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The exhibition “Knockin’ on Heaven’s Door” at the Kunstmuseum in Vaduz, Liechtenstein, explores contemporary artistic representations of body/soul, body/mind, matter/consciousness. On display are works by Marina Abramovic/Ulay, Absalon, Samuel Beckett, Joseph Beuys, Andrea Fraser, Felix Gonzalez-Torres, Dan Graham, Kimsooja, Korpys/Löffler, Thomas Lehnerer, Matt Mullican, Bruce Nauman, Gabriel Orozco, Kristine Oßwald, and Gina Pane. The show, curated by Christiane Meyer-Stoll, shows how, since the 1960s, artists have intensely focused on corporeality, on the border between “I” and the world, between the individual and the social, and have investigated how our realities are structured.
In this video curator Christiane Meyer-Stoll talks about the idea behind the exhibition and explains the concept of the show on the basis of two works: the Yielding Stone (Piedra que cede, 1992) by Gabriel Orozco, and an untitled work (Portrait of Dad, 1991) by Felix Gonzalez-Torres.
Knockin’ on Heaven’s Door runs until January 18, 2009. The show is accompanied by several related events and in the exhibition’s context Matt Mullican presents video works in the nearby church Johanniterkirche Feldkirch, Liechtenstein (from October 17 until December 27, 2008).
Knockin’ on Heaven’s Door, Kunstmuseum Liechtenstein, Vaduz. Opening, September25, 2008.

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Felix Gonzalez-Torres (1957-1996) is the artist representing the United States at the 52nd Venice Biennale “Think with the Senses – Feel with the Mind. Art in the Present Tense” in 2007. The US Pavilion, entitled “America”, was organized this year by the Solomon R. Guggenheim Museum of New York. “A Cuban-born, American citizen, Gonzalez-Torres is best known for his immensely generous yet rigorously conceptual art in the form of endlessly replenishable paper stacks, take-away candy spills, light strings, beaded curtains, and public billboards. With its minimalist refinement and quiet referentiality, his work treads a fine line between social commentary and personal disclosure, equivocating between the two realms and obscuring the culturally-determined distinctions that separate them.” (PR BV). Venice Biennale 2007, June 8, 2007. Reviews: New York Times (by Randy Kennedy), The Telegraph, Black Cat Bone Blog, TIME, LA Times.
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