Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
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228 Okwui Enwezor<br />
The issue of the authenticity of the work of art, and by extension<br />
that of the artist (who in a typical postmodernist term became the author),<br />
has a sociocultural basis beyond the art-historical questions it generates, especially<br />
as the basis for conceptual art becomes more and more dissociated from<br />
the polemics of statements about art to the politics of that statement and,<br />
Wnally, the politics of representation. The legacy of Duchamp in the formulation<br />
of the theory of conceptual art produced consequences beyond his<br />
original intent, to the extent that at a certain juncture, Duchamp ceases to<br />
be a useful avatar for the range of heterogeneous strategies and statements<br />
that have devoted themselves as expressions of artistic intention outside the<br />
framework of objects and images.<br />
Benjamin Buchloh has rightly observed that in “Confronting the<br />
full range of the implications of Duchamp’s legacy . . . Conceptual practices<br />
. . . reXected upon the construction and role (or death) of the author just as<br />
much as they redeWned the conditions of receivership and the role of the<br />
spectator.” 9 Although Buchloh’s historical claim is in part correct, in relation<br />
to the spectator, the historians of conceptual art have been largely silent.<br />
What I mean is that in the postwar transformation of the global public<br />
sphere, the traditional construction of the spectator within both Western<br />
and modernist understanding had experienced a radical rupture with the<br />
emergence of postcolonial discourse. Postcolonial and civil rights discourses<br />
put under the spotlight a new kind of spectator. This spectator would construct,<br />
during the postwar period, new subjective relations to institutions of<br />
Western democracy and economics. For example in the United States, desegregated<br />
institutions needed also to rearticulate the philosophy informing<br />
their work as public spaces. The appearance of the subject within the framework<br />
of the experience of art was a new phenomenon that hitherto was<br />
unacknowledged, insofar as the concept of the institutions of art experienced<br />
pressures to be more attentive to the publics toward which it directed<br />
its undertakings. It was not just the primacy of the art object that demanded<br />
new consideration, but the primacy of the social exclusions that purportedly<br />
were built into the way institutions of art mediated the history of those<br />
objects. The postwar democratic public sphere repositioned the spectator in<br />
ways that would only become much clearer with the emergence of certain<br />
politically centered interpretations of subjectivity, models of subjectivization<br />
that were dependent on a number of socially bounded identiWcations (gender,<br />
sexuality, race, ethnicity, etc.) of which multiculturalism today functions as<br />
the dark specter of the politics of the subject. While conceptualist paradigms<br />
may have opened a space for the considerations of some of these shifts, surprisingly<br />
the operation of conceptualism still predicated itself on the hinge<br />
of the modernist dialectic of the object and the gaze. As such, the shift in