Words borrowed:

Jan Vervoert, "Why are conceptual artists painting again? Because they think it's a good idea" Afterall: A Journal of Art, Context and Enquiry (2005)

"The pressure to succeed, which modernism’s dedication to relentless avant-gardeism had already introduced, is now experienced even more acutely. As a result, we now have the tragic figure of the melancholy conceptualist, alone in an empty room waiting desperately for a revolutionary idea to come to him or her, or worse still, waiting for the next idea to come, trying to reinvent their work after their first success."


Briony Fer, "Eva Hesse: Studiowork", The Fruitmarket Gallery (2009)

"...‘a lot of it could be called nothing – a thing or an object or any word you want to give it’. Let’s try calling it nothing.

It is hard not to name things. Even nothing is a name of sorts, but it is not a proper name, and that makes a difference. It is not ‘untitled’ either, the most ubiquitous title of all to denote a completed work. In order to try to get as near to nothing as possible, I shall rename all the diverse little experimental things and the so-called test pieces, ‘studiowork’ – not because I want to tidy up the definition of all these bits and pieces, but on the contrary because as a generic term it is expedient, inclusive and elastic."

Deepest gratitude:

Melanie Hoff and the Digital Love Languages students and stewards

Matthis Grunsky