Permanent Installation „Don’t worry“ by Martin Creed at Sankt Peter Köln, 2005, Photo: Christian Nitz, 2012



 Martin Creed – Installation (installation art), Plastik – Alles, nur kein Konzeptkünstler (all but a concept artist)





„Peter Duggan’s Artoon: Martin Creed has a lightbulb moment
In this week’s animated take on great moments in art, Peter Duggan imagines how Martin Creed came by the idea for his 2001 Turner prize-winning installation Work No 227: the lights going on and off“ (Textauszug Webseite)



„(…) Martin Creeds Beitrag zur Ausstellung der vier für den Turner Prize 2001 nominierten Kandidaten hieß „The Lights Going On And Off“ und war genau das: ein Ausstellungsraum, der alle fünf Sekunden in gleißendes Licht getaucht wurde und dann in Dunkelheit versank.
Den ganzen Tag lang Licht an und Licht aus, nichts weiter. Und das sollte Kunst sein?  (…)“ (Textauszug der Webseite)

Don’t worry
Anarchisches Sonnensystem
Zieh den Kopf ein
Luftballons und «Körperfunktionen» (stichwortartiger Textauszug der Webseite)

november 2001
the titling of creed’s art
owada – music plays an important role in creed’s artwork:
turner prize – martin creed is one of the the 2001 turner prize’s nominees
on martin creed

Textauszug der Webseite: 
„Christopher Ganley, Learning and Digital Manager, ARTIST ROOMS:
We’re at the Ferens Art Gallery in Hull, and we have a Martin Creed show here at the moment and this is our third collaboration with the Ferens Gallery.
Today there’s an art debate that’s happening around the exhibition here. As part of the programme we do aseries of education projects with young people and this is one of those. (…)“

  • Textblätter: The Art of „Martin Creed (engl., Text: Louisa Buck, COPYRIGHT 2000 Artforum International Magazine, Inc., Quelle:
Rafael Lozano-Hemmer, Body Movies, 2001. Participants take over the game via creative engagement, ignoring the rules set up by the artist.
Martin Creed, Work No. 227: The Lights Going On and Off, 2001, Tate Britain, London.
NN, 160 cm Line Tattooed on 4 People El Gallo Arte Contemporáneo. Salamanca, Spain. December 2000.
Santiago Sierra: Person Remunerated for a Period of 360 Consecutive Hours. 17 September – November 2000. P.S.1, New York.
Santiago Sierra, 700 cm of displacement for three blocks of 100 cm per side. Six people are hired to push one cubic metre blocks 700 cm.
„(…) Sierra’s tactics are relatively unique. His most effective method to date has been to find unemployed casual labourers who are prepared to do virtually anything for minimum wage. Once hired they are assigned by Sierra to especially meaningless and demeaning activities. What follows is a list of such activities: 
1. He paid drug-addicted prostitutes to have their backs tattooed for the price of a shot of heroin. 
2. He hired 200 immigrants of African, Asian and eastern European origin, all of whom had dark hair, for an ‘action’ in which their hair was bleached.
3. He hired a group of unemployed men to push concrete blocks from one end of a gallery to the other.
4. In an exhibition at P.S.1, New York, Person Remunerated for a Period of 360 Consecutive Hours Sierra hired a person to live behind a brick wall 24 hours a day for 15 days (September 17 – October 1, 2000) without having any further instructions or duties. P.S.1 staff slid food under a narrow opening at the base of the wall. The individual behind the wall was generally invisible to the audience but was allowed to relate to the other side through the small opening in the wall. (…)“

„(…) The same can be said for Santiago Sierra, who like (Thomas) Hirschhorn is another contemporary art star who appears to be lauded in part due to the socio-political ramifications of his work. (…) like Maurizio Cattelan he appreciates that as a fine artist his social critiques are deeply compromised: (…)
(…) writing of the 1990s and early 2000s one might call the work of Hirschhorn and Sierra ‘social sculpture’. The term ‘social sculpture’ was coined by Joseph Beuys and it carries within it Beuys’ counter-rational, post-Duchampian (Marcel Duchamp related) romanticism. The phrase implies that art can do something for society when the real question is what can society do for art. Which is to say artists need to explore the world outside the doors of the museum in order to escape the self-reflexive absorption of l’art pour l’art that plagues much contemporary deconstructive art. (…)“ (textexrpsof the website)

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