Christian Philipp Müller

Histories in Conflict: Haus der Kunst and the Ideological Uses of Art

June 10 2012 - January 13 2013
Haus der Kunst, Munich, Germany

Exhibition dramaturgy, installations
© Christian Philipp Mueller for Haus der Kunst, Munich, 2012

Swiss Chard Ferry

June 9 2012 - September 9 2012 dOCUMENTA (13), Kassel, Germany Varieties of chard, planted on barges floating a canal © Christian Philipp Mueller for dOCUMENTA (13), Kassel, 2012
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31 in Chelsea

January 8 2011 - February 19 2011 Murray Guy Gallery, New York, USA Archive of 31 boxes, performance at 1OAK © Christian Philipp Mueller for Murray Guy Gallery, New York, 2011
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Burning Love

June 3 - October 31 2010 Schloss Trautenfels, Styria, Austria BURNING LOVE (Lodenfüßler), 2010 Performance and Installation with video © Christian Philipp Mueller for regionale 10, 2010 See Video: Burning Love Performance, Mai 13, 2010
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Tohuwabohu

September 2 - 30, 2009 Haus der Kulturen der Welt, Berlin TOHUWABOHU Performance and Installation © Christian Philipp Mueller for Haus der Kulturen der Welt, Berlin, 2009 Performances on 2 September 2009 (further information: http://www.hkw.de), 6 (15h), 12 (15h), 13 (15h), 15 (17:30), and 25 (17:30).
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Space Rendezvous

July 19 – November 2, 2008 Manifesta 7, Rovereto Apollo Soyuz 17. - 19. July 1975 17. - 19. July 2008 Parata Parade Carro Largo Christian Philipp Mueller with Coro La Valle © Christian Philipp Mueller for Manifesta 7, 2008 See video: Parata Parade, Carro Largo See video: Space Rendezvous
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Progressive Computerspirale mit Notausgang

June 4 - June 8 2008
Art|39|Basel, Art|Unlimited

Installation with IT-PCs, printers; dimensions variable
© Christian Philipp Mueller for Gallery Christian Nagel, Colone/Berlin, 2008

Cookie-Cutter

January 6 – February 3, 2008
Orchard, New York

In the window:
Christian Philipp Müller, “Infill”, 2008, three panels, plywood, paint, each 6'7" by 1'5/10” by 1 1/4” overall dimension 6'7” by 5'8" by 1 1/4"

Gallery:
Christian Philipp Müller, “Interpellations 2-5” 1994, chipboard, painted, plexiglass, bookracks, manipulated books, 46” h by 48" w by 18" d

Christian Philipp Müller, “Floating Arch (for Colin)”, 2008, six horizontal and two vertical fluorescent lights with 60 w warm tubes, overall dimension 48' x 8' by 4 1/4”

Jeff Preiss und Christian Philipp Müller, “Around the Corner”, 2008, DVD, 120 min.

Basics

January 19 – April 15, 2007
Museum für Gegenwartskunst Basel and Basler Papiermühle, Basel

- Wasserrad, 2007, wood, metal diameter: 189 x 70.9 inches
- Wäschekorb, 2007, wicker and cotton, 43.3 x 23.6 inches
- Inventar, 2007, 4193 books, Papiermühle Basel library, 79 A4-laser printouts
- Wasserbar, 2007, 3 glass carafes and 12 glasses, rack 78.7 x 11.8 inches
- Untitled, 2007, Three sheets of paper, hand made with water mark, silkscreen,
19.7 x 27.6 inches

Passé Immédiat

January 19 – April 15, 2007 [plug.in] Art and New Media, Basel - About 600 outdated computers, monitors, keyboards, printers... (partly running) 32 metal shelfs, 104, 9 x 6,2 feets - A series of events adressing new discourses in media technology.
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Die Neue Welt

Since 2006, permanent Melk Monastery, Monastery Park (a project in conjunction with “Art in Public Space,” Lower Austria) – Die Neue Welt, 2006, steel, cement base, earth, seasonal plantings; 27 x 301 x 92 inches; courtesy “Art in Public Space,” Lower Autria, and the artist – Erntedankfest, 2006, Dining and concerts Cooks: Andrea Edelbacher, Elisabeth Haslinger
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Spice up Powdermaker

Since 2003, permanent
Powdermaker Hall, Social Sciences, Queens College, New York

