Hans Haacke

The Institutional Critic

“Condensation Cube,” 1963-65; Plexiglas and water.

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Embodies the physical occurrence of the condensation cycle in real time. Relies on the museum and gallery space to help it function.

 

“Condensation Wall,” 1963-66; Plexiglas, distilled water.

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Similar to how “Condensation Cube’ operated. Reflects Haacke’s involvement with the West German-based group Zero.

“Blue Sail,” 1964-65; chiffon, oscillating fan, fishing weights, and thread.

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A piece of chiffon is suspended over an oscillating fan that blows up and causes it to wave. Haacke believed that the aesthetics of this work could be, compared with traditional sculpture, a partner of the viewer rather than an interpretation.

“Wide White Flow,” 1967; installation; electric fans, white silk fabric.

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A piece of light, white fabric covers the entire floor and four fans blow air that keeps the fabric floating in waves. The title, a descriptive term, shows that fantasies are irrelevant, concerning the Romantic nationalism of the Third Reich.

“Grass Cube,” 1967; Plexiglas, earth, fescue grass, water.

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An acrylic plastic box topped by a small, growing lawn. The grass atop the box represents intrusions that are a common feature of existence.

“Nachrichten (News),” 1969-70; installation for “Prospect 69” and “Software” (1970); one to five teletype machines, wire service; 15 plastic containers with newsprint.

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Teletype machines printed out messages transmitted by the DPA (Deutsche Presse Agentur – German Press Agency), New York Times, Reuters, and UPI (United Press International). The printouts accumulated in containers or on the floor and provided information that the news media was obtaining.

“MoMA Poll,” 1970; installation; Plexiglass balot boxes.

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An institutional critique of a major donor, governor of New York, and board member at MoMA, Nelson Rockefeller. Each visitor was given a ballot, with colors differing according to their status, and they would cast their votes on the particular question posed. Every evening the ballots were tallied and the number of boxes was entered on a chart next to them.

“Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971”; installation.

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Was a part of Haacke’s solo show at the Guggenheim and takes on the real-estate holdings of one of New York City’s biggest slum landlords, who was connected to Solomon R. Guggenheim. The work exposed, through meticulous documentation and photographs, the questionable transactions of Harry Shapolsky’s real-estate business between 1951 and 1971. His show was cancelled on the grounds of artistic impropriety by the museum’s director six weeks before the opening.

“Untitled (from New York Collection for Stockholm),” 1973; screenprint.

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A sociological study, collecting data from gallery visitors, done by Haacke. He requested that the visitors would fill out a questionnaire with 20 questions, ranging from their personal demographic background information to opinions on social and political issues.

“Solomon R. Guggenheim Museum Board of Trustees,” 1974; silkscreen ink on paper.

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An index of the Guggenheim Museum’s corporate sponsors and board of trustees. An institutional critique on Solomon R. Guggenheim and his affiliation with various big businesses, such as the Kennecott Copper Corporation and its oversees affairs.

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