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THE EMERGENCY WILL REPLACE THE CONTEMPORARY

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A selection of tent artworks by Thierry Geoffroy/ COLONEL
Texts by Tijana Mišković

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THE EMERGENCY WILL REPLACE THE CONTEMPORARY

  1. 1. THE EMERGENCY WILL REPLACE THE CONTEMPORARY A selection of tent artworks by Thierry Geoffroy/ COLONEL Texts by Tijana Mišković
  2. 2. TENTS AS ARTISTIC EXPRESSION Thierry Geoffroy/COLONEL has been using tents as a form of artistic expression since 1991. His tents can be perceived as both paintings and sculptures, and can also be employed in performative interventions, created to stimulate debate. The artist uses the sides of each tent as canvases, on which he paints statements. He generally uses spray paint, and the aesthetic of the written text expresses the artist’s impatient, disconcerting nervous energy at the moment of action. The shaky style of the text and uncorrected grammatical or spelling mistakes are intrinsic to the artistic intention, illustrating tension and speed. There is an authentic spirit of emergency captured in the tent artworks. After the action part of the production, the tents be- come mobile sculptural objects. Each tent is placed according to its surroundings, so that the context of the place and the written statement on the tent be- come connected conceptually. Photos of the tents are thus not only documentation images, but can also be considered as visual artworks in themselves. A tent structure inevitably recalls the state of emer- gency the world is facing, bringing to mind refugee tents, military tents, and tents as temporary shelters or protection from unforeseen disasters. The tent has become a globally recognized symbol for emergency and precarious living conditions. Thierry Geoffroy/COLONEL’s tent artworks have been exhibited worldwide, in The Maldives Pavilion, Venice Biennale, IT; The ZKM Museum, Karlsruhe, DE; Marta Herford - Museum für moderne Kunst, Herford, DE; Kunsthalle Osnabrück, Osnabrück, DE. The tents are also in the collection of the Danish Museum of Con- temporary Art, as well as in private collections in Paris, Copenhagen, Cape Town and São Paulo.
  3. 3. Tent on the roof, Nancy 1978
  4. 4. Thierry Geoffroy/COLONEL’s artistic praxis is driven by the vision of creating awareness about dysfunc- tion in the world, through art. Since 1988, he has been working with art formats that support the production and presentation of artworks produced “in the now”. One of the earliest formats, ULTRAFAST, provided the setting for a series of exhibitions that were constantly changing in different ways. Either they were moving in space, for example exhibitions on the clothing of peo- ple moving around within an exhibition space or out- side in a public space, or they took place in the same location, but new artworks replaced the older ones each day. The ULTRAFAST, pulsing way of working has not only to do with speed, but also with time. This is why the artist later introduced another term, ULTRACONTEM- PORARY, linked more closely to the notion of time, and continuing his critical positioning towards the estab- lished understanding of contemporary art. Contem- poraneity is an interesting phenomenon, because it ULTRAFAST, ULTRACONTEMPORARY and EMERGENCY ART forces us to make a connection between the self and time. Con + tempo (with time) alludes to some kind of togetherness or closeness to the present moment. To express with time (Con + tempo) would therefore mean to express something while you are still within it. Today’s understanding of “contemporary” has be- come so open that it incorporates all kinds of art made during or after the 20th century, or any art created by artists living today, independently of its pertinence for the present moment. By using the word Ultra and cre- ating a new term, ULTRACONTEMPORARY, the artist brings the focus back to the time aspect and insists on contemporary signifying “in the now”. The aspect of time is present not only in the artist’s decisions regarding methods and form, but also in the content of the artworks, which also has to be in the now, relating to what is happening in the world at the moment. Many burning topics need to be addressed urgently, before it is too late. The artist calls this kind of art “EMERGENCY ART”. This is art produced by art-
  5. 5. EMERGENCY ROOM, Moma PS1, 2007 ists who are constantly on the alert, recognizing dys- function and homing in on the most pressing global issues. This way of working includes the ranking of emergencies, as with a real hospital situation, when a doctor has to prioritise between different patients based on the level of urgency, using a triage system.
