Fraser Chapter 4

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S.R. So we are again in a new issue. Now it's more about the conceptual paradigms. Do you think that the conceptual paradigms are still in function?

A.F. Are still functioning in the field of art or still current in my practice, a range of practice just in the field of art? Just general in contemporary art?

S.R. Generally and contemporary in recent art, and of course it's implied in the question how you yourself, your own practice locate yourself in a kind of historical conceptual movement or however you want to call it? And if it is something like that, if we can find something like that – Do you think that there are paradigms? And are they still in function? Like you said the analytical approach or the project approach.

A.F. Sure I see conceptual paradigms everywhere within contemporary art. I mean I think there is very little contemporary art that could exist without Conceptual art. That could exist without Conceptual art and Pop art and to some extent feminism, feminist art practices in terms of different ways. Those are the three key-movements of the last forty years since 1960 that really defined contemporary art. And Minimalism before Conceptual art, because Conceptual art couldn't exist in a way without Minimalism. In terms of the kinds of conceptual paradigms that one sees everywhere in contemporary art – l mean it's the use of language, different forms of research, different forms of systematic approaches to production, site-specificity which isn't exclusively a part of conceptual art. Most contemporary art photography could not exist without conceptual art, the use of photography, the use of video. I mean it's just everywhere. And I'm thinking perhaps more substantively about sort of forms and procedures of contemporary art, but also in terms of how we see the position of the artist. And...

S.R. What do you mean with the position?

A.F. I mean the sort of distance that one finds in almost all contemporary practices from a notion of direct, immediate, spontaneous production that one finds in contemporary art. The mediation that one finds in contemporary art. Although you know again – I don't know it's sort of hard to distinguisth what comes from Conceptual art and what comes from Pop art and what comes from what in terms of, for example, strategies of appropriation. We had a pre-conversation about originality, so I'm trying to kind of... – I'm trying to get there but I'm having a little bit of difficulty, because I think that all three of those – feminism, the women`s art movement and the influence of feminist theory on Conceptual art and Pop art all problematize the position of the artist. For me the three most important movements of the last forty years, without which contemporary art could not exist, are Conceptual art, Pop art and the women's feminism, the women`s art movement. I think that all three of those movements problematized the position of the artist and artistic production in different ways, although somehow in parallel ways. You know, Pop art by introducing notions of... – and also Minimalism - industrial production procedures, commercial production procedures and also, of course, appropriation. Conceptual art also by introducing systematic production procedures, research, by introducing particularly through artists like Daniel Buren and Michael Asher a site-specificity that created a kind of dependence of production on context and a dependence of production on particular relations that existed within given contexts also. And then feminism, by raising questions about the nature of the subject of production, of the subject of imagination and creativity in the discourse of all art of that existed before. I don't know, I haven't thought about these particular kinds of issues for a while. I'm trying to link to what I think your interests are. Do you have another question?


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