stephanie syjuco

 

PROJECTS
 

RECENT

> 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)
> CHATFACE
> 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)
> RAIDERS
> 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)


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Custom Transitional Utility Object: Morris Mover
2009

Custom fabric moving blanket, photographic documentation in vitrine; 180" x 72." Commissioned for the P.S.1/MoMA exhibition "1969."

Selected press:
The New York Times, 10/16/09


A custom-made industrial moving blanket was produced in the exact height and width dimension of Robert Morris' original "Untitled" 1969 work. Made by an American moving blanket factory, this fabric piece brings it in conversation with the industrially-made material of the original felt work.

The blanket was used to wrap and assist in transporting works from MOMA to PS1, before finally being installed at PS1 in the same hanging manner as the original. While the original Morris could not be shown for conservation reasons, my reworking keeps similar concerns at the forefront, namely making transparent the labor and process involved in its creation, and undergoing a similar yet behind-the-scenes journey as the original would have.

An adjacent vitrine displayed a selection of documentation photographs, showing the different formal configurations of the work during its transit and use.

 



Left: detail of moving blanket with Made In America label; Right: original Robert Morris' "Untitled" 1969 felt cut piece.


Above: Vitrine displaying eight documentaiton photographs of blanket being utilized in transporting artworks from MoMA to P.S.1.

Below: Selected documentation photographs. All courtesy of Summer Kemick.


Left: preparator crew in action; right: moving blanket wrapped around Robert Irwin crate


Uncrating a Richard Serra steel sculpture

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