Buchloh, conceptual art.pdf - Course Materials Repository
Buchloh, conceptual art.pdf - Course Materials Repository
Buchloh, conceptual art.pdf - Course Materials Repository
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142 OCTOBER<br />
Buren, Mosset, Parmentier, Toroni. Installation at<br />
Marcel Broodthaers's Museum (Plaque). 1971.<br />
% ~FRoom-,<br />
the logical positivism of Wittgenstein and would confound the affirmative petitbourgeois<br />
positivism of Alain Robbe-Grillet with the radical atopism of Samuel<br />
Beckett, claiming all of them as their sources. And it would make clear how this<br />
generation could be equally attracted by the conservative concept of Daniel Bell's<br />
"end of ideology" and Herbert Marcuse's Freudo-Marxist philosophy of<br />
liberation.<br />
What Conceptual Art achieved at least temporarily, however, was to subject<br />
the last residues of <strong>art</strong>istic aspiration toward transcendence (by means of traditional<br />
studio skills and privileged modes of experience) to the rigorous and<br />
relentless order of the vernacular of administration. Furthermore, it managed to<br />
purge <strong>art</strong>istic production of the aspiration towards an affirmative collaboration<br />
with the forces of industrial production and consumption (the last of the totalizing<br />
experiences into which <strong>art</strong>istic production had mimetically inscribed itself<br />
with credibility in the context of Pop Art and Minimalism for one last time).<br />
Paradoxically, then, it would appear that Conceptual Art truly became the<br />
most significant paradigmatic change of postwar <strong>art</strong>istic production at the very<br />
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