Mussafah Call Girls +971525373611 Call Girls in Mussafah Abu Dhabi
THE EMERGENCY WILL REPLACE THE CONTEMPORARY
1. THE EMERGENCY WILL
REPLACE THE CONTEMPORARY
A selection of tent artworks
by Thierry Geoffroy/ COLONEL
Texts by Tijana Mišković
2.
3. TENTS AS ARTISTIC EXPRESSION
Thierry Geoffroy/COLONEL has been using tents as a
form of artistic expression since 1991. His tents can
be perceived as both paintings and sculptures, and
can also be employed in performative interventions,
created to stimulate debate.
The artist uses the sides of each tent as canvases, on
which he paints statements. He generally uses spray
paint, and the aesthetic of the written text expresses
the artist’s impatient, disconcerting nervous energy
at the moment of action. The shaky style of the text
and uncorrected grammatical or spelling mistakes are
intrinsic to the artistic intention, illustrating tension
and speed. There is an authentic spirit of emergency
captured in the tent artworks.
After the action part of the production, the tents be-
come mobile sculptural objects. Each tent is placed
according to its surroundings, so that the context of
the place and the written statement on the tent be-
come connected conceptually. Photos of the tents are
thus not only documentation images, but can also be
considered as visual artworks in themselves.
A tent structure inevitably recalls the state of emer-
gency the world is facing, bringing to mind refugee
tents, military tents, and tents as temporary shelters
or protection from unforeseen disasters. The tent has
become a globally recognized symbol for emergency
and precarious living conditions.
Thierry Geoffroy/COLONEL’s tent artworks have been
exhibited worldwide, in The Maldives Pavilion, Venice
Biennale, IT; The ZKM Museum, Karlsruhe, DE; Marta
Herford - Museum für moderne Kunst, Herford, DE;
Kunsthalle Osnabrück, Osnabrück, DE. The tents are
also in the collection of the Danish Museum of Con-
temporary Art, as well as in private collections in Paris,
Copenhagen, Cape Town and São Paulo.
5. Thierry Geoffroy/COLONEL’s artistic praxis is driven
by the vision of creating awareness about dysfunc-
tion in the world, through art. Since 1988, he has been
working with art formats that support the production
and presentation of artworks produced “in the now”.
One of the earliest formats, ULTRAFAST, provided the
setting for a series of exhibitions that were constantly
changing in different ways. Either they were moving in
space, for example exhibitions on the clothing of peo-
ple moving around within an exhibition space or out-
side in a public space, or they took place in the same
location, but new artworks replaced the older ones
each day.
The ULTRAFAST, pulsing way of working has not only
to do with speed, but also with time. This is why the
artist later introduced another term, ULTRACONTEM-
PORARY, linked more closely to the notion of time, and
continuing his critical positioning towards the estab-
lished understanding of contemporary art. Contem-
poraneity is an interesting phenomenon, because it
ULTRAFAST, ULTRACONTEMPORARY and EMERGENCY ART
forces us to make a connection between the self and
time. Con + tempo (with time) alludes to some kind of
togetherness or closeness to the present moment.
To express with time (Con + tempo) would therefore
mean to express something while you are still within
it. Today’s understanding of “contemporary” has be-
come so open that it incorporates all kinds of art made
during or after the 20th century, or any art created by
artists living today, independently of its pertinence for
the present moment. By using the word Ultra and cre-
ating a new term, ULTRACONTEMPORARY, the artist
brings the focus back to the time aspect and insists on
contemporary signifying “in the now”.
The aspect of time is present not only in the artist’s
decisions regarding methods and form, but also in the
content of the artworks, which also has to be in the
now, relating to what is happening in the world at the
moment. Many burning topics need to be addressed
urgently, before it is too late. The artist calls this kind
of art “EMERGENCY ART”. This is art produced by art-
6. EMERGENCY ROOM,
Moma PS1, 2007
ists who are constantly on the alert, recognizing dys-
function and homing in on the most pressing global
issues. This way of working includes the ranking of
emergencies, as with a real hospital situation, when
a doctor has to prioritise between different patients
based on the level of urgency, using a triage system.
