Enough Lawrence Weiner Keijiban ローレンス・ウィナー
Enough Lawrence Weiner Keijiban ローレンス・ウィナー
Enough Lawrence Weiner Keijiban ローレンス・ウィナー
Enough Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner ローレンス・ウィナー　Keijiban
Enough Lawrence Weiner Keijiban ローレンス・ウィナー
Enough Lawrence Weiner Keijiban ローレンス・ウィナー
Enough Lawrence Weiner Keijiban ローレンス・ウィナー
Enough Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner ローレンス・ウィナー　Keijiban

Lawrence Weiner

ENOUGH

2021

Poster printed in offset on matte coated paper with a mix of matte and gloss finishes

79 × 111.7 cm

Edition of 25 copies hand-numbered and stamped by the artist with an original hanko-seal on a certificate, plus 8 artist’s proofs

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The edition

Central to Lawrence Weiner’s conception of art is the notion of “translation.” In his exhibitions held in numerous countries around the world, the artist often presented his textual installations in local dialects (or combinations thereof), playing with the changes of meaning that occur when a sentence is rendered in another language.

Throughout his vast body of work, the artist also referred to “translation” in a broader sense. Not only did he focus his attention on the transfer of words from a language to another, but also on the ways in which words can be transferred to a different medium, material, configuration, space, or culture. As a master of displacement, Lawrence Weiner always promoted a cosmopolitan understanding of art, in which forms and ideas are meant to travel.  

In this sense, the edition conceived for Keijiban is subject to various personal interpretations, depending on the viewers’ experiences and situations. It should be noted that the English and Japanese terms (“enough” and “足りる”), though accurate translations from one to the other, are certainly not interchangeable. Each has its own presence, color, shape, as well as its own semantic field. The terms only coincide within a limited area, illustrated by 足りる, slightly stepping on its counterpart—“足” being the ideogram for “foot,” for that matter.

The term “enough” relates also to the context of the keijiban, the outdoor notice board for which it was conceived. This edition can be viewed as an ironic and empathetic way of touching upon the minimal conditions for exhibiting art, by an artist who has displayed his works on surfaces as diverse as museum walls, billboards, manhole covers, boats, flags, and hats.

Finally, ENOUGH happens to be one of the last works—and words—of Lawrence Weiner. This single term resonates in a powerful and poignant manner, but it is also perfectly in tune with a remarkable career and philosophy based on simplicity, aptness, meditation, and disruption.

The artist
Lawrence Weiner Keijiban ローレンス・ウィナー

Photo credit: Matthew Tammaro, 2020

Lawrence Weiner was born in 1942 in New York and passed away there in December 2021.

Lawrence Weiner is a central and fascinating figure in the art of the past sixty years. He has contributed to reshaping our very understanding of art—its materiality, situation, distribution, and reception.

Although his practice encompassed sculpture, performance, artist’s book, sound, film, and other media, he is mostly known for his sculptural use of language and typography, contributing decisively—but unwillingly—to what is called “Conceptual Art.” Since the 1960s, Lawrence Weiner has presented his distinctive words and signs on a large variety of contexts, be it the wall of an art gallery, the page of a book, or the facade of a building. These textual fragments and aphorisms engage viewers with existential questions about their relationship to time and space, language and culture, and the function of art. As the artist put it: “All art is just signposts along the way to understanding your relationship to the world.”

His works form part of the collections of numerous institutions worldwide and have been exhibited “in so many countries, that his résumé reads more like an atlas than a list of works” (The New York Times).

Lawrence Weiner is represented by Dvir Gallery (Brussels / Tel Aviv), Lisson Gallery (London, New York, Shanghai), Marian Goodman Gallery (New York, Paris, London), Taro Nasu Gallery (Tokyo), Thaddaeus Ropac Gallery (London, Paris, Salzburg, Seoul), and Micheline Szwajcer Gallery (Antwerp).

The exhibition
Lawrence Weiner ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner ローレンス・ウィナー
Lawrence Weiner ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner Keijiban ローレンス・ウィナー
Lawrence Weiner ローレンス・ウィナー

Lawrence Weiner’s exhibition took place at Keijiban from December 15, 2021 to January 14, 2022.