Ground Floor
– Corn &, 2003, letters made of steel and porcelain enamel; height: 39 inches
– Wall painting
– Three tables, rust-free steel, finply, laminate, printed; 24 x 94 x 47 inches

First Floor
– Potatoes &, 2003, letters made of steel and porcelain enamel; height: 39 inches
– Wall painting
– Four tables, rust-free steel, finply, laminate, printed; 24 x 94 x 47 inches

Second Floor
– Rice &, 2003, letters made of steel and porcelain enamel; height: 39 inches
– Wall painting
– Four tables, rust-free steel, finply, laminate, printed; 24 x 94 x 47 inches

With a total of 60 stools with different coverings

Im Geschmack der Zeit – das Werk von Hans und Marlene Poelzig

October 3 – December 20, 2003
Weydinger Strasse 20, Berlin

March 11 – April 23, 2004
IG Farben, Johann-Wolfgang-Goethe-Universität, Frankfurt am Main

September 11 – November 14, 2004
Architekturmuseum Basel

– Stage set with five architectural fragments, theater spotlights
– Poelzig Serie, 2003, 24 photographs, passe-partout, framed; each 19 x 15 inches
– Im Geschmack der Zeit, 2003, video, 16 min., camera: Madeleine Bernstorff
– Im Geschmack der Zeit, 2003, CD, 34:20 min.
– Filmkunsthaus Babylon, 2003, CD, 24:41 min.
– Rosa-Luxemburg-Platz und Bebauung Babylonblock, 2003, CD, 70:40 min.
– Various plans, documents, and photographs by Hans and Marlene Poelzig

Verein zur Förderung von Kunst und Kultur am
Rosa-Luxemburg-Platz e. V.

Hudson Valley Tastemakers

As of May 2003
Campus Bard College, Annandale-on-Hudson

– Hudson Valley Tastemakers, 2003, steel, painted; six different types of soil from the
   Hudson Valley, seasonal plantings; 59 x 1181 x 47 inches

– Watershed Tastemakers, three dinners at different locations: Chef Gray Kunz and his
   crew at Dick’s Castle, 2002; Chef Mary Cleaver at Bear Mountain Inn, 2003;
   Chef Peter Hoffman at Glynwood Center, 2004

A Taste for Money

March 8 – April 20, 2002
Galerie Christian Nagel, Köln Cologne

Twelve display cases, MDF, painted; glass, adhesive letters, chocolate, cocoa, plaques with text; each 35 x 55 x 27 inches

– A Taste for Money — Belgium, 2002; collection of Eduard Zapp, Düsseldorf
– A Taste for Money — Germany, 2002; private collection, Berlin
– A Taste for Money — Finland, 2002
– A Taste for Money — France, 2002
– A Taste for Money — Greece, 2002
– A Taste for Money — Ireland, 2002
– A Taste for Money — Italy, 2002
– A Taste for Money — Luxemburg, 2002
– A Taste for Money — Netherlands, 2002
– A Taste for Money — Austria, 2002
– A Taste for Money — Portugal, 2002
– A Taste for Money — Spain, 2002

The Sweetest Place on Earth, 2001, MDF, painted, glass, adhesive letters, paint, photographs, five wall boxes, 9.75 x 622.25 x 5.5 inches Private collection, Berlin

Courtesy of Galerie Christian Nagel, Cologne / Berlin

Portrait of the Museum as a Chair

October 25 – December 11, 2001 Museum as Subjects, The National Museum of Art, Osaka Portrait of the Museum as a Chair, 2001, temporary installation: 52 chairs, information sheets (Japanese / English), podium; total dimensions: 130 x 354 x 236 inches
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Autofocus

November 6 – December 30, 1999 Kunsthalle Zurich Eidgenössische Preise für Freie Kunst Swiss Art Awards 1999 – Autofocus, 1999, adhesive letters, dimensions variable – Autofocus, 1999, artist book (typography with Theo Leuthold, 24 pages); 6 x 9 inches Commissioned by the Swiss Art Commission on the 100th anniversary of the Swiss Art Awards, 1999
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Eine Welt für sich

September 22 – October 31, 1999
Schleifmühlgasse, Vienna

Three-part installation
Part 1: Coffeehouse with reading material on the Freihausviertel

Part 2: Temporary museum with loans from institutions and private individuals in
the Freihausviertel
– Various objects, cordon, labeling, light switch, light bulb, four loudspeakers
– Eine Welt für sich (cooperation with ORF-Kunstradio), 1999, CD, 59 min.

