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   Michael Lingner Verbal Art Communication Theoretical and Practical Models I like to thank the Director and the Theory Department of the Jan van Eyck Akademie and especially: Jo Frenken, Paul Domela Nieuwenhuis, Frans Vos, Frank van Helfteren and Jeanne Haunschild for their support in realizing this book. Meiner Mutter und meinem Vater (speziell zum 4. 6. 1995) Foreword When Heinz Paetzold accepted a post as visiting professor at the University of Tokyo (Gedai) in the winter of 1993-94, Michael Lingner replaced him as head of the academy's Theory Department. His discreet but highly enthusiastic approach made his appointment a success. His contribution as an artist and theoretician was obvious not only in his dedication to the personal development of the participants, but also, and more in particular, in the debate which he initiated on the idea of '(continuing) the enlightened autonomy of the aesthetical and developing it further from a form of perception to a form of being.' This was one of the themes discussed during his seminar, which was entitled 'Art as a Project of the E ... >>

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   Michael Lingner Art as a system within society There is no art that exists outside of public space, only the choice between different types of public forums, each involving its own conditions of communication. Many well-known artists, art critics and art historians are of the opinion that, since the early eighties, the most interesting art has been done on public sites. You only need to think of the last DOCUMENTA's in Kassel where many significant works were installed outdoors. And hardly a large city in Germany worthy of its name has failed to commission similar art projects these last years. RUDI FUCHS has organized an extensive exhibition in Stuttgart this year that opened in June, 1992. Under the title PLATZVERFÜHRUNG (SITE-SEDUCTION), twenty artists set up their works at eighteen different locations in and around the city. The catalogue is unique, since it consciously caters to the needs of tourists. Along with the location of the artworks, it also points out other sight-seeing attractions in the neighborhood and even goes so far as to include the addresses of good restaurants. This example leads me to another point that needs to be mentioned at least briefly. The reason that art for public sites has mushroomed in such a way is partly a question of economics. In the eighties it was discovered that art was an important economic factor. Meanwhile, several reports have scientifically studied the existence of what is known as indirect profitability. Because of the out-of-town visitors at large exhibitions, the hotel and restaurant industry, for example, makes higher profits that in turn provide increased tax intake, more than making up for the public funds spent to finance the project, to say nothing of the enhancement of the city's image with all its accompanying financial advantages. Art in outdoor sites is spectacular and highly visible, so that communities that can boast of such projects try to make full use of the economic possibilities at hand. Art often then has the sole function of providing a trademark for the city, so it can advertise and enhance its image and project up-to-date urbanity. Naturally, such projects are of solid interest to the artist as well; they are a welcome source of income and, at the same time, provide him with an upswing in publicity and, possibly, reputation. This background of monetary profit-should not be forgotten. But it should be seen as marginal, since to explain a specific artwork out of purely financial motives is inadequate: alone, the intention of becoming rich is not sufficient to produce a work that is good. That is why I would like to concentrate on reasons that lie within art itself; reasons that today lead so many artists, especially the younger ones, to commit themselves to public projects. My own thoughts on the matter are directed toward the question of what in the artists' commitment it is that derives from the way contemporary art itself is evolving. Or put another way: in which context do these public artworks make sense? And against which background do they become understandable and possibly even capable of providing art with guidelines for the future? This complex problem is what I wish to present here in 3 steps. First of all, I would like to look back in time at recent German history and to consider the questionable intentions behind the so-called ART-ON-ARCHITECTURE PROGRAMME (KUNST AM BAU) when it was first conceived and that eventually caused it to fail. T ... >>

