{"title":"Angela Bulloch","description":"\u003cp\u003eAngela Bulloch (born 1966, Ontario) is a Canadian artist based in Berlin whose practice encompasses installation, sculpture, video and rule-based systems, with a sustained interest in the social and perceptual conditions produced by regulated environments. A graduate of Goldsmiths College, London, she was among the generation of artists who emerged from the YBA milieu of the late 1980s and early 1990s, participating in early group exhibitions organised by Liam Gillick and others, including \u003cem\u003eInstructions\u003c\/em\u003e at Gio’ Marconi, Milan, in 1992. Her subsequent work developed a distinctive engagement with modularity, programmed light and behavioural systems, most visibly in her \u003cem\u003ePixel\u003c\/em\u003e box series and large-scale installation environments. She has shown extensively in Europe and internationally, with major institutional presentations including a solo exhibition at the Serpentine Gallery, London, and participation in Documenta 11 (2002) and multiple editions of Art Basel.\u003c\/p\u003e","products":[{"product_id":"instructions-gio-marconi-milan-1992-gillick","title":"INSTRUCTIONS, Gio' Marconi, Milan, 1992","description":"\u003cp\u003eSoftcover, offset printed, 40 pp. Gio’ Marconi, Milan, November\/December 1992. Organised by Liam Gillick. Artists: Angela Bulloch, Adam Chodzko, Matthew Collings, Jeremy Deller, Liam Gillick, Douglas Gordon, Gary Hume, Michael Landy, Jonathan Monk, Simon Patterson, Brendan Quick, Philip Riley, Caroline Russell, Giorgio Sadotti, Gavin Turk, Gillian Wearing.\u003c\/p\u003e\u003cp\u003eThe catalogue explains its own mechanism plainly, in its own words: “A number of artists were invited to submit a written or drawn instruction by letter or fax to the organiser indicating work to be executed at Gio’ Marconi Gallery during November\/December 1992.” The artists were not required to attend. Gillick and the gallery became the production department.\u003c\/p\u003e\u003cp\u003eThat distinction is the entire exhibition. Angela Bulloch instructed the organiser to execute up to four wall drawings derived from Milanese comics, painted directly onto the gallery wall in black. Adam Chodzko’s instruction is close to a miniature theory of distributed authorship in itself: from eight submitted transparencies, six images were to be selected not by him but by Gio’ Marconi, four gallery staff and Gillick; an additional star, “no bigger than the second biggest star,” was then to be airbrushed onto each print by a photographic technician, to “improve” the constellation; the six prints mounted together and presented in a Thomas Ruff-style frame. Matthew Collings supplied a transparency of an existing press photograph and instructed the organisers to typeset text over it, manufacture a poster, paste copies on the gallery walls, and give copies away with the catalogue — the publication itself built into the artwork’s own distribution system. Jeremy Deller’s entry opens with one primary instruction and two alternative options.\u003c\/p\u003e\u003cp\u003eThe artwork, in every case, has been separated into request, specification, fabrication and distribution before it becomes an object at all.\u003c\/p\u003e\u003cp\u003eThe Gillian Wearing spread needs no interpretation to earn its place. The photograph reproduced is from the very beginning of what would become her canonical \u003cem\u003eSigns that say what you want them to say and not Signs that say what someone else wants you to say\u003c\/em\u003e — the exact “I do not think much about myself...” image, printed here while the series was still being made, not reproduced later as an established work. Facing it, a mock commercial order form: “We handprint anything... you just sit back and relax and we do all the work, while you take all the credit.” The catalogue places invention and commercial parody on facing pages and lets the resemblance do the work.\u003c\/p\u003e\u003cp\u003eGillick’s experiment sits in a specific, checkable position in a longer history. Instruction-based practice was already art history by 1992 — Yoko Ono, George Brecht, Sol LeWitt, Lawrence Weiner and Fluxus had separated conception from execution decades earlier. What makes this catalogue distinct is the moment it catches: a year before Hans Ulrich Obrist conceived \u003cem\u003edo it\u003c\/em\u003e in Paris with Christian Boltanski and Bertrand Lavier, Gillick was already running an almost identical structure in Milan — and Gillick himself later became a \u003cem\u003edo it\u003c\/em\u003e contributor, confirmed in that project’s own published contributor lists. The same artist sits on both sides of the comparison.