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Duchampianska” Praktiker Inom Samtidskonsten

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Duchampianska” Praktiker Inom Samtidskonsten Konstvetenskapliga institutionen ”DUCHAMPIANSKA” PRAKTIKER INOM SAMTIDSKONSTEN Författare: Belma Kratović© Fördjupningskurs (C) i konstvetenskap Vårterminen 2020 Handledare: Lars Wängdahl Till AKA ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Belma Kratović Titel och undertitel: ”Duchampianska” praktiker inom samtidskonsten Engelsk titel: ‘Duchampian’ Practices in Contemporary Art Handledare Lars Wängdahl Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2020 2020 This study investigates the extent to which subversive practices of conceptual art can be identified in contemporary works. It attempts to understand if, despite the widespread understanding of conceptual art as a mainstream in today's art scene, there may still be examples of contemporary practice that are as deviant and challenging to the notion of art today as those that came at the forefront of the conceptual art movement. The standard historical definition of 'conceptual art' generally refers to the artistic movement taking place between 1966 and 1972. The aim of this study, however, is to give an account of its development both prior to and beyond that narrow temporal window, seeking to identify both the roots and the legacy of the philosophical aspects of conceptual practice. The study traces these roots to the actions of Duchamp, who shifted the focus from aesthetics to a more cognitive valuation of art, by designating an everyday object as an artwork; an action that paved the way for the notion that, rather than being skilled craftsmen, artists are the authors of meaning, and artworks are the creation and transmission of ideas. This ‘Duchampian’ approach which pushes and explores the boundaries of art within the framework of the artwork themselves has also influenced the selection of works for analysis. Like most other contemporary artworks, Michael Mandiberg's After Sherrie Levine and Banksy’s The Walled off Hotel, are considered conceptual in the sense that they work to transmit ideas to the viewer, but yet, like Duchamp’s ready-mades a hundred years earlier, they sit beyond commonly accepted understandings of the formal boundaries of the artwork, thus risking not being perceived as artworks at all. For that reason, these works potentially constitute radical practices that could be understood as questioning the limits of art making today. From a theoretical point of view the study engages in hermeneutics and constructivism in order to construct an analysis of these two artworks relating their websites as well as artists’ intentions to the philosophical notions of conceptual art. The results show that the After Sherrie Levine is a critique of Levine's aura as well as of the art institutions. It also proposes that artistic appropriation as an art form can have an instrumental value in exploring the limits of art making. It further shows that it is possible to create art that is neither exclusive nor mysterious. The analysis of The Walled off Hotel shows that while operating as a local company with an ambition to lead the creative resistance movement in the West Bank through art, the hotel also constitutes a political satire with real effects in the area. The thesis proposes that this work is deviant and ‘organic’ in the way it renegotiates both the role of the artist and the very notion of 'art' itself. Thus both After Sherrie Levine and The Walled off Hotel can be regarded as rather ‘Duchampian’ practices today. Keywords: Conceptual art, Conceptualism, Contemporary art, Marcel Duchamp, Artistic appropriation, After Sherrie Levine, Michael Mandiberg, Banksy, Street Art, The Walled off Hotel Innehållsförteckning INLEDNING 1 Syfte och frågeställningar 5 Studiens disposition 5 Urval och avgränsningar 6 Metod 7 Verkets yttre faktorer 7 Teoretiska perspektiv 9 Tidigare forskning 11 KONCEPTKONSTENS VIDA GREPP Från söndertuggade kursböcker till levande skulpturer 14 En ”ism” att inte räkna med 18 Mot en neo-neo-konceptkonst 22 KLICKBARA VERK 27 Originella kopior – After Walker Evans 27 After Sherrie Levine 32 En ”vandals” omfattande portfolio 40 Bakom signaturen 44 Att behöva ”gå ut genom butiken” 45 The Walled off Hotel 46 AVSLUTANDE DISKUSSION 55 SAMMANFATTNING 57 KÄLL- OCH LITTERATURFÖRECKNING 58 BILDFÖRTECKNING 61 BILDBILAGA 62 INLEDNING ”I don’t think hand of the artist is important on any level because you are trying to communicate an idea.” Damien Hirst1 Det går att hävda att konsten alltid varit konceptuell, dvs. utgått från en idé om något som ska förmedlas, gestaltas eller utforskas även när det handlat om rent intuitiva åtaganden som då kan ha föregåtts av en intention av att vara just sådana. Ändå har diskussionen kring det