7. Thierry Geoffroy/COLONEL’s questioning of the
contemporary art structure
Since 1988, Thierry Geoffroy/COLONEL has continu-
ally questioned large staged art events such as bien-
nales, art fairs, and Documenta, through critical art
formats such as BIENNALIST – a format that responds
to and questions, through artworks, the motivations
of biennials and other global art events.
He looks into these art events and their motivations,
asking questions such as:
Could 860,000 visitors have been intoxicated by an
apathetic gas that keeps them from reacting?, Are
global art events designed to make people cry about
something in order not to make them see something
else?, Is there a strategy for being delayed in order
to create a distraction from the present and avoid
debating the important topics of today?, If the most
important contemporary exhibitions in the world,
such as Documenta, focus solely on past issues or
a few in the present, contextualized by curators
or art historians, how can we then expect art to be
avant-garde?
For decades, artists have questioned the canvas and
the pigment, and since the1960s-70s, conceptual
artists like Marcel Broodthaers have questioned the
structure of the museum, leading to the art move-
ment known as Institutional Critique, associated
with artists such as Daniel Buren, Andrea Fraser, and
Hans Haacke. With his art format BIENNALIST, Thierry
Geoffroy/COLONEL questions global art events. He
takes the theme of each biennial seriously, studying
it in order to contribute to the debate the biennales
want to generate. With this format, the artist is often
on location, testing the pertinence of the biennales.
In 2007, the artist produced projects called “The next
dOCUMENTA should be curated by a car” and “The
protest school”.
In 2012, The BIENNALIST project was supported re-
spectively by the ZKM Museum of Contemporary Art
for conducting operations at the Athens Biennale cu-
rated by Nicolas Bourriaud, and by the Sprengel Muse-
um, for operations carried out at the Venice Biennale.
8. At dOCUMENTA (13), Thierry Geoffroy/COLONEL
realized the project “The Emergency will replace the
Contemporary”, which received strong attention
from the media and art critics. Most recently, in 2017,
he has been looking more closely into documenta 14
and the Venice Biennale 2017, through the exhibition
#documentasceptic.
11. “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”; 3 kilos, 230 cm x 170 cm; spray paint on
tent; 2012; Statements on each side: “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”,
“FÜHRUNG, GUIDANCE AND NAVIGATION IS A THREAT”, “THE CONTEMPORARY IS ALWAYS TOO
LATE”; in the art collection of Museum for Contemporary Art - Roskilde - Denmark
12.
13. “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”; 3 kilos, 230 cm x 170 cm; spray paint on
tent; 2012; Statements on each side: “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”,
“FÜHRUNG, GUIDANCE AND NAVIGATION IS A THREAT”, “THE CONTEMPORARY IS ALWAYS TOO
LATE”; in the art collection of Museum for Contemporary Art - Roskilde - Denmark
17. “THE EMERGENCY WILL REPLACE THE CONTEM-
PORARY”;3kilos,230cmx170cm;spraypainton
tent; 2012; Statements on each side: “THE EMER-
GENCY WILL REPLACE THE CONTEMPORARY”, “I
AM NOT WORKING FOR THE TOURISM OFFICE”,
“ART IN DELAY CAN NOT HAVE IMPACT”, “THE
CONTEMPORARY IS ALWAYS TOO LATE, NEVER
IN TIME”
18.
19.
20. “The Emergency will replace the Contemporary” is
probably one of Thierry Geoffroy/COLONEL’s most
important tent artworks, a convergence of the artist’s
focus on emergencies and his critical approach to con-
temporary art structures.
This single unsolicited artwork managed to destabilize
the established contemporary art structure of dOCU-
MENTA (13). The impact of the artwork and its perti-
nence to the now are values of equal importance to its
aesthetic and formal qualities. Using the strategy as
a brush stroke, the global art scene as his canvas and
the emergencies of the world as his artistic motives,
Thierry Geoffroy/COLONEL has, over the years, de-
veloped a unique take on art, going beyond the notion
of contemporary and opening up new fields such as
EMERGENCY ART and ULTRACONTEMPORARY ART.
His artworks activate a new set of values and a new
kind of artistic, humanistic and political ethos in art.
