“The Crime Was Almost Perfect” at Witte de With
Artists: Saâdane Afif, Kader Attia, Dan Attoe, Dirk Bell, Guillaume Bijl, Bik Van der Pol, Jean-Luc Blanc, Monica Bonvicini, Ulla von Brandenburg, Aslı Çavuşoğlu, François Curlet, Brice Dellsperger, Jason Dodge, Claire Fontaine, Gardar Eide Einarsson, Matias Faldbakken, Keith Farquhar, Dora Garcia, Douglas Gordon, Eva Grubinger, Richard Hawkins, Karl Holmqvist, Pierre Huyghe, Joachim Koester, Onkar Kular, Gabriel Lester, Erik van Lieshout, Jonas Lund, Jill Magid, Teresa Margolles, Fabian Marti, Han van Meegeren, Dawn Mellor, Rupert Norfolk, Raymond Pettibon, Emilie Pitoiset, Olivia Plender, Michael Portnoy, Julien Prévieux, Rodolphe Archibald Reiss, Lili Reynaud-Dewar, Aïda Ruilova, Allen Ruppersberg, Markus Schinwald, Jim Shaw, Noam Toran, Herwig Weiser
Venue: Witte de With, Rotterdam
Exhibition Title: The Crime Was Almost Perfect
Date: January 24 – April 27, 2014
Full gallery of images, press release and link available after the jump.
Images:
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Monica Bonvicini, Chainsaw 2, 2012.
Gardar Eide Einarsson, Our Rival The Rascal, 2008-2009.
Photo: Cassander Eeftinck Schattenkerk
Courtesy Witte de With Center for Contemporary Art, 2014
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Claire Fontaine, Passe-partout, 2011.
Fabian Marti, End Egoic Mind, 2010.
Matias Faldbakken, Lindbergh and Gacy, 2005.
Noam Toran & Onkar Kular, Koons Balloon Mould, 2008.
Gardar Eide Einarsson, How To Hide Things In Public Places, 2013.
Photo: Cassander Eeftinck Schattenkerk
Courtesy Witte de With Center for Contemporary Art, 2014
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Matias Faldbakken, Intervention, 2013.
Matias Faldbakken, Exception of State, 2005-2013.
Photo: Cassander Eeftinck Schattenkerk
Courtesy Witte de With Center for Contemporary Art, 2014
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Guillaume Bijl, Suspect Objects, 1981-2006.
Photo: Cassander Eeftinck Schattenkerk
Courtesy Witte de With Center for Contemporary Art, 2014
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Guillaume Bijl, Suspect Objects, 1981–2006.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Noam Toran & Onkar Kular, Koons Balloon Mould, 2008.
Gardar Eide Einarsson, How To Hide Things In Public Places (Sink Ledge), 2013.
Gardar Eide Einarsson, How To Hide Things In Public Places (Towel Dispenser), 2013.
Claire Fontaine, Passe-partout, 2011.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Ulla von Brandenburg, ”Vorhang, ausgeblichen I”, 2013.
Pierre Huyghe, De Hory Modigliani, 2007.
Markus Schinwald, Lilly, 2011.
Photo: Cassander Eeftinck Schattenkerk
Courtesy Witte de With Center for Contemporary Art, 2014
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Ulla von Brandenburg, ”Vorhang, ausgeblichen I”, 2013.
Pierre Huyghe, De Hory Modigliani, 2007.
Photo: Cassander Eeftinck Schattenkerk
Courtesy Witte de With Center for Contemporary Art, 2014
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Eva Grubinger, untitled (Botokudo I), 2013.
Eva Grubinger, untitled (Botokudo II), 2013.
Eva Grubinger, untitled (Botokudo III), 2013.
Photo: Cassander Eeftinck Schattenkerk
Courtesy Witte de With Center for Contemporary Art, 2014
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Rodolphe Archibald Reiss, Murder of Mme Leplatenier, 1913.
Kader Attia, Reparatur #7, 2013.
Fabian Marti, l’Execution (kaleidoscope), 2007.
Photo: Cassander Eeftinck Schattenkerk
Courtesy Witte de With Center for Contemporary Art, 2014
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Rodolphe Archibald Reiss, Murder of Mme Leplatenier, 1913.
Kader Attia, Reparatur #7, 2013.
Fabian Marti, l’Execution (kaleidoscope), 2007.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Jean-Luc Blanc, Second Union of Parallelism, 2013.
Jean-Luc Blanc, After 70 Days in Yellow Hell, 2013.
Jean-Luc Blanc, Never More All The Truth, 2013.
Jean-Luc Blanc, Butcher Karma or Tudo Bom, 2013.
Jean-Luc Blanc, Tell Me More, 2013.
Jean-Luc Blanc, Long Time Ago While I Was Waiting Mum, 2013.
Jean-Luc Blanc, Puppet Master, 2012.
