Global conceptualism: points of origin 1950s-1980s

296 Pages·1999·61.973 MB·English

by  Philomena Mariani (editor)

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Global Conceptualism: Points of Origin,
195os-198os
Luis Camnitzer, Jane Farver, Rachel Weiss
PROJECT DIRECTORS:
Presenting an unprecedented range of material, Global Conceptualism:
Points of Origin, 295os-198os challenges the canonical perception that
conceptual art was simply one movement which spread internationally
and acknowledges the important local circumstances which gave birth
to conceptualist art in regions around the world. This book traces the
istory of this key development in 20th-century art which was marked
y a shift from a consideration of the object to that of the idea. The
mergence of conceptualist art, which coincided with broadly destabiliz·
g sociological and technological trends as the political, economic, and
oclal landscapes of large parts of the world underwent significant, often
aumatic, transition, occurred in two relatively distinct waves of activity:
e first, from the late 1950s to around 1973, and the second from the
mid-197os to the end of the 'Bos.
During both periods, conceptualism questioned the idea of art and
sought to enlarge the scope of what art could be. The practice was
characterized by a prioritization of language over visuality; a critique
of the institutions of art; and, in many cases, a consequent dematerial•
ization of the artwork. By radically reducing the role of the art object.
conceptualism reimagined the possibilities of art vis-a-vis the social,
political, and economic realities within which it was being made. The
role of art was expanded to that of catalyst, stand-in for forbidden
speech, exemplification of systems of thought and belief, or vehicle for
dissent.
Covering three decades of idea-based art, this book features works by
more than 135 artists from Asia, Western Europe and Eastern Europe,
Latin America, North America, the Soviet Union (Russia), Africa, and
Australia and New Zealand. This catalogue is published in conjunction
with a major touring exhibition organized by the Queens Museum of Art,
Queens, New York. Global Conceptualism: Points af Origin, 195os- 198os
includes a foreword by Camnitzer, Farver, and Weiss; an introduction by
Stephen Bann; and essays by Laszl6 Beke (Eastern Europe), Okwui
Enwezor (Africa), Gao Minglu (Mainland China, Taiwan, Hong Kong),
Claude Gintz (Western Europe). Apinan Poshyananda (South and
Southeast Asia), Mari Carmen Ramirez (Latin America), Reiko Tomii in
cooperation with Chiba Shigeo Oapan), Margarita Tupitsyn (Soviet
Union), Terry Smith (Australia and New Zealand), Sung Wan-kyung
(South Korea), and Peter Wollen (North America).
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Points of Origin
195os-198os
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Global Conceptualism:
Points of Origin
1950s-1980s
Foreword by
Luis Camnitzer
Jane Farver
Rachel Weiss
Introduction by
Stephen Bann
Essays by
Laszlo Beke
Okwui Enwezor
Gao Minglu
Claude Gintz
Apinan Poshyananda
Mari Carmen Ramirez
Terry Smith
Reiko Tomii, in cooperation with Chiba Shigeo
Margarita Tupitsyn
Sung Wan-kyung
Peter Wollen
Queens Museum of Art, New York
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This publication has been prepared to accompany the exhibition
Global Conceptualism: Points of Origin, 195os-19Bos, organized
by the Queens Museum of Art
Exhibition Tour
Queens Museum of Art, New York, April 28-August 29, 1999
Walker Art Center, Minneapolis. December 19, 1999-March 5, 2000
Miami Art Museum, Miami, September 15 - November 26, 2000
Global Conceptualism: Points of Origin, 195os-19Bos is sponsored by AT&T.
Major support is also provided by the Rockefeller Foundation, the Andy
Warhol Foundation for the Visual Arts, and the Lannan Foundation. Additional
funding is from the Peter Norton Family Foundation, Korea Foundation, Trust
for Mutual Understanding, The Japan Foundation, Asian Cultural Council,
lnstitut fur Auslandsbeziehungen, Shiseido Co., Ltd., and the British Council.