He has a firm grasp of concepts, highly attuned to the
How a small inoffensive artwork confronted the great
contemporary art structure
fact that different aspects of assessing quality are in-
terconnected. This conceptual underpinning creates
a new synthesis of ideas, communicated through the
artist’s oeuvre.
Themainstatementwrittenonthetentartworkis“THE
EMERGENCY WILL REPLACE THE CONTEMPORARY”. Its
prophetic aspect makes us realize how the artist is not
only able to grasp the importance of the now, but can
also predict the future of contemporary art.
There are two key words in the statement “THE EMER-
GENCY WILL REPLACE THE CONTEMPORARY”: the
contemporary and the emergency. In his general ar-
tistic praxis, consisting of different art formats and
object-based artworks in a variety of media, Thierry
Geoffroy/COLONEL demonstrates his interest in the
relationship between the two terms. The first, the con-
temporary, stresses the connection between the self
andtime,whilethesecondterm,theemergency,stress-
es artistic readiness to act in time, before it is too late.
21. The critique of contemporary art’s ability to be “in
time” is also expressed in the two other statements on
the tent (ART IN DELAY CAN NOT HAVE IMPACT and
THE CONTEMPORARY IS ALWAYS TOO LATE, NEVER IN
TIME). With these, the artist wanted to express that
an isolated focus on the past is dangerous, because it
creates a distraction and makes it impossible to have
an impact in the present.
Thefourthsloganonthetent “IAMNOTWORKINGFOR
THE TOURISM OFFICE” questions the role of the artist,
which unfortunately often has a utilitarian function
with a predefined purpose, such as attracting tour-
ists. We can thus ask ourselves if the real potential and
purpose of art should be to serve industries that are
fundamentally based on commercial and not artistic or
humanistic values.
During dOCUMENTA (13), Thierry Geoffroy/COLONEL
was observing, registering and forming opinions on
what he saw in and around the staged art exhibition
context in Kassel. Some of the messages related to his
research were communicated as text on a tent placed
under one of Joseph Beuys’ trees from the “7000
Oaks – City Forestation Instead of City Administra-
22. tion”, on the lawn in front of Fridericianum, just after
the dOCUMENTA (13) press conference, on June 6th,
2012. This tent is today part of the art collection at
the Danish Contemporary Art Museum in Roskilde.
Another tent was made the next day, June 7th, with
the following statements: “THE EMERGENCY WILL RE-
PLACE THE CONTEMPORARY”, “I AM NOT WORKING
FOR THE TOURISM OFFICE”, “ART IN DELAY CAN NOT
HAVE IMPACT”, and “THE CONTEMPORARY IS AL-
WAYS TOO LATE, NEVER IN TIME”. This tent created
a chain reaction, inspiring other artists, organizations,
and initiatives to use Friedrichsplatz as their base and
platform for expression.
On June 8th, two Chinese artists installed a tent on the
same lawn, and on June 9th, the Occupy movement
also set up their own camp. On June 20th, the Belgian
art magazine H ART published, on their front page, a
picture of the artist’s tent with the statement “THE
EMERGENCY WILL REPLACE THE CONTEMPORARY”. By
the next day, June 21st, the tent had been removed
and confiscated by the dOCUMENTA organizers, later
to be found in the basement of Fridericianum by the
artist Bongore.
To create attention in the media and among art critics
by circulating images and statements from the tents
is part of Thierry Geoffroy/COLONEL’s artistic meth-
od, because it is a way of reaching a wider audience,
including people beyond the art sphere.
Maybe the fact that an unsolicited tent made the front
page in an art magazine and “stole” the media cover-
age of dOCUMENTA was the reason for the confisca-
tion.
To remove one of the artist’s tents was easy, while
it was more difficult to remove the many Occupy
movement tents, since this would provoke a more
intense counterreaction. The Occupy encamp-
ment was therefore welcomed by the dOCUMENTA
(13) curator on July 8th. Consequently, a new tai-
lor-made name was given to the camp: dOCCUPY,
clearly marking the fact that what should have been
a resistance movement had been incorporated into
the established and authorized system. The dOCU-
MENTA decision to include Occupy in their program
was a strategic move to neutralize and render harm-
less the revolutionary spirit of the protest, while still
keeping their image as an inclusive art event intact.