Part 3: Historic archive with documents from residents of the Freihausviertel
– Eine Welt für sich, 1999, 30 photographs, passe-partout, framed;
each 11 x 9 inches; courtesy Georg Kargl, Vienna

Listen to CD excerpts...

Der Campus als Kunstwerk

Since 1998, permanent
Campus of the University Lüneburg

Entry Hall
– Untitled, 1998, wall text, display case made of steel, glass, building plans;
   Display case: 44.5 x 20.75 x 122.75 inches

Library
– Der Campus als Kunstwerk, 1998, 101 silkscreens with 16 plaques with text,
   passe-partout, framed; each 29.5 x 21.7 inches

Computer Center
– Abteilung Prototypen (together with students), 1998, installation: ca. 200 prototypes
   of merchandising articles in a steel and glass display case and in a wooden bookshelf,
   desk, stool, lamps, timer, dimensions variable

Naturalezas Muertas

February 13 – March 25, 1998
Galeria Oliva Arauna, Madrid

– Spanish Family of Ikea / US Family of Ikea, 1998, laserchrome; each 42 x 38 inches;
   collection of the artist
– The Party Girls, 1998, iris print, edition of 3; 40 x 56 inches
– The Entertainer, 1998, iris print, edition of 3; 40 x 56 inches
– The Collector, 1998, iris print, edition of 3; 40 x 56 inches
– What You Can’t See Is How Well It Goes with Your Student Loans, 1998, props on a
   base, Plexiglas, Ikea table “Lack;” 59 x 23 x 23 inches
– You’ll Probably Never Need It, 1998, props on a base, Plexiglas, Ikea table “Lack;”
   68 x 23 x 23 inches; Themistocles and Dare Michos, San Francisco
– Wenn Ansprüche wachsen, 1998, props on a base, Plexiglas, Ikea table “Lack;”
   59 x 23 x 23 inches

Courtesy of Galeria Oliva Arauna, Madrid

A Balancing Act

June 21 – September 28, 1997
Fridericianum, Kassel, documenta X, 1997

Performance
– A Balancing Act
   Friedrichsplatz Kassel,
   Wednesday, May 14, 1997,
   10:00 am, ca. 60 min.

Elements of the Performance
– Tightrope
– Balancing rod, oak and brass

Contributor
Heinz Jürgen Weidner

Exhibition Space
– A Balancing Act, 1997, oak and brass on a base, monitor with the video A Balancing
   Act, 20 min., camera: Jan Lackner, photographs and documents, framed and labeled
   with signs, wall text

See video...

Was nahe liegt, ist doch so fern

February 14 – March 30, 1997
Kunstverein Hamburg (in conjunction with “weitergehen,” a project focus of the “Art in Public Space” program of the Cultural Authority of Hamburg)

Exhibition Space
– Was nahe liegt, ist doch so fern, 1997, four videos, four monitors on bases,
   loudspeakers, adhesive letters, different lengths
– Ein gordischer Knoten, 1997, felt pen on transparent paper, framed; 47 x 47 inches
   Wall with ca. 1000 submissions from the photography contest
– Model of the Hamburg Art Mile, 1:200
– Additional exhibition contributions by Ulf Wuggenig and Tita Giese

Side Room
– Monsieur Muller, 1997, video, 18:09 min., camera: Jan Lackner;
   Art & Public — Cabinet P.H.

See Video...

News and Gifts

November 1995
American Fine Arts, Co., New York

Preliminary Room
– News and Gifts, 1995, silkscreen on laminated chipboard, 52 x 36 inches

Room 1
Installation: six exhibition displays, chipboard, laminated, silkscreen, each
66 x 36 x 18 inches
– Newsstand Local, 1995; Private collection, Berlin
– Newsstand National # 1, 1995
– Newsstand National # 2, 1995; destroyed
– Newsstand International # 1, 1995; Barbara and Howard Morse, New York
– Newsstand International # 2, 1995; Themistocles and Dare Michos, San Francisco
– Newsstand International # 3, 1995; collection of F. C. Gundlach, Hamburg

Room 2
Installation: two pyramids for products, chipboard, laminated; each
72 x 72 x 57 inches
– Pyramid 1, 1995
– Pyramid 2, 1995