  6. 6. Thierry Geoffroy/COLONEL’s questioning of the contemporary art structure Since 1988, Thierry Geoffroy/COLONEL has continu- ally questioned large staged art events such as bien- nales, art fairs, and Documenta, through critical art formats such as BIENNALIST – a format that responds to and questions, through artworks, the motivations of biennials and other global art events. He looks into these art events and their motivations, asking questions such as: Could 860,000 visitors have been intoxicated by an apathetic gas that keeps them from reacting?, Are global art events designed to make people cry about something in order not to make them see something else?, Is there a strategy for being delayed in order to create a distraction from the present and avoid debating the important topics of today?, If the most important contemporary exhibitions in the world, such as Documenta, focus solely on past issues or a few in the present, contextualized by curators or art historians, how can we then expect art to be avant-garde? For decades, artists have questioned the canvas and the pigment, and since the1960s-70s, conceptual artists like Marcel Broodthaers have questioned the structure of the museum, leading to the art move- ment known as Institutional Critique, associated with artists such as Daniel Buren, Andrea Fraser, and Hans Haacke. With his art format BIENNALIST, Thierry Geoffroy/COLONEL questions global art events. He takes the theme of each biennial seriously, studying it in order to contribute to the debate the biennales want to generate. With this format, the artist is often on location, testing the pertinence of the biennales. In 2007, the artist produced projects called “The next dOCUMENTA should be curated by a car” and “The protest school”. In 2012, The BIENNALIST project was supported re- spectively by the ZKM Museum of Contemporary Art for conducting operations at the Athens Biennale cu- rated by Nicolas Bourriaud, and by the Sprengel Muse- um, for operations carried out at the Venice Biennale.
  7. 7. At dOCUMENTA (13), Thierry Geoffroy/COLONEL realized the project “The Emergency will replace the Contemporary”, which received strong attention from the media and art critics. Most recently, in 2017, he has been looking more closely into documenta 14 and the Venice Biennale 2017, through the exhibition #documentasceptic.
  8. 8. dOCUMENTA (13) - June 6th 2012
  9. 9. “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”; 3 kilos, 230 cm x 170 cm; spray paint on tent; 2012; Statements on each side: “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”, “FÜHRUNG, GUIDANCE AND NAVIGATION IS A THREAT”, “THE CONTEMPORARY IS ALWAYS TOO LATE”; in the art collection of Museum for Contemporary Art - Roskilde - Denmark
  10. 10. “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”; 3 kilos, 230 cm x 170 cm; spray paint on tent; 2012; Statements on each side: “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”, “FÜHRUNG, GUIDANCE AND NAVIGATION IS A THREAT”, “THE CONTEMPORARY IS ALWAYS TOO LATE”; in the art collection of Museum for Contemporary Art - Roskilde - Denmark
  11. 11. dOCUMENTA (13) - June 7th, 2012
  12. 12. “THE EMERGENCY WILL REPLACE THE CONTEM- PORARY”;3kilos,230cmx170cm;spraypainton tent; 2012; Statements on each side: “THE EMER- GENCY WILL REPLACE THE CONTEMPORARY”, “I AM NOT WORKING FOR THE TOURISM OFFICE”, “ART IN DELAY CAN NOT HAVE IMPACT”, “THE CONTEMPORARY IS ALWAYS TOO LATE, NEVER IN TIME”
  13. 13. “The Emergency will replace the Contemporary” is probably one of Thierry Geoffroy/COLONEL’s most important tent artworks, a convergence of the artist’s focus on emergencies and his critical approach to con- temporary art structures. This single unsolicited artwork managed to destabilize the established contemporary art structure of dOCU- MENTA (13). The impact of the artwork and its perti- nence to the now are values of equal importance to its aesthetic and formal qualities. Using the strategy as a brush stroke, the global art scene as his canvas and the emergencies of the world as his artistic motives, Thierry Geoffroy/COLONEL has, over the years, de- veloped a unique take on art, going beyond the notion of contemporary and opening up new fields such as EMERGENCY ART and ULTRACONTEMPORARY ART. His artworks activate a new set of values and a new kind of artistic, humanistic and political ethos in art. He has a firm grasp of concepts, highly attuned to the How a small inoffensive artwork confronted the great contemporary art structure fact that different aspects of assessing quality are in- terconnected. This conceptual underpinning creates a new synthesis of ideas, communicated through the artist’s oeuvre. Themainstatementwrittenonthetentartworkis“THE EMERGENCY WILL REPLACE THE CONTEMPORARY”. Its prophetic aspect makes us realize how the artist is not only able to grasp the importance of the now, but can also predict the future of contemporary art. There are two key words in the statement “THE EMER- GENCY WILL REPLACE THE CONTEMPORARY”: the contemporary and the emergency. In his general ar- tistic praxis, consisting of different art formats and object-based artworks in a variety of media, Thierry Geoffroy/COLONEL demonstrates his interest in the relationship between the two terms. The first, the con- temporary, stresses the connection between the self andtime,whilethesecondterm,theemergency,stress- es artistic readiness to act in time, before it is too late.
