em\u003e, the work is shown as it was first presented at documenta 46 years ago, outside the exhibition itself and in the darkened setting of a large dome.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe legendary installation took three years to complete, during which Edward Kienholz kept an accurate account of the artistic creation process. All its parts were extensively described in detail in a typed document. Kienholz also presents his view on the expected socio-political consequences of the work. A number of objects that form part of the documentation of the work are included in this exhibition.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"\u003cp\u003e\u003cstrong\u003eVIDEO\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026quot;Story of an Artist,\u0026quot; 1962, directed by William Kronick\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;Kienholz on Exhibit,\u0026rdquo; 1966, directed by June Steel\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy of Nancy Reddin Kienholz, and L.A. Louver, Venice, California\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVITRINE 1\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e1972 documenta 5\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eCatalogo della mostra / Exhibition catalogue, 1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eEdizione originale / Original edition\u003c/p\u003e\r\n\r\n\u003cp\u003ePubblicato da / Published by documenta GmbH/Verlagsgruppe Bertelsmann GmbH\u003c/p\u003e\r\n\r\n\u003cp\u003eBiblioteca Fondazione Prada\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Studio Luc Tuymans\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eQuaderni Fondazione Prada\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eFive Car Stud, Kienholz #5\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAnno II, maggio 2016\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eKienholz: Five Car Stud, 2012\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy of Studio Luc Tuymans\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVITRINE 2\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEdward Kienholz \u0026amp; Nancy Reddin Kienholz\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSawdy Documentation Book\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1971\u0026ndash;72\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCollection of L.A. Louver, Venice, California\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy: of the artist and L.A. Louver, Venice, California\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEdward Kienholz a/to Harald Szeemann e/and Annette Allwardt, 21.08.1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eLettere battute a macchina / Typewritten letters. \u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Harald Szeemann papers, The Getty Research Institute, Los Angeles.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026copy; J. Paul Getty Trust\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eAnnette Allwardt a/to Edward Kienholz, 27.09.1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eLettere battute a macchina / Typewritten letters. \u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Harald Szeemann papers, The Getty Research Institute, Los Angeles.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026copy; J. Paul Getty Trust\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEdward Kienholz \u0026amp; Nancy Reddin Kienholz\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSawdy Documentation Book\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1971\u0026ndash;72\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCollection of L.A. Louver, Venice, California\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy: of the artist and L.A. Louver, Venice, California\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eFive Car Stud\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVedute dell\u0026rsquo;installazione a / Installation views at documenta 5, 1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eStampe digitali / Digital prints\u003c/p\u003e\r\n\r\n\u003cp\u003ePhoto: Heyne Fotografie\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy of L.A. Louver, Venice, CA.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026copy; Kienholz and documenta Archiv\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEd. Kienholz Documenta 5, 1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Belga Image\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet archiefmateriaal verbonden aan \u003cem\u003eFive Car Stud\u003c/em\u003e is het resultaat van een onderzoek dat werd uitgevoerd voor Fondazione Prada aan het Getty Research Institute, Los Angeles en het documenta Archiv, Kassel, in het kader van de tentoonstelling \u003cem\u003eKienholz: Five Car Stud\u003c/em\u003e, Fondazione Prada, Milaan, 19 mei 2016 \u0026ndash; 19 maart 2017, met curator Germano Celant. De selectie van de documenten werd gedaan door Chiara Costa.\u003c/p\u003e\r\n","description":"\u003cp style=\"text-align: justify;\"\u003eEdward en Nancy Kienholz maken samen confronterende installaties, assemblages en environments: levensgrote personages in een herkenbare setting, omgeven door banale voorwerpen en in een karakteristieke zwijgende pose. Hun oeuvre is een woest commentaar op racisme, seksuele stereotypen, armoede, hebzucht, corruptie, imperialisme, vaderlandsliefde, religie, vervreemding en - bovenal - morele hypocrisie.