Zelle des Mystagogen

June 2 – July 30, 1995
Platzwechsel (with Ursula Biemann, Tom Burr, Mark Dion)
Kunsthalle Zurich and Schweizerisches Landesmuseum, Zurich

Kunsthalle Zurich
– Zelle des Mystagogen, 1995, concrete, scrap wood, silk, plastic; 98 x 154 x 166 inches;
courtesy of Galerie Christian Nagel, Cologne / Berlin

Schweizerisches Landesmuseum
(Loggia / Alcove Tower)
– Betretbare Form, 1995, granite from the Maggia Valley
– Panorama (with Ursula Biemann, Tom Burr, and Mark Dion), 1995, adhesive letters,
dimensions variable

Tour de Suisse

September 4 – October 23, 1994
Fri-Art Centre d‘Art Contemporain, Fribourg

Preliminary Room
   – Hutregal, 1994, 49 hats, labeled, in a shelf made of MDF; Private Collection, Berlin

Exhibition Space
– Installation: MDF, painted; metal supports, current publications of Swiss cultural
   institutions, six coat hooks, six hats, wall text, 60 wooden boxes, 35 with completed
   questionnaires
– Cinema: video projection Sketch for a Roadmovie, 150 min., camera: Michel Ritter;
   table with monitor and video archive of talks with curators

See video...

Interpellations

April 16 – May 7, 1994
American Fine Arts, Co., New York

Exhibition Space
Six display cases, chipboard, painted; Plexiglas, bookracks, each 46 x 48 x 18 inches;
total dimensions: 46 x 144 x 36 inches
– Vitrine 1, 1994, four English-language travel guides, manipulated; Private collection,
   New York
– Vitrines 2, 3, 1994, four English-language travel guides each, manipulated
– Vitrines 4, 5, 6, 1994, four German-language travel guides each, manipulated

Office of the Gallery Owner
– Tablevitrine, 1994, two English-language travel guides, manipulated; chipboard,
   painted; Plexiglas, bookracks; 18 x 26 x 6 inches; Themistocles and Dare Michos,
   San Francisco

The Family of Austrians

October 19 – November 30, 1993
Galerie Metropol, Vienna

Display Window
– The Family of Austrians, 1993, reworked exhibition catalogue The Family of
   Man (1955), linen slipcase, embossed; Sammlung Karola Grässlin

Room 1
– The Family of Austrians 1:10, A, 1993, model on base, MDF, painted; Plexiglas,
   seven black and white photographs, adhesive letters, wire; total dimensions:
   51 x 27 x 15 inches; Ernst Ploil, Vienna
– The Family of Austrians 1:10, B, 1993, model on base, MDF, painted; Plexiglas
   seven black and white photographs, adhesive letters, wire; total dimensions:
   51 x 27 x 15 inches; Georg Kargl, Vienna

Room 2
– Untitled, 1993, black and white photograph, passe-partout, framed; edition of
   three; 20 x 22 inches
– Untitled, 1993, table made of pear wood, linoleum, steel, mail order catalogue
   (traditional fashion, 1993 season); 71 x 39 x 37 inches
– Three display cases with traditional Bregenzerwälder women’s costumes; collection
   of the Institute for Costume Studies, Hochschule für Angewandte Kunst, Vienna
– Monitor with two educational films about traditional women’s costumes from
   Bregenz by Annemarie Bönsch; Österreichisches Bundesinstitut für den
   Wissenschaftlichen Film, Vienna

Room 3
– The Family of Austrians, 1993, installation: seven black and white photographs,
    enlarged; 275 x 153 inches; Ernst Ploil, Vienna

Individual Comfort

June 1 – September 30, 1993 Project Unité, Unité d’Habitation, Firminy Apartment 389 – Individual Comfort, 1993, acoustic study (47 elements), framed; sound proofing curtains, neon tubes, wall painting; Sammlung Karola Grässlin
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Green Border

June 14 – October 10, 1993
Austrian Pavilion, 45th Biennale di Venezia
Stellvertreter, Representatives, Rappresentanti
(with Andrea Fraser, Gerwald Rockenschaub)

Sculpture Courtyard
– Gartentisch, 1993, different kinds of wood corresponding to the percentage of various
   types of trees in Austria, turnable; diameter: 157 inches, Collection of Günther Lorenz
– Demolition of the garden wall and redesign
– Two signs with botanical information

Right Wing
– Outside: surveillance camera
– Inside: eight trees from Austria, eight signs with botanical and geo-political information,
   eight plaques with directions, eight veduta from the Austrian National Library, air
   conditioner with sluice and monitor

See impressions...