23. Documenta’s welcoming of the Occupy protesters
might not have been an honest gesture of hospitality,
but rather a necessary solution or a strategic move
they were obliged to make, in order to save their im-
age of openness. Even though dOCCUPY was now an
official guest at Documenta, there was a pre-set time
frame for their existence. A group of people who could
serve Documenta’s interests were asked to infiltrate
the camp under cover, in order to observe and control
its development.
Eight days before the end of Documenta, a vote took
place in the camp to decide if dOCCUPY should close
down or not. The voting was democratic, but since
there were so many infiltrators advocating for Docu-
menta’s desire to end the project and clean up the ex-
hibition areas before the art collectors with buying po-
tential came to Kassel (in keeping with tradition, the
last week of the 100 days-long show) the result of the
ballot was to remove the camp.
Additionally, the removal of the camp was turned into
a performance in which the camp members were play-
ing out their own elimination. A re-enactment, includ-
ing role-play, took place on Saturday 8th September
at 3 pm. A number of the protesters from the Occu-
py movement played the role of police and acted out
the brutalization of the campers while obliging them
to pack and remove their tents. In this way, one more
time, Documenta managed to turn a serious activist
movement into a harmless symbolic artwork overseen
by the Documenta authorities.
Today, we can reflect on the fact that Thierry Geof-
froy/COLONEL’s tent artwork, which kick-started the
growing Occupy movement, was removed, while the
Occupy encampment in the same area was for a while
welcomed by Documenta. There would probably not
have been any dOCCUPY project if the tent by Thierry
Geoffroy/COLONEL had not been placed on the lawn in
front of Fridericianum in the first place.
We can also analyze how a single artwork could cre-
ate a disturbance within the complex structure of
the biggest contemporary art event in the world.
Perhaps it is possible to value artworks based on their
capacity to challenge established structures and pro-
pose new ones.
27. “THE NEXT DOCUMENTA SHOULD BE CURATED BY TANKS”; 2,2 kilos, 200 cm x 140 cm; spray paint
on tent; 2012; Statements on each side: ”FAKE CRITICS CREATES APATHY”, “THE NEXT DOCUMEN-
TA SHOULD BE CURATED BY TANKS”, “CAN ART BE IN ADVANCE OF THE ARM”, “ART DISTRACT YOU
FROM REALITY”
28. “THE NEXT DOCUMENTA SHOULD BE CURATED BY
TANKS”; 2,2 kilos, 200 cm x 140 cm; spray paint
on tent; 2012; Statements on each side: ”FAKE
CRITICS CREATES APATHY”, “THE NEXT DOCU-
MENTA SHOULD BE CURATED BY TANKS”, “CAN
ART BE IN ADVANCE OF THE BROKEN ARM”, “ART
DISTRACT YOU FROM REALITY”
29.
30.
31. “DOCUMENTA FAILLED TO DEBATE ABOUT WAR”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent;
2012; Statements on each side: “DONT CENSURE DOG WATCH ART”, “DOCUMENTA FAILLED TO DE-
BATE ABOUT WAR”, “ULTRACOTEMPORARY ART IS THE FUTURE”, “KNOWING WHAT I KNOW MAKES
ME A MONSTER”
32.
33. “DOCUMENTA FAILLED TO DEBATE ABOUT WAR”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent;
2012; Statements on each side: “DON’T CENSURE DOG WATCH ART”, “DOCUMENTA FAILLED TO
DEBATE ABOUT WAR”, “ULTRACOTEMPORARY ART IS THE FUTURE”, “KNOWING WHAT I KNOW
MAKES ME A MONSTER”
34. “DOCUMENTA IS DANGEROUS BECAUSE IT HIDES
THE REAL EMERGENCIES LIKE THE TANKS”; 2,2 ki-
los, 200 cm x 140 cm; spray paint on tent; white
spray paint on tent; 2012; Statements on each
side: “DOCUMENTA IS A FLEA MARKET NOT ABLE
TO REFLECT ON TODAY EMERGENCY”, “IS DOCU-
MENTA IN KABUL TO SELL TANKS”, “DOCUMEN-
TA IS DANGEROUS BECAUSE IT HIDES THE REAL
EMERGENCIES LIKE THE TANKS”
39. “ALWAYS QUESTION THE STRUCTURE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2015;
Statements on each side: “ALWAYS QUESTION THE STRUCTURE”, ”IS DOCUMENTA IN ATHENS TO
SELL TANKS FROM KASSEL”, “ULTRACONTEMPORARY”
40.
