Emperor's New Installation

"The Pavilion will be left empty, with only the traces of past exhibitions remaining."

This guy gets THE JOSIE PRIZE for most imaginative work in show.

Inside the empty pavilion a group of people were taking a break. I watched another person's reaction to the unexpected empty pavilion, it mirrored my own.

Since 2001 Daniel Knorr has been working on “invisible artworks.” These works exist as oral information and narration. The documentation of the works as well as their "materialization" only occurs through media.

This is a classic solution to the age old panic of an unprepared looming exhibition. Minimalism. Conceptual minimalism. If you are only going to present the documentation as the work anyway, why bother making a work in the first place? It makes sense to me. Loved it.

"The second part of the presentation in the Romanian Pavilion consists of a reader in English, edited by Marius Babias, that contains critical texts on Europe and illustrations by Daniel Knorr. The thousand-page reader will be given to exhibition visitors free of charge."

Unfortunately the readers were also absent.



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about the artist from artnet

from artfacts.net

world market 1996 - interview


rotterdam 2000

Daniel Knorr presents his project "Not Another Readymade (Visible Invisible Series)", which was started in Zurich in 2001, followed by Iasi and Chicago. However, the piece exists only in the sphere of the spoken word: In each gallery where the work was presented the guards had to explain to the public that there are no works to be seen.

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Romanian Pavilion at the 51st Venice Biennale European Influenza: Daniel Knorr 09 June 2005 16:00 - 10 November 2005 Italy : Exhibition : fine arts European Influenza
The artist Daniel Knorr, who was born in Bucharest and lives in Berlin, represents Romania at the 51st Venice Biennale. The commissioner of the Romanian Pavilion is Marius Babias.

European Influenza will be exhibited in the Romanian Pavilion. The Venice Biennale, as a world model for culture, is an ideal place for the presentation of a powerful countermodel to the eastern expansion of the European Union. The Pavilion will be left empty, with only the traces of past exhibitions remaining.

The materialization of the work "European Influenza" takes place through the consideration and observation of the process of European unification, so to speak in the minds of the visitors and their process of interaction with society and media. Since 2001 Daniel Knorr has been working on “invisible artworks.” These works exist as oral information and narration. The documentation of the works as well as their "materialization" only occurs through media.

Further, the process of European acculturation is a focus of this presentation. The question is how new cultures of assimilation, liberated identities, and options for action can emerge in the prospect of Europe’s future self-definitions. The visual arts produce linguistic and visual politics, models for thinking and observing, that cross borders.

The second part of the presentation in the Romanian Pavilion consists of a reader in English, edited by Marius Babias, that contains critical texts on Europe and illustrations by Daniel Knorr. The thousand-page reader will be given to exhibition visitors free of charge. The authors include Edit Andras, Sorin Antohi, Marius Babias, Boris Buden, Cosmin Costinas, Nicoleta Esinencu, Catalin Gheorghe, Roger Griffin, Vasif Kortun, Erden Kosova, Marta Kuzma, Oliver Marchart, John Miller, Rastko Mocnik, Stefan Nowotny, Bojana Pejic, Dan Perjovschi, Natasa Petresin, Ileana Pintilie, Piotr Piotrowski, Meike Schmidt-Gleim, Hito Steyerl, Kristine Stiles, Marlene Streeruwitz, Ovidiu Tichilendeanu, Attila Tordai-S., Raluca Voinea, and Tim Zulauf.

Commissioner / Curator: Marius Babias

Romanian Pavilion, Giardini di Castello

location

La Biennale di Venezia
Giardini / Arsenale
Venezia - Italy
http://www.labiennale.org

link

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"Or the wrecked and empty Romanian pavilion, a non-work that Daniel Knorr presents, I take it, as a kind of metaphor for the powerlessness of art and of the nation state in the new world order and the new Europe, but that reminds us only of other such non-happenings that have amused, baffled and annoyed visitors over the past decades"

The Guardian