A Sense of Friendliness, Mellowness, and Permanence

November 22 – December 23, 1992
American Fine Arts, Co., New York

Exhibition Room
– Untitled, 1992, felt curtain, faux leather, brass; two components; 90 x 65 /
   90 x 85 inches, The Museum of Contemporary Art, Los Angeles
– Maître d’Stand, 1992, oak, American Fine Arts menus (number variable), guest list,
   yellow pages and two telephone books from New York, mobile telephone);
   55.5 x 19.25 x 18.5 inches; The Museum of Contemporary Art, Los Angeles
– Disguise, 1992, wooden planks made of oak, wall lamps made of brass and glass;
   height: 55 inches, width: variable; partially owned by: Themistocles and Dare Michos,
   San Francisco; The Museum of Contemporary Art, Los Angeles; collection of
   Peter Weibel; Sammlung Wiese, München

Office of the Gallery Owner
– Ma Bibliothèque, 1992, wall paper, oak, artists books, cognac carafe, gilded;
   95 x 79 x 13 inches; Collection Barbara and Howard Morse, New York

Forgotten Future

April 29 – June 28, 1992
Kunstverein Munich

Preliminary Room
– Untitled, 1990, two enamel plaques (Antwerp / Villes radieuses); 41 x 27 inches /
   85 x 39 inches; courtesy of Galerie Micheline Szwajcer, Antwerp
– Wall text
– Display case with documents about Le poème éléctronique by Edgard Varèse
– Cinema display case with documents about Anders als du und ich, § 175 by Veit Harlan

Central Exhibition Space
– Das unvollständige Gedicht, 1992, wood, painted; carpet, two glass doors with electronic
   closing mechanisms, motion detector, CD player with two loudspeakers (composition of
   Le poème éléctronique by Edgard Varèse, 8 min.); 178 x 204 inches; collection of
   Günther Lorenz, Munich
– Nomenklatur, 1992, two projectors with 123 small-format slides; courtesy of Galerie
   Christian Nagel, Cologne / Berlin
– Model of the Philips Pavilion at the World’s Fair in Brussels (1958) on a base
– Yellow wall element: ten original drawings, a photograph of Le Corbusier and for
   fragments of the score of Le poème éléctronique
– Pink wall component: eight works on paper, a photograph, two illuminated kinetic
   objects and an architectural model by Nicolas Schöffer

Side Room 1
– und in München, 1992, wall text; courtesy of Galerie Christian Nagel, Cologne / Berlin

Side Room 2
– Das Dritte Geschlecht (with Madeleine von Bernsdorff), 1992, video, 9 min.; courtesy of
   Galerie Christian Nagel, Cologne / Berlin
– Narrow passageway

Fixed Values

December 14, 1991 – January 19, 1992
Palais des Beaux-Arts, Brussels

Rotunda
– The King’s Welcoming Speech, 1988, monitor with video on base, 3 min.; Sammlung
   Karola Grässlin

Room 1
– Vitrine, 1991, wooden display case, objects from performance labeled with their
   auction number (photo originals from Germany, German peaked cap, entry tickets,
   men’s shoes, roll of wall paper on top of a page with a “Rémy Martin” ad, clover,
   Le poème électronique by Le Corbusier, drawing Progressive Stimulierungskurve,
   tape recorder, color photograph with cover, box with glued-on piece of newspaper);
   Collection Bruno van Lierde, Brussels

Room 2
– Sich vordrängender Hintergrund, 1991, paper, mechanism for hanging, rolled-up
   length variable; 143 x 1181 inches; courtesy of Galerie Christian Nagel,
   Cologne / Berlin
– Two Important Dates in My Life, 1991, acrylic on canvas, two parts 10 x 13 inches /
   61 x 76 inches; Daled Collection, Brussels

Room 3
– Installation: fabric wall covering, 16 halogen spotlights, felt and signs with auction
   numbers
– Köln–Düsseldorf, 1990, 16 Plexiglas cubes, disassembled, varying dimensions;
   Sammlung Karola Grässlin

