Kraatz has been invited to Athens. It has been offered a box in which to display its wares. It has been warned: it will be a small box.
We are heading for a trade expo, six uncommercial travellers with a single piece of luggage. We will travel by air. We will check our bags individually—and together one extra piece of baggage. We won’t tell security that it belongs to Kraatz. We won’t yet be Kraatz.
Assembled in our Athens box, we will open a suitcase. And the suitcase will open Kraatz. The suitcase in a box may be a work. It will certainly contain works, wares made by Kraatz members individually and collaboratively. Small works, samples of larger works, promotional materials. The suitcase will be full of promising boxes.
Step up, step up, everything is for sale.
The first edition of Marcel Duchamp’s Boîte-en-valise was the only one to include—as well as the box and miniature reproductions of his earlier works—a suitcase. Duchamp’s piece is celebrated for interrogating many things: reproduction (and the original), art and craft, the signature, the museum, and the archive. But in its first incarnation it was also a parody of the travelling salesman’s sample case.
With Marcel Duchamp, Kraatz commits itself to the art of the sale.
As you sow, so shall you reap. And after the reaping, the gleaning.
Gleaning is gathering, picking up, scraping together. Not quite foraging or scavenging, it starts from what has already been grown, produced, harvested. Re-using, recycling, reclaiming, re-purposing.
Always secondary, supplementary, gleaning can be individual or collective.
We dove into the skip and surfaced with the name: KRAATZ.