Work with no price tag. Work you promised for a friend. Work so good, so bad, or so personal, you decided to keep it for yourself. Private work, public work. Work that belongs to you, to someone else, to everyone or no one. Found work. Work that you are contractually prevented or unofficially discouraged from exhibiting because of your relationship with a specific gallery or institution. Non-serious work, tangential work. Prototypes. Mistakes. Damaged goods. Old and dusty work. Or new and unproven work. Pseudonymous experiments. Work that doesn’t belong anywhere, or belongs in only one place. Work that happens once and then is gone. Undocumented, or undocumentable work. Site-specific or time-based, installation or performance work. Work that’s physically, conceptually, or legally impossible to buy. Sets of directions. Imaginary scenarios. Work that approaches, asymptotically, the fantasy of extra-market existence, that suggests alternative economies, performs or accomplishes its own disappearance, work that challenges or is challenged, or attempts to avoid recuperation and fails – beautifully.
– from the Not For Sale call for entries
A live, virtual shoot-out with the world’s 150 most successful living artists inside landscapes modeled after actual galleries and museums. Homemade handheld flamethrowers modeled after toy guns. An assemblage of copper wire, insulators, and electric fence, not to be touched by persons with pacemakers. A cell-phone-killing machine. A chair that tortures you with corporate niceties. A forced mad-lib confession based on Orwell’s 1984. Jesus embodied by twenty famous actors. A suggestion of Charlton Heston. Paul Amlehn’s “Tears of Eros” text treatment. Peeping Tom watched with eye-tracking software. Tubes of stolen paint. Haikus on toast. Hundreds of hand-stitched paper pillows made from the architectural drawings of a non-architect. Taxidermy from remnants of an orphaned pet. Memories of a deceased son and a Thai prince killed in a tsunami. A dark family story involving bacon. A lost contact. A device that shreds your dreams. Unnumbered editions placed at random across the city.
– from the 2011 Not For Sale show description
Not For Sale was a show FICTILIS organized in July 2011 featuring work that was, for a variety of reasons, not for sale. Literally. The show was a smashing success – nothing sold.
FEATURING: Paul Amlehn / Andrew Bowling / Michael Caci / Missa Coffman / Madeline Courtney / Michelle de la Vega / Graham Downing / Marc Hume / Hettie Kauffman / Rachel Kotkin / Max Kraushar / Paul Steen / Liz Murphy Thomas / Aaron Oldenburg / Rusty Oliver / Yulia Pinkusevic / Michiko Tanaka / Heather Warren-Crow / Richard Wynne
"Not For Sale" remains for us an ongoing curatorial intiative. The phrase is a convenient embodiment of some critical discourses the Art World tends to have about its relations with the rest of the (capitalist) world, and we deploy it as a means to enter into those discourses in an accessible way. This was our first full-scale exhibition at our space in downtown Seattle, and we scheduled it to announce our priorities early on and set the tone for future shows.
We accept submissions of things that are not for sale on an ongoing basis. When possible, we may mount another Not For Sale exhibition.