  14. 14. The critique of contemporary art’s ability to be “in time” is also expressed in the two other statements on the tent (ART IN DELAY CAN NOT HAVE IMPACT and THE CONTEMPORARY IS ALWAYS TOO LATE, NEVER IN TIME). With these, the artist wanted to express that an isolated focus on the past is dangerous, because it creates a distraction and makes it impossible to have an impact in the present. Thefourthsloganonthetent “IAMNOTWORKINGFOR THE TOURISM OFFICE” questions the role of the artist, which unfortunately often has a utilitarian function with a predefined purpose, such as attracting tour- ists. We can thus ask ourselves if the real potential and purpose of art should be to serve industries that are fundamentally based on commercial and not artistic or humanistic values. During dOCUMENTA (13), Thierry Geoffroy/COLONEL was observing, registering and forming opinions on what he saw in and around the staged art exhibition context in Kassel. Some of the messages related to his research were communicated as text on a tent placed under one of Joseph Beuys’ trees from the “7000 Oaks – City Forestation Instead of City Administra-
  15. 15. tion”, on the lawn in front of Fridericianum, just after the dOCUMENTA (13) press conference, on June 6th, 2012. This tent is today part of the art collection at the Danish Contemporary Art Museum in Roskilde. Another tent was made the next day, June 7th, with the following statements: “THE EMERGENCY WILL RE- PLACE THE CONTEMPORARY”, “I AM NOT WORKING FOR THE TOURISM OFFICE”, “ART IN DELAY CAN NOT HAVE IMPACT”, and “THE CONTEMPORARY IS AL- WAYS TOO LATE, NEVER IN TIME”. This tent created a chain reaction, inspiring other artists, organizations, and initiatives to use Friedrichsplatz as their base and platform for expression. On June 8th, two Chinese artists installed a tent on the same lawn, and on June 9th, the Occupy movement also set up their own camp. On June 20th, the Belgian art magazine H ART published, on their front page, a picture of the artist’s tent with the statement “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”. By the next day, June 21st, the tent had been removed and confiscated by the dOCUMENTA organizers, later to be found in the basement of Fridericianum by the artist Bongore. To create attention in the media and among art critics by circulating images and statements from the tents is part of Thierry Geoffroy/COLONEL’s artistic meth- od, because it is a way of reaching a wider audience, including people beyond the art sphere. Maybe the fact that an unsolicited tent made the front page in an art magazine and “stole” the media cover- age of dOCUMENTA was the reason for the confisca- tion. To remove one of the artist’s tents was easy, while it was more difficult to remove the many Occupy movement tents, since this would provoke a more intense counterreaction. The Occupy encamp- ment was therefore welcomed by the dOCUMENTA (13) curator on July 8th. Consequently, a new tai- lor-made name was given to the camp: dOCCUPY, clearly marking the fact that what should have been a resistance movement had been incorporated into the established and authorized system. The dOCU- MENTA decision to include Occupy in their program was a strategic move to neutralize and render harm- less the revolutionary spirit of the protest, while still keeping their image as an inclusive art event intact.
