Tema 3 Arts del concepte

Precedents Ren Magritte

La trahison des images, 192829

Les deux mystres, 1966

1. Atmosfera intellectual
Precedents immediats:
Art minimal Bruce Nauman

Qestionament de la visualitat
(modernitat segons Greenberg) lnia Duchamp

Wittgenstein, Investigacions filosfiques Sistema artstic i mercantilitzaci

Sol LeWitt, Paragraphs on Conceptual Art, 1967, a Artforum

http://www.tufts.edu/programs/mma/fah188/sol_lewitt/paragraphs%20on%20conceptual%20art.htm

la idea s una mquina que genera art

Sol LeWitt
El objetivo del artista conceptual es hacer que su trabajo sea mentalmente interesante para el espectador, lo cual equivale a que sea emocionalmente neutro

Joseph Kosuth, a Art after Philosophy, (1969)

art as idea as idea

Durante aos nos hemos preocupado por lo que sucede dentro del marco. Puede que est sucediendo algo fuera del marco que se pueda considerar una idea artstica
(Robert Barry, 1969)

Exposici: January 5-31, 1969, de Kosuth, R. Barry, Douglas Huebler i Lawrence Weiner

2. Artistes principals

2. Artistes principals

Kosuth, One and Three Chairs (1965) One and Three Hammers (1965)

Five Words in Green Neon (1965), Five Words in Orange Neon One and Eight-A Description

2. Artistes principals

2. Artistes principals

Sries de definicions (1967)

Water, Square, Air, Nothing, Universal, White, Type, Painting, Abstract

(Art as Idea as Idea) The Word "Definition" 1966-68. Gift of Seth Siegelaub and the Stichting Egress Foundation, Amsterdam

2. Artistes principals

Joseph Kosuth, Text-Context,

1979, Leo Castelli Gallery, NY, USA

2. Artistes principals

Art and language

Art & Language Texte zum Phnomen Kunst und Sprache, Kln, 1972

Art-Language. Vol. 1, No. 3 (June 1970)

2. Artistes principals

1eres obres: 22 Sentences; The French Army, 1968 2es: confrontaci paraula i pintura: Secrect Painting, 1967 Air Show/Air-conditioning Show, 1966

2. Artistes principals

Art & Language, Secrect Painting, 1967

The content of this painting is invisible; the character and dimension of the content are to be kept permanently secret, known only to the artist.

2. Artistes principals

Art &Language Index 01, (Documenta 5, 1972)

2. Artistes principals

Lawrence Weiner
Statement n. 462 Many colored objects placed side by side to form a row of many colored objects

Lawrence Weiner, Some Objects of Desire, 2004

2. Artistes principals

Gordon Matta-Clark, Reality Properties: Fake Estates (RPFE) (1973-1974)

 Days End, 1975

Splitting, 1973

Gordon Matta-Clark, Conical Intersect /

Bruno de Witt Paris 1975 (730): http://vimeo.com/10617205

Dan Graham, Homes for America,

1966 a Artforum

Homes for America, Oct. 8-15, 1970 and March 10-22, 1971, Anna Leonowens Gallery, NSCAD University

2. Artistes principals

Hanne Darboven(Munich, 1941)

Construction Drawing, 1968

2. Artistes principals

Esther Ferrer
http://www.arteleku.net/estherferrer/Textos/poema.html Tras algunos aos, en la dcada de los 70, realizando proyectos con estructuras geomtricas definidas nicamente en funcin de mis propios criterios, sent la necesidad de pensar otras en las cuales mis preferencias estticas jugaran un papel secundario. Estructuras libres que pudieran evolucionar por si mismas, segn su lgica interna. () amigos matemticos me decan que nunca conseguira una estructura vlida pues los nmeros primos no son previsibles. () Efectivamente tard bastante tiempo en comprender que era mejor no prever nada, dejar que la estructura evolucionara en funcin de la dinmica interna de la serie, lo que da como resultado que cada obra es diferente, aunque aplique el mismo sistema para visualizar el movimiento de la serie. Algunas veces comienzo por 1, 2, 3, 4 etc. , pero tambin lo puedo hacer por 3.000 4.000 e incluso 15.000.000 o ms o por 41, segn la observacin de Stanislav Ulam, lo que da una lnea ininterrumpida de 40 nmeros primos.() Lo primero que sorprende cuando se comienza a trabajar con la serie de los nmeros primos es que - cualquiera que sea el sistema utilizado - el resultado es siempre equilibrado, hermoso, y lo segundo que cuanto ms grande es la obra, es decir cuanto ms nmeros la forman, ms interesante es la estructura, nunca simtrica, siempre en movimiento, por ello siempre he pensado en realizar obras monumentales como suelos, muros, tapiceras etc. Al penetrar el universo de los nmeros primos se tiene la sensacin que son la traduccin, el reflejo, de un caos universal, magnfico, continuamente en evolucin, que no se repite jams, pero que pese a ello, es siempre el mismo. Un caos en cuyo interior parece existir un orden, un orden extrao, curioso. Trabajar con esta serie es fascinante y tranquilizador al mismo tiempo, es una tarea minuciosa - nunca estoy segura de no haber cometido algn error - obsesionante, tan obsesionante, que llega un momento en que hay que abandonarlo, al menos durante cierto tiempo, pues al intentar penetrar ese hipottico y curioso orden que imagino puede existir en el caos, se corre el riesgo de partir muy lejos, incluso demasiado lejos... all donde quizs no hay retorno posible.