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn 1972 wordt Edward Kienholz door Harald Szeeman gevraagd om deel te nemen aan \u003cem\u003edocumenta 5\u003c/em\u003e (een toonaangevende tentoonstelling die elke vijf jaar plaatsvindt in het Duitse Kassel) waar de installatie \u003cem\u003eFive Car Stud\u003c/em\u003e\u0026nbsp;voor het eerst werd getoond: negen levensgrote figuren en vijf auto\u0026rsquo;s in een aangrijpend nachtelijk decor.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe installatie bestaat uit een cirkel van gemaskeerde blanke mannen, verlicht door de koplampen van de omgevende auto\u0026#39;s, die een geknevelde zwarte man omknellen, aftuigen en castreren. In twee van de auto\u0026rsquo;s ondergaan een kind en een blanke vrouw \u0026ndash; de zoon van een van de aanvallers en de metgezel van het slachtoffer \u0026ndash; met machteloze ontreddering het tafereel. \u003cem\u003eFive Car Stud\u003c/em\u003e is een tijdloze mokerslag, een aanklacht van \u003cs\u003ede\u003c/s\u003e blanke suprematie en racistisch geweld.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eNa documenta verdwijnt de installatie in een Japanse museumcollectie. In 2008 begon Nancy Reddin, de vrouw en partner van Edward Kienholz, aan de restauratie van \u003cem\u003eFive Car Stud\u003c/em\u003e in de Kienholz Studio in Hope, Idaho. Het werd opnieuw getoond in het Los Angeles County Museum of Art in Los Angeles (2011-2012), het Louisiana Museum of Modern Art in Denmark (2012) en bij Fondazione Prada in Milaan (2016-2017), die het werk aankocht voor hun collectie.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn \u003cem\u003eSanguine/Bloedrood\u003c/em\u003e wordt het werk getoond zoals het 46 jaar geleden op documenta te zien was, buiten de tentoonstelling zelf en in de verduistering van een grote \u003cem\u003ed\u0026ocirc;me\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDrie jaar werd er aan de legendarische installatie gewerkt. Al die tijd hield Edward Kienholz een nauwkeurig verslag van het artistieke wordingsproces. In een getypt document worden alle onderdelen uitvoerig beschreven. Kienholz geeft daarnaast ook zijn inschattingen weer van de sociaal-politieke gevolgen die het werk met zich mee zou brengen. Enkele objecten verbonden aan de documentatie van het werk zijn opgenomen in de tentoonstelling.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"\u003cp\u003e\u003cstrong\u003eVIDEO\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026quot;Story of an Artist,\u0026quot; 1962, directed by William Kronick\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;Kienholz on Exhibit,\u0026rdquo; 1966, directed by June Steel\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy of Nancy Reddin Kienholz, and L.A. Louver, Venice, California\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVITRINE 1\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e1972 documenta 5\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eCatalogo della mostra / Exhibition catalogue, 1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eEdizione originale / Original edition\u003c/p\u003e\r\n\r\n\u003cp\u003ePubblicato da / Published by documenta GmbH/Verlagsgruppe Bertelsmann GmbH\u003c/p\u003e\r\n\r\n\u003cp\u003eBiblioteca Fondazione Prada\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Studio Luc Tuymans\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eQuaderni Fondazione Prada\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eFive Car Stud, Kienholz #5\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAnno II, maggio 2016\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eKienholz: Five Car Stud, 2012\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy of Studio Luc Tuymans\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVITRINE 2\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEdward Kienholz \u0026amp; Nancy Reddin Kienholz\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSawdy Documentation Book\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1971\u0026ndash;72\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCollection of L.A. Louver, Venice, California\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy: of the artist and L.A. Louver, Venice, California\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEdward Kienholz a/to Harald Szeemann e/and Annette Allwardt, 21.08.1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eLettere battute a macchina / Typewritten letters. \u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Harald Szeemann papers, The Getty Research Institute, Los Angeles.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026copy; J. Paul Getty Trust\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eAnnette Allwardt a/to Edward Kienholz, 27.09.1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eLettere battute a macchina / Typewritten letters. \u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Harald Szeemann papers, The Getty Research Institute, Los Angeles.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026copy; J. Paul Getty Trust\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEdward Kienholz \u0026amp; Nancy Reddin Kienholz\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSawdy Documentation Book\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1971\u0026ndash;72\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCollection of L.A. Louver, Venice, California\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy: of the artist and L.A. Louver, Venice, California\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eFive Car Stud\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVedute dell\u0026rsquo;installazione a / Installation views at documenta 5, 1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eStampe digitali / Digital prints\u003c/p\u003e\r\n\r\n\u003cp\u003ePhoto: Heyne Fotografie\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy of L.A. Louver, Venice, CA.