Henk Slager shows how the discussion on artistic research delving into issues such as knowledge production, artistic thinking, medium-specificity, context-responsiveness, and counter-archival display has affected the current state of art and education. He concludes that today’s debate on art education and artistic research echoes the semiotics debate in the 1970s, in which a formatting, academic order tried to discipline semiotics into a traditional, academic domain. Therefore, a reconsideration of artistic research is currently required; a reconsideration in line with Roland Barthes’ former response to a semiotics in the process of becoming static. In Henk Slager’s view that requires a stance where artistic research is considered a gaya scienza: a temporary autonomous activity focusing on the intellectual pleasure of an experimental method and an implicated form of artistic thought.
This study is an archeological investigation into the historically changing relationship between words and images. The result is an encyclopedia of interpretative techniques in which language functions as a model of thought. Three periods come to the fore. In the classical one, grammatical structures are responsible for the dominance of describing and identifying activities. Thought about art departs from the idea, that classificatory systems (words) represent images. Art criticism is the form of interpretation in this period. In the modern period time moves to the foreground. Now attention is focused on changes in grammatical forms instead of changes in constant structures. A hermeneutic form of interpretation comes into being: Art History. In the postmodern period one realizes that words fail to establish a consistent relationship with visuality. New, semiological theories of interpretation now explain what images can signify. This volume is of interest for philosophers of art and art theoreticians, as well as for students and professionals in both fields.
At the core of this issue is the question of the concept of art. Could the task of art be transfered to philosophy, as Arthur Danto maintains? Or is there still a moral assignment for art inherent to Modernism? Various artists and theorists will respond to these questions in this issue. Among them are: J.C. Ammann, Victor Burqin, Don Cameron, Arthur Danto, Catherine David, Chris Dercon, Marlene Dumas, Jan Hoet, Joseph Kosuth, Donald Kuspit, Pieter Laurens Mol, Maarten van Nierop, A.B. Oliva, Frank Reynders and Haim Steinbach.
In the current debate on art, thought on time has commanded a prominent position. Do we live in a posthistorical time? Has objective art historical time and belief in a continual progress shifted to a more subjective experience of the ephemeral? Has (art) history fallen away and, if so, what does this mean for the future of art? How does a visual archive relate to artistic memory? This volume investigates positions, arguments and comments regarding the stated theme. Philosophers and theorists explore the subject matter theoretically. Curators articulate the practice of art. The participants are: Hans Belting, Jan Bor, Peter Bürger, Bart Cassiman, Leontine Coelewij, Hubert Damisch, Arthur C. Danto, Bart De Baere, Okwui Enwezor, Kasper König, Sven Lütticken, Manifesta (Barbara VanderLinden), Hans Ulrich Obrist, Donald Preziosi, Survival of the Past Project (Herman Parret, Lex Ter Braak, Camiel Van Winkel), Ernst Van Alphen, Kirk Varnedoe, Gianni Vattimo, and Kees Vuyk.
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