Teresa Margolles, Joya (pulsera 2), 2007.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Jim Shaw, Zombie Painting #3, 2007.
Bik van der Pol, Untitled (Gold), 2009.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Bik van der Pol, Untitled (Gold), 2009.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Monica Bonvicini, Bet your sweet life, 2010.
Richard Hawkins, Disembodied Zombie, 1997.
Rupert Norfolk, Guillotine, 2007.
Ulla von Brandenburg, Quilt I, 2008.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Michael Portnoy, THRILLOCROME 2, 2013.
Emilie Pitoiset, Les Indiscrets, 2013.
Olivia Plender, The Masterpiece, Part IV — A Weekend in the Country, 2005.
Mike Cooter, New Young American Primitive, 2014.
Mike Cooter, Technicolor proof, 2013.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Karl Holmqvist, Cat People, 2006.
Monica Bonvicini, Identify Protection, 2006.
Monica Bonvicini, That Hangs, 2005.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Monica Bonvicini, Chainsaw 2, 2012.
Erik van Lieshout, Vote for Theo, 2004.
Terese Margolles, Trepanations (Sounds of the morgue), 2003.
Photo: Cassander Eeftinck Schattenkerk
Courtesy Witte de With Center for Contemporary Art, 2014
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Monica Bonvicini, That Hangs, 2005.
Erik van Lieshout, Untitled, 2013.
Photo: Cassander Eeftinck Schattenkerk
Courtesy Witte de With Center for Contemporary Art, 2014
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Fabian Marti, The Death of Joan Vollmer B., 2007.
Richard Hawkins, Edogawa Rampo #11 #12 #7, 2010.
Dan Attoe, Cedars on the Back Road, 2013.
Dan Attoe, Biker Gang with Bonfire, 2008.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Lili Reynaud-Dewar, Ornament; Four Walls Speaking of Revolt, Media and Beauty, 2011.
Lili Reynaud-Dewar, Some objects blackened, 2011.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Mike Cooter, New Young American Primitive, 2014.
Mike Cooter, Technicolor proof, 2013.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Brice Dellsperger, Body Double 26, 2011.
Dawn Mellor, Museum Director (Judith Anderson), 2013.
Dawn Mellor, Art Critic (Glenn Close), 2013.
Dawn Mellor, Independent Curator (Mia Farrow), 2013.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Saadane Afif, Anthologie e l’humour noir, 2012.
Saadane Afif, L’humour Noir, 2010.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Rodolphe Archibald Reiss, Mouchoir taché de sang avant lavage, photographié en lumière incidente, 1906.
Karl Holmqvist, Face Down, 2014.
Han van Meegeren, Isaac blessing Jacob, 1941.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Raymond Pettibon, No Title (As he hung), 2009.
Michael Portnoy, THRILLOCROME 2, 2013.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Matias Faldbakken & Anders Norby, Intervention, 2010.
Douglas Gordon, Letter (number 20), 2006.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Rupert Norfolk, Guillotine, 2007.
Monica Bonvicini, Bet your sweet life, 2010.
Richard Hawkins, Disembodied Zombie George White, 1997.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Markus Schinwald, Lilly, 2011.
Mike Cooter, New Young American Primitive, 2014.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Noam Toran, Polygraph, 2011.
Han van Meegeren, Isaac blessing Jacob, 1941.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Noam Toran, Polygraph, 2011.
Han van Meegeren, Isaac blessing Jacob, 1941.
Rodolphe Archibald Reiss, Mouchoir taché de sang avant lavage, photographié en lumière incidente, 1906.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Aïda Ruilova, Goner, 2010.
Jean-Luc Blanc, Second Union of Parallelism, 2013.
Jean-Luc Blanc, After 70 Days in Yellow Hell, 2013.
Jean-Luc Blanc, Never More All The Truth, 2013.
Jean-Luc Blanc, Butcher Karma or Tudo Bom, 2013.
Jean-Luc Blanc, Tell Me More, 2013.
Jean-Luc Blanc, Long Time Ago While I Was Waiting Mum, 2013.
Jean-Luc Blanc, Puppet Master, 2012.
Photo: Aad Hoogendoorn
Courtesy Witte de With Center for Contemporary Art, 2014
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Jim Shaw, Zombie Painting #4, 2007
Courtesy the artist and Praz-Delavallade, Paris
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Joachim Koester, The Barker Ranch, 2008
Courtesy of the artist and Jan Mot, Brussels / Mexico City
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Joachim Koetser, The Barker Ranch, 2008
Courtesy of the artist and Jan Mot, Brussels / Mexico City
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Joachim Koester, The Barker Ranch, 2008
Courtesy of the artist and Jan Mot, Brussels / Mexico City
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Joachim Koester, The Barker Ranch, 2008
Courtesy of the artist and Jan Mot, Brussels / Mexico City
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Matias Faldbakken, Exception of State, 2005
Courtesy of the artist and STANDARD (OSLO), Oslo
Photographer: Stein Jørgensen
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Matias Faldbakken, Lindbergh and Gacy, 2005 – 2005
Courtesy of the artist and STANDARD (OSLO), Oslo
Photographer: Stein Jørgensen
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Noam Toran en Onkar Kular, Koons Balloon Mould, 2008.
