Persistent projects, open-ended (hi)stories 
– practices of four unrelated artists

In a special series of presentations/micro-exhibitions for spring 2014, OEI Colour Project will apply itself to the works of four European artists, all of whom emerged in the late 1960s or early 70s with certain repercussions: Rémy Zaugg, Claus Böhmler, Manfred Mohr, and Esther Ferrer.

Belonging to the same generation, but emerging independently in different contexts, their practices intensively carried forward the experimental and self-reflexive strand of the visual arts that began to identify itself as contemporary; investigating the aesthetics of minimalism, conceptual art, Fluxus, text, performance and video art. On a formal level, their respective works exchanged exclusive iconography for permutation, acts of combining and ongoing inquiry. With their particular operations, these artists have pointedly expanded – and continue to expand – the range of working attitudes within the current field of visual arts. 
February 8
Rémy Zaugg
: “Books, Work” – with a talk by curator and Zaugg scholar Eva Schmidt

February 22
Claus Böhmler: “The Sleeping Listener/The Blind Singer” – with a talk by artist Hinrich Sachs (Professor of Fine Art at the Royal Institute of Art)

March 1
Manfred Mohr
: “Artificiata II” – with talks by photographer and editor Cecilia Grönberg, writer and editor Jonas (J) Magnusson and research fellow in literature, media and information cultures Jesper Olsson 

May 3
 (preliminary date)
Esther Ferrer: “Prime Numbers” – with a conversation between by Esther Ferrer and artist Mattin (tbc)
All events between 2 and 6 pm, program begins at 3 pm.
OEI Colour Project
Lövholmsgränd 12
117 43 Stockholm
Tram: Trekanten 
Subway: Liljeholmen

Rémy Zaugg, born 1943 in Courgenay (CH), died 2005 in Basel. In the Perceptive Sketches (1963-68), Zaugg commenced his artistic work by transforming a paradoxical experience of speechlessness and discursive crisis with a relentless body of notes and denotations. He then went on to develop a parallel practice of painting and writing, and became recognized as a painter and conceptual artist after having published his reflections in book form. These had the status of bold works, rather than being a minor side-production. In view of these works on the underlying principles of painting,, of architecture and of art’s role in society, Zaugg’s oeuvre can, to an extent, be seen as the output of a polymath.
Claus Böhmler, born 1939 in Heilbronn (DE), lives in Hamburg. In 1969, König Publishers Cologne-New York released a type of artist’s book to date unseen: Pinocchio, A Linear Program. This deployed a visual narrative developed with the aid of the Disney character’s rubber stamp. Since then, Böhmler has remained faithful to radical experiments with visuals and sound material from the cultural everyday; generating drawings, texts, radio-based sound works, artist’s books and video clips in tumblr. mode. He has become the champion of a low-tech, but high-end analysis of language, technology, and entertainment. 
Manfred Mohr, born 1938 in Pforzheim (DE), lives in New York City. Mohr is considered a pioneer of digital art. After discovering Max Bense’s “information aesthetics” in the early 1960s, Mohr’s artistic thinking changed radically. Within a few years, his art transformed from abstract expressionism to computer generated algorithmic geometry. Encouraged by the computer music composer Pierre Barbaud whom he met in 1967, Mohr programmed his first computer drawings in 1969,. This was also the year for his first visual artist’s book, Artificiata I (Agentzia). Artificiata II will be published by OEI editör in connection with the presentation at OEI Colour Project.
Esther Ferrer, born 1937 in San Sebastián (ES), lives in Paris. Alongside an experimental, performative practice with the artist’s collective ZAJ – which included a tour through US art-venues – Ferrer has, since the early 1970s, explored the relationship of the (personal) body to space and (societal) context: measuring, mirroring, scripting and assessing, as well as entering the space of prime numbers. This persistent and multifaceted oeuvre began to gain wide attention and recognition from 1999 onwards.
The series “Persistent projects, open-ended (hi)stories – practices of four unrelated artists” is curated by Hinrich Sachs in collaboration with Cecilia Grönberg and Jonas (J) Magnusson. It is supported by Goethe-Institute Schweden and The Royal Institute of Art, Stockholm.