  16. 16. Documenta’s welcoming of the Occupy protesters might not have been an honest gesture of hospitality, but rather a necessary solution or a strategic move they were obliged to make, in order to save their im- age of openness. Even though dOCCUPY was now an official guest at Documenta, there was a pre-set time frame for their existence. A group of people who could serve Documenta’s interests were asked to infiltrate the camp under cover, in order to observe and control its development. Eight days before the end of Documenta, a vote took place in the camp to decide if dOCCUPY should close down or not. The voting was democratic, but since there were so many infiltrators advocating for Docu- menta’s desire to end the project and clean up the ex- hibition areas before the art collectors with buying po- tential came to Kassel (in keeping with tradition, the last week of the 100 days-long show) the result of the ballot was to remove the camp. Additionally, the removal of the camp was turned into a performance in which the camp members were play- ing out their own elimination. A re-enactment, includ- ing role-play, took place on Saturday 8th September at 3 pm. A number of the protesters from the Occu- py movement played the role of police and acted out the brutalization of the campers while obliging them to pack and remove their tents. In this way, one more time, Documenta managed to turn a serious activist movement into a harmless symbolic artwork overseen by the Documenta authorities. Today, we can reflect on the fact that Thierry Geof- froy/COLONEL’s tent artwork, which kick-started the growing Occupy movement, was removed, while the Occupy encampment in the same area was for a while welcomed by Documenta. There would probably not have been any dOCCUPY project if the tent by Thierry Geoffroy/COLONEL had not been placed on the lawn in front of Fridericianum in the first place. We can also analyze how a single artwork could cre- ate a disturbance within the complex structure of the biggest contemporary art event in the world. Perhaps it is possible to value artworks based on their capacity to challenge established structures and pro- pose new ones.
  17. 17. dOCUMENTA (13) - September, 2012
  18. 18. “THE NEXT DOCUMENTA SHOULD BE CURATED BY TANKS”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2012; Statements on each side: ”FAKE CRITICS CREATES APATHY”, “THE NEXT DOCUMEN- TA SHOULD BE CURATED BY TANKS”, “CAN ART BE IN ADVANCE OF THE ARM”, “ART DISTRACT YOU FROM REALITY”
  19. 19. “THE NEXT DOCUMENTA SHOULD BE CURATED BY TANKS”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2012; Statements on each side: ”FAKE CRITICS CREATES APATHY”, “THE NEXT DOCU- MENTA SHOULD BE CURATED BY TANKS”, “CAN ART BE IN ADVANCE OF THE BROKEN ARM”, “ART DISTRACT YOU FROM REALITY”
  20. 20. “DOCUMENTA FAILLED TO DEBATE ABOUT WAR”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2012; Statements on each side: “DONT CENSURE DOG WATCH ART”, “DOCUMENTA FAILLED TO DE- BATE ABOUT WAR”, “ULTRACOTEMPORARY ART IS THE FUTURE”, “KNOWING WHAT I KNOW MAKES ME A MONSTER”
  21. 21. “DOCUMENTA FAILLED TO DEBATE ABOUT WAR”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2012; Statements on each side: “DON’T CENSURE DOG WATCH ART”, “DOCUMENTA FAILLED TO DEBATE ABOUT WAR”, “ULTRACOTEMPORARY ART IS THE FUTURE”, “KNOWING WHAT I KNOW MAKES ME A MONSTER”
  22. 22. “DOCUMENTA IS DANGEROUS BECAUSE IT HIDES THE REAL EMERGENCIES LIKE THE TANKS”; 2,2 ki- los, 200 cm x 140 cm; spray paint on tent; white spray paint on tent; 2012; Statements on each side: “DOCUMENTA IS A FLEA MARKET NOT ABLE TO REFLECT ON TODAY EMERGENCY”, “IS DOCU- MENTA IN KABUL TO SELL TANKS”, “DOCUMEN- TA IS DANGEROUS BECAUSE IT HIDES THE REAL EMERGENCIES LIKE THE TANKS”
  23. 23. 60th anniversary of the documenta - From July 14th to 18th, 2015
  24. 24. “ALWAYS QUESTION THE STRUCTURE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2015; Statements on each side: “ALWAYS QUESTION THE STRUCTURE”, ”IS DOCUMENTA IN ATHENS TO SELL TANKS FROM KASSEL”, “ULTRACONTEMPORARY”
  25. 25. “ALWAYS QUESTION THE STRUCTURE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2015; Statements on each side: “ALWAYS QUESTION THE STRUCTURE”, ”IS DOCUMENTA IN ATHENS TO SELL TANKS FROM KASSEL”, “ULTRACONTEMPORARY”.
