Dotting the Voids - A liminal Pieceness

Archival Display Layer

for the show


featuring works by Eleanor Antin, Lee Lozano, Adrian Piper, Mierle Laderman Ukeles

and corresponding archival material from the Dorothee and Konrad Fischer Archive

curated by Isabelle Malz

at Kunstsammlung NRW, K21, Düsseldorf

and a publication referring to Lucy Lippard's Catalogue Cards, together with curator Isabelle Malz and and graphic designer Flo Gaertner

the publication is for download here:


Excerpt from the Text by Isabelle Malz:

(...) While separate rooms in the Bel Etage of the K21 are devoted to Eleanor Antin, Adrian Piper, and Mierle Laderman Ukeles, the work of Lee Lozano – 11 Private Books, a selection of her Language Pieces, as well as a painting – will be on view in the Dorothee and Konrad Fischer Archive. Materials from the Fischer Archive, accompanied by additional documents will be linked to the works of these four Conceptual artists through an exhibition display developed by Katrin Mayer.
On the basis of the investigated documents and works, it seemed suggestive in a number of respects to present Lee Lozano in the context of the Fischer Archive as representing a kind of “an archival impulse.”
Structural disposition of the archival materials, the exhibition spaces, as well as the publication that accompanies the exhibition, were conceptualized in close collaboration with Katrin Mayer. This artist, who lives in Berlin and Düsseldorf, focuses mainly on the realms between work and exhibition. Her site-specific, installative works consistently reflect on feminist themes and historiographic lacunae, as well as on methods of presentation. For the arrangement of the materials, and with reference to Lee Lozano, she has developed a display form for paper items entitled “Dotting the Voids – A liminal Pieceness,” which takes up the principle of ‘boxing.’ The reference here is to the archival boxes of the Fischer Archive, and the same principle is adopted as a formal structure in the framework of Lee Lozano’s Write-Ups and her perforated paintings (Untitled, 1970) as a visualization of the hidden and the highlighting of the relevant. In the form of grid systems, a basic structural and ordering principle in Conceptual art, it also resonates in various other works in the exhibition. Providing the system of order for the exhibited archival materials are large, semi-transparent sheets of paper, arranged loosely on tables having various heights, onto which a grid structure – itself derived from diverse formats of the works on display – has been inscribed as a kind of ‘sensuous grid.’1 The presentation and thematization of superimpositions, interfaces, and juxtapositions calls attention – and moreover in ways that go beyond the formal level that is immanent to the works – to both existing and (newly) uncovered connections and correspondences between the protagonists, their works, and the power structure that prevails within the art system, one that frequently marginalized women or even ignored them entirely. The card catalog, developed with reference to the index cards used by Lucy R. Lippard in her exhibition c. 7,500, and bundled in an envelope with a transparent window, takes up this principle on a further level of commentary. (...)

1 Cf. Lucy R. Lippard’s dedication to Susana in same author: I See/You Mean: A Novel, Chrysalis Books, Los Angeles, 1979.


Texte zur Kunst 118, Juni 2020:
"Follow the dots and all you get is lives" von Francesca Raimondi
siehe Scan unten

Sueddeutsche Zeitung:



Guided Tour with Isabelle Malz:

© Fotos: Achim Kukulies, Linda Inconi