Fraser Chapter 8

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S.R. From me, from our side everything was fine. We have to compress a little bit and things like that for sure. If you have another idea what you want to say about this field of... - The question of how the originality of conceptual art was developed. How some ideas like the critique of originality through appropriation and a different kind of subjectivity or a different kind of construction of the subject – If you want to say something there? I can imagine that you have some interesting ideas in relation to that.

A.F. It's funny because I haven't... - Originality was such an important key concept in the critique of originality and of the author. It was such a key concept. Certainly, when I was being formed as an artist, but somehow it's not something that I thought about for a long time. Probably mostly it's because it becomes something that's taken for granted. But I guess one of the things that I also take for granted is a bit of the critique of the critique, and that is that there was something also very idealistic about the critique of originality. That one always has to speak, just like autonomy, of relative originality, artists are relatively autonomous and there is relative originality. There is not an absolute originality, there is not an absolute invention. But I think – when I talk about Conceptual art, I do talk about the discoveries of Conceptual art. I mean, I still, in a way, I retreated to a pre-post-modern vocabulary and to certain ways that I think about conceptual art and minimalism because I think it was so radical. I think it was incredibly radical. The most important discovery of Conceptual art and the one that I feel the most profound effects of it, has to do with the critique of autonomy, with the discovery of the partial and ideological character of artistic autonomy. And I think what conceptual art uncovered with that discovery was a really profound and probably irresolvable set of contradictions, and also a kind of ambivalence that ... , I think, doing this exhibition now and kind of looking back at my work, I think that all of my work has been about trying to resolve in one way or another, and I'm probably at the point where I realize that it's impossible to resolve. Probably the most important text for me about conceptual art is Benjamin Buchloh's essay »From the Aesthetic of Administrations to the Critique of Institutions». I don't agree with everything he says in that. And I basically disagree with his conclusions, but I think it's an absolutely fundamental analysis. I used to be able to quote his conclusion from memory. But that conceptual art's attempt to free art from – what is it called? – hierarchical modes of perception and from the sort of mysticism of art, and also involved a tremendous loss. I think it's true that there is a loss, but I still think it's a loss of ... - Oh well, I`m not really in a condition to deal with...

S.R. I think it was good that you took some references to texts in the addition now. To Buchloh and I think I like it, yes. There were some very good endings of sets, which we can use as the last word or something like that. We'll see, I think there was a lot of useful material. Thanks a lot.

A.F. I'm still thinking. But it's funny because I think you associate... - I associate the critique of originality so much with this sort of feminist reading of Conceptual art in the 80s. I don't think of it it's something... – It's kind of after the fact in a way. It's a critique that was read into conceptual art in the 80s, wasn't it? More than... – it depends, I suppose. If you are talking about the critique of the unique object, it was there from the beginning of conceptualism, but the critique of the originality of the subject production came much later.

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