  26. 26. “WHAT DOES DOCUMENTA WANT TO EXPORT”, ; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2015; Statements on each side: “WHAT DOES DOCUMENTA WANT TO EXPORT”, “ULTRACONTEM- PORARY”, “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”,“CAN POETRY BE FRONTAL”
  27. 27. ”LA PLUIE N’ABOLLIRA PAS LES QUESTIONS”; 2,2 kilos, 200cm x 140 cm; spray paint on tent; 2015; Statements on each side: “LA PLUIE N’ABOLLIRA PAS LES QUESTIONS”, “INNONDE PAR L’INSPIRA- TION”
  28. 28. Ideally, artists should have an important position in our society as free and independent minds who can produce vital reflections about the socio-political conditions of the time we live in. Unfortunately, time and time again artists’ critical and important reflections are used or misused for other purposes, such as the promotion of products, gentrification, and cultural colonialism. In that case, the role becomes the function; the unique role of the artist, as someone independently and critically re- flecting on our society, becomes a simplified and re- stricted function with a purpose and role dictated by others. The only way an artist can avoid his/her role becom- ing purely functional is by constantly questioning the structures within which his or her art is being present- ed. Biennales and large-scale exhibitions such as Doc- umenta should, as the most influential contemporary art structures, be a natural object for investigation. Documenta can be considered as a “Vatican” of con- temporary art, a benchmark reinforced by belief in art’s critical potential. It is promoted as the quintes- sential art platform for critical thinking and political statements: the art world’s decision makers and intel- ligentsia make pilgrimages to Documenta in search of the latest trends. Large-scale art events such as Doc- umenta and the Venice Biennale have an enormous in- ternational impact and great power to influence public opinion. This influence should be evaluated by partici- pating artists as well as the audience, who should not merely absorb the messages communicated to them via the curatorial strategies, but be sceptical and question the motivations behind them. They should not fall asleep, but be critical and constantly question the structure. A show labeled as a “critic show” can give the public a feeling of being critical, but it can, at the same time, draw public attention away from vital and serious issues that authorities do not want to create critique around. Questioning the structure to avoid apathy
  29. 29. There could be a diversion taking place within curato- rial choice. Curating goes hand in hand with filtration. Certain topics, artworks and artists are highlighted as central, while others are relegated to a peripheral po- sition or even go unmentioned. Furthermore, curating always includes an educational element, which facilitates learning and the acquisition of knowledge, values and beliefs. The person or the in- stitution teaching would naturally also have the power to shape knowledge, and so would be in a superior po- sition. The choice of content and methods is an influ- ence on the interpretation of an artistic message, and the receivers are being led in a pre-defined direction of thinking. Faking the intention can be another method for di- version used in the contemporary art world. Often, contemporary art events create an image based on inclusion and audience interaction, presenting a semblance of openness. Therefore, most are consid- ered authentic, positive, even humanistic platforms, surrounded by an aura of purportedly unquestiona- ble benevolence. In reality, this can be a strategy for circumventing potential criticism. A delay in contemporary art could also be seen as a diversion strategy. Even though we believe that con- temporary artists should react to the important issues and emergencies of today’s world, we are not giving artists appropriate platforms for immediate expres- sion and impact in time. Artists cannot show art con- nected with the pulsing and unpredictable present, since all exhibited artworks have to be defined, pro- duced, and explained in advance. Either because of the practical and curatorial planning, or because of a wish to control and to have the ability to censor, most con- temporary exhibitions are in delay from the outset. The artist and art thinkers are also recurrently victims ofongoingself-censorship,inordertonavigatearound these contemporary art structures. Self-censorship makes it difficult to achieve an authentic and honest artistic intention. What is exhibited is just one part of the story, while the other part, at least as important, is auto-censored out. Auto-censorship is more diffi- cult to identify or fight then direct censorship, since it is an embedded control function that contemporary art carries in the DNA of its structure. It is less visible than the imposed censorship emanating from a spe- cific authority, and thus acts as a more sophisticated
  30. 30. and complex control mechanism, often having an even stronger control effect. A “critic show” can thus be a setting for fake criticism, giving us the illusion of permitting critique and having freedom of thinking when, in reality, we are manipulat- ed in a specific direction controlled by external forces, and often interests of an economic or political nature. This fake criticism within today’s contemporary art sphere could be a source of apathy in our society. If the lack of real concern or interest in making a change infiltrates the art community, and what we consider to be the avant-garde force in our society falls asleep, we might risk our world heading in the direction of nar- row-minded, or even totalitarian thinking.
