Lawrence Weiner – Below Up – With Relation to a Volcano, 2010
Bleistift und Mischtechnik auf Papier
50.5 x 80.5 cm
In the work Below Up – With Relation to a Volcano, Lawrence Weiner positioned various words, phrases, and typographic symbols on an unfolded paper. In the centre, the phrase "WITH RELATION TO A VOLCANO" runs in a diagonal, slight S-curve from top left to bottom right. An arrow-like symbol pushes the “H” out of the sentence, as if it wants to correct the missing gap between WITH and RELATION. A little to the left below we can read "& SO ON & SO FORTH" whereby the ampersands are used as a stylistic form and appear oversized in colour. At the top right, Weiner added another play on words by placing the word "BELOW" above the word "UP". Although at first glance the sheet appears empty due to the large white area, there are many hidden connections to be discovered between the typographic elements.
The American sculptor and conceptualist Lawrence Weiner defines language as his medium. “I grew up in a city where I had read the walls; I still read the walls. I love to put work of mine out on the walls and let people read it. Some will remember it and then somebody else comes along and puts something else over it. It becomes archaeology rather than history.” Weiner's works exist only as language and can be exhibited in any form. His texts appear on walls and windows of galleries and in public spaces, on canvases and paper, as audio recordings and videos, in printed books and posters, cast or carved objects, tattoos, graffiti, etc.
Max Bill – Ulmer Hocker, 1954
Fichtenholz und Buchenholz
44 x 39 x 29 cm
The Ulmer Hocker is one of the best-known creations of the Swiss architect and artist Max Bill. In 1954, the stool was designed at the Hochschule für Gestaltung Ulm in collaboration with the Dutch architect Hans Gugelot. Formally, the “Ulmer Hocker” corresponds to the traditional stool used to hang up wallpaper. The frame consists of three boards. The seat and both side walls are made of spruce wood, the crossbar, and skids of beech wood. All wooden surfaces are uncoated. Its design is intended for a variety of uses, for example as seating furniture, a side table, a lectern, or as part of a shelf. At the university, the stool was part of every seminar, dining, and living room and therefore became its symbol.
This early example was manufactured in the carpentry workshop of the Hochschule für Gestaltung Ulm under the direction of Paul Hildinger. It comes from the estate of Jo Niemeyer, for whom Max Bill signed the stool with a pen on its back.