Conceptual Art: A Critical Anthology - uncopy

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comes to the same thing as putting the concept itself on a level with the object. This would be
to suggest that we must think in terms of a “concept-object”—which would be an aberration. 2
This warning appears necessary to us because if it can be admitted that [these interpretations
are not relevant for all representatives of this tendency] we can affirm that at least nine-tenths
of the works gathered together for [the exhibition at Leverkusen] (or its counterparts) [relied on
one of the four points] raised above or even, for some people, [partook subtly of all four at once].
They rely on the traditional and “evergreen” in art or, if you like, rely on idealism or utopianism,
the original defects which art has not yet succeeded in eradicating. 3 We know from experience
that at the time of a manifestation of this kind, people are only too quick to impose
the image of the majority upon any work shown. In this particular case, this image will be
approximately as described above, i.e. that of the new avant-garde which has become “conceptual.”
This is nothing more than to identify, in a more or less new form, the prevailing ideology.
Therefore, although concerned with confronting problems, let us henceforth suspend judgement
of the way in which they are approached or solved in the majority of cases. Moreover our
present task is not to solve any enigmas, but rather to try to understand/to recognize the problems
which arise. It is much more a question of a method of work than the proposal of a new
intellectual gadget.
Vertically striped sheets of paper, the bands of which are 8.7 cms. wide, alternate white
and colored, are stuck over internal and external surfaces: walls, fences, display windows, etc.;
and/or cloth/canvas support, vertical stripes, white and colored bands each 8.7 cms., the two
ends covered with dull white paint.
I record that this is my work for the last four years without any evolution or way out.
This is the past: it does not imply either that it will be the same for another ten or fifteen years
or that it will change tomorrow.
The perspective we are beginning to have, thanks to these past four years, allows a few
considerations on the direct and indirect implications for the very conception of art. This
apparent break (no research, nor any formal evolution for four years) offers a platform that we
shall situate at zero level, when the observations both internal (conceptual transformation as
regards the action/praxis of a similar form) and external (work/production presented by others)
are numerous and rendered all the easier as they are not invested in the various surrounding
movements, but are rather derived from their absence.
Every act is political and, whether one is conscious of it or not, the presentation of one’s
work is no exception. Any production, any work of art is social, has a political significance. We
are obliged to pass over the sociological aspect of the proposition before us due to lack of space
and considerations of priority among the questions to be analyzed.