konceptuella inom visuell framställning främst varit inriktad på den teoretiska rörelsen som under 1960-talet växt fram bland konstnärer och kritiker som ett slags motreaktion till (eller förskjutning av) modernismens fokus på bl.a. material och form. Denna s.k. konceptkonst med rötter i bl.a. avantgarde och Fluxus, och där idén blivit överordnad konstföremålet/utförandet, har därmed kommit att betraktas som en historisk företeelse som ägt rum mellan 1966-72.2 Och även om den historiska aspekten av konceptkonsten då omfattat konstnärer som varit verksamma under just den perioden, har själva begreppet konceptkonst fortsatt leva och vidgats till att idag, fem decennier senare, i princip vara synonymt med samtidskonsten. Denna urvattning av begreppet har gjort att många nutida konstnärer tycks ägna sig åt det som en gång varit själva kärnan inom konceptkonsten utan att för den delen betrakta sin konst som just konceptuell, likaså de som sägs ägna sig åt just konceptkonsten verkar ha förskjutit själva betydelsen till att omfatta annat än de ursprungliga tankarna. Med utgångspunkt i att konceptkonsten har förändrat både den traditionella och modernistiska synen på konst och konstskapande, är föreliggande studie något av en navigering genom den utveckling som även själva konceptkonsten som tradition genomgått. Därmed ligger också fokus på mer filosofiska aspekter av konceptkonsten som då omfattar konstverk från olika tidsperioder men som ändå ”kvalificerar” sig som konceptuella även om de aldrig varit en del av själva den historiska rörelsen mellan åren 1966-72.3 Genom att beskriva den gradvisa utvecklingen sprungen ur avantgardistiska praktiker och som inte kom över en natt utan snarare genom introduktion av pluralism, hoppas jag kunna visa på en 1 Damian Hirst i Paul Wood, Conceptual Art, London: Tate Publishing, 2002, s.74 2 Konstkritikern Lucy Lippard har sammanfattat den historiska konceptkonsten i den inflytelserika skriften Six Years: The Dematerialisation of the Art Object from 1966-1972, Berkeley: University of California Press, 1997 3 Peter Goldie och Elisabeth Schellekens påpekar i antologin Philosophy and Conceptual Art, New York: Oxford University Press, 2007, två sätt att förhålla sig till konceptkonsten; den historiska och den mer filosofiska. 1 radikal, tankeexperimenterande konst som var så varierad att den under 1970-talet kunde t.ex. yttra sig genom att rum i en urban byggnad fylldes på med en halvmeter jord för att agera skulptur, liksom att den några decennier senare kunde uppträda i form av en process där konstnären hade investerat i oetiska fonder och sen uppmanat åskådare att ansöka om dem.4 På så sätt hade jag velat kasta ljus över en tradition som i sin strävan efter att ständigt flytta på gränser för konstskapande nu kanske också utvecklats till att omfatta andra, mer komplexa former med mindre temporära förlopp samt även andra slags konstnärskap och traditioner där allt från meta-appropriering till gatukonst och även hotellverksamhet, skulle kunna ingå. Därmed hoppas jag inom ramen för studien kunna spåra några av de praktiker inom samtidskonsten som idag skulle gå att betrakta som lika konceptuella (och revolutionerande) som den historiska konceptrörelsen var på 1960-talet. Eftersom jag själv länge intresserat mig för konst som vill påverka omvärlden och som ständigt ifrågasätter ramar för sitt eget existerande, blev jag naturligtvis eggad över att upptäcka hemsidan AfterSherrieLevine.com där den amerikanske konstnären och tillika programmeraren Michael Mandiberg i snart tjugo år nu tycks ha ägnat sig åt en konstnärlig appropriering av ett redan approprierat verk, dvs. Sherrie Levines After Walker Evans serie. Verket består av nio svartvita, högupplösta fotografier som fotografen Walker Evans tagit på en arrendatorfamilj under den stora depressionen i USA och som konstnären Sherrie Levine 1981 approprierat genom att fotografera av och skriva under med eget namn. Fotografierna som för det blotta ögat är identiska har därmed väckt frågor kring relationen mellan originalet och kopian samt auktorskap som ju traditionellt betraktats som viktigt inom konsten. Michael Mandiberg som då skannat in samma bilder och nu distribuerar dem gratis via hemsidan i sitt eget namn (ihop med ett äkthetscertifikat) och med titeln After Sherrie Levine, verkar vilja diskutera lika mycket Levines appropriering som Walker Evans motiv. En konstnärlig appropriering handlar enligt konstvetaren Rikard Ekholm alltid om verket som approprieras men också om kontexten i vilken det sker, dvs. varför någon ens finner det intressant att appropriera just det verket.5 Därmed är appropriering som meta- praktik (konst som handlar om konst) enligt Ekholm den enda i en rad liknande praktiker som t.ex. intertextualitet, parafras mm. som är radikal nog att på riktigt kunna
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