LUCE estratti LUCE 323 _ Ceresoli _ Joseph Kosuth | Page 7

Lugano
Joseph Kosuth, ‘The Paradox of Content # 3’ [yellow], 2009
neon giallo, montato direttamente su muro / yellow neon, mounted
directly on the wall, 181 x 184 cm
conceptual operations over time has not been
not subject to fads, as Kosuth himself unveils
to LUCE in this exclusive interview.
In your opinion, what is conceptual art
in this new millennium?
Well, in all honesty, I would have to say one
word: “art”. Because a majority of the art
we see now in the Biennales, in the galleries
and museums, are in most part a result
of the changed notion of art we instigated
in the 1960’s. The presumption of art as being
painting and sculpture is gone.
What is the legacy of the Art & Language
group in this digital era?
It is very mixed. The early group, comprised
of Terry Atkinson, Michael Baldwin, David
Bainbridge and Harold Hurrell, participated
in those changes I refer to in the first question.
But in the 1980’s a revisionist group without
Terry Atkinson, without Bainbridge, without
Hurrell, and without me, returned to the
painting that the market was clamouring
for along with everyone one else.
This group, comprised of Michael Baldwin
and Mel Ramsden with new additions,
did these unfortunate works under the name
of Art & Language even though there was
an agreement to stop using this name.
It is a bit like the Beatles coming back with
only George Harrison and Ringo Starr but still
calling themselves The Beatles. Well, most
people wouldn’t fall for it.
Today, what are your “investigations”
and “propositions” of art as an idea, that
Joseph Kosuth, ‘Mondrian’s Work XIV’, 2015
serigrafia su vetro, neon montato direttamente su muro /
silkscreen on glass, mounted directly on the wall, 200 x 123.7 cm
intend to highlight the complexity of the
relationship between language and art?
Well, easy as a question but long and
complicated as an answer, due to the fact
I am a rather productive artist and this
question asks me to go through a long list
of works since the 1960's. That’s at least an
article or a book, not an interview question.
Today, instead of ‘One and Three Chairs’, 1965,
what would you use to investigate the
theoretical dimension of art’s nature, rather
than the creation of artworks?
That would be better, however, answered in an
artwork rather than an interview question!
What do your neon installation tautologies
mean (ex: ‘Five Words in Orange Neon’, 1965)?
Do they still have a meaning today?
They now contain their original meaning along
with the art historical gloss that has been
unavoidably added.
What was the latest installation that has
caused a state of emotional tension that
has disrupted your analytical vision
of artistic work?
There is no reason, or do I think capacity,
for us to separate emotional and analytical
in the case of art. We must keep in mind,
however, how “emotional” does not add to
clarity but it is a form of information.
How was your relationship, exchange
and collaboration with Lia Rumma born?
I have the honour of being the first show
in her gallery, in 1971 I believe. It has been
a great and productive relationship and she
remains a close friend.
How was your exhibition project with Michela
Negrini, at [dip] contemporary art in Lugano,
conceived?
It began with an invitation from Michela.
And we met several times and discussed what
would be good, and appropriate, at this time
in Lugano. We then chose a group of works
that cover as a sketch my recent practice that
had not been seen in Lugano. I think it is a
little gem of a show.
Do you think art still make sense today? Why?
It makes sense more than ever. In a world
in which market meaning has eclipsed actually
rooted human meaning, the need for art has
never been greater. The survival of our culture
depends on it.
How would you explain to a hypothetical
grandchild what is conceptual art?
It is what we call art.
On which work are you currently working on?
As I said above, I’m very productive.
I have 11 projects in 9 countries. Those are
the major projects and, as well, I have many
smaller ones to work on between those!
Nelle foto, vedute dell'esposizione
‘Notations for Thinking a selection’ /
Photos: exhibition views of ‘Notations
for Thinking a selection’
[dip] contemporary art, Lugano.
LIGHT ART / LUCE 323
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