  31. 31. Athens Biennale 2011/ ZKM, Museum of Contemporary art exhibition in Karlsruhe
  32. 32. “CAN THE REVOLUTION BE SELFISH”; 3 kilos, 230 cm x 170 cm; spray paint on tent; 2015; State- ments on each side: “CAN THE REVOLUTION BE SELFISH”, “NOW BEFORE IT IS TOO LATE”
  33. 33. “ART= RETARD”; 3 kilos, 230 cm x 170 cm; spray paint on tent; 2015; Statements on each side: “THERE IS NOT A GOOD BIENNALE WITHOUT BIEN- NALIST”, “ART= RETARD”
  34. 34. 55th Venice Biennale - From May 29th to November, 2013
  35. 35. ”I COMMITTED SELF CENSURE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2013; Statements oneachside:“ISCLIMATECHANGESTILLANEMERGENCY“,“ICOMMITTEDSELFCENSURE”,“SHOULD ARTISTS QUESTION THEIR COMMISSIONERS”
  36. 36. ”IS CLIMATE CHANGE STILL AN EMERGENCY“; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2013; Statements on each side: “CAN A NATION WELCOME ANOTHER NATION”, “IS CLIMATE CHANGE STILL AN EMERGENCY”, “IS ART FLEXIBLE”, “DEMANDING PALACE”
  37. 37. ”IS CLIMATE CHANGE STILL AN EMERGENCY“; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2013; Statements on each side: “CAN A NATION WELCOME ANOTHER NATION”, “IS CLIMATE CHANGE STILL AN EMERGENCY”, “IS ART FLEXIBLE”, “DEMANDING PALACE”
  38. 38. ”NOW BEFORE IT IS TOO LATE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2013, Statements on each side: “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”, “IS AMBIGUITY THE NORM HERE”, “ARE BIENNALE DANGEROUS”, ”NOW BEFORE IT IS TOO LATE”
  39. 39. ”KNOWING WAT I KNOW MAKES ME A MONSTER”; 3 kilos, 230 cm x 170 cm; spray paint on tent; 2013; Statements on each side: “NOW BEFORE IT IS TOO LATE”, ”EMERGENCY VENICE”, “KNOWING WAT I KNOW MAKES ME A MONSTER”, “THE EMER- GENCY WILL REPLACE THE CONTEMPORARY”
  40. 40. 56th Venice Biennale - May 8th, 2015
  41. 41. “ARE BIENNALES DANGEROUS”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2015; Statements on each side: “ARE BIENNALES DANGEROUS”, “NOW IS NOW”, “NOW BEFORE IT IS TOO LATE”
  42. 42. documenta 14 in Athens , April 4th-8th 2017
  43. 43. ”WELCOME CHEAP WORKERS”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; Statements on each side: “WELCOME CHEAP WORKERS”, “DON’T BURN MY TENT”; at Acropolis
  44. 44. ”WELCOME CHEAP WORKERS”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; Statements on each side: “WELCOME CHEAP WORKERS”, “DON’T BURN MY TENT”; at Acropolis
  45. 45. ”I AM NOT SAFE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; Statements on each side: “I AM NOT SAFE”; at Victoria Square
  46. 46. ”MEMORY HAS TO BE TRAINED IN THE NOW”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; Statements on each side: “MEMORY HAS TO BE TRAINED IN THE NOW”, “HISTORY IS CONTEMPO- RARY”; at Parko Eleftherias
  47. 47. “TO EXPRESS AESTHETICALLY ABOUT THE CRISIS IS NOT GOING TO SOLVE IT”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; at Syntagma Square
  48. 48. 57th Venice Biennale - May 9th to 13th, 2017
  49. 49. “IS ART THE LAST BASTION FOR UPRISE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; Statements on each side: “UNSOLICITED PAVILION “
  50. 50. “VIVA HYPOCRISIA VIVA”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; Statements on each side: “VIVA HYPOCRISIA VIVA”, “WHAT IS FAKE ART”
  51. 51. “VIVA HYPOCRISIA VIVA”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; Statements on each side: “VIVA HYPOCRISIA VIVA”, “WHAT IS FAKE ART”
  52. 52. “WHY TO CELEBRATE ART RESPONSABLE OF GLOBAL APATHY”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017
  53. 53. “CONTEMPORARY ART IS A FLEA MARKET”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017
  54. 54. documenta 14 - June 5th to 10th, 2017
  55. 55. “CAN FREEDOM OF SPEECH BE CURATED”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017;
  56. 56. “HUMBLE MONUMENT ABOUT TODAY CRISIS”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2015; Statements on each side: “URGENCIES SHOULD NOT BE USED IN ART IN ORDER TO SELL HOTEL ROOMS”, “HUMBLE MONUMENT ABOUT TODAY CRISIS”.
