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The Deferred Language of Vito Acconci

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The Deferred Language of Vito Acconci S SID SID SID SI SI SID SID SID SID 10 10 10 10 0 ID ID ID ID ID ID ID ID 10 0 D D D D D D SI D SIDSSI IDI 1 1 1 1 D SSI I SID SID 10 10 10 10 0 D D D D D D D D D D D D D D D D D D D Redaktor naczelny / Chief Editor Redaktor sekcji / Section Redakcja przypisów i bibliografi – Małgorzata Kaźmierczak Sekretarz Redakcji / Managing Editor Redakcja / Editorial Board - Editor Adam Klimczak – Łukasz Guzek – “Art & Text: Conceptual Art” - Kristine Stiles Rada Naukowa / Board of Scholars i / Notes & bibliographies Anna Markowska, Slavka Sverakova, Leszek Brogowski, Bogusław Jasiński, Kazimierz Piotrowski, Tomasz Załuski, Tassilo von Blittersdorff Józef Robakowski, Aurelia Mandziuk-Zajączkowska, Korekta w języku polskim / Polish proofreading – Małgorzata Kaźmierczak Korekta w języku angielskim / English proofreading Projektowanie, skład / Design, typesetting http://www.norberttrzeciak.com – Ryszard W. Kluszczyński, Kristine Stiles, Projekt WWW / Webdesign Druk / Print DRUKARNIA B3PPROJECT, ul. Sobieskiego 14, 80-216 Gdańsk Siedziba / Offi http://www.b3project.com ul. Wschodnia 29/3, 90-272 Łódź / Poland Tel./fax: +48 42 634 86 26 Dystrybucja / Distribution ce e-mail: [email protected] e-mail: [email protected] http://www.journal.doc.art.pl – Anka Leśniak – Beata Śniecikowska , Tomasz Majewski Wydanie pisma – Norbert Trzeciak pierwotną (referencyjną) Wydawca / Publisher – Anne Seagrave Stowarzyszenie Sztuka i Dokumentacja (SiD) Sztuka i Dokumentacja Art & Documentation Association ul. Wschodnia 29/3, 90-272 Łódź / Poland Zapraszamy do współpracy wszystkich zainteresowanych. Propozycje KRS 0000328118, NIP 7252005360 tematów i tekstów prosimy nadsyłać na adres siedziby redakcji. Prosimy http://www.doc.art.pl w wersji papierowej jest wersją zapoznać się z założeniami redakcyjnymi i edytorskimi znajdującymi się na stronie internetowej pisma. Artykuły w piśmie są recenzowane. Lista recenzentów i zasady recenzowania znajdują się na stronie internetowej pisma. Ilustracje i materiały uzupełniające znajdują się na stronie: http://www.journal.doc.art.pl/ilustracje.html All interested in collaboration are welcome. Suggestions of topics and texts should be sent to the e-mail address of the editor. We also kindly ask to read the notes on style that can be found on our journal’s web site. Art & Documentation is a peer-reviewed journal. The list of peers and Sztuka i Dokumentacja the peer-review process are available on our web site. Illustrations and supplementary materials you can fi http://www.journal.doc.art.pl/ilustracje.html IDnakład 300 egz. / circulation 300 copies SSIDSIIID nd at: D 101 Spis treści / Table of Contents ART & TEXT: CONCEPTUAL ART Kristine Stiles, Foreword 6 - 7 Erin Hanas, “Reconfi guring the Archive by Reconceptualizing the Ideal Academy: 9 - 16 Wolf Vostell’s Fluxus Zug” John Stadler, “What Will Be: The Deferred Language of Vito Acconci” 17 - 22 Camila Maroja, “Transforming Spectators Into Witnesses: Artur Barrio’s Bloody Bundles” 23 - 29 Jasmina Tumbas, “Tót and TÓTal JOY of Nothing” 31 - 37 Laura Moure Cecchini, “Vincenzo Agnetti and the Poetics of Zeroing” 39 - 44 Amanda Suhey, “Conceptual Strategies in the Art of Guillermo Núñez: 45 - 51 Object, Document, Testimony & Nation” Kency Cornejo, “No Text without Context: Habacuc Guillermo Vargas’s Exposition # 1” 53 - 59 Jung Choi, “Conceptual Laboratory of Depth: Olafur Eliasson’s Your Atmospheric Colour Atlas” 61 - 66 Bibliography 69 - 71 VARIA Paulina Sztabińska, „Dokumentacja, ślad i kreacja artystyczna” 75 - 82 Bibliografi a 82 Katarzyna Podpora, „JAN [in the context of] WONDERLAND – »cytat performowany« 83 - 90 w praktyce sztuki kontekstualnej Jana Świdzińskiego” Bibliografi a 90 Bartosz Zając, „Obrazy (w) historii: fi lm kompilacyjny i francusko-niemieckie kroniki 91 - 104 fi lmowe w latach 1940-1944” Bibliografi a 104 Łukasz Guzek, „Plenery w Osiekach jako model historii sztuki polskiej lat siedemdziesiątych” 105 - 114 Bibliografi a 114 Manfred Bator, “Medium, obraz czy lustro natury? Głos w dyskusji” 115 - 131 Bibliografi a 132 DEnglish Summaries 133 - 135 Tassilo Blittersdorff , JÖRG SCHWARZENBERGER (1943 - 2013) 137 ARCHIWUM Artur Tajber, „Refl eksja KONGER“ 140 10Władysław Kaźmierczak, „Manifest KONGER“ 141 Art & ConceptualCConceptuonceptual ArtAIt SIDSSIDSI1 IDIText:TextTexTeDextexxtxt:t 1010 FOREWORD KRISTINE STILES Łukasz Guzek and Małgorzata Kaźmierczak conceived of this special edition of Art and Documentation after learning about the research and articles authored by graduate students in “Art & Text: Conceptual Art,” a graduate seminar I taught in the spring of 2011 at Duke University in North Carolina, USA. The seminar examined the history and theory of Conceptual Art from the early 1960s to the present, with special attention to global conceptualisms and the role of language in visual art. Eleven students participated in the seminar and eight contributed to this special issue. Art and Documentation presents the essays in a loose historical order, from the oldest work partially conceived in 1969 by