41. “ALWAYS QUESTION THE STRUCTURE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2015;
Statements on each side: “ALWAYS QUESTION THE STRUCTURE”, ”IS DOCUMENTA IN ATHENS TO
SELL TANKS FROM KASSEL”, “ULTRACONTEMPORARY”.
42.
43. “WHAT DOES DOCUMENTA WANT TO EXPORT”, ; 2,2 kilos, 200 cm x 140 cm; spray paint on tent;
2015; Statements on each side: “WHAT DOES DOCUMENTA WANT TO EXPORT”, “ULTRACONTEM-
PORARY”, “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”,“CAN POETRY BE FRONTAL”
44. ”LA PLUIE N’ABOLLIRA PAS LES QUESTIONS”; 2,2
kilos, 200cm x 140 cm; spray paint on tent; 2015;
Statements on each side: “LA PLUIE N’ABOLLIRA
PAS LES QUESTIONS”, “INNONDE PAR L’INSPIRA-
TION”
45.
46. Ideally, artists should have an important position in
our society as free and independent minds who can
produce vital reflections about the socio-political
conditions of the time we live in.
Unfortunately, time and time again artists’ critical
and important reflections are used or misused for
other purposes, such as the promotion of products,
gentrification, and cultural colonialism. In that case,
the role becomes the function; the unique role of the
artist, as someone independently and critically re-
flecting on our society, becomes a simplified and re-
stricted function with a purpose and role dictated by
others.
The only way an artist can avoid his/her role becom-
ing purely functional is by constantly questioning the
structures within which his or her art is being present-
ed. Biennales and large-scale exhibitions such as Doc-
umenta should, as the most influential contemporary
art structures, be a natural object for investigation.
Documenta can be considered as a “Vatican” of con-
temporary art, a benchmark reinforced by belief in
art’s critical potential. It is promoted as the quintes-
sential art platform for critical thinking and political
statements: the art world’s decision makers and intel-
ligentsia make pilgrimages to Documenta in search of
the latest trends. Large-scale art events such as Doc-
umenta and the Venice Biennale have an enormous in-
ternational impact and great power to influence public
opinion. This influence should be evaluated by partici-
pating artists as well as the audience, who should not
merely absorb the messages communicated to them
via the curatorial strategies, but be sceptical and
question the motivations behind them. They should
not fall asleep, but be critical and constantly question
the structure.
A show labeled as a “critic show” can give the public a
feeling of being critical, but it can, at the same time,
draw public attention away from vital and serious issues
that authorities do not want to create critique around.
Questioning the structure to avoid apathy
47. There could be a diversion taking place within curato-
rial choice. Curating goes hand in hand with filtration.
Certain topics, artworks and artists are highlighted as
central, while others are relegated to a peripheral po-
sition or even go unmentioned.
Furthermore, curating always includes an educational
element, which facilitates learning and the acquisition
of knowledge, values and beliefs. The person or the in-
stitution teaching would naturally also have the power
to shape knowledge, and so would be in a superior po-
sition. The choice of content and methods is an influ-
ence on the interpretation of an artistic message, and
the receivers are being led in a pre-defined direction of
thinking.
Faking the intention can be another method for di-
version used in the contemporary art world. Often,
contemporary art events create an image based
on inclusion and audience interaction, presenting a
semblance of openness. Therefore, most are consid-
ered authentic, positive, even humanistic platforms,
surrounded by an aura of purportedly unquestiona-
ble benevolence. In reality, this can be a strategy for
circumventing potential criticism.
A delay in contemporary art could also be seen as a
diversion strategy. Even though we believe that con-
temporary artists should react to the important issues
and emergencies of today’s world, we are not giving
artists appropriate platforms for immediate expres-
sion and impact in time. Artists cannot show art con-
nected with the pulsing and unpredictable present,
since all exhibited artworks have to be defined, pro-
duced, and explained in advance. Either because of the
practical and curatorial planning, or because of a wish
to control and to have the ability to censor, most con-
temporary exhibitions are in delay from the outset.
