Bordowitz Chapter 7

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S.R. Maybe you already gave us specifically here in our talk a lot of perspectives to figure out conceptual paradigms, which are still working in different continuities and in different contexts. But do you think that (??) like there was a break in the tradition of artistic production in the 60s through Pop art, Minimal art and of course Conceptual art, would you see that the Paradigms are still in function or do you think that the paradigms have to be renewed in different time circles?

G.B. I think what's more visible now are the social forces at work that produced the changes in art. If one looks at the history of Minimalism and Conceptual art from the current historical vantage one can see that shifts in modes of production were greatly affecting the way that artists thought about their work in the same ways that any other workers in society had to face these changes. What you see in Conceptual art and through its variety of advances over the past 20 years is the entrance and recognition of post-Fordism in the art world. The move from a kind of factory model to the globalized network society production model that's in place now; one that emphasizes information and information technology, one that emphasizes the decentralized nature of production, the regime of just-in-time production [...] decentred forms of distribution, the elevation of information to the status of commodity – you see all of these things happening within the modes of production on a global scale. When you look back at art you see in fact that the artists were trying to deal with this; look at the way that many artists work now, look at the way in which video art has become one of the major ways of making art in the art world; it's very much like a post-Fordist way of working. You produce a DVD the substance of which is really Zeros and Ones – information, that's what the commodity that's been bought; it's shipped and often installed just in time for reception, and it is installed using, relying on all ready-made, prefabricated technologies: the video projector, the screen, in various kinds of arrangements but nonetheless it's a kind of standardized, bureaucratized, post-assembly line production. I think artists today and using the antecedents of Conceptual art figured out how to be post-Fordist artists basically. Does that make sense? // Sure, Sure! // I have to look at it that way now since I teach that work and I'm also very much interested in social theory, I've read Negri and Hardt (smiles), Manual Castells many other... Jameson and many other theorists who've tried to deal with globalization; and very much this is how I see what R. Krauss called the »Post-medium condition« I think is an aesthetization of post-Fordism.

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