Bibliobus

May 26 – September 29, 1991
Tabula Rasa, public space of Biel, Switzerland

– Bibliobus, 1991, bus, bookshelves, photocopier, two tables, plaques with text,
   adhesive film

– Six locations, each for three weeks
– Champagne Primary School, next to Bernhard Luginbühl, Aggression, 1962
– Rittermatte Secondary School, next to Hans Aeschbacher, Figur 1, 1955
– Vocational School, next to Jean Tinguely and Bernhard Luginbühl,
   Riesenkandelaber, 1975
– Strandboden High School, next to Ueli Berger, Jura, 1980
– Technical School, next to Arnold d’Altri, Die Schatten, 1956
– Seminar Linde, next to the Berner Arbeitsgemeinschaft, Farbige
   Baumruine, 1975

Köln–Düsseldorf

October 6 – November 10, 1990
Galerie Christian Nagel, Cologne

– Köln–Düsseldorf, 1990, 16 Plexiglas cubes, 46 computer-generated designs in
Plexiglas, framed; dimensions variable; Sammlung Karola Grässlin
– Kölner Künstler, 1990, silkscreen on canvas linen; 59 x 82 inches
– Düsseldorfer Künstler, 1990, silkscreen on canvas linen; 59 x 82 inches

Galerie Christian Nagel, Cologne/Berlin

Auftakt

April 26 – May 26, 1990 The Köln Show, Gallery Building at Venloer Strasse 21, Cologne Stairway – Auftakt, 1990 (with Fareed Armaly), four loudspeakers, tapes (Muzak Brussels) Listen audio....
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Antwerp, Left Bank

February 16 – March 17, 1990
Galerie Micheline Szwajcer, Antwerpen Antwerp

– Untitled, 1990, two enamel plaques (Antwerp / Villes radieuses); 41 x 27 inches /
   85 x 39 inches

– Three For Antwerp, 1990, three aluminum elements covered with a projection screen,
   three projectors with identical small-format slides; each 72 x 86 x 47 inches

– Promenade dans une Ville radieuse non realisée, 1990, artist book, silkscreen on
   cardboard (16 pages); 9 x 9 inches, edition of 125 Courtesy of Galerie Micheline
   Szwajcer, Antwerp

Porte bonheur

June 8 – July 13, 1989 Maison de la Culture et de la Communication de Saint-Étienne Preliminary Room – André Malraux, 1989, photograph, passe-partout, framed; 30 x 26 inches Exhibition Space – 17 concrete components, nine are planted with four-leafed clovers and eight are covered with red cloth
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Eh! bien prenons la plume

September 3 – September 24, 1988
Arti et Amicitiae, Amsterdam

Rooms I, II, III, VI, VII
Wallpaper with silver
motifs of St. Luke on a blue background

Room III
– The King’s Welcoming Speech, 1988, monitor and video on base, 3 min.; Sammlung
   Karola Grässlin
– Reconstruction of the original architecture in MDF, curtain fabric

Room VI
– Architectural intervention in wood, painted
– Group picture (gift of 15 Arti et Amicitiae members to King Wilhelm III, 1874)
– Bench by Hendrik Petrus Berlage, 1893

Stairway / Club Rooms
– Site-specific works by new Arti et Amicitiae members: Fortuyn/O’Brien, Aldert Mantja,
   Rob Scholte, Ton van Summeren, Martin van Vreden, Peer Veneman

– Eh! bien prenons la plume, 1988, artist book (96 pages); 6.5 x 9.5 inches,
   edition of 1000

Carl Theodors Garten in Düsseldorf-Hellerhof

October 4 – 26, 1986 Düsseldorf-Hellerhof Elements of the Performance – Six Sheets, labeled – program (32 pages) – entry tickets Contributors Andreas Siekmann (speaker) Beate Schmalbrock (flute) Johannes Steinert (violin) Ulrich Maiss (cello) Jürgen Mester (speaker) Robert Haiss (speaker)
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Kleiner Führer durch die ehemalige Kurfürstliche Gemäldegalerie

February 5 – 8, 1986 Rundgang, Kunstakademie Düsseldorf Elements of the Performance – Two boards of compressed wood, labeled – Two rolls of paper, hand-painted – Two pieces of Plexiglas, labeled – Two display stands made from scrap wood – 1000 leaflets (ten pages)
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