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   Michael Lingner Aesthetic Existence Maria Nordman's work »Untitled 1989« (subtitle: »Für die Ankommenden; genannt/nicht genannt« - »For the arrivals; named/not named«), is made in the language of high-rise steel construction that can be completely dismantled. Because of the mobility that this provides, the building could go on journeys, and so has a parallel mobility to the human presence. Immediately after its completion in summer 1991 the building was set up for what is so far the first and only time in Germany on the edge of »Planten und Blomen«, a park directly adjacent to Dammtor station in Hamburg, where urban and natural landscapes overlap. In the mean time it has been shown in a number of German exhibition buildings in its dismantled state as an independent sculptural ensemble made up of its architectural elements. The building was constructed as a contribution to »Kunst im öffentlichen Raum« (Art in public places); it has two larger rooms with sides about three metres long and two smaller ones measuring about one hundred and fifty centimetres; all of them are square. One of the larger rooms is glazed with transparent red, green and blue sliding panes. In it is a square opening in the centre of the ceiling, giving a view of the sky. A square sheet of glass of the same size over which one could walk is situated in the middle of the floor in the other large room. Here the ground below the building, which stands on supports, can be seen. As additional light is admitted to this room only through a narrow vertical slit in each of the three outer walls, it remains almost completely dark, and presents an invitation to retreat and stillness. The two larger rooms, differing from each other like day and night, are open to use in time. The two smaller rooms beyond them have a more specific function. One of them, the only room accessible from the outside, serves as an entrance and corridor. From the room beyond it is access to a toilet. In other respects as well the building is provided with everything that people require for a twenty-four hour stay. A square wooden structure at about knee height under the sliding windows in the room with the coloured glass, and can be used as a bench. If the seat is lifted up a variety of useful supplies are revealed: essential foodstuffs, cutlery, crockery and blankets are ready for use. Actually intended for use As in architecture as a whole, the objects with which the building is furnished are intended for use. It is not a work of art existing without its various relationships, and it is not intended to represent or symbolize hidden meanings. The building is not recognizable as art if simply looked at, and thus it ideally fulfils the demand made of many failed outdoor sculptures that failed as »art in building« that »an artist working in a public place (must) try to reach the point at which his work as such does not become evident at all« (Amman 1984, p. 9). The fact that this work could also be temporary, and is thus free of any monument-like claim to eternity from the very beginning, makes it an exemplary type of new art in a public place. Maria Nordman proposes it to become the »paradigm for a new city« (Nordman / V ... >>

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   Michael Lingner One of the many positive aspects of Clegg & Guttmann's "Open Public Library" projects is that the public can participate in them uninhibited by any art-related requirements. The motivation to become involved is not based on some special "artistic will"; rather, the widespread need to have books without being forced to buy them is quite sufficient. This "artless" form of access is feasible because the objects Clegg & Guttmann create do not possess any qualities specific to art: none which the artists intend, and none which the public can recognize. The initial emphasis lies on the extra-aesthetic utility value of the work as a library, and this is what shapes people's attitudes towards it. Clegg & Guttmann's project appeals not only to those interested in avant-garde art but also to those interested in education in general, and moreover lends itself to being combined with any number of other ambitions; this systematic double and multiple coding constitutes a major aspect of their work The fact that the project presents itself not as pure art but rather as "integrating a variety of taste cultures simultaneously" (1) and is, at the same time, a kind of sociotope for microscopic examination, as such arousing lively interest among sociological researchers. As early as the pioneer project organized by the Kunstverein Graz in 1991, students observed the work from a sociological standpoint and drew up a report to document it. For the Hamburg project, an extensive study has further been prepared implementing the methodology of empirical social research. Due to sociology's pronounced affinity for the project and this science's unresolved "positivism controversy", this discipline may well run the risk of excluding the specific values of the object of its scrutiny while believing itself to be an external "objective" observer. Empirical social research is always in danger of overlooking its own involvement and the ramifications of the way its preformulated questions and standardized approaches interfere with the very social processes it is attempting to investigate. Hence reservations that this type of academic influence could "endanger the artistic aspects of the projects" (2) - a fear also voiced by a substantial number of those interviewed - are by no means unfounded. One can neither assume that a project such as that conceived by Clegg & Guttmann constitutes a social system nor even less so that it is art with a fixed dimension from which one can proceed as from a given. In post-ontological, multi-coded art concepts, neither the work itself nor the material characteristics lent to that work by artistic formation can be construed as a basis upon which aesthetic quality can be objectified as a fact or upon which the work can define itself as art. Rather, one must proceed from the "self-evident fact that nothing pertaining to art is self-evident any longer." (3) If art is no longer morphologically recognizable as such, the art issue can no longer be ignored. Sociology - and with it all other disciplines concerned with these issues - cannot avoid differentiating between certain phenomena from their own vantage points. In doing so, they must perforce take on "tasks approximate or analogous to those of the artist." (4) When it comes to the problem of differentiation arising from the dematerialization of aesthetics, institutions specializing in exhibiting art are all on an equal footing, so that there is no reason to rely on their purported ability to distinguish differences. If art is construed not as a specific form of material existence but rather as a specific selective process of the intellect, the art-related disciplines are charged with formulating aesthetic differences in the medium of language and - for instance in the case of sociology - with introducing a distinction between aesthetic and other social behaviour. What was valid for the phenomena of conceptual art, i.e. that "without [...] discussion [...] they are pure and simple 'experience'" and "only [become] 'art' when they are placed in a context with art," (5) applies unequivocally to Clegg & Guttmann's "Open Public Library." Debating this issue with the intent of positing an aesthetic distinction constitutes the nucleus of art theory. Given this artistic self-conception, the leading issues in the theoretical debate (which cannot be treated exhaustively here) are as follows: I. The historic distinction between Clegg & G ... >>

