The works in the Jardin des Plantes are indicative of the transition from the private to the public insofar as they stem from the immediate environment of a private individual. Pièce for 1, 2, 3, 4 of 1971 and La ligne de démarcation were taken, for example, from one of the windows of Jochen Gerz’s apartment, which at the time was in one of the buildings that flank the garden. But at the very same time, these works … consist of such minimal displacements as to allow them to escape from the realm of “creative alteration,” and thus to shed a light that shows human gestures in all of their absurdity.Marion Hohlfeldt 1999
16 b/w photographs, text (handwriting, photographic opaque), acrylic glass, black adhesive cloth tape, cardboard, mounted in a wooden frame, 86 x 107 cm
See the performance Pièce pour un laveur de carreaux (19).
Musée d’Art Moderne et Contemporain, Strasbourg
Amsterdam 1973. Warszawa 1974. Karlsruhe 1975 (Duisburg 1975/1976. Braunschweig 1976). Wien 1993. Villeneuve d’Ascq 1995 (Nice 1995)
I: Warszawa 1974, p. 50. Karlsruhe 1975, pp. 71, 150. Bielefeld 1981, pp. 10, 88. Wien 1993, p. 226. Villeneuve d’Ascq 1995, p. 26. Bolzano 1999, p. 109