\u003c\/p\u003e\u003cp\u003eThe roster reads very differently now than it did in 1992. Gavin Turk was barely a year past the notorious 1991 RCA degree show that saw the college refuse him a degree. Jeremy Deller was scarcely functioning as a professional artist. Douglas Gordon’s \u003cem\u003e24 Hour Psycho\u003c\/em\u003e was still a year away. Gillian Wearing’s \u003cem\u003eSigns\u003c\/em\u003e was happening in real time, not yet canonical. None of that was legible from inside the exhibition. It’s only visible now, backwards, through the accident of who these sixteen names later became.\u003c\/p\u003e\u003cp\u003eThe wall drawings were painted over. The poster came down. The gallery staff stopped executing instructions and went back to their ordinary jobs. What survives is this: forty pages recording an exhibition that was, by design, made almost entirely of correspondence, delegation and fabrication rather than objects — which means the catalogue isn’t secondary documentation in the usual sense. It’s close to the actual operating system of the show.\u003c\/p\u003e\u003cp\u003eCondition: Good to very good. Light overall handling and surface wear to the wrappers, with scattered rubbing\/scratching and minor edge and corner wear. Internally clean and well preserved; binding appears sound.\u003c\/p\u003e","brand":"Gio' Marconi","offers":[{"title":"Default Title","offer_id":54549704606034,"sku":"TNR-2026-0647","price":195.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bulloch_Angela.Collings_Matthew.Deller_Jeremyetal.Instructions_groupshowatGio_Marconishowcatalogue.1992back.jpg?v=1788594435"},{"product_id":"corpus-delicti-london-i-90erne-kunstforeningen-copenhagen-1995","title":"SARAH LUCAS, JAKE \u0026 DINOS CHAPMAN, MAT COLLISHAW, ANGELA BULLOCH ET AL. — Corpus Delicti: London i 90'erne, Kunstforeningen, Copenhagen, 1995","description":"\u003cp\u003ePublished by Kunstforeningen, Copenhagen, alongside \u003cem\u003eCorpus Delicti: London i 90'erne\u003c\/em\u003e, 25 March–28 May 1995, this catalogue brought twelve London artists to a Danish audience under a title split between two languages. \u003cem\u003eCorpus delicti\u003c\/em\u003e is the Latin legal term for the evidence that a crime has taken place. \u003cem\u003eLondon i 90'erne\u003c\/em\u003e means London in the nineties.\u003c\/p\u003e\u003cp\u003eThe selection is broader than the shorthand later attached to the period. Sarah Lucas, Jake and Dinos Chapman and Mat Collishaw appear alongside Angela Bulloch, Angus Fairhurst, Graham Gussin, Abigail Lane, Georgina Starr, Sam Taylor-Wood and Jane and Louise Wilson. This is not a single style or a single argument. It is a city's art scene, assembled for export.\u003c\/p\u003e\u003cp\u003eThe cover sets the tone before the book is opened. A young woman in a patterned dress lies backwards off a leather sofa, her head hanging toward the floor, the whole image printed in cold blue monochrome. The title is set in two voices: \"corpus\" in a plain lowercase sans-serif, \"delicti\" in blackletter. A body, and the evidence of a crime.\u003c\/p\u003e\u003cp\u003eOn the back, the artists are listed in spaced capitals. At the foot sit a monogram and the logo of the British Council, so a show at a Copenhagen art society carries the mark of Britain's cultural agency abroad. The list runs alphabetically by surname, with one exception: the Chapmans appear as Dinos, then Jake, but the Wilsons as Louise, then Jane. Twelve names, ten practices. Two collaborating pairs, each entered as two individuals.\u003c\/p\u003e\u003cp\u003eKunstforeningen, Copenhagen, 1995. Texts by Torben Christensen, Andrew Renton and Helle Behrndt. Illustrated softcover.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eCondition: Good. Light rubbing and surface marks to covers, with wear to edges and corners, most visible at the lower left of the rear cover.\u003c\/em\u003e\u003c\/p\u003e","brand":"Kunstforeningen","offers":[{"title":"Default Title","offer_id":55073098465618,"sku":null,"price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bulloch_Angela.Chapman.Lucas_Sarahetal.CorpusDelicti.1995.jpg?v=1792032918"}],"url":"https:\/\/thenewrare.com\/collections\/angela-bulloch.oembed","provider":"The New Rare","version":"1.0","type":"link"}