Instructions / Istruzioni / Anleitung / Mode d’emploi / Instrucciones / 手順
Rudolf Stingel
1989
Instructions / Istruzioni / Anleitung / Mode d’emploi / Instrucciones / 手順
Fullscreen
PAUSE
00:00
By challenging traditional ideas of authorship, authenticity, and artistic hierarchy, Rudolf Stingel redefines the boundaries of abstract painting. In 1989, to coincide with his first exhibition at Massimo de Carlo’s gallery, he published Instructions, an ...
Read more
Instructions / Istruzioni / Anleitung / Mode d’emploi / Instrucciones / 手順
Rudolf Stingel
1989
Milan: Galleria Massimo De Carlo
Unpaginated [24 pages]
21 × 15 cm

By challenging traditional ideas of authorship, authenticity, and artistic hierarchy, Rudolf Stingel redefines the boundaries of abstract painting. In 1989, to coincide with his first exhibition at Massimo de Carlo’s gallery, he published Instructions, an illustrated vademecum explaining how to recreate the paintings on display. By providing step-by-step instructions, Stingel humorously debunked the myth of the genius artist and invited viewers to participate in the creative process. Paintings produced using the technique described in the book were later exhibited alongside mirrored floors, further emphasising his ironic exploration of process, repetition, and the role of the viewer.

Milan: Galleria Massimo De Carlo
Unpaginated [24 pages]
21 × 15 cm

By challenging traditional ideas of authorship, authenticity, and artistic hierarchy, Rudolf Stingel redefines the boundaries of abstract painting. In 1989, to coincide with his first exhibition at Massimo de Carlo’s gallery, he published Instructions, an illustrated vademecum explaining how to recreate the paintings on display. By providing step-by-step instructions, Stingel humorously debunked the myth of the genius artist and invited viewers to participate in the creative process. Paintings produced using the technique described in the book were later exhibited alongside mirrored floors, further emphasising his ironic exploration of process, repetition, and the role of the viewer.

DESCRIPTION

By challenging traditional ideas of authorship, authenticity, and artistic hierarchy, Rudolf Stingel redefines the boundaries of abstract painting. In 1989, to coincide with his first exhibition at Massimo de Carlo’s gallery, he published Instructions, an illustrated vademecum explaining how to recreate the paintings on display. By providing step-by-step instructions, Stingel humorously debunked the myth of the genius artist and invited viewers to participate in the creative process. Paintings produced using the technique described in the book were later exhibited alongside mirrored floors, further emphasising his ironic exploration of process, repetition, and the role of the viewer.

Milan: Galleria Massimo De Carlo
Unpaginated [24 pages]
21 × 15 cm

By challenging traditional ideas of authorship, authenticity, and artistic hierarchy, Rudolf Stingel redefines the boundaries of abstract painting. In 1989, to coincide with his first exhibition at Massimo de Carlo’s gallery, he published Instructions, an illustrated vademecum explaining how to recreate the paintings on display. By providing step-by-step instructions, Stingel humorously debunked the myth of the genius artist and invited viewers to participate in the creative process. Paintings produced using the technique described in the book were later exhibited alongside mirrored floors, further emphasising his ironic exploration of process, repetition, and the role of the viewer.

MORE BOOKS

By challenging traditional ideas of authorship, authenticity, and artistic hierarchy, Rudolf Stingel redefines the boundaries of abstract painting. In 1989, to coincide with his first exhibition at Massimo de Carlo’s gallery, he published Instructions, an illustrated vademecum explaining how to recreate the paintings on display. By providing step-by-step instructions, Stingel humorously debunked the myth of the genius artist and invited viewers to participate in the creative process. Paintings produced using the technique described in the book were later exhibited alongside mirrored floors, further emphasising his ironic exploration of process, repetition, and the role of the viewer.

MORE BOOKS