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The result is one of the most enjoyable and affecting academic studies you might hope to read. Ader was lost at sea in while sailing the Atlantic as part of a planned multifaceted work-in-three-parts entitled In Search of the Miraculous —. But Dumbadze also engages in a more general investigation into the relationship between an artist and his practice, using Ader as the quintessential case study.
The slowed-down 16mm film shows the artist leaning slightly to his right, propelling himself forward; the chair scoots from beneath him and he begins his tumbling descent to the garden below. Is the film the work? Or is the act? Ader can represent the act of falling, but never recreate it fully — the air, the fear, the thud to the ground, the cold canal — for his audience. Three years prior to his death, Ader started to play the futures market. He only told a couple of friends about it, in passing, claiming it to be a work.
Yet Dumbadze goes on to make a persuasive case, bringing a wide variety of artists into his discussion. The people who lent Duchamp money did so knowing that a signed slip of paper was worth more than the amount they were giving the father of Conceptualism to gamble with.
Yet whether it was an art project or not, only Duchamp knew. This article was first published in the Summer issue. Andy St. Louis Opinion artreview. ArtReview News artreview. The archives of the Manila gallery have been partially destroyed. Toward Freedom explains how our understanding of racial disparities became abstracted from the political-economic forces that generate them.
The British explorer reveals all about plunder, marital life, and getting cooked. Gaby Cepeda Reviews artreview. David Lee Features artreview. The artist, who wrapped the Sydney coastline, the Pont-Neuf and the Reichstag, has passed away.
Share Tweet. Charlesworth Book Review ArtReview 03 June Toward Freedom explains how our understanding of racial disparities became abstracted from the political-economic forces that generate them.
Although the Dutch-American artist Bas Jan Ader enjoys cult status in select artist circles—enhanced by the mystery of his disappearance at sea in at a youthful thirty-three—he remains little known in the mainstream art world, and thus occupies the strange position of being simultaneously overexposed and unrecognized. The twenty-four-second film Fall 1, Los Angeles , for example, shows Ader seated on a chair tumbling off the roof of a house, whereas the even shorter Fall 2, Amsterdam portrays the artist atop a bicycle veering into a Dutch canal. Dumbadze ultimately maintains that the fall works should be understood as articulations of the philosophical positions regarding free will and determinism as proposed by Albert Camus and Hannah Arendt. Because the text trails off in each subsection rather than coming to a conclusion, this central issue feels perpetually and unsatisfactorily unresolved. Ader took on this speculative vocation with seriousness and rigor, carefully researching his investments and recording his trades and plans in a notebook. His trading activity also involved regular visits to an office on Wilshire Boulevard, where he would place orders with brokers over the telephone.
Bas Jan Ader: Death Is Everywhere, by Alexander Dumbadze
By Lilly Wei. Ader set sail in a tiny pocket cruiser, expecting to make landfall in Falmouth, England, in two to three months. The year-old artist was never seen again, although his boat was found approximately nine months later, to the south of the Irish coast. Speculations about his death were rife, ranging from a tragic accident to suicide to a secret vanishing into another identity.
Bas Jan Ader: Death Is Elsewhere