When Attitudes become Form / Zeeman

It has always been the task of the Kunsthalle to inform another audience about the latest trends in fine art. She has done so programmatically in the last four years. The stages of these thematic overviews are: Light and Movement / Kinetic Art (1 965), Weiss auf Weiss / Monochromie (1966), Surrealism / Fantastic Art (1 966), Science Fiction (1 967), Polychrome Plastik (1967), Formen del 'color (1 967), Environments (1 968). These were the most elaborate, but also the most visited and always attended by a number of foreign museums exhibitions of our institute. As a result of this series of exhibitions, Philip Morris Europe's director of the art gallery has been given the means to organize another review of contemporary art. The choice fell on the latest art both in America and Europe. If the 4th Documenta last year showed the art until the beginning of 1 968, then the current exhibition, roughly speaking, should document what has just been written. In the catalog are 69 artists from America, Belgium, Germany, England, France, Hoil and, Italy: in the exhibition there are about 40, which are represented with works; for the activities of others can only be "informed" because their "works" can not be exhibited.

The exhibition When Attitudes Form (Works - Concepts - Actions - Situations - Information) seems strangely incoherent and complicated to its predecessors, as an addition of first-person narrative. The question is permissible: do we deal here with a reaction to the geometry which has overpowered in recent years, with a subjective art, with a new edition of Tashism? Certainly, for most of the artists exhibited here, the previous work process of Duchamp, the intensity in Pollock's gesture, the unity of material, physical effort and time in the happenings of the early sixties as part of an artistic pedigree. But in some cases, it's not purely visual experiences that create the desire to create works, have drawn. Hippietum, rocker existence, the use of orogen had to affect the behavior of a younger generation of artists sooner or later. It is significant that some of the main representatives come from the American West Coast, which is particularly exposed to Eastern influences. Much of this social anti-form, on the one hand the penchant for contemplation, and on the other hand the action carried on by the glorification of the physical and creative ego, has flowed into this new art. There are more mosaic pieces in Europe: the lack of a center is prompting more and more artists to stay in their hometowns and against all the ideas of their respective societies to make consciousness art. At the same time, the desire is felt to burst the "triangle in which art takes place" - studio, gallery, museum. The complex phenomenon has so far lacked the name and pendant, as was the case with the "image-related" pop, op, and minimal. The proposed terms "anti-form", "micro-emotive art", "possible art", "impossible art", "concept art", "arte povera", "earth art" always have one aspect: the apparent opposition to form; the high degree of personal and emotion-based engagement; the explanation of things to art that are not yet identified as such; the shift of interest from the result to the process; the use of poverer materials; the interactions of work and material; Mother Earth as a work material, work space, the desert as a concept.

Striking is the complete freedom in the use of materials and the consideration of the physical and chemical properties in the factory. While polyester and computer fascinated the progressive artist as a media two years ago and at the same time formed the message, in this art the medium no longer seems important: the belief in technology has been replaced by belief in the artistic process. No longer the main feature of contemporary art, the design of space, but the activity of man, of the artist is the main theme and content. Therefore, the title (a sentence and not a slogan) of the exhibition is to be understood: never before has the artist's inner attitude become so directly his work. Of course, it has always been this way: Mondrian and Pollock have let the inner attitude form - but with regard to the finished result, the autonomous object.

The artists of this exhibition, however, are not object makers; on the contrary, they seek freedom from the object, thereby expanding their layers of meaning to be the very important situation beyond the object. They want the artistic process to remain visible even in the final product and in the exhibition.

독일어를 구글번역기로 돌림.

놀랐던 건 이 전시가 우리나라에서 알려진 것처럼 개념미술을 모아서 보여준 게 아니란 사실. inner attitudes에는 예술가의 머랄까 진짜 태도, 감정이 포함된단 사실. 즉 이 전시의 핵심은 오브제가 아니라 예술가 주체의 퍼포머티브를 중심에 놓았다는 사실. 지적인 개념미술(?)을 컨템퍼러리로 제시한 게 아니란 사실.