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Date
Title
Source
Description
Tags
W3747
18.05.2011
Modes of visibility - Nini Palavandishvili
WWW
Often contemporary exhibition audience complain not to understand art and especially so-called conceptual art. This is specially problematic issue in Georgia, where general audience is not used to contemporary art. They ask themselves about the meaning of ...

Often contemporary exhibition audience complain not to understand art and especially so-called conceptual art. This is specially problematic issue in Georgia, where general audience is not used to contemporary art. They ask themselves about the meaning of such art works and the question arises about the purpose of art. Often there is additional textual description required to explain those art works.

Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. Conceptual Art is intended to convey an idea or a concept to the perceiver, rejecting the creation or appreciation of a traditional art object such as a painting or a sculpture as a precious commodity. According to Sol LeWitt's definition of Conceptual art:

“In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.” ("Paragraphs on Conceptual Art", Artforum, June 1967)

While remaining securely within the identity of an artist, the conceptual artist performs a role of a researcher and a combiner - an upside-down turner of things to see what they look like from another angle and this process ultimately creates new modes of visibility.

The Australian philosopher and theorist of conceptual art, Peter Osborne, suggests that among the many factors that influenced the gravitation toward language-based art, of vital importance for conceptualism was the turn to linguistic theories of meaning in both Anglo-American analytic philosophy, and structuralist and post structuralist Continental philosophy during the middle of the twentieth century. This linguistic turn "reinforced and legitimized" the direction the conceptual artists took. (Peter Osborne, Conceptual Art: Themes and movements, Phaidon, London, 2002. p. 28)

My project intends to explore the threshold between perception and imagination of Conceptual art. My choice for this exhibition will not display artworks, neither objects nor written language, but will contain just audio interviews with artist mainly working in Conceptual art, who will talk about their specific work and try to explain it in a way that common audience can understand and visualize it. The project negotiates between individual artists and hydrogenous public. I use a verbal language on the one hand to let artist analyze their work and on the other hand to give the audience freedom to imagine art.

Project does not show any work. In an exhibition space there should be just headphones fixed on walls or loose in space, so that people can stand in front of blank empty walls and were free in their imagination.

The number of headphones is depending on an amount of artists I will be interviewing for this project. To each artist, talking about their work, there will be their own pair of headphones allocated, so every headphone symbolizes one art piece.

Often contemporary exhibition audience complain not to understand art and especially so-called conceptual art. This is specially problematic issue in Georgia, where general audience is not used to contemporary art. They ask themselves about the meaning of ...

Often contemporary exhibition audience complain not to understand art and especially so-called conceptual art. This is specially problematic issue in Georgia, where general audience is not used to contemporary art. They ask themselves about the meaning of such art works and the question arises about the purpose of art. Often there is additional textual description required to explain those art works.

Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. Conceptual Art is intended to convey an idea or a concept to the perceiver, rejecting the creation or appreciation of a traditional art object such as a painting or a sculpture as a precious commodity. According to Sol LeWitt's definition of Conceptual art:

“In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.” ("Paragraphs on Conceptual Art", Artforum, June 1967)

While remaining securely within the identity of an artist, the conceptual artist performs a role of a researcher and a combiner - an upside-down turner of things to see what they look like from another angle and this process ultimately creates new modes of visibility.

The Australian philosopher and theorist of conceptual art, Peter Osborne, suggests that among the many factors that influenced the gravitation toward language-based art, of vital importance for conceptualism was the turn to linguistic theories of meaning in both Anglo-American analytic philosophy, and structuralist and post structuralist Continental philosophy during the middle of the twentieth century. This linguistic turn "reinforced and legitimized" the direction the conceptual artists took. (Peter Osborne, Conceptual Art: Themes and movements, Phaidon, London, 2002. p. 28)

My project intends to explore the threshold between perception and imagination of Conceptual art. My choice for this exhibition will not display artworks, neither objects nor written language, but will contain just audio interviews with artist mainly working in Conceptual art, who will talk about their specific work and try to explain it in a way that common audience can understand and visualize it. The project negotiates between individual artists and hydrogenous public. I use a verbal language on the one hand to let artist analyze their work and on the other hand to give the audience freedom to imagine art.

Project does not show any work. In an exhibition space there should be just headphones fixed on walls or loose in space, so that people can stand in front of blank empty walls and were free in their imagination.

The number of headphones is depending on an amount of artists I will be interviewing for this project. To each artist, talking about their work, there will be their own pair of headphones allocated, so every headphone symbolizes one art piece.