Between paper and the internet, reversing the usual roles of the two media: an online show commissioned by NERO and presented here through its press release

An online exhibition curated by Pierre Bal-Blanc

Opening At
July 15 - September 15, 2013 

An oral presentation given by Pierre Bal-Blanc to a jury of professionals in 2010, as part of his application to curate the 7th Berlin Biennale, is reiterated for the reader. Devised as an exhibition in several acts, the session adheres to the rules of a score performed by its author or by a third party. 

Roman Ondak
Resistance, 2006
Shoelaces undone.

Jens Haaning
Kabul Time, 2010
A clock that displays the local time in Kabul Afghanistan.

Július Koller
Glass Clean Water (Idea - Object), 1964
Glass pure water. 

Ceal Floyer
Garbage Bag, 1996
A rubbish bag filled with air
from the space where it is exposed.

La Monte Young
Composition 1960 #3
Announce to the audience when the piece will begin and end if there is limit on duration. It may be any duration. Then announce that everyone may do whatever he wishes for the duration of the composition.

George Brecht
Drip Music (Drip Event), 1959–1962
A source of flowing water and an empty recipient posed in a way that allows the water to fall into the recipient. 

La Monte Young
Composition 1960 #10 to Bob Morris
Draw a straight line and follow it. 

George Brecht
String Quartet, 1962
Shaking hands. 

George Maciunas
Homage to La Monte Young, Jan 12, 1962
(preferably to follow performance of any composition of 1961 by LMY.)
Erase, scrape or wash away as well as possible the previously drawn line or lines of La Monte Young or any other lines encountered, like street dividing lines, rulled paper or score lines, lines on sports fields, lines on gaming tables, lines drawn by children on sidewalks etc.

Marie Cool Fabio Balducci
Untitled (2 x DIN A4 paper sheets, biafine), 2004 

Lawrence Weiner
A cup of sea water poured upon the floor, 1969
The artist may construct the work
The work may be fabricated
The work need not to be build
Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership. 

Pier Paolo Calzolari
Aeroplano [Day after Day. A Family Life], 1973–1974 

Cornelius Cardew
Very slowly turn whatever you are doing at any time into its opposite, 1969
From Scratch book. 


As prescript by the last piece of Cornelius Cardew,
I turn now slowly - what I am doing - into its opposite.
That is to say: a didactic presentation of my proposal for an exhibition. 

So What, How and Why?

To start on What, it is about?

The answer is CREATION
Contemporary art
Artist practice – Artist
Work of art – Piece 

Before to arrive to the “Why” level - I would introduce earlier an other parameter to break down the conventional communication diagram made on EMISSION and RECEPTION

Witch is US or the Community and the question about the distribution of the roles in the

What it is about – it is about ART run by functions equally adopted by artist and audience.

It is about art process beyond the distinction between function
like artist function
and audience function. 

That is what I have introduced with the exhibition “The Death of the Audience” at Secession in Vienna in 2009.

The title of the exhibition testifies to this change
in that it breaks with
the limiting accent given to the role and mission attributed to the

The alternative to emancipation and alienation of the audience is certainly one of the principal stakes of the postmodern periods.
In effect, the heterosexual male artist is the figure around which
everything is focused in the art of the turn of the twentieth century
(art for art’s sake, the various artistic manifestos, auto-reflexivity, etc.) 

On the other hand, it is at the level of the spectator
that this question comes to be crystallized from 1968 to the present day
(the disappearance of the artist, the question of gender, the notion of participation, the audience, etc). 

One of my goal is to follow
the question asked by “The Death of the Audience”
and by the artistic strategies of the seventies
associated to this show and to exend this issue in our present time, 

For example in posing an other more ambiguous question
in way to underline the regression of our contemporary entertainment society : 

what is your sexe?
Artist or Audience?

Like Isodoro Valcarcel Medina said in his text titled
The Suspended Spectator” 

The spectator only exists because that world of creativity is malformed”

The danger to talk about WHAT?
is to fall down FORMALISM
Precisely: the etymological meaning of Formalism is
Dis am bi gua tion 

So what this exhibition is about:
In my sense that’s about exactly the opposite and that’s called PLASTICITY
In biology, plasticity is the ability of a trait in an organism to adapt to a given environment. 

Plasticity opposes the linearization and isolation functions.
it denies fracture in the reality without being an “demonstration” at all. 

If we are concern about plasticity, we can thus say that
the intelect is the reverse side of impulsion,
we could say that
the intelect is - as a REpulsion-, the thought of the pulsion 

For example Charles Fourier plead for a duc-ti-li-ty, a plasticity of the pulses

We are a succession of discontinous states. The language deceives us.
So long we depends on this code, we believe to our continuity. 

So what kind of plasticity Art and creation are proposing ?
it is a language beyond formalism,
a plasticity where all languages can be mobilised without that none is dominant. 

Continuity and discontinuity as well as attraction and aggression
are part of this art language
and that’s only the exhibitions who give the chance to experiment all the spectrum of this process. 

So to conclude on WHAT ? after Creation and plasticity

the answer is “Exhibition” as the only valid paradigm who is able to resolve the contemporary challenge for the creation in the era of global

Facing the screen my body is useless 

on the contrary The exhibition economy involve all our cognitive
To follow and conclude on How
Because I will let the “Why level “ open to improvisation, to your question and our discussion , basically where the “why” has to be 

Talking about how:
We have to beware because the issue also contains the danger
of being Mannerist 

With this presentation, I am currently give you an example on how I am proceeding in a given time, space and circumstances.

_Not to presenting you documents but rather showing pieces directly
_Selecting pieces available for activation through statement, score or prescription
_Articulating 3 different generations of artists (included dead artists) in the way to build a virtual dialogue between them
_Building a space continuum made by time bracket
_Reducing the production of the display at the minimum
_ leaving no remains
_Involving you as well as me beyond the
The audience gender and the curator gender
My Goal for this exhibition is to initiate several processes over time 

Processes of creation and investigation

That will lead not to a finished object/ BUT
Access to situations=
An Exhibition

Yes, the spectator does exist if the art doesn’t” 

Said Isidoro Valcarcel Medina
My goal is to make art existing 

This exhibition open to everybody will continue to produce creation by the expanding of the people involved

My intention is to bring together artists as well as audiences in various disciplines
Who practice improvisation, indeterminacy, open form in other words 

The contingency

At the time of cognitive capitalism the artist and the audience through his way of deturning the use invent tools to counter the score of capitalism
Tools like
Script _ scenario _ noise or non idiomatic piece – algorithm – protocol 

Love is a dimension like time and space
said the english composer Cornelius Cardew 

but “love is not the answer” said Terre Thaemlitz “

post-Industrial love is just another ideological device facilitating a division
between “public” and “private” space, and is complicit with such a
division’s basis in inequality and exclusion”
Art today is re-investigating this dimension with a strong preoccupation
for the passions of the poeple
That’s what I propose to share with you 


Pierre Bal-Blanc is the Director of CAC Brétigny in France. In his sequence of international exhibitions La Monnaie vivante–Living Currency, he negotiated the current and historical analysis of the body and strategies related to performance in visual arts. He developed the exhibition in three chapters Reversibility at the Frieze Art Fair in 2008, CAC Brétigny in 2010 and Peep Hole, Milan in 2012. In 2010 he curated The Death of the Audience at Secession in Vienna.