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Exhibition
The exhibition was split between the Hussar Stables and Gallery Sct. Agnes, presenting works by the festival artists for four weeks.
At Gallery Sct. Agnes Ann Noël showed the painting I (and possibly You), and Eric Andersen exhibited Four Photographs with Jam and the works
I Regret and Random Audience. Philip Corner presented the installation Piece of Reality of cigarette buds, paper clips, dead leaves and dried up apple cores.
Emmett Williams displayed a collage of self-portraits entitled Portraits of the Artist as a 16-course Fluxus Smorgasbord and the work Alphabet, which was used in Ann Noël’s performance.
Geoffrey Hendricks showed Sky Ladder - Day, Sky Ladder - Night and Berliner Tagsbuch watercolors along with Sky Boots. He and Marianne Bech gathered stones in the courtyard for a small installation piece, 100 Stones for George Maciunas and furthermore exhibited Flux Wedding Album co-produced with Brian Buczak.
Geoffrey Hendricks also presented a two-hat installation with his own hat and George Brecht’s bowler hat (read GH’s memory of the exhibition)
Anne Tardos showed 3 Cats - 2 Colors and 3 Cats - 3 Colors and possibly the work A Rose Killed a Rose Killed a Rose, which was later printed as a postcard.
Ben Vautier exhibited the painting from ben to culture (series of four), two works with photographs and text as well as wrote on the walls.
The Hussar Stables
Alison Knowles exhibited the silkscreen print Dark Orange as well as an installation with beans and books displayed on a white cloth around the old stove at the Hussar Stables.
Arrows by Dick Higgins was also on show.
1985
Around 10 o’clock we walked down the main street to Galleri Sct. Agnes and were shown around the two spaces available for the exhibition. I found the wall for my 2 meter long painting right away at the main gallery on Skomagergade 9, where Eric, Emmett, Ben and Geoff will also have their work, whereas Alison, Phil and Bob chose to share an old warehouse space near the hotel on the Husarstalden.
Ann Noël in her diary, May 1985
1998
About Geoffrey Hendricks: Sky Ladder Day
As Henry Martin so rightly describes in the book 100 Skies: (…) “The sky, the clouds, the images of sky and clouds, include and idea of physically unbridgeable distance. Geoff deals bodily with aspects of nature with which it is possible to deal bodily. He deals visually with an aspect of nature that can only be dealt with visually”
- Marianne Bech, “Insight and Outlook” in “Geoffrey Hendricks. Day into Night” p. 28. Kunsthallen Brandts Klædefabrik, Odense, Denmark. 1998.
- Geoffrey Hendricks, 100 Skies, text by Henry Martin, Barkenhoff-Stiftung, Worpswede, 1986
June 30th, 2008
In my installation I had two ladders, one with day skies (one-sided) leaning in the corner to the right of the door leading into Ben’s space and another with two-sided watercolors of night skies hanging from the ceiling near the window. The gallery located the two ladders for me. I recall visiting a family who had a ladder in a garden shed and another who had one behind a house. After I got the ladders to the gallery I attached watercolors that I had brought with me, and changed the ladders in other ways such as wrapping the bottom of each side of the day ladder with strips of white cloth. Is it possible that at least one of those ladders is still in Roskilde? Could I have given one to Valborg with the skies, or were they simply returned after the exhibition and the watercolors sent back to me when the show was over?
- Geoffrey Hendricks, On Festival of Fantastics, June 2008
April 6th, 2009
I’d like to point out that an important part of my exhibit/installation was on the front door of the gallery, glued on. (It did not last very long.)
By the way, cigarettes have butts, while apple trees have buds.