...OUT OF A SUITCASE

ARTIST INFORMATION

TEXTS

INSTALLATION VIEW

Background

Richard Schur, a Munich-based artist, came up with the idea of mapping or marking or memorializing part of his travels in the United States with an exhibition of artists' works, artists he had met first through email, or had some contact with previously, who would co-join at a time that coincided with his planned visit to Tokyo. Schur offered a proposition to each of these artists to loan a small work of theirs, and then choose another artist of their choice--to prepare a memento of linked practices and relationships. Schur would then carry these mementos 'small pieces of art' as cabin luggage to Tokyo to set up a small exhibit.

Richard Schur also wanted to bring in some of his local Munich connections to highlight three main positions: First, his--Southern Germany [ties and roots]. Second, and importantly, the meeting up with people on a day-to-day basis--at this stage, the focus was where he was--staying around the San Fransisco area. Third, the memorializing, to bring these meetings and extentions 'art tokens' that stand in for people, their practice, and relationship, to Tokyo--the place where he would meet up with his wife and daughter.

The plan then was simple:

- To ask a friend the loan of their studio for a week or less.

- To hold an opening party.

- To document the exhibition, then bring it down, repack, and return to the USA with the work.

- To return the pieces to their owners, and continue travel.

Artists

Chris Ashley, Christopher Brown, Brent Hallard, Lynne Harlow, Nina Hubbs Zurier, Joseph Hughes, George Lawson, Mel Prest, Richard Schur, Akiko Tomikawa, Marie Van Elder, Johannes Veit, Paige Williams, Georg Wirsching, Douglas Witmer, John Zurier

Artist background and contact information here.

Texts

One of the contemporary aspects of the suitcase show is the degree to which it anticipates that a large number of people will view the show only through reproduction, in this case online. Few will actually walk through that house in Tokyo. Although the bottom line of a good exhibition is that the work can be seen, curatorial efforts often aim at seeing to it that the work is understood. Hence all the headphones in museums. Historically, the group show has been an effective means for drawing lines in the sand. Artists must grapple with the context within which their work is experienced, as much as with their chosen medium, in order to achieve their objectives. Nonetheless, the artist must start by bringing something to the table, and here the small scale of the works reduces or at least mitigates the disparity between their physical presence and what one may take away from viewing in reproduction.

An excerpt from The Suitcase Show, a text contributed by participating artist George Lawson. Read here.

Installation View

Installation images of Suitcase