Michael Asher

Parking position, 1st week, June 23 – 30, Siegelkammer and Pferdegasse. Photograph: LWL / Rudolf Wakonigg © Michael Asher Foundation

Parking position, 1st week, June 23 – 30, Siegelkammer and Pferdegasse. Photograph: LWL / Rudolf Wakonigg © Michael Asher Foundation

Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany, Skulptur. Projekte in Münster 1997, June 22 – September 28, 1997, trailer in changing locations

 

Location

1st week: Siegelkammer and Pferdegasse

2nd week: parking space behind building of Bezirksregierung, Geisbergweg 1–3

3rd week: installation no longer possible

4th week: Alter Steinweg across Kiffe-Pavillon, parking meter no. 2560

5th week: Hörster Friedhof / Piusallee

6 th week: An der Kleimannbrücke no. 17

7th week: Dortmund-Ems canal, Rügenufer, ca. 300 m north of Königsberger Straße

8th week: Königsberger Straße 133-135

9th week: near Bröderichweg 36 / Regina-Protmann-Straße 16

10th week: Paula-Wilken-Stiege 3 + 5

11th week: Coerde-market

12th week: church square in Nienberge, in front of no. 6

13th week: corner of Möllmannsweg / Hollandtstraße

14th week: no parking space any longer

15th week: not used due to shortened duration of exhibition

16th week: not used due to shortened duration of exhibition

17th week: not used due to shortened duration of exhibition

18th week: not used due to shortened duration of exhibition

19th week: not used due to shortened duration of exhibition

Michael Asher

* 1943 in Los Angeles, California, USA

† 2012 in Los Angeles

In addition to Michael Asher, other artists have also been invited to Skulptur Projekte several times. He however was the only one who decided repeatedly, after careful consideration, to reconceive the same work. It was in 1997, in particular, that the caravan installation developed a wide-ranging critical potential. Asher’s renewed repetition undermined the mechanisms of an art market system demanding inexhaustible creativity and innovation. The archival documents reveal that the difficulties in realizing the work were becoming increasingly apparent, as the Eriba Familia caravan was now a vintage model and difficult to locate. The caravan, an obvious anachronism within the cityscape, created a high level of recognition, not only due to the high profile of Skulptur Projekte but also through its own continuity, involuntarily becoming a kind of marketing symbol.

Maria Engelskirchen

Location

  • Still existing
  • Removed

Other Participation

This artist also participated in: 1977 1987 2007