The National Endowment for the Arts, New York State Council on the Arts,
and New York Council for the Humanities, a state program of the National
Endowment for the Humanities, provided generous support.
-
Queens Museum of Art
The New York City Building
Flushing Meadows Corona Park
Queens, New York 11368
The Queens Museum of Art is housed in the New York City Building which
is owned by the City of New York. With the assistance of Queens Borough
President Claire Shulman and the New York City Council, the Museum is
supported in part by public funds from the New York City Department of
Cultural Affairs. Additional funding is provided by the New York State
Legislature and the New York State Council on the Arts.
© 1999 The Queens Museum of Art
All rights reserved
Edited by Philomena Mariani
Designed by Linda Florio Design
Printed and bound in Spain by Aries Graficas Toledo
D.L.TO-122-1999
Paper: Creator silk
Typefont: Meta
Available through D.A.P./Distributed Art Publishers
155 Sixth Avenue, 2nd Floor, New York, N.Y. 10013
Tel: [phone] Fax: [phone].
ISBN o-960•45149-8
Library of Congress no. 97-075938
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VI Acknowledgments
Marilyn L. Simon
VIII Foreword
Luis Camnitzer, Jane Farver, and Rachel Weiss
Contents
1 Introduction
Stephen Bann
15 Concerning the Institution of Art: Conceptuallsm In Japan
Reiko Tomii (in cooperation with Chiba Shigeo)
31 European Conceptuallsm in Every Situation
Claude Gintz
41 Conceptuallst Tendencies In Eastern European Art
Laszlo Beke
53 Tactics for Thriving on Adversity: Conceptuallsm In Latin America, 196o-1980
Mari Carmen Ramirez
73 Global Conceptuallsm and North American Conceptual Art
Peter Wollen
87 Peripheries In Motion: Conceptuallsm and Conceptual Art In Australia and New Zealand
Terry Smith
99 About Early Soviet Conceptualism
Margarita Tupitsyn
108 Where, What. Who, When: A Few Notes on "African" Conceptuallsm
Okwui Enwezor
119 From the Local Context: Conceptual Art In South Korea
Sung Wan-kyung
127 Conceptual Art with Antlconceptual Attitude: Mainland China. Taiwan, and Hong Kong
Gao Minglu
143 "Con Art" Seen from the Edge: The Meaning of Conceptual Art In South and Southeast Asia
Apinan Poshyananda
151 Plates
223 Chronology
240 Artists' Biographies
262 Bibliography
267 Checklist of Works in the Exhibition
272 Index
278 Contributors
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Global Conceptuallsm: Points of Origin, 195os-1980s is the Arts, and the New York Council for the Humanities have
a bold and groundbreaking attempt to document conceptu also been generous in their support.
alism in art as a worldwide phenomenon originating
The planning for Global Conceptua/ism was significantly
independently in many places in response to specific local
advanced by a conference of the curatorial group held
Acknowledgments
conditions. The exhibition consists of more than 240 works
at Bard College in 1998; we appreciate the assistance and
of art by over 135 artists from 30 countries. In keeping
hospitality provided by Norton Batkin and his staff at
with its theme of presenting multiple perspectives. Global
Bard. Sondra Farganis, Kathy Goncharov, Jonathan Veitch,
Conceptualism is the result of a curatorial collaboration
Lynne Winters, and George Calderaro of the New School
involving many individuals.
University have cooperated with the Museum to bring the
Jane Farver, Director of Exhibitions at the Queens Museum exhibition's curators together again for a conceptualist
of Art, and project directors Luis Camnitzer and Rachel art symposium at their institution while the exhibition is
Weiss conceived and directed this project together. We on view at the Museum. We appreciate the participation
thank them for their leadership in assembling an interna of Lucy Lippard and others in the symposium. Linda
tional team of essayists and curators, and for their work Weintraub and Robert Thill participated in the development
in bringing this exhibition and accompanying catalogue of the exhibition's interpretive materials. The publication
to fruition. We recognize the international group of cura was enhanced by the expertise of designer Linda Florio and
tors/essayists consisting of Laszl6 Beke(Eastern Europe), editor Philomena Mariani.
