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Automation, Cybernation and the Art of New Tendencies (1961-1973)

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Automation, Cybernation and the Art of New Tendencies (1961-1973) Armin Medosch Automation, Cybernation and the Art of New Tendencies (1961-1973) This thesis is submitted to Goldsmiths, University of London, UK, as part of the requirements of the award of the PhD in Arts and Computational Technology 1 The work presented in this thesis is the candidate’s own. Armin Medosch 2 Acknowledgements I am grateful to my main supervisor Professor Janis Jefferies for her invaluable support throughout this undertaking. I would also like to thank my second supervisor, Professor Michael Keith. I am deeply indebted to Matko Meštrović for his continued and generous support; I am grateful for the continuing support of my friend and colleague Darko Fritz and the important supply of a Croatian perspective by Ljiljana Kolešnik. I would like to thank the people and institutions who supported my practice, Rasa Šmite, Raitis Šmits and the whole team of RIXC in Riga; and Inke Arns and Susanne Ackers and the team at HMKV Dortmund; the Austrian Cultural Forum London and Zagreb; the Austrian Embassy in Riga; Laboral, Centre for Art and Industrial Creation, Gijon, Asturias, Spain. I am grateful for the generous support of Museum of Contemporary Arts, Zagreb, its director, Snježana Pintarić, head of documentation, Jadranka Vinterhalter, and the late Marija Gattin, Ivna Jelčić, Jasna Jakšić, Lela Topić and Vesna Meštrić. I would like to thank the institutions that allowed me to access their archives and/or allowed me to use material in their possession, especially Branka Ćurčić, Zoran Pantelić of Kuda.org, and Kristian Lukić; Van Abbemuseum, Eindhoven; V&A Graphical Cabinet, London; Tate Gallery, London; Moderna Galerija, Ljubljana; Generali Foundation study room, Vienna; Collection Marinko Sudac, Avantgarde-Museum; and Neue Galerie, Graz. I would like to thank artists involved in New Tendencies who so promptly replied to my questions, Almir Mavignier, Giovanni Anceschi, Antonio Barrese and Laura Buddensieg, and Balint Szombathy. I would like to thank those who have provided me with a stimulating intellectual environment, in particular Brian Holmes, Richard Barbrook, John Barker, and the members of the Technopolitics discussion group, Vienna. A warm thanks to those who shared the pain of embarking on a practice based PhD in the forums of Thenextlayer.org, in particular Francesca Da Rimini and Lindsey Brown. A special thanks goes to my long-time artistic colleagues Franz Xaver and Alexei Blinov whose inspiration for doing Waves was invaluable. It is impossible to find the right kind of expression for the support by my wife Ina Zwerger and the life-long encouragement of my mother Elfriede Medosch. 3 Abstract My research investigates exhibitions as sites of research and appraises the possibilities and contradictions of a progressive and socially engaged media art practice. The international art movement New Tendencies (NT) (1961-1973) provides the material evidence through its exhibitions, symposia, artworks, catalogues, newsletters and artist's statements. The basic methodological assumption behind my research is that new insights are gained by questioning the various interdependencies between NT and historical change. NT was searching for a synthesis between socialist emancipation and artistic modernism by proposing to replace the notion of art with visual research. The project emerged in Zagreb, capital of Croatia which was then part of Yugoslavia, a Socialist nation which did not belong to the Eastern bloc and experimented with market Socialism combined with social self-management and self-government. Yugoslavia's unique role between the hegemonic power blocs made it possible that an international, humanistic, and progressive art movement could emerge from its terrritory. With every exhibition and conference NT articulated its artistic position and set itself into relation with the respective techno-economic paradigm. NT began during the height of Fordism, continued during Fordism's moment of crisis in 1968, and ended when a new paradigm – informational capitalism – started to develop from within the old one. In this historical context, my hypothesis is that NT's exploration of participatory art stands in direct relation to the rise of automation and cybernation in society. A further layer of inquiry is the historically changing relationship between manual and intellectual labour and how art addresses it. By contextualising NT my research contributes a new dimension to the history of media art. Through the chosen methodology, a new understanding is gained not only of this important art movement but of the general dynamics of media art in the second half of the 20th century. 4 Table of Contents Automation, Cybernation and the Art of New Tendencies (1961-1973)......................1 Acknowledgements..................................................................................................3 Abstract....................................................................................................................4 Introduction and Methodology...............................................................................10 Introduction.......................................................................................................10 The Link Between Theory and Practice ...........................................................12 Overview...........................................................................................................13 Research Context ..............................................................................................16 Relationship with Science and Technology.......................................................17 Relationship with Art History............................................................................19 Techno-economic Paradigms.............................................................................22 Fordism.........................................................................................................24 Caveat ..........................................................................................................25 Science Studies.............................................................................................26 Art's Relation With Paradigms......................................................................26 Art and Informational Capitalism.................................................................27 The De-politicisation of Art..........................................................................29 Marx as Method ................................................................................................31 Commodity Fetishism and the Computer.....................................................33 Art as Intellectual and Manual Labour..............................................................36 The 1940s Cyber-Matrix...................................................................................37 Summary............................................................................................................40 CHAPTER 1: Beginnings of a Movement (NT1, 1961)........................................41 Why Zagreb?.....................................................................................................44 Art in the Cold War...........................................................................................51 The Postwar Technology and Design Discourse...............................................55 NT1: The Exhibition..........................................................................................61 Artistic Context of NT1.....................................................................................66 The Aesthetics of Relational Fields...................................................................70 Art and Structure...............................................................................................77 Grids..................................................................................................................82 CHAPTER 2: Art as Visual Research (NT2, 1962-63)..........................................86 Art as Research..................................................................................................93 Research as Anti-Art.....................................................................................97 The Group Phenomenon...............................................................................99 The Scientification of Art................................................................................101 Programmed Art .............................................................................................109 Participation in the New Machine Age.......................................................116 The Exhibition NT2 ........................................................................................121 The Breton Moment........................................................................................126 CHAPTER 3: The Dissemination of Research (NT3, 1965)...............................131 The Relation between Art and Design.............................................................135 NT3: The Exhibition........................................................................................140 Homo Ludens in the Environment..................................................................145 The End of NT as a Movement.......................................................................153 CHAPTER 4: Computers and Visual Research (t-4, 1968/69)............................159 The preparations
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