Photo: Cassander Eeftinck Schattenkerk
Courtesy Witte de With Center for Contemporary Art, 2014
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Gardar Eide Einarsson
Courtesy the artist and Peres Projects, Berlin
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Dan Attoe
Courtesy the artist and Peres Projects, Berlin
Images courtesy of Witte de With, Rotterdam
Press Release:
Like any good detective story, art history is filled with enigmas, myths, and riddles waiting to be unraveled. Solving these intellectual puzzles is a common pleasure and few are immune to such a cultural temptation.
Although the link between art and crime can be traced back to ancient times, Thomas De Quincey explicitly theorized this connection in his notorious essay “On Murder Considered As One Of The Fine Arts” (1827). The nineteenth century also saw the growing importance of photography both in the development of criminology and in the new sensationalism of the tabloid press—two phenomena that popularized the genre of the detective story. Cinema soon became the perfect medium for capturing the dubious charm of violence and transforming it into pleasurable images.
Following De Quincey’s ironic proposal to analyze murder from an aesthetic point of view, The Crime Was Almost Perfect is an exhibition that invokes the spirits of visual art, architecture, cinema, criminology, and the modern crime genre, transforming the rooms of Witte de With and the streets of Rotterdam into multiple ‘crime scenes’.
Beyond crime, there is Evil. Thus The Crime Was Almost Perfect necessarily examines the relationship between ethics and aesthetics. Questioning the role of authorship, authenticity, trickery, and fraud, the exhibition blurs the dichotomy between ‘good’ and ‘bad’ taste, while also highlighting the double bind of ‘crime as art’ and ‘art as crime’.
The exhibition brings together over forty local and international artists who cross the bridges linking art and the aesthetics of crime, including challenging works encompassing a multitude of artistic strategies. New and already existing projects as well as a collection of unexpected objects are immersed in unorthodox ways within an environment specially designed by Fabian Marti, that guides the viewer through routes containing different chapters.
Some of the works in the exhibition reflect the detective’s obsessive curiosity and interpretation, the narcissistic identification with the criminal, as well as the spectator’s fetishistic pleasure. A few projects deal with authenticity and frauds that could be considered as ‘art crimes’; some play with the artist’s role as subversive and marginal; others with law, order, and transgression; certain projects tend to represent crime as macabre and sublime as in the cinematic; while a few proposals provide evidence of public historical events—social, political crimes. A few projects could be said to combine selections of these main tendencies.
Eva Grubinger puts up a flag and a brass plaque on the facade of Witte de With, turning it into the Embassy of Eitopomar, a utopian kingdom ruled by the evil master villain Dr. Mabuse. Close to the entrance desk, a wall painted by Jean-Luc Blanc resembles the cover of a pulp magazine signed with the show’s title. Monica Bonvicini presents a machine of torture and desire consisting of six climbing belts in black latex suspended by chains on a slowly turning steel ring. “Why is desire always linked to crime?”, a quote from Karl Holmqvist’s film, will be constantly on the spectators’ mind, whereas Rupert Norfolk’s Guillotine represents the ultimate symbol of capital punishment, a disquieting presence that remains emblematic. In the film Murder in Three Acts, Aslı Çavuşoğlu mimics the television crime genre (exemplified by the series Crime Scene Investigation) showcasing exhibitions as crime scenes and art works as weapons, while Fabian Marti leaves imprints of his hands throughout the gallery spaces. Gabriel Lester creates a cinematographic loop of crime scenes in a park and projects it onto the surrounding walls and on the visitor, fetishizing violent images. The cinematic is also present through uncanny paintings by Dan Attoe, Richard Hawkins, and Dawn Mellor as well as with Brice Dellsperger’s and Aïda Ruilova’s films. Lili Reynaud-Dewar stages an elaborate installation addressing Jean Genet’s life and work as a writer, an activist, and a thief, while Dora Garcia invites the audience to steal a book. A monumental installation by Kader Attia evokes an oppressive labyrinth where images from his own private collection of newspapers and comic strips repeatedly depict the non-Western person as a beast or monster—like in the manipulations undertaken by colonialist propaganda. Jim Shaw ironically portrays businessmen as zombies through a set of paintings and a film, while Saâdane Afif presents the Centre Pompidou as a coffin softly killing the museum. These are just a few examples of the types of works that will be offered to the audience to be discovered during their visit to The Crime Was Almost Perfect.