Chiba Shigeo and Reiko Tomii Oapan), Okwui Enwezor
(Africa), Gao Minglu (Mainland China, Taiwan, Hong Kong), It is my pleasure to thank the Board of Trustees, the staff,
Claude Gintz (Western Europe). Mari Carmen Ramfrez (Latin and volunteers of the Queens Museum of Art for making
America), Margarita Tupitsyn (Soviet Union), Terry Smith all our programs possible. This project received the whole
(Australia, New Zealand), Sung Wan-kyung (South Korea), hearted support of the Museum's former director, Carma
and Peter Wollen (North America) for their contributions in C. Fauntleroy. We recognize Jane Farver, Director of
shaping the exhibition and catalogue. Exhibitions, and curatorial staff members Christina Yang,
Skowmon Hastanan, William Valerio, Arnold Kanarvogel,
We are grateful to Stephen Bann and Apinan Poshyananda Alvin Eng, and Paola Morsiani for the expertise and dedica·
for their thoughtful catalogue essays. In its earliest tion they contributed toward the realization of this ambi
stages, the project benefited from the advice of laroslava tious exhibition. Special thanks are extended to Assistant
Boubnova, Graciela Carnevale, Michael (orris, Henry Registrar/Assistant Curator Hitomi Iwasaki for her tireless
Drewal, Geeta Kapur, Anne Rorimer, Alla Rosenfeld, devotion to this project. The curatorial staff were ably
Stephen Snoddy, Cathy de Zegher, and others. We also assisted by interns and volunteers Mihee Ahn, Alexander
appreciate assistance by Jon Hendricks, Andre Magnin, Yao Alexander, Ben Borthwick, Rick Estevez, Sooyeon Kim,
Susanna Singer, and Kunstverein MUnchen, as well as Georgia Lobacheff, Young Park, Evelyn Samuel, Hyun•Jin
Randall Magro, UBS Audio Visual, University of Sydney, Shin, Mako Wakasa, Susan Wolman, and Zhang Zhaohui.
and BLOWUP Imaging and Max Drummond, MACRAY We also wish to acknowledge the contributions of Robyn
Specialized Services, Ltd., also of Sydney. Love, Michael Langley, and Maureen Healey. Indeed,
the planning, presentation, and associated interpretive
The works for this exhibition have come to the Museum programming of every exhibition involve the professional
from several continents through the generosity of many skills and commitment of the Museum's entire staff. We
artists, lenders, and contributors. We thank AT&T for thank Curator of Education Sharon Vatsky, Controller Mary
their sponsorship of this project. The Rockefeller Brown, Director of Development Kerry McCarthy, Public
Foundation, the Andy Warhol Foundation for the Visual Information Officer Robert Mahoney, Facilities Manager
Arts, and the Lannan Foundation provided major support. Louis Acquavita, Manager of Museum Services/Chief
Additional funding was provided by the Peter Norton of Security Anthony Kemper, and the members of the
Family Foundation, the Korea Foundation, Trust for Museum's Administration, Development, Education,
Mutual Understanding, The Japan Foundation, Asian Facilities, and Security Departments.
Cultural Council, lnstitut fOr Auslandsbeziehungen,
Shiseido Co., Ltd., and the British Council. The National Marilyn L. Simon
Endowment for the Arts, the New York State Council on Interim Executive Director
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This exhibition traces the history of a key development U.S., Canada, and Australia, responded to and participated
in 20th-century art in which art's response to both its in these massive social and political transitions by calling
own traditions and to its immediate milieu shifted from a into question the underlying ideas of art and its institu
consideration of the object to that of the idea. This shift, tional systems. During the second period, from the mid-
Foreword
with its inevitable destabilization of artistic convention. 197os through the end of the ·sos, the deaths of Mao
occurred in locations around the world in two relatively Zedong and Brezhnev hastened the changes in China and
distinct waves of activity: the first. from the late 1950s to the Soviet Union that would ultimately end the Cold War.