Esther Ferrer, sobre los nmeros primos y el infintio

http://vimeo.com/30893314 1140 - 1525

2. Artistes principals

http://saltoarteko.blogspot.com.es/2012/04/esther-ferrer.html 242

(...) todo est ah *en la premaqueta)

2. Artistes principals

On Kawara, This Painting Itself is January 15, 1966

I got up at 9-47-am Feb-12-1978, 1978

2. Artistes principals

On Kawara
One Million Years -Past (For all those who have lived and died, de 1970-71)

1. 2. 3. 4. 5. 6. 7.

Sol Le Witt, Sentences on Conceptual Art , 1969

8.

9. 10. 11. 12. 13. 14. 15. 16.

17.

Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach. Rational judgments repeat rational judgments. Irrational judgments lead to new experience. Formal art is essentially rational. Irrational thoughts should be followed absolutely and logically. If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results. The artist's will is secondary to the process he initiates from idea to completion. His willfulness may only be ego. When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations. The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept. Ideas can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical. Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed. For each work of art that becomes physical there are many variations that do not. A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind. The words of one artist to another may induce an idea chain, if they share the same concept. Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally. If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics. All ideas are art if they are concerned with art and fall within the conventions of art.

18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28.

29. 30. 31. 32. 33. 34. 35.

One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past. The conventions of art are altered by works of art. Successful art changes our understanding of the conventions by altering our perceptions. Perception of ideas leads to new ideas. The artist cannot imagine his art, and cannot perceive it until it is complete. The artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstrual. Perception is subjective. The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others. An artist may perceive the art of others better than his own. The concept of a work of art may involve the matter of the piece or the process in which it is made. Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works. The process is mechanical and should not be tampered with. It should run its course. There are many elements involved in a work of art. The most important are the most obvious. If an artist uses the same form in a group of works, and changes the material, one would assume the artist's concept involved the material. Banal ideas cannot be rescued by beautiful execution. It is difficult to bungle a good idea. When an artist learns his craft too well he makes slick art. These sentences comment on art, but are not art.

2. Artistes principals

2. Artistes principals

John Baldessari
sings Sol Le Witt sentences on Conceptual Art
http://www.youtube.com/watch?v=07qQMEAUq8M

2. Artistes principals

John Baldessari, 1966

2. Artistes principals

Marcel Broothaers
Muse dArt Moderne -Dpartement des Aigles (1968-1972)
1972

Section Cinma, 1972

2. Artistes principals

Buren Daniel
pintar s conferir valor esttic a les flors, a les dones, a lerotisme, a lentorn quotidi, a lart, al dadaisme, a la psicoanlisi i a la guerra de Vietnam. Nosaltres no som pintors
(Manifest 1 de Buren, Mosset, Parmentier i Toroni al XVIII Salon de la Jeune Peinture, 1967)

Affichage sauvage [Fixament salvatge], Pars, abril, 1968

2. Artistes principals

Daniel Buren, Le Dcor et son Double (1986)

3. Prctiques conceptuals posteriors

3. Prctiques conceptuals posteriors

http://www.scribd.com/doc/511973/PEP-AGUT-Hercules-contrato-version-catalan

Pep Agut, 1

3. Prctiques conceptuals posteriors

Pep Agut, Hrcules. Autoretrat en devaluaci econmica i plusvlua cultural, 2008

3. Prctiques conceptuals posteriors

Jaume Plensa

El alma del ebro

Mart Ansn

3. Prctiques conceptuals posteriors

La por del porter de futbol davant el penalti

Conclusions
Crtica cultural i esttica:
Antivisualitat com a rebuig de lespectacle i el mercat. Convencions visuals Rebuig del gaudi esttic merament sensible: oh, quins colors!!. Neutralitat emocional, quotidianitat Antiobjectualitat; reproductibilitat, no original Implicaci intellectual, crtica davant de lart. Processualitat Recerca de la mxima llibertat artstica Autorreferencialitat: reflexi profunda sobre lart mateix. Rebuig de lestil, anti-genial Cert utopisme Anticapitalista Antiinstitucional (avant la lettre) Democratitzador Paradoxa: absorbits pel mercat i les institucions.

Prctica esttica

Qestions ideolgiques

Bibliografia
Gregory Battcock (ed.), La Idea como arte: documentos sobre el arte conceptual, Barcelona : Gili, cop. 1977 (on es recullen els dos primers manifestos de J. Kosuth Art after Philosophy) B. H. D. Buchloh, Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions Victoria Combala, La potica de lo neutro, Random House Mondadori, 2005(2) Joseph Kosuth, Art After Philosophy and After: Collected Writings, 19661990, MIT Press, Aug 13, 1993 - 331 pages Sol LeWitt, Paragraphs on Conceptual Art, 1967, a Artforum, estiu.

http://www.tufts.edu/programs/mma/fah188/sol_lewitt/paragraphs%20on%20co nceptual%20art.htm

Lucy R. Lippard, Six Years. The Dematerialization of the Art Object from 1966 to 1972,(1973), sobre el pas del minimalisme a les segents prctiques. (versi espaola Seis aos. La desmaterializacin del objeto de arte.Akal, Madrid