  57. 57. “WE SHOULD NOT ONLY LOOK WHAT THEY GIVE US TO SEE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; Statements on each side: “WE SHOULD NOT ONLY LOOK WHAT THEY GIVE US TO SEE”,“I COMMITED SELFCENSORSHIP TO KEEP THE PRIVILEGE I DONT HAVE”;
  58. 58. “WE SHOULD NOT ONLY LOOK WHAT THEY GIVE US TO SEE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 10/06 2017; Statements on each side: “WE SHOULD NOT ONLY LOOK WHAT THEY GIVE US TO SEE”,“I COMMITED SELFCENSORSHIP TO KEEP THE PRIVILEGE I DONT HAVE”; In front of Kulturbahnhof.
  59. 59. “PROXIMITY IS QUESTIONNABLE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 10/06 2017; Statements on each side: “PROXIMITY IS QUESTIONNABLE”, “IS THE NEU NEU IN THE NOW TREATING ABOUT EMERGENCIES”; Between Tofufabrik (one of the documenta 14 venues) and one of many weapons factories in Kassel.
  60. 60. “PROXIMITY IS QUESTIONNABLE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; State- ments on each side: ““PROXIMITY IS QUESTIONNABLE”, “IS THE NEU NEU IN THE NOW TREATING ABOUT EMERGENCIES”.
  61. 61. SELECTION OF PRESS AND REVIEWS
  62. 62. art Das Kunstmagazin, November 11th, 2011H art, 2012
  63. 63. Journal of curatorial studies, June 8th 2012 Artribune, Reportage dOCUMENTE (13), July 14th, 2012
  64. 64. Kunstforum, 2015 C&, Reportage from 55th Venice Biennale, 2013
  65. 65. Huffpost, May 30th, 2013 SV1, Reportage from 55th Venice Biennale, 2013
  66. 66. Kino.de, 2013Welt Online, June 8th 2012
  67. 67. Weekendavisen , March 31st, 2017 Interface , 2013
  68. 68. ART AFRICA Magazine, June, 2017Philosophical Views magazine, April 2017
  69. 69. A* DESK CRITICAL THINKING, July 10th, 2017
  70. 70. Thierry Geoffroy/COLONEL, born 1961. www.colonel.dk Thierry Geoffroy, also known as COLONEL, is a French artist, living in Copenhagen, Denmark. He is a format artist devel- oping art formats, the best-known being EMERGENCY ROOM, BIENNALIST and CRITICAL RUN. Thierry Geoffroy/COLONEL has published six books and his artworks are included in international museum collections. He is Chevalier de l’Ordre des Arts et des Lettres. SELECTED GROUP AND ONE-MAN SHOWS: P.S.1/ MOMA New York, USA; ZKM Museum Karlsruhe, DE; Sprengel Museum, Hannover, DE; Moderna Museet, the Mu- seum of Modern Art, Stockholm, SE; HEART- Herning Muse- um of Contemporary Art Denmark, Herning, DK; Plazzo Delle Arti Napoli, IT; The Museum of Contemporary Art, Roskilde, DK; Galerie Asbaek Copenhagen, DK; The Maldives Pavilion, Venice Biennale, Venice, IT; Liverpool Biennial, Liverpool, UK, Manifesta, The European Biennial of Contemporary Art, Murcia, ES; National Museum Reykjavik, FI; Galerie Olaf Stü- ber, Berlin, DE; IKM Museum, Oslo, NO; Fries Museum, Le- euwarden, NL; Deveron Arts, Huntly, Aberdeenshire, SCO; The Model, Sligo, IR; Fotografisk Center, Copenhagen, DK; Cairo Biennale, Cairo, EG; Blackwood Gallery Toronto, CAN; Galerie Ileana Tounta, Athens, GR; Kunsthalle Osnabrück, Osnabrück, DE.Manifeste, 1989
  71. 71. Contact information: Thierry Geoffroy/ COLONEL 1@colonel.dk www.colonel.dk Produced by Gallery Ultracontemporaine ISBN 978-87-970047-0-8 © Thierry Geoffroy/ COLONEL

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