around 1973, the second from the mid-197os to the end of Although a number of Third World countries such as South
the 'Sos. The emergence of conceptualist art also coincid Korea and Taiwan, and the city-states of Hong Kong and
ed with broadly destabilizing sociological and technologi Singapore, experienced "economic miracles" and rose to
Global
cal trends propelled by large historical forces, as the politi First World status, the gap between rich and poor coun
Conceptuallsm:
cal, economic, and social landscapes of large parts of the tries widened. Development in the NICs (newly industrial
Points of Origin.
world underwent significant, often traumatic, transition. ized countries) replicated the postwar patterns of those
195os-198os
regions that had experienced the earlier boom. Staggering
The first period was shaped in large part by the Cold War,
changes were prompted by the abandonment of rural
with its bipolar tensions between communism and capital
Luis Camnitzer
agricultural economies, as millions moved to urban areas
ism, and its relative political stasis. This postwar period
Jane Farver
seeking employment in new industries. Few Third World
also saw the rise of the "Third World" and the end of most
and countries escaped the experience of revolution, military
colonial empires. Both developed capitalist countries and
Rachel Weiss
takeover, or internal armed conflict. Accelerated education
the Eastern bloc experienced a similar set of demographic
programs created huge numbers of students who could be
and sociopolitical shifts: a steady migration of laborers
easily mobilized; and where there was an absence of real
from rural to urban areas; increased food production and
politics and a free press, students, artists, and other intel
access to education; major gains in communication and
lectuals were often the only citizens who spoke on behalf
information technologies; pharmaceutical advances that
of the people. As before, the need for an urgent response
contributed to the sexual revolution; a world boom in
to social and political conditions encouraged artists in the
tourism. By the 1960s, however, it was also apparent that
Soviet Union, South Korea, China, and parts of Africa to
byproducts of this growth were ecological deterioration,
abandon formalist or traditional art practices for conceptu•
growing economic inequality on the national and interna
alist art.
tional level, an elaborate international divison of labor,
colossal expenditures on the arms race, and another U.S. While inevitably connected by a complex system of global
war in Asia. linkages, these conceptualist movements were also clearly
spurred by urgent local conditions and histories. It is
In response, there was also a worldwide mobilization of
important to emphasize that the reading of "globalism"
student radicalism that peaked in 1968. While the actions
that informs this project is a highly differentiated one,
of students, intellectuals, and artists involved in rebellions
in which localities are linked in crucial ways but not
in Japan, the U.S., Western Europe, Mexico, Poland,
subsumed into a homogenized set of circumstances and
Czechoslovakia, and Yugoslavia, had more cultural than
responses to them. We mean to denote a multicentered
political significance, they would in time motivate larger,
map with various points of origin in which local events are
less combustible groups of citizens. In Czechoslovakia,
crucial determinants.
political and cultural agitation during the Prague Spring of
1968 precipitated a crackdown by Moscow. Although the During both periods, conceptualism questioned the Idea
Soviet Union would holld the socialist bloc together for of art, not in the sense of negation (as in anti-art), but in
another twenty years by threat of military force, this event order to enlarge and deepen the scope of what art could
marked the end of the Moscow-centered international be. Art's role as catalyst, as stand-in for forbidden speech,
communist movement. By 1973, further events- the oil as exemplification of systems of thought and belief, and as
crisis, the collapse of the Bretton Woods financial system, vehicle for dissent became central. The artwork underwent
the loss of industrial jobs to developing countries, and the a shift from object to subject. This represented a change
U.S. defeat in Vietnam-would help to bring about the end in function, purpose, and capability, a recasting of the
of this period of economic expansion. The first wave of object's status and meaning. The processes that came to
conceptual, idea-based art that developed during this time signify conceptualist practice-a change in emphasis from
in Japan, Western and Eastern Europe, Latin America, the the object to the idea; a prioritization of language over
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visuality; a critique of the institutions of art; and, in many ings of the 1960s and the multimedia events of Fluxus.
cases, a consequent dematerialization of the artwork Minimalism (also indebted to Duchamp in its use of ready
were set in motion long before the anointing of Conceptual made industrial forms. unmanipulated materials, factory
Art, but received such added emphasis and focus as to fabrication, and mathematical systems) led many artists
essentially redefine the nature of the activity. to conclude that painting and sculpture were indeed dead.
