Sunday, December 18, 2011
Wednesday, December 14, 2011
The most inclusive description of the art is, that, termite-like, it feels its way through walls of particularization, with no sign that the artist has any object in mind other than eating away the immediate boundaries of his art, and turning these boundaries into conditions of the next achievement.
Manny Farber (1962)
Tuesday, December 13, 2011
Thursday, December 8, 2011
Hans Haacke (German-American artist): "Contrary to Kant's dictum of ‘disinterested pleasure’, the arts are not ideologically neutral. They are, in fact, one of the many arenas where conflicting ideas about who we are, and what our social relations should be, are pitted against each other. Encoded in cultural productions are interests, beliefs, and goals. And, in turn, they affect what is at stake for us, what we believe, and what we strive for."
Boris Groys: “Conceptual artists shifted the emphasis of artmaking away from static, individual objects toward the presentation of new relationships in space and time. These relationships could be purely spatial, but also logical and political. They could be relationships among things, texts, and photo-documents, but could also involve performances, happenings, films, and videos—all of which were shown inside the same installation space. In other words, conceptual art can be characterized as installation art—as a shift from the exhibition space presenting individual, disconnected objects to a holistic exhibition space in which the relations between objects are the basis of the artwork.” And “conceptual art taught us to see form as a poetic instrument of communication rather than an object of contemplation.”
Boris Groys: “Today, there is no longer any ‘ontological’ difference between making art and displaying art. In the context of contemporary art, to make art is to show things as art. So the question arises: is it possible, and, if so, how is it possible to differentiate between the role of the artist and that of the curator when there is no difference between art’s production and exhibition? Now, I would argue that this distinction is still possible.” And: “The installation transforms the empty, neutral, public space into an individual artwork—and it invites the visitor to experience this space as the holistic, totalizing space of an artwork. Anything included in such a space becomes a part of the artwork simply because it is placed inside this space.” And: “artistic installation [is] the act of art production [which] coincides with the act of its presentation”
Hans Ulrich Obrist: "I don't believe that the curator is an artist. I was very inspired by Harald Szeemann, who is obviously one of my great heroes. Harald had a signature, and things had to function within the signature of his exhibitions. He is the auteur, but that has never been my way to work. Everything in my shows is done by an artist. The more I can disappear, the less my signature is there, the better it is. Douglas Gordon will find the title, an artist will design the catalogue, Richard Hamilton will do the poster. If it is a performance, it's a performance that has always to do with someone else, or for someone else."