Gillick Chapter 9

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S.R.: Shall I come to the next question? You also touched this question but I want to bring it again. Do you think that the so called conceptual paradigms are still in function? Or are there possibilities to renew them? Is it worth to renew them? Or would this be something like the opposite of a post-modern understanding?

L.G.: Well, I think that already very early on, a lot of people critiqued the sort of classic Northamerican Conceptual Art- practice, especially the people around Art & Language who would say that this was often just the taking and nominating of things in the world, of everything in the world. It was a form of like cultural imperialism in a way. A lazy form of the same thing. I have some sympathy with that kind of position in a way. However I don't quite go along with the idea that... - I don't think that the project as it were of socially conscious critical practice goes away. I mean it never really went away. It's under attack all the time from conservative forces and it can be absorbed and used and played with by people for many reasons and it has to keep reinventing itself. But then again these were all kind of clichées in themselves. It`s a very difficult thing to talk about because I don`t feel the... - A lot of the... - Okay, one way of looking at it might be to argue, use kind of a cinematic sort of argument. A lot of things I'm interested in whether or not something I'm involved in, is documentary of fiction, and it's often a better way to look at it than the way of looking at it in terms of what appears to be there, what it appears to be about or what seems to be the starting point or what it seems to be critiquing. In a general approach it's often this question of documentary and fiction, and you could certainly say that within the last few years there's been an enormous rise in a kind of documentary- orientated art practice which – as happens in all times of a kind of financial boom – it`s walking away and producing very interesting things almost completely ignored by this dynamic art market. Right now you have a classic situation where you have absolute polarization of documentary and fiction. You have a lot of fiction on one hand like the work of [?], many of the new ironic Eastgerman realist painters and so on, and then you have this documentary work and it`s very polarized. I think people are taking very polarizing positions. I think my work often has something of the two. Within it has a lot of this.. - It plays a lot with the documentary and fictional sort of idea.


to be continued in Chapter 10...


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