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© Pompeii Commitment. Archaeological Matters, a project by the Archaeological Park of Pompeii, 2020. Project Partner: MiC.
All archival images and photographs taken at the Archaeological Park of Pompeii are used with permission from MiC-Ministry of Culture-Archaeological Park of Pompeii. Any copies or reproductions are strictly forbidden.

Agnes Denes, with Emma Enderby. Absolutes and Intermediates

Commitments 39    17•03•2022

1-7. Excerpts from the catalog:

Agnes Denes: Absolutes and Intermediates
Edited by Emma Enderby, The Shed, 2020

8. Text:

Postscript to postscript
Agnes Denes, 2020

On the occasion and in the context of Pompeii Commitment. Archaeological Matters – first contemporary art program conceived and produced by the Pompeii Archaeological Park – The Shed New York and Pompeii have initiated a collaboration that includes the commission of an unpublished contribution by the artist Agnes Denes for the Pompeii Commitment portal, as well as the reproduction of excerpts from the monograph Agnes Denes, Absolutes and Intermediates published on the occasion of the artist’s solo exhibition at The Shed in 2020. The contribution was drafted by Emma Enderby, Chief Curator at The Shed, who curated the solo exhibition by Agnes Denes and its monograph.

Home Page Image: Agnes Denes, Rice/Tree/Burial (photographic documentation), 1977–79. Courtesy the Artist and The Shed New York

All images: Copyright Agnes Denes, Courtesy of Leslie Tonkonow and The Shed New York

Agnes Denes was born in Budapest, raised in Sweden, and educated throughout the United States. She has participated in more than 600 exhibitions at galleries and museums internationally. Her solo shows and retrospective surveys have been presented at venues including: Institute of Contemporary Arts, London (1979); Ludwig Museum, Budapest (2008); Samek Art Gallery, Bucknell University, Lewisburg, Pennsylvania (2003); FRAC Champagne-Ardenne (2013); and The Shed, New York (2019). Denes’ work will be featured in the 59th Venice Biennale (2022) and was previously in: Documenta 14, Kassel (2017); Art Institute of Chicago (2012); Centre Pompidou-Metz, Paris (2011 – 12); PROA Foundation, Buenos Aires (2011); 38th Venice Biennale (1978); Documenta 6, Kassel (1977); 2nd Biennale of Sydney (1976). Her works are in the collections of the Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Whitney Museum of American Art, New York; Hirshhorn Museum and Sculpture Garden, Washington DC; Art Institute of Chicago; San Francisco Museum of Modern Art; Moderna Museet, Stockholm; Israel Museum, Jerusalem; Kunsthalle Nürnberg; National Gallery of Art, Washington DC; and 28 other major art institutions worldwide.

Emma Enderby is a curator, writer, and lecturer of modern and contemporary art. She is currently the Head of Programs and Research, Chief Curator at Haus der Kunst, Munich, as well as the Curator-at-large at The Shed, New York where she is curating the exhibition Tomas Saraceno: Particular Matter(s). Formerly, as Chief Curator at The Shed, she curated the retrospective exhibition Agnes Denes: Absolutes and Intermediates, the group exhibition The Looking Glass, and shows with Ian Cheng, Trisha Donnelly, Tony Cokes, Oscar Murillo, and the institution’s emerging art programme, Open Call. Enderby also curated Jakob Kudsk Steensen: Berl-Berl, for Light Art Space in Berlin. Prior to The Shed, Enderby was the Associate Curator at Public Art Fund, and exhibitions curator at the Serpentine Galleries, London, where she organized exhibitions including Hilma af Klint: Painting the Unseen; Rachel Rose: Palisades, Leon Golub: Bite Your Tongue; and Haim Steinbach: once again the world is flat. She was also co-project curator for the Serpentine Pavilion commissions of SelgasCano and Smiljan Radić. Previously, she worked at the Royal Academy of Arts, London, and Whitechapel Gallery, London.

Non-linear Temporal Fluxes

  17 • 03 • 2022

What Technological Science and Environmental Studies Can Teach about Notions of Time


Excerpts from Pierre Gusman, “Pompéi: la ville, les moeurs, les arts”, Société Française d’éditons d’art L.-HENRY MAY, 1899


Carbonized Cypress Trunk

Pompeii Commitment

Agnes Denes, with Emma Enderby. Absolutes and Intermediates

Commitments 39 17•03•2022

Postscript to postscript

After all the reading and studies coming to the conclusion that we were in the center of creation and realizing all other factors, I saw recently that this was now almost common knowledge among educated people. How recently has this become known is vague, all I know is that I discovered it for myself, began questioning it by myself, and writing these observations by myself. When I began questioning it I also added new thoughts to it.  This is still not common knowledge, just my thinking. Soon it will be common.

Many years have passed since my research and discovery in the first writings, only one listed above. Many changes, new visions. I must say it’s interesting that few need revision or additions. The ideas hold through time, my art when seen from decades before seem brand new. Does that mean that true insight remains true as everything else changes, or does it mean that while they change they remain the same. No, that’s another thought.

All that is needed here is pointing out that ideas circulate, original concepts remain original if someone says so, if it is documented, patent it, advertized so and it becomes public property. The discoverer may not be known, nor does it matter, all creation is for all humanity. All art is created to be shared by all, for the benefit of everyone. All creation, all original thinking, all these gifts are for everyone who can inhale them.

Agnes Denes
In time.