{"id":34226,"title":"The Story Of Bern (Or) Showing Colors","dimensions":"23 x 22 cm","date_begin":"1970-01-01","material":"set of 69 drawings, felt pen on cardboard","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection The Hammer Museum, Los Angeles","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":30,"permalink":"the-story-of-bern-or-showing-colors","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/797/medium_500/20231016_MUHKA_DorothyIannone2678_web.jpg?1698240693","cached_actor_names":"Dorothy Iannone","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Other","nl":"Andere","fr":"Autre"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/797/large/20231016_MUHKA_DorothyIannone2678_web.jpg?1698240693","poster_credits":"© Dorothy Iannone. Photo: We Document Art – Antwerp, 2023","translations":[{"locale":"en","short_description":"","description":"\u003cblockquote\u003e\r\n\u003cp\u003e\u003cspan style=\"color:#990000\"\u003e\u0026ldquo;Maybe you could say that my book The Story of Bern which Dieter and I published in 1970 was a new kind of art history. It tells the story in words and drawings of the exhibition \u003cem\u003eFreunde\u0026nbsp;\u0026mdash; Friends \u0026mdash; d\u0026rsquo;Fr\u0026uuml;nde\u003c/em\u003e, at the Kunsthalle Bern in 1969, which at the time was directed by Harald Szeemann. Four Swiss artist friends, Daniel Spoerri, Andr\u0026eacute; Thomkins,\u0026nbsp;Karl Gerstner, and Dieter Roth, happened to all be living in D\u0026uuml;sseldorf. They decided that each would invite as many of their friends as they liked, to exhibit with them. Andr\u0026eacute; invited thirty, Daniel six or so, and Karl, nine. Dieter invited only two, Emmett Williams and me because, he said, he wanted to show the intense relationship between us and him. From me, Dieter requested \u003cem\u003e(Ta)rot\u003c/em\u003e, a set of twenty-seven cards depicting scenes from Dieter\u0026rsquo;s life, as well as my Dialogues, a series of original books in which I recorded, with drawings and words, scenes from our life, and \u003cem\u003eLists (IV)\u003c/em\u003e.\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"color:#990000\"\u003eEarly on, there was concern among some of the artists that my work would cause trouble. The day before the opening, Harald and Karl put some brown tape over the genitals. This didn\u0026rsquo;t hurt the work physically because Dieter had hung everything in plastic containers. But after a discussion at dinner that evening, it was decided to remove the tape and show the work uncensored. However, the next morning, when the head of the board of directors saw my work, he declared most of it unsuitable. And so, Harald had to remove some of the works. As a protest against the censorship of my work, the day after the opening, Dieter removed all of his work from the show because, he said, his part of the exhibition no longer made sense.\u0026rdquo;\u003c/span\u003e\u003c/p\u003e\r\n\u003c/blockquote\u003e\r\n\r\n\u003cp style=\"text-align:right\"\u003e\u0026nbsp;\u003cspan style=\"font-size:12px\"\u003eDorothy Iannone, from Maurizio Cattelan,\u003ca href=\"https://flash---art.com/article/dorothy-iannone\"\u003e\u003cem\u003e Dorothy lannone. A Revolutionary Life\u003c/em\u003e\u003c/a\u003e. Flash Art International, n\u0026deg; 247, March-April 2006, pp. 79-81\u003c/span\u003e\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cblockquote\u003e\r\n\u003cp\u003e\u003cspan style=\"color:#990000\"\u003e\u0026#39;Misschien zou je kunnen zeggen dat mijn boek The Story of Bern, dat Dieter en ik in 1970 publiceerden, een nieuw soort kunstgeschiedenis was. Het vertelt in woord en beeld het verhaal van de\u0026nbsp;tentoonstelling\u003cem\u003e Freunde\u0026nbsp;\u0026mdash; Friends \u0026mdash; d\u0026rsquo;Fr\u0026uuml;nd\u003c/em\u003ee\u0026nbsp;in de Kunsthalle Bern in 1969, waar Harald Szeemann destijds directeur was. Vier Zwitserse kunstenaarsvrienden \u0026ndash; Daniel Spoerri, Andr\u0026eacute; Thomkins, Karl Gerstner en Dieter Roth \u0026ndash; woonden toevallig allemaal in D\u0026uuml;sseldorf. Ze besloten dat ze elk zoveel vrienden zouden uitnodigen als ze zelf wilden, om met hen tentoon te stellen. Andr\u0026eacute; nodigde er dertig uit, Daniel een stuk of zes, en Karl negen. Dieter nodigde er slechts twee uit, Emmett Williams en mezelf, omdat hij, zo zei hij, de intense relatie tussen ons en hem wilde laten zien. Van mij vroeg Dieter het werk \u003cem\u003e(Ta)Rot,\u003c/em\u003e\u0026nbsp;een set van zevenentwintig kaarten met sc\u0026egrave;nes uit Dieters leven, en ook mijn \u003cem\u003eDialogues\u003c/em\u003e, een reeks originele boeken waarin ik met tekeningen en woorden sc\u0026egrave;nes uit ons leven had vastgelegd, en \u003cem\u003eLists (IV)\u003c/em\u003e.