The artist and art thinkers are also recurrently victims
ofongoingself-censorship,inordertonavigatearound
these contemporary art structures. Self-censorship
makes it difficult to achieve an authentic and honest
artistic intention. What is exhibited is just one part of
the story, while the other part, at least as important,
is auto-censored out. Auto-censorship is more diffi-
cult to identify or fight then direct censorship, since
it is an embedded control function that contemporary
art carries in the DNA of its structure. It is less visible
than the imposed censorship emanating from a spe-
cific authority, and thus acts as a more sophisticated
48. and complex control mechanism, often having an even
stronger control effect.
A “critic show” can thus be a setting for fake criticism,
giving us the illusion of permitting critique and having
freedom of thinking when, in reality, we are manipulat-
ed in a specific direction controlled by external forces,
and often interests of an economic or political nature.
This fake criticism within today’s contemporary art
sphere could be a source of apathy in our society. If
the lack of real concern or interest in making a change
infiltrates the art community, and what we consider
to be the avant-garde force in our society falls asleep,
we might risk our world heading in the direction of nar-
row-minded, or even totalitarian thinking.
50. “CAN THE REVOLUTION BE SELFISH”; 3 kilos, 230
cm x 170 cm; spray paint on tent; 2015; State-
ments on each side: “CAN THE REVOLUTION BE
SELFISH”, “NOW BEFORE IT IS TOO LATE”
51. “ART= RETARD”; 3 kilos, 230 cm x 170 cm; spray
paint on tent; 2015; Statements on each side:
“THERE IS NOT A GOOD BIENNALE WITHOUT BIEN-
NALIST”, “ART= RETARD”
55. ”I COMMITTED SELF CENSURE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2013; Statements
oneachside:“ISCLIMATECHANGESTILLANEMERGENCY“,“ICOMMITTEDSELFCENSURE”,“SHOULD
ARTISTS QUESTION THEIR COMMISSIONERS”
56.
57. ”IS CLIMATE CHANGE STILL AN EMERGENCY“; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2013;
Statements on each side: “CAN A NATION WELCOME ANOTHER NATION”, “IS CLIMATE CHANGE
STILL AN EMERGENCY”, “IS ART FLEXIBLE”, “DEMANDING PALACE”
58.
59. ”IS CLIMATE CHANGE STILL AN EMERGENCY“; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2013;
Statements on each side: “CAN A NATION WELCOME ANOTHER NATION”, “IS CLIMATE CHANGE
STILL AN EMERGENCY”, “IS ART FLEXIBLE”, “DEMANDING PALACE”
60.
61. ”NOW BEFORE IT IS TOO LATE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2013, Statements
on each side: “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”, “IS AMBIGUITY THE NORM
HERE”, “ARE BIENNALE DANGEROUS”, ”NOW BEFORE IT IS TOO LATE”
62. ”KNOWING WAT I KNOW MAKES ME A MONSTER”;
3 kilos, 230 cm x 170 cm; spray paint on tent;
2013; Statements on each side: “NOW BEFORE IT
IS TOO LATE”, ”EMERGENCY VENICE”, “KNOWING
WAT I KNOW MAKES ME A MONSTER”, “THE EMER-
GENCY WILL REPLACE THE CONTEMPORARY”
66. “ARE BIENNALES DANGEROUS”; 2,2 kilos, 200 cm
x 140 cm; spray paint on tent; 2015; Statements
on each side: “ARE BIENNALES DANGEROUS”,
“NOW IS NOW”, “NOW BEFORE IT IS TOO LATE”
71. ”WELCOME CHEAP WORKERS”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; Statements
on each side: “WELCOME CHEAP WORKERS”, “DON’T BURN MY TENT”; at Acropolis
72.
73. ”WELCOME CHEAP WORKERS”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; Statements
on each side: “WELCOME CHEAP WORKERS”, “DON’T BURN MY TENT”; at Acropolis
74.
75. ”I AM NOT SAFE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; Statements on each side:
“I AM NOT SAFE”; at Victoria Square
76.
