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1. 100%

   ... University of Tokyo (Gedai) in the winter of 1993-94, Michael Lingner replaced him as head of the academy's Theory Department. His discreet but highly enthusiastic approach made his appointment a success. His contribution as an artist and theoretician was obvious not only in his dedication to the personal development of the participants, but also, and ... its existence as a place for operational criticism. Our thanks go to Michael Lingner, to Maria Nordman for her contribution as guest, and to all the others who made Michael's work at the Academy possible. It was a great pleasure working with him. Jan van Toorn Theory as a Form of Practice Transitional forms between artistic ... This 'automatic writing' is the latent base for his later paintings and explains their amazing proximity to the informel and tachiste works that with a forty year delay made the original Surrealist literary idea adequately concrete in painting. Although Hölzel's finger exercises open the way to the unconscious and often even slip into surreal-like figuration ... liberties. It devoted itself to sensitivity and myth as the reverse side of reason, without being fixated on emotion with the same onesidedness with which the Enlightenment had made the rational absolute. Just as the 'Oldest system's program of German idealism' (written following the discussions between Hegel, Hölderlin and Schelling) culminated in the demand for a ... so romanticism, too, refused in the end to give up the principle of reason. It did not simply surrender to an inclination towards the sentimental and mythical, but made the greatest theoretical effort to justify them rationally as values. In arguing against the rational with its own qualities of sentiment and myth, Romanticism subjected its own ... >>

2. 68%

   ... public places. Second, after this excursion into cultural politics, I would then like to take up the history of modern art and show the line of development that made art for outdoor locations once again possible and even necessary. In the final and third part, I would like to introduce several specific art projects that seem to ... it under the same name, ART-ON-ARCHITECTURE (KUNST AM BAU): in May 1934 Goebbels sent out a circular advising an appropriate percentage of building costs to be made available to commission visual and applied artists. In contrast to the 1950 federal law, this ruling was valid for all public buildings - at a federal, provincial and communal ... basic factors. Still today, the usual way a public competition is decided is by jury, as a rule by a selection committee in which only one-third is made up of experts. The larger part consists of community politicians and administrators, representatives of the client commissioning the building, and other so-called socially relevant groups. Such a ... a painting for a church altar or a portrait for a monarch and sets out to invent its own content. Reacting directly to the French Revolution, Romantic Art made nature, which till then had functioned as staging, its main content. CASPAR DAVID FRIEDRICH thematized nature as beautiful countryside, while RUNGE sought for the principle behind nature and ... art, whether expressionist like KANDINSKY or constructivist like MONDRIAN. Autonomy of taste consists in making the ugly and the trivial art-worthy. DUCHAMP declared his readymades art, SCHWITTERS made even waste material into art, and both devalued the conventions of taste and the aesthetic ideals of their time. And through BEUYS, the use of extremely cheap ... >>

3. 68%

   Michael Lingner Aesthetic Existence Maria Nordman's work »Untitled 1989« (subtitle: »Für die Ankommenden; genannt/nicht genannt« - »For the arrivals; named/not named«), is made in the language of high-rise steel construction that can be completely dismantled. Because of the mobility that this provides, the building could go on journeys, and so ... and natural landscapes overlap. In the mean time it has been shown in a number of German exhibition buildings in its dismantled state as an independent sculptural ensemble made up of its architectural elements. The building was constructed as a contribution to »Kunst im öffentlichen Raum« (Art in public places); it has two larger rooms with sides ... glass, and can be used as a bench. If the seat is lifted up a variety of useful supplies are revealed: essential foodstuffs, cutlery, crockery and blankets are ready for use. Actually intended for use As in architecture as a whole, the objects with which the building is furnished are intended for use. It is not a ... it is not intended to represent or symbolize hidden meanings. The building is not recognizable as art if simply looked at, and thus it ideally fulfils the demand made of many failed outdoor sculptures that failed as »art in building« that »an artist working in a public place (must) try to reach the point at which his ... when one might visit this building, for how long, and above all how it will be done. The special feature is that none of these decisions can be made on the basis of normal purposes, motives and interests. No economic, moral, political or other day-to-day points of view are applicable in this socially unpretermined ... >>

4. 58%

   ... as reflected in Cezanne's late aquarelles) rendered the works dependent on the subjective conditions of their reception. In a formal sense, their calculated semantic and syntactic openness made surprising artistic decisions possible, promoting unpredictability in the reception process. What was perceived as the work was no longer determined exclusively by the artist. Later explicit deliberations by ... dictate the picture." (6) Even more significant and far-reaching in its consequences was the decision to relinquish responsibility for the actual genesis of the work. In his ready-mades, Duchamp made random constellation the axiom of artistic production, as did Breton his surrealistic stimulation of chance by "purely mental automatism." (7) Only much later did this originally literary idea ... the art informel painting of the fifties (as exemplified in the work of Wols and Jackson Pollock). In any case, the introduction of chance as an aesthetic paradigm made it all the more evident that artists had surrendered their exclusive role as sole originators of particular improbabilities. The concept of the creative genius is untenable where ... >>