the German artist Wolf Vostell, to the most recent work by the Danish-Icelandic artist Olafur Eliasson realized in 2009. Erin Hanas focuses on Vostell’s travelling installation Fluxus Zug (1981) to theorize his project as simultaneously an alternative academy (a concept based in his 1969 description of his “ideal academy”), a mobile museum (Fluxus Zug), and a conceptual approach to the archive as nomadic and calling attention to the fl ux of history and the manipulation of knowledge. Examining what he calls the “deferred language of Vito Acconci,” John Stadler performs a close reading of Acconci’s untitled poem, “What will be” (1969), in the context of Acconci’s transition from his activity as a poet to conceptual and performance art, and his creation of what Stadler theorizes as an example of Acconci’s “index of indexes [whose] meta-indexical nature was governed by time.” The Brazilian artist Artur Barrio began making conceptual situations in 1969, the title he gave to his actions with Bloody Bundles. These works included confronting the unsuspecting public with cloth bundles of rotting meat, bones, and blood that he left in public sites, as a commentary on the Brazilian dictatorship’s atrocities and disappeared citizens. Camila Maroja examines these works in the context of trauma and hiddenness. Jasmina Tumbas looks at the Hungarian artist Endre Tót’s conceptual sedition, manifest in the sign of “0,” or zero, signifying the degradation of a life under State Socialism, and in his sardonic “TÓTalJOYS,” conceptual works realized principally in text, photography, and mail 6 Sztuka i Dokumentacja, nr 10 (2014) art. World War II laid the foundation for Tót’s work, art On behalf of these scholars and myself, I would like to whose incipient birth dates from Mátyás Rákosi’s repressive thank Łukasz Guzek and Małgorzata Kaźmierczak for regime [1949-1956] and the Hungarian revolution, and the opportunity to published these articles in Art and matured during the grin cut by Communism under János Documentation. Kádár [1956 to1988], who lost Tót to West Germany in 1978 where he continued to be glad. • Laura Moure Cecchini, doctoral candidate in Art History, Vincenzo Agnetti also worked with the concept of Duke University. “zero,” or what he called “zeroing” strategies, a proposal to • Jung E. Choi, doctoral candidate in Visual & Media rethink how language and science inform and contribute to Studies, Duke University. viewers’ automatic responses to art and technology. Laura • Kency Cornejo (PhD 2014), Assistant Professor of Moure Cecchini examines Agnetti’s “poetics of zeroing” Modern and Contemporary Latin American Art at the and how the Italian artist altered ordinary machines and University of New Mexico. appliances, and used the zero in texts, in order to disrupt • Erin Hanas (PhD 2013), Editorial Associate, Books and expose the ideological constructs intrinsic to the Editorial, Duke University Press, Durham, North Carolina. violence of industrial alienation and its aff ect in art. • John Stadler, doctoral candidate in the Literature Amanda Suhey explores the work of Guillermo Program, Duke University. Núñez following the Chilean coup d’état in 1973 when • Amanda Suhey, doctoral candidate in Romance Núñez shifted from painting and sculpture to conceptual Studies,Duke University. strategies in his serigraphy series Libertad Condicional • Jasmina Tumbas (PhD 2013), Assistant Professor in (1975). Deploying photographs and texts from offi cial the Department of Visual Studies State University of documents, Núñez commented on psychological New York in Buff alo. and physical torture, including his own arrest in 1974, subsequent political imprisonment in three prison camps and torture centers and exile to France in 1975. Kency Cornejo unpacks the conceptual structure and historical context of the Costa Rican artist Habacuc Guillermo Vargas’ Exposition #1, the notorious installation he created in Nicaragua in 2007, during which he chained a homeless street dog to the gallery wall and putatively left it there to starve to death. Cornejo minutely dissects the iconography of the complex work and the media frenzy that had millions throughout the world calling for the artist’s death or criminal prosecution, while ignoring the conceptual foundations that the artist established for the work when he wrote in dog food on the gallery wall: “eres lo que lees” [you are what you read]. Finally, Jung E. Choi considers the phenomenological and conceptual approach to color in Olafur Eliasson’s Your Atmospheric Colour Atlas (2009) and how, through color, the artist challenges conventional conceptions of space in order for viewers to discover the perceptual “thickness of the fi eld-of-presence between space, time, and body.” Sztuka i Dokumentacja, nr 10 (2014) 7 S SID SID SID SI SI SID SID SID SID 10 10 10 101 ID ID ID ID ID ID ID ID 10 0 D D D D D D SI D SIDSSI IDI D I SSI SID SID 10 10 0 D D D D D D D D D D D D D D D D D D D RECONFIGURING THE ARCHIVE BY RECONCEPTUALIZING THE IDEAL ACADEMY: WOLF VOSTELL’S FLUXUS ZUG ERIN HANAS The German artist Wolf Vostell launched Fluxus 1969 in the second issue of the journal Interfunktionen.
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