This notion pushed them to eliminate or deemphasize the
It is important to delineate a clear distinction between
object and turn to language, mathematics, and facts about
conceptual art as a term used to denote an essentially
the known world and themselves for subject matter.
formalist practice developed in the wake of minimalism,
and conceptualism, which broke decisively from the histor In a broader reading of conceptualism, however, ·ctemate
ical dependence of art on physical form and its visual rialization" did not always mean the disappearance of the
apperception. Conceptualism was a broader attitudinal object, but a redefining of the role of the object as a carrier
expression that summarized a wide array of works and of meaning, the reinvestment of meaning in preexisting
practices which, in radically reducing the role of the art objects, and the attempt to eliminate the erosion of infor
object, reimagined the possibilities of art vis-a-vis the mation. Dematerialization became a tool to approach art
social, political, and economic realities within which it making in a way that was more adaptable to the interests
was being made. Its informality and affinity for collectivity of merging art and daily life-an increasingly important
made conceptualism attractive to those artists who concern of postwar artmaking in many countries.
yearned for a more direct engagement with the public
While much of the impulse toward dematerialization of the
during these intense, transformative periods. For them,
art object-or the "withdrawal ofvisuality," as Benjamin
the deemphasis-or dematerialization-of the object
Buchloh has termed it-arose out of a critique of the com
allowed artistic focus to move from the object to the
modity status of art, dematerialization was also a strategic
conduct of art.
move adopted by artists for a variety of other reasons. In
Over time the history of conceptual art has been assimilat· countries with repressive political regimes, dematerializa
ed by critics and historians into postminimalism, with its tion broke the stranglehold of the state in relation to the
focus on materials, techniques, and style. However, even display of art. What's more, "idea art" was easier to slip
in its most mainstream appearances, conceptual art, while by the censors. It could be made without expensive art
reductionist in form, has been among the most accommo materials, and was an affordable way for artists on the
dating of art movements, open to disciplines as diverse geographic margins to participate in international venues.
as linguistics, systems theory, philosophy, sociology, Exhibitions of dematerialized art could be organized quick
ethics, logic, theater, history, political science, music, ly and informally among artists, circumventing both official
Eastern religions, and poetry. This interdisciplinarity, along and market structures and orthodoxies, and could be used
with the characteristics noted above, give conceptualism to criticize these structures.
its particular character and importance.
Much of Latin American conceptualism retained and even
relied on tangible objects and the traditions supporting
them. There, according to Mari Carmen Ramirez, conceptu
Dematerialization of the Art Object
alism entailed a process in which, given the highly politi
The phenomenon of dematerialized art built on ideas
cized environment, "ideology itself became the fundamen
introduced by Marcel Duchamp in 1913 when he signed
tal 'material reality' for the conceptual proposition."
an ordinary mass-produced object (the "readymade"),
called it a work of art, and introduced it into the art world.
Duchamp catalyzed an awareness of art as a system
Institutional Critique
dominated by language and context, with meanings
Another definitive aspect of conceptualism is that of
determined by consensus and use rather than by qualities
institutional critique which, generally speaking, arose out
inherent in a handmade object.
of a concern about the hidden yet determining structures
Much of the art produced in the West since World War II of power and ideology within the art system. As deployed
has been informed by this awareness. The dadaists and by mainstream Western artists, institutional critique
surrealists were influenced by Duchamp, as were the was derived from an analysis of the conditions of late
neodadaists of the 1950s. Many works created by these capitalism and of the problematic status of material
artists set the stage for conceptual art. as did the happen- goods. Minimalism's cool, industrial facture had already
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