Sven Lütticken on Daniel Buren, Mot à Mot. Could a collaboration between avant-garde artist and sociologist escape the logic of the spectacle, or must it in some fashion reproduce it? Bourdieu’s last notes on art, with a view of Paris rooftops.
STRIPES, NO STARS
In the late sixties, Artforum and other specialist magazines began increasingly to publish ‘installation shots’ of artworks that showed not only the piece itself but the exhibition area within which it was located. Minimalist works by artists such as Robert Morris, Donald Judd and Dan Flavin—neither paintings nor traditional sculptures on pedestals, but structures that shared a space with the viewer—could hardly be depicted otherwise; especially in the case of Flavin’s neon light pieces, where the work transformed the perception of the surrounding environment. The ‘installation shot’ led to a new use of the term ‘installation’, which came to refer not merely to any work of art located in a gallery but to a new form: installation art. Artists such as Marcel Broodthaers and Hans Haacke gave this practice a political turn. Installation art became an investigation of the art context not merely in a spatial sense, but also in an institutional one. In brief: the Minimalist phenomenological investigation of space gave way to a post-Minimalist critique of institutions and power structures.
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By the same author:
The Juridical Economy
Art as the uncanny double of law in the work of Kant, Schiller and Hegel, and its confrontations today with the law in avant-garde practice, as the juridical category of the person either expands beyond even the corporation, dismissed as ‘artificial’ by Hegel, to new fictive forms, or contracts to captive sub-human shapes.
The Coming Exception
The artwork has long been understood as a political-economic anomaly, while art practice is sometimes seen as a stand-in for liberated human activity. With value itself seemingly in a state of crisis, might the artwork prefigure a world beyond it? From Ruskin and Whistler to Harun Farocki, Sven Lütticken charts the trajectory of an exception.
The shift of artistic and activist practice towards the performance of personae. Sven Lütticken tracks the fraying limits of subjecthood through post-war action painting, Marcel Mariën’s surrealist-Blanquist parti imaginaire, the 1960s Dutch neo-avant-garde, the Invisible Committee, Rojava and artistic experiments with the political party-form.
Mutations of an untimely concept, in a period when capitalism has arrogated to itself the power of radical transformation. From Debord and Marcuse to the contemporary art world, by way of punk rock and hip hop.
Performance Art After TV
Relations between TV and performance art since the 1960s as a tangled skein of complicity and contestation. Sven Lütticken traces shifts in modes of acting, working and self-presentation, within a televisual world itself now being absorbed by cybernetic and digital systems.
Dialectic of Dionysus
Sven Lütticken on Asger Jorn, Fraternité Avant Tout. The Danish artist and Situationist wrestles with Engels and Nietzsche.
Once deemed extinct, the play instinct now pervades the worlds of work and leisure. Can it be turned to radical ends? Sven Lütticken seeks clues in Schiller and Debord, Neuschwanstein and computer games.
Attending to Abstract Things
From the philosophe De Brosses in the eighteenth century to the abstract expressionist Barnett Newman and the conceptualist Sol LeWitt in the twentieth—via Hegel, Creuzer and Marx—the fates of the fetish and the commodity, in critical thought and art.
Do increasingly dark ecological portents indicate a deeper transformation of nature itself? Sven Lütticken elaborates a historicized conception of nature, seeking precedents and contrasts in 19th- and 20th-century philosophies and fictions. Dinosaurs and overmen, Geist and entropic decline in Verne, Nietzsche, Schelling and Smithson.
Idolatry and its Discontents
Amid rhetorical dust-storms over purported Islamist threats to Western values, Sven Lütticken finds antecedents for contemporary struggles over the image in Judaic and Protestant bans on idolatry. Multiple meanings of the veil and varying forms of iconoclasm, under the aegis of the spectacle.