60 years of performance art in Switzerland museum Tinguely, 20.09.2017 - 28.01.2018
Black and white photocopies, 21x29.7 cm each, SIK-ISEA, Swiss art archives, HNA 18.104.22.168-56-57-58-62-63-64.
Absolute Stille, 1971
Dia Projektor…, 1971
Anvesenheit – Abvesenheit, 1971
The sketches in these performance projects, which now exist only as photocopies, were made in 1971. As an illustration of the planned actions they stand in association with the exhibition Visualisierte Denkprozesse (Thought processes visualised) in 1970 at the Kunstmuseum Luzern, in which Walker had taken part.
PerformanceProcess Paris, Centre culturel suisse 18.09-13.12.15
Aldo Walker's entire work was based on his concepts, which could potentially become either objects or actions. ...
Aldo Walker's entire work was based on his concepts, which could potentially become either objects or actions.
Aldo Walker (1938-2000) was a self-taught artist. Until 1979 he was an electrician with his own small company in Lucerne. He had been interested in conceptual art since the early 1960s, and in 1969 took part in the exhibition Operationen: Realisation von Ideen, Programmen und Konzeptionen im Raum, Environment, Objekt, Licht, Film, Kinetik, Bild, Ton, Spielaktion at the Fridericianum Museum, Cassel, Germany, and Harald Szeeman's cult show When Attitudes Become Form at the Kunsthalle in Bern. At the beginning of his artistic career, he tried painting, an experiment he rejected and of which no trace survives. Walker tried to go beyond figurative art, yet was not interested in abstract images or even images without objects. On the contrary, he tried to find a way of apprehending the artwork as an object sui generis: an object that represents nothing but which, like living things, is as much an object as a subject. Most of his known projects and concepts (audio work, videos and performances) were made between 1965 and 1970—the year he took part in the exhibition Visualisierte Denkprozesse (Visualised Thought Processes) at the Kunstmuseum in Lucerne. They are quick sketches that encapsulate ideas: none of his concepts or certificates has survived as anything more than a rough sketch. According to the Italian novelist Umberto Eco, a concept is not an “aesthetic fact” but a sketch—like the ones Walker drew as an electrician to explain to his colleagues how he intended to solve a technical problem. In other words, a concept is a plan including all the information necessary for its possible future implementation. Or, as the critic Rosalind E. Krauss puts it, the concept is “the condition of the multiple without an original”. Neither concept nor execution acquires the status of the original, of the model. Each is the visualised reproduction of a thought process.
Roman Kurzmeyer, curator