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026copy; Kienholz and documenta Archiv\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eEd. Kienholz Documenta 5, 1972\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eCourtesy Belga Image\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLe mat\u0026eacute;riel archivistique li\u0026eacute; \u0026agrave; l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eFive Car Stud\u003c/em\u003e est le fruit d\u0026rsquo;une recherche effectu\u0026eacute;e par la Fondation Prada \u0026agrave; l\u0026rsquo;Institut de Recherche Getty, \u0026agrave; Los Angeles, et dans les archives de documenta, \u0026agrave; Kassel, dans le cadre de l\u0026rsquo;exposition \u003cem\u003eKienholz: Five Car Stud\u003c/em\u003e, Fondation Prada, Milan, du 19\u0026nbsp;mai 2016 au 19\u0026nbsp;mars 2017. Commissaire de l\u0026rsquo;exposition\u0026nbsp;: Germano Celant. La s\u0026eacute;lection des documents a \u0026eacute;t\u0026eacute; op\u0026eacute;r\u0026eacute;e par Chiara Costa.\u003c/p\u003e\r\n","description":"\u003cp style=\"text-align: justify;\"\u003eEdward et Nancy Kienholz cr\u0026eacute;ent ensemble des installations, des assemblages et des environnements troublants\u0026nbsp;: des personnages grandeur nature dans un cadre reconnaissable, entour\u0026eacute;s d\u0026rsquo;objets banals et adoptant une pose silencieuse caract\u0026eacute;ristique. Leur \u0026oelig;uvre est un commentaire f\u0026eacute;roce sur le racisme, les st\u0026eacute;r\u0026eacute;otypes sexuels, la pauvret\u0026eacute;, la cupidit\u0026eacute;, la corruption, l\u0026rsquo;imp\u0026eacute;rialisme, le patriotisme, la religion, l\u0026rsquo;ali\u0026eacute;nation et \u0026ndash; surtout \u0026ndash; l\u0026rsquo;hypocrisie morale.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eEn 1972, Harald Szeeman a invit\u0026eacute; Edward Kienholz \u0026agrave; participer \u0026agrave; \u003cem\u003edocumenta\u0026nbsp;5 \u003c/em\u003e(une exposition prestigieuse et tr\u0026egrave;s en vue, qui se d\u0026eacute;roule tous les cinq ans \u0026agrave; Kassel, en Allemagne) o\u0026ugrave; l\u0026rsquo;installation\u003cem\u003e Five Car Stud\u003c/em\u003e a \u0026eacute;t\u0026eacute; montr\u0026eacute;e pour la premi\u0026egrave;re fois\u0026nbsp;: neuf personnages grandeur nature, cinq voitures dans une atmosph\u0026egrave;re nocturne difficile \u0026agrave; soutenir.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;installation se compose d\u0026rsquo;un cercle form\u0026eacute; par des hommes blancs, masqu\u0026eacute;s, \u0026eacute;clair\u0026eacute;s par les phares des voitures environnantes, qui immobilisent un homme noir, le clouent au sol et s\u0026rsquo;appr\u0026ecirc;tent \u0026agrave; le castrer. Dans deux des voitures, un enfant blanc \u0026ndash; l\u0026rsquo;enfant d\u0026rsquo;un des assaillants \u0026ndash; et une femme blanche \u0026ndash; la compagne de la victime \u0026ndash; assistent impuissants et d\u0026eacute;sempar\u0026eacute;s \u0026agrave; la sc\u0026egrave;ne. \u003cem\u003eFive Car Stud\u003c/em\u003e est un coup de massue intemporel, une condamnation de la supr\u0026eacute;matie blanche et de la violence raciste.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eApr\u0026egrave;s \u003cem\u003edocumenta\u003c/em\u003e, l\u0026rsquo;installation dispara\u0026icirc;t dans une collection mus\u0026eacute;ale japonaise. En 2008, Nancy Reddin, la femme et collaboratrice d\u0026rsquo;Edward Kienholz, a entam\u0026eacute; la restauration totale de \u003cem\u003eFive Car Stud\u003c/em\u003e au Kienholz Studio \u0026agrave; Hope, Idaho. L\u0026rsquo;installation a ensuite \u0026eacute;t\u0026eacute; \u0026agrave; nouveau expos\u0026eacute;e au Los Angeles County Museum of Art \u0026agrave; Los Angeles (2011-2012), au Louisiana Museum of Modern Art au Danemark (2012) et \u0026agrave; la fondation Prada \u0026agrave; Milan (2016-2017) qui l\u0026rsquo;a acquise pour sa collection.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDans l\u0026rsquo;exposition \u003cem\u003eSanguine/Bloedrood\u003c/em\u003e l\u0026rsquo;\u0026oelig;uvre est pr\u0026eacute;sent\u0026eacute;e comme \u0026agrave; \u003cem\u003edocumenta\u003c/em\u003e il y a 46\u0026nbsp;ans, en dehors de l\u0026rsquo;exposition elle-m\u0026ecirc;me et dans l\u0026rsquo;obscurit\u0026eacute; d\u0026rsquo;un grand d\u0026ocirc;me.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLa r\u0026eacute;alisation de cette \u0026oelig;uvre l\u0026eacute;gendaire a pris trois ans, durant lesquels Edward Kienholz a r\u0026eacute;dig\u0026eacute; un compte rendu minutieux du processus de cr\u0026eacute;ation artistique. Dans un document tap\u0026eacute; \u0026agrave; la machine, tous les composants de l\u0026rsquo;installation sont d\u0026eacute;crits en d\u0026eacute;tail. Kienholz \u0026eacute;nonce par ailleurs les cons\u0026eacute;quences socio-politiques que l\u0026rsquo;\u0026oelig;uvre pourrait provoquer selon lui. Quelques objets li\u0026eacute;s \u0026agrave; la documentation de cette \u0026oelig;uvre sont inclus dans l\u0026rsquo;exposition.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":3119,"name":"Edward Kienholz","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}