5. 54%

   ... and obligations, everything in art, whatever it wants to be or become, must be invented and justified out of itself. Thus the social autonomy of art, which was made possible by the revolutionary political changes, requires that the acquired formal and, initially, merely abstract freedom now be given a definite form through the self-determination of artistic ... or deficient, but, basically, as a given and even as highly productive. Above all, he took up this challenge in his own artistic research practice, especially with the ready-mades. Let us change perspectives and finally look at the artists' theories themselves, as the object of scientific-analytical research, and study individual forms in detail. Thus we clearly ... a formal and material way, with the typography itself, by placing it in different contexts and varying the typography accordingly. Through the manner in which the wording is made concrete, that is how one deals with it as a text form; in a select spatial and social context, one can clearly see what the procedure is. The ... s scepticism concerning the validity of the "old forms," was not only in reference to art, but also to the political conditions, "If the Prussians will be so mad as to continue with the same old story in their economy and same old bogey military state, how should the people in such a state come to ... >>

6. 51%

   ... besser' oder ,schlechter' gegeneinander ausspielen. M.L. Es ist wohl wahr, daß sich die Arbeiten als solche unmittelbar gegeneinander behaupten müssen. Und in diesem Sinn kann merkwürdigerweise jedes Ready-made von Duchamp gegen einen Brancusi bestehen, obwohl doch von der materialen Erscheinungsweise her - dem, was du Ansichtigkeit genannt hast - alles dagegen spricht. Denn für uns ist es ja ... und authentische Idee von Kunst und ihre höchst adäquate Ausformung. Während bei Brancusi diese Idee ihrem Wesen gemäß weitgehend Versinnlichung im Material gefunden hat, ist sie bei Duchamps Ready-mades nicht mehr an die je konkrete materiale Erscheinungsform gebunden. Wo die künstlerische Idee im Material nicht mehr aufgehoben ist, sondern getrennt existiert, ist sie für dieses Material nur ... >>

7. 51%

   ... lange noch eingeschränkt, wie sie weiterhin in einer gewissen morphologischen Übereinstimmung mit den gesellschaftlich anerkannten Formen ästhetischer Praxis getroffen werden. Erst der Dadaismus und insbesondere Duchamp in seinen "ready-mades" haben mit solchen Konventionen gebrochen und etwas als Kunst behauptet, das den Rahmen der traditionellen künstlerischen Grundformen des Tafelbildes und der Sockelplastik sprengt. Solche Objekte, an deren äußerer ... S. 52 (109) N. Luhmann, a.a.O., S. 53: "... die Gesellschaft besteht aus Kommunikationen ..., und Kommunikationen sind Ereignisse, nicht Objekte." (110) Eine Art Umkehrung von Duchamp, dessen ready-mades allein dadurch zu autonomen Werken wurden, daß er sie aus der Gesellschaft in den Kunstkontext überführt hat. (111) "Folgt man dieser Anregung, dann kann man das Kunstwerk ... als ... >>

8. 51%

   Thomas Zaunschirm Bereites Mädchen Ready-made mit einer Einleitung von Serge Stauffer Inhalt Serge Stauffer: rEaDy-MaDe oder Étant Donné Marcel Duchamp 7 Vorwort 11 Abkürzungen 15 I. Revolution durch Schweigen 17 II. Tatort Atelier: ein retouchiertes Foto 25 III. Falle von oben nach unten ... >>

9. 51%

   ... Materialgerechtheit" die Rede war, hat KANDINSKY klar formuliert: "Nicht der Künstler, sondern sein Instrument und sein Material sollen das Bild bestimmen". (8) Noch weitergehend verzichtet DUCHAMP in seinen "ready mades" auf die Formung des Werkes. Stattdessen den Zufall als künstlerisches Produktionsprinzip zu proklamieren, hat auf andere Weise auch BRETON mit seinem "reinen psychischen Automatismus" betrieben, aus dem sich ... Grundoperationen beider Verhaltensmodi universaler Art sind, ist der Geschmack grundsätzlich gleichermaßen ein produktiv wie rezeptiv relevantes Vermögen und für Entscheidungen in allen sozialen System ähnlich fundamental. Nach Duchamps "ready mades" und allemal in der Postmoderne ist selbst die Kunstpraxis - wie jede andere, nicht überwiegend fabrikative Tätigkeit auch - primär als ein Selektionsprozeß und nicht mehr als Schöpfungsakt zu verstehen ... >>

10. 51%

    ... nur anzuschauen 36 Machen und Macht zu deuten 38 Egoistisches Medium 42 Unverantwortliches Medium 42 Individuell egoistisch 45 An-artist 53 Keine Antiposition 54 Künstler als Eigner 57 READY-MADES 62 Sichtweise für schon Vorhandenes 64 Ungesehene Objekte ohne Wert und als Multiples 67 Werke, die nicht Kunst sein sollten 70 SPIEL MIT WORTEN 74 Sprache als Material ... Schatten der vierten Dimension 176 In Relation zum Pseudo 183 Schluß 190 Boîte-en-Valise 192 Zur Selbstmusealisierung 193 Mettre en Boîte 197 Rekurs 'en miniature' 201 Regardeur - Ready-made - Imaginäres Folgern 201 Humor - Erotik - Sprache 203 Indifferenz - die Lektüre abschließen 204 Bibliographie 207 >>