Content
The term Context art ( German : Kontext Kunst ) was introduced by Kontext Kunst. The Art of the 90s [1] curated by Peter Weibel at the Neue Galerie im Künstlerhaus Graz (Austria) in 1993 (02.10.-07.11.1993).
Exhibition and publication
Both exhibition and publication aims to establish grounds for recognizing a new form of artistic practice emerging in the early 1990s. The presentation of the present invention is of particular relevance to the relationship between the methods of production and the conditions of production, whether these are formal, social, or ideologically defined. Critical Institutional, feminist positions, later critics of precarious economic conditions and issues of globalization, all closely related to social and political changes, became relevant subjects of artistic production.
“It is no longer the case for critiquing the art system. In the ’90s, non-art contexts are being drawn in the art discourse. Artists are becoming autonomous agents of social processes, supporters of the real. The interaction between artists and social situations, between art and non-art contexts. Context art. The aim of this social construction of art is to take part in the social construction of reality. ” [2]
It might be due to the fact que le term Was Introduced under the German translation KontextKunst INSTEAD of Context Art gold icts Likewise politically tender guidance (see Maria Lind’s reference [3] ), aim it never spread far beyond Europe’s language based barriers. Instead vaguely similar strategies Were Labeled as Models of Participatory Practice [4] in 1998 by Christian Kravagna’s attempt to define the field or the later Appearing and quite moderate Relational Art based on the 2002 book Relational Aesthetics by Nicolas Bourriaud .
The accompanying catalog is described as “a wide-ranging exhibition designed to illustrate the emergence of a new international art movement, ..” featuring “… an anthology of 22 substantial essays (some reprinted) artistic and social issues and political themes That Distinguish Context art from related forms of conceptual art installation and …. “.
Participating artists
Fareed Armaly , Cosima von Bonin , Tom Burr , Clegg & Guttmann , Meg Cranston , Mark Dion , Peter Fend , Andrea Fraser , Inspection Medhermeneutics , Ronald Jones , Louise Lawler , Thomas Locher , Dorit Margreiter , Kasimir Malewitsch , Regina Möller , Katrin von Maltzahn , Reinhard Mucha , Christian Philipp Müller , Anton Olschwang , Hirsch Perlman ,Dan Peterman , Adrian Piper , Mathias Poledna , Stephan Prina , Florian Pumhösl , Gerwald Rockenschaub , Julia Scher , Oliver Schwarz , Jason Simon , Rudolf Stingel , Lincoln Tobier , Olga Tschernyschewa , Christopher Williams , Peter Zimmermann , Heimo Zobernig [5]
References
- Jump up^ Neue Gallery im Künstlerhaus Archive
- Jump up^ Peter Weibel, Kontextkunst – Kunst der 90er Jahre (Köln: DuMont Verlag, 1994), p. 57, translated by Barnaby Drabble / resource: Rebecca Gordon Nesbitt, False Saving Time to Take Stock
- Jump up^ Actualization of Space: The Case of Oda ProjesiKontextkunstis, if you wish a German parallel to the so-called ‘relational aesthetics’ but more programmatically political and academic. Both imply a more dynamic concept of art, which actively takes place in the context Some of the artists used by Christian Kravagna have been associated with Kontextkunst. See Peter Weibel:Kontextkunst – Kunst der 90er Jahre, Cologne, DuMont Verlag 1994.
- Jump up^ Working with the Models of Participatory Practice
- Jump up^ Neue Gallery im Künstlerhaus Archive