77. ”MEMORY HAS TO BE TRAINED IN THE NOW”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017;
Statements on each side: “MEMORY HAS TO BE TRAINED IN THE NOW”, “HISTORY IS CONTEMPO-
RARY”; at Parko Eleftherias
78.
79. “TO EXPRESS AESTHETICALLY ABOUT THE CRISIS IS NOT GOING TO SOLVE IT”; 2,2 kilos, 200 cm x
140 cm; spray paint on tent; 2017; at Syntagma Square
95. “CAN FREEDOM OF SPEECH BE CURATED”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017;
96. “HUMBLE MONUMENT ABOUT TODAY CRISIS”;
2,2 kilos, 200 cm x 140 cm; spray paint on tent;
2015; Statements on each side: “URGENCIES
SHOULD NOT BE USED IN ART IN ORDER TO SELL
HOTEL ROOMS”, “HUMBLE MONUMENT ABOUT
TODAY CRISIS”.
97.
98.
99. “WE SHOULD NOT ONLY LOOK WHAT THEY GIVE US TO SEE”; 2,2 kilos, 200 cm x 140 cm; spray paint
on tent; 2017; Statements on each side: “WE SHOULD NOT ONLY LOOK WHAT THEY GIVE US TO
SEE”,“I COMMITED SELFCENSORSHIP TO KEEP THE PRIVILEGE I DONT HAVE”;
100.
101. “WE SHOULD NOT ONLY LOOK WHAT THEY GIVE US TO SEE”; 2,2 kilos, 200 cm x 140 cm; spray
paint on tent; 10/06 2017; Statements on each side: “WE SHOULD NOT ONLY LOOK WHAT THEY
GIVE US TO SEE”,“I COMMITED SELFCENSORSHIP TO KEEP THE PRIVILEGE I DONT HAVE”; In front of
Kulturbahnhof.
102.
103. “PROXIMITY IS QUESTIONNABLE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 10/06 2017;
Statements on each side: “PROXIMITY IS QUESTIONNABLE”, “IS THE NEU NEU IN THE NOW TREATING
ABOUT EMERGENCIES”; Between Tofufabrik (one of the documenta 14 venues) and one of many
weapons factories in Kassel.
104.
105. “PROXIMITY IS QUESTIONNABLE”; 2,2 kilos, 200 cm x 140 cm; spray paint on tent; 2017; State-
ments on each side: ““PROXIMITY IS QUESTIONNABLE”, “IS THE NEU NEU IN THE NOW TREATING
ABOUT EMERGENCIES”.
117. Thierry Geoffroy/COLONEL, born 1961.
www.colonel.dk
Thierry Geoffroy, also known as COLONEL, is a French artist,
living in Copenhagen, Denmark. He is a format artist devel-
oping art formats, the best-known being EMERGENCY ROOM,
BIENNALIST and CRITICAL RUN.
Thierry Geoffroy/COLONEL has published six books and his
artworks are included in international museum collections.
He is Chevalier de l’Ordre des Arts et des Lettres.
SELECTED GROUP AND ONE-MAN SHOWS:
P.S.1/ MOMA New York, USA; ZKM Museum Karlsruhe, DE;
Sprengel Museum, Hannover, DE; Moderna Museet, the Mu-
seum of Modern Art, Stockholm, SE; HEART- Herning Muse-
um of Contemporary Art Denmark, Herning, DK; Plazzo Delle
Arti Napoli, IT; The Museum of Contemporary Art, Roskilde,
DK; Galerie Asbaek Copenhagen, DK; The Maldives Pavilion,
Venice Biennale, Venice, IT; Liverpool Biennial, Liverpool,
UK, Manifesta, The European Biennial of Contemporary Art,
Murcia, ES; National Museum Reykjavik, FI; Galerie Olaf Stü-
ber, Berlin, DE; IKM Museum, Oslo, NO; Fries Museum, Le-
euwarden, NL; Deveron Arts, Huntly, Aberdeenshire, SCO;
The Model, Sligo, IR; Fotografisk Center, Copenhagen, DK;
Cairo Biennale, Cairo, EG; Blackwood Gallery Toronto, CAN;
Galerie Ileana Tounta, Athens, GR; Kunsthalle Osnabrück,
Osnabrück, DE.Manifeste, 1989
