stephanie syjuco




> Neutral Calibration Studies (Ornament + Crime)
> Neutral Orchids
> Cargo Cults
> Money Factory (An Economic Reality Game)
> Empire Gardens
> Hecho en Cuba (Made in Cuba)
> Artificial Currencies
> Dazzle Camouflage at Workshop Residence
> Public Pedagogy
> Market Forces
> American Rubble (Lancaster Avenue)
> The Fabricators (Tbilisi Edition)
> This is Not the Berlin Wall
> Dirty Works
> Copystand Books (Kronika Edition)
> Dazzle Camouflage Projects
> Cascadian Pattern Collapse
> Modern Ruins (Popular Cannibals)
> Re-Mediation Lab
> Afghanicraftistan
> Empire/Other
> Ultimate Fabrication Challenge (Fauxrijuana)
> The Precariat (Material Witnesses)
> Cargo Cults: Object Agents
> Neutral Displays (Small Dilemmas)
> Ultimate Vision (Dazzle Camouflage)
> Ornament and Crime (Villa Savoye)
> Speculative Propositions
> Excess Capital
> FREE TEXTS: An Open Source Reading Room
> The International Orange Commemorative Store (A Proposition)
> Phantoms (H_RT F D_RKN_SS)
> Pattern Migration
> Shadowshop
> Learning to Love You (All)
> Particulate Matter: Things, Thingys, Thingies
> notMOMA
> COPYSTAND: An Autonomous Manufacturing Zone
> Custom Transitional Utility Object (Morris Mover)
> Temporal Aggregate (Borrowed Beuys)
> Anti-Factory Bristol
> Towards a New Theory of Color Reading
> The Berlin Wall
> Counterfeit Crochet Project (Critique of a Political Economy)

Black Markets 
Self Constructions 








Temporal Aggregate/ Social Configuration (Borrowed Beuys)

Various objects shipped, smuggled, and hand-delivered. Commissioned for the P.S.1/MoMA exhibition "1969."

Selected press:
The New York Times, 10/29/09
The New York Times slideshow, 10/30/09

Exhibition text:
Stephanie Syjuco’s new work is a “resuscitation” made in homage to Joseph Beuy’s The Sled (1969), a sculptural multiple in MoMA’s collection that could not be included in 1969 for conservation reasons. In response to the absence of this major artist in the exhibition, Syjuco has assembled a temporary replacement comprised of objects borrowed from her friends and associates—primarily other artists—through email, Facebook and other social networks.

Exhibited is the complete catalog of what was offered and received via mailed shipment, overseas smuggling, and hand-delivery. Describing her process, Syjuco says, “Essentially, I asked the general public to do what MoMA itself couldn't: lend a Joseph Beuys artwork for the show.”

What has been brought together as an artwork referencing a 20th-century icon and his social ideals, ultimately will be dispersed, the items returned to their original owners and put to more quotidian tasks.

Read original solicitation letter

Left: installation view with "Custom Utility Transitional Object: Morris Mover"; right: detail of sled

All objects courtesy of:

Michael Arcega
(San Francisco, CA)
Bruno Boutot & Michèle Vanasse (Montreal, Canada)
Terri Cohn (San Francisco, CA)
Scott Constable (Occidental, CA), Nathaniel Parsons (Oakland, CA)
Michelle Kemick (Ventura, CA)
Cheryl Meeker (San Francisco, CA)
Travis Meinolf (Berlin, Germany)
Nancy Nowacek (San Francisco, CA)
Brody Reiman (San Rafael, CA)
Allison Smith (Oakland, CA)
Tiffany Sum (Long Beach, CA)
Jonathan Van Dyke & Igor Siddiqui (Long Island City, NY)
Joshua Warren (San Francisco, CA)
Christine Wong Yap (Oakland, CA)
Martin Zet (Libusin, Czech Republic)

Top row: Joseph Beuys, "Sled," 1969, wooden sled, wool blanket, flashlight, strapping, lard, twine; flashlight lent by Tiffany Sum, Long Beach, CA; lard smuggled by Martin Zet, Libusin, Czech Republic.
Bottom row: blanket offered by Terri Cohn, San Francisco, CA; strapping lent by Nathaniel Parsons, Oakland, CA; wooden sled offered by Anna Malz, London, UK; lard lent by Jonathan van Dyke and Igor Siddiqui, Queens, NY. All images courtesy of the lenders.

Installation view at P.S.1, in front of Bruce Nauman videowork

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