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAl vroeg waren sommige kunstenaars bezorgd dat mijn werk problemen zou veroorzaken. De dag voor de opening hebben Harald en Karl wat bruine tape over de geslachtsdelen geplakt. Dit schaadde het werk fysiek niet omdat Dieter alles in plastic containers had gehangen. Maar na overleg tijdens het diner die avond werd besloten de tape te verwijderen en het werk ongecensureerd te tonen. Toch verklaarde de president van de raad van bestuur de volgende ochtend toen hij mijn werk zag dat het meeste ervan ongeschikt was. En dus moest Harald enkele werken verwijderen. Als protest tegen de censuur van mijn werk heeft Dieter de dag na de opening al zijn werk uit de tentoonstelling verwijderd omdat, zoals hij zei, zijn deel van de tentoonstelling niet langer op iets sloeg.\u0026#39;\u003c/span\u003e\u003c/p\u003e\r\n\u003c/blockquote\u003e\r\n\r\n\u003cp style=\"text-align:right\"\u003e\u003cspan style=\"font-size:12px\"\u003e\u0026nbsp;Dorothy Iannone, uit Maurizio Cattelan,\u003ca href=\"https://flash---art.com/article/dorothy-iannone\"\u003e\u003cem\u003e Dorothy lannone. A Revolutionary Life\u003c/em\u003e\u003c/a\u003e. Flash Art International, n\u0026deg; 247, March-April 2006, p. 79-81\u003c/span\u003e\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cblockquote\u003e\r\n\u003cp\u003e\u003cspan style=\"color:#990000\"\u003e\u0026ldquo;On pourrait peut-\u0026ecirc;tre dire que le livre The Story of Bern, que Dieter et moi avons publi\u0026eacute; en 1970, est une nouvelle sorte d\u0026rsquo;histoire de l\u0026rsquo;art. Il relate en mots et en dessins l\u0026rsquo;histoire de\u0026nbsp;l\u0026rsquo;exposition \u003cem\u003eFreunde \u0026mdash; Friends \u0026mdash; d\u0026rsquo;Fr\u0026uuml;nde\u003c/em\u003e, qui s\u0026rsquo;est tenue en 1969 \u0026agrave; la Kunsthalle de Berne, que Harald Szeemann dirigeait \u0026agrave; l\u0026rsquo;\u0026eacute;poque. Il se fait qu\u0026rsquo;\u0026agrave; ce moment-l\u0026agrave;, quatre artistes et amis suisses, \u0026agrave; savoir Daniel Spoerri, Andr\u0026eacute; Thomkins, Karl Gerstner et Dieter Roth, vivaient tous \u0026agrave; D\u0026uuml;sseldorf. Ils ont d\u0026eacute;cid\u0026eacute; que chacun inviterait autant d\u0026rsquo;amis qu\u0026rsquo;il le souhaitait \u0026agrave; exposer avec eux. Andr\u0026eacute; en invita trente, Daniel, environ six et Karl, neuf. Dieter n\u0026rsquo;en a invit\u0026eacute; que deux, Emmett Williams et moi, parce qu\u0026rsquo;il disait vouloir montrer la relation intense que nous entretenions lui et nous. Dieter a demand\u0026eacute; le jeu de \u003cem\u003e(Ta)rot\u003c/em\u003e, un jeu de vingt-sept cartes repr\u0026eacute;sentant des sc\u0026egrave;nes de sa vie, mes Dialogues, une s\u0026eacute;rie de livres originaux dans lesquels j\u0026rsquo;avais consign\u0026eacute; en dessins et en mots des sc\u0026egrave;nes de notre vie, ainsi que \u003cem\u003eLists (IV)\u003c/em\u003e.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAu d\u0026eacute;but, certains artistes craignaient que mon travail ne cause des ennuis. La veille du vernissage, Harald et Karl ont coll\u0026eacute; du ruban adh\u0026eacute;sif brun sur les parties g\u0026eacute;nitales. Cela n\u0026rsquo;a pas physiquement nui \u0026agrave; l\u0026rsquo;\u0026oelig;uvre, car Dieter avait tout accroch\u0026eacute; dans des conteneurs en plastique. Mais apr\u0026egrave;s une discussion lors du d\u0026icirc;ner le soir m\u0026ecirc;me, nous avons d\u0026eacute;cid\u0026eacute; de retirer le ruban adh\u0026eacute;sif et de montrer l\u0026rsquo;\u0026oelig;uvre sans censure. Cependant, le lendemain matin, lorsque le pr\u0026eacute;sident du conseil d\u0026rsquo;administration a vu mon travail, il a jug\u0026eacute; la plupart des \u0026oelig;uvres inappropri\u0026eacute;es. Harald devait donc retirer ces \u0026oelig;uvres. En guise de protestation contre la censure de mon travail, Dieter a retir\u0026eacute; toutes ses \u0026oelig;uvres de l\u0026rsquo;exposition au lendemain du vernissage, parce que sa partie de l\u0026rsquo;exposition n\u0026rsquo;avait plus de sens, a-t-il d\u0026eacute;clar\u0026eacute;.\u0026rdquo;\u003c/span\u003e\u003c/p\u003e\r\n\u003c/blockquote\u003e\r\n\r\n\u003cp style=\"text-align:right\"\u003e\u003cspan style=\"font-size:12px\"\u003eDorothy Iannone, extrait de Maurizio Cattelan, \u003ca href=\"https://flash---art.com/article/dorothy-iannone\"\u003e\u003cem\u003eDorothy lannone. A Revolutionary Life\u003c/em\u003e\u003c/a\u003e, Flash Art International, n\u0026deg; 247, mars\u0026ndash;avril 2006, pp. 79\u0026ndash;81\u003c/span\u003e\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":4684,"name":"Dorothy Iannone"}]}