Eric Andersen, The Portable Crying Stone, 1989, Marble, metal, mahogany wood, brass, leather, brush, cloth, glass bottle of wax, Walkman and audio cassette, silkscreen on wood and paper card, 80 × 20 × 20 cm, Edition of 17 plus IV AP
Courtesy of Archivio Conz, Berlin
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The portable iteration of the artist's The Crying Space, comprises a mahogany box with brass titled plate, walkman with headphones, cassette tape with audio to spawn tears, marble stone with wax and cloth for cleaning, and a tripod to hold the marble stone for collecting tears.
https://toneglow.substack.com/p/006-eric-andersen
http://www.recitalprogram.com/the-crying-space/
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Eric Andersen (b. 1940 in Antwerp, Belgium, lives and works in Copenhagen, Denmark) is a Danish artist frequently associated with Fluxus, working in performance and Intermedia art. Andersen studied music in his childhood and, as early as 1960, began defining numbered pieces with the recurring title Opus, a series of compositions and open-ended work instructions, played in the paradox of the interaction between the artist and the audience. Andersen has been a promoter of Intermedia experiments and events, as well as an active contributor to mail art, engaging in complex experiments involving digital technology. With Francesco Conz, he worked on several ambitious editions, such as The Banner, which, at fifty meters long, is the longest screen-print in the world. The remarkable portable Crying Stone materializes the itinerant installation Crying Space, developed by Andersen in the 1960s and since then activated worldwide. Original Opus scores are now in numerous private and public collections, including the Silverman Collection, New York and the Museo Nacional Centro de Arte Reina Sofía, Madrid. Andersen continues to perform in institutions such as the Museum of Contemporary Art Tokyo (2014), the Seoul Museum of Art (2016), the Nikolaj Kunsthal in Copenhagen (2014), and the Fondazione Mudima in Milan (2019).