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   Michael Lingner Reflections on / as Artists' Theories (In the context of the symposium Reflection on/as Artists' Theories) "That I could easily become a theoretical artist... it wouldn't matter." P.O.Runge That artists' theories could develop in modernism is mainly attributable to the fact that, after the French Revolution, Romantic art emerges as a completely new and self-determined form of experience for the ascending middle-class. The unprecedented autonomy gained by the arts is not so much a result of the drive for independence, which it has always had, as it is of the revolutionary changes in society preceding Romanticism, because, even if the French Revolution with its socio-political objectives initially failed, and so cruelly betrayed its own progres-, sive humanistic ideals, the earlier secular and spiritual domination by nobility and clergy had nevertheless been forever eliminated. It was this wide-reaching loss of an inherited frame of reference which contributed substantially to art becoming autonomous and not so much its characteristic pursuit of freedom. In any case, an art which has finally freed itself of its clerical and feudal shackles—at the beginning of the middle-class era of secularization and democratization—cannot and no longer desires to function as an instrument of religious doctrines or the dictates of ruling classes and is therefore not excluded from the circle of the useful arts.1 Divested of their function, be it as an altar painting or the portrait of a noble, pictures can only make sense or, even more, have a value, when they can, in every sense, hold their own as art. Having lost its function, art could, according to the art historian Martin Warnke, "like other manual skills [...] as a result, have died out" had it not been able to make this non-functionality into an integral, vital part of its aesthetic development.2 On the one hand, the arts are liberated, attain greater functional, institutional and economic independence, through their social autonomy, but, on the other, the result is a profound loss of a sense of purpose. Robbed of the former spiritual authority and secure financial foundations, all the expectations which had been directed at art prove themselves non-binding and, lastly, unfounded. Freed of its traditional ties and obligations, everything in art, whatever it wants to be or become, must be invented and justified out of itself. Thus the social autonomy of art, which was made possible by the revolutionary political changes, requires that the acquired formal and, initially, merely abstract freedom now be given a definite form through the self-determination of artistic decisions. In the previous centuries the "what" of art was extensively predicated, and all that the artists had at their disposal was a traditionally defined "how." In order to make use of a new, constitutionally guaranteed freedom of art, it became necessary to create from nothing, both content and form, and, in addition, also to justify the sense and value of this activity. Theodor W. Adorno introduces his Aesthetic Theory with an apt description of the modern artist's situation: "It became self-evident that nothing concerning art is self-evident anymore, not within it and not in its relationship to the whole, not even its right to exist.3 One can well understand that artists no longer believed that they could manage in their traditional field of work, given the enormous innovation and justification pressure, combined with existential anxiety, and that they would then have to take recourse to the medium of language to express the thinking process. Considering the complexity of the problem they faced, their thinking, with the application of reason, inevitably developed into full-fledged theory-like constructs. The phenomenon of the artists' theory in its modern form was born and has, in various ways, shaped the work of most of the important modern and avant-garde artists.4 But their lives were also affected, since theorizing also functioned as an instrument with which one could emancipate oneself from the new social expectations and demands directed at the artists, that is to say, the conventions of the middle-class. Since autonomy can certainly never be realized through anything but a process of "self-governance through reason,"5 a more rational and conceptual structure had to be developed in the arts parallel to the growth of autonomy. Once the process has started to think itself, there is no escaping from it, because reason, through its own tendency to be self-reflective and to generalize, must continuously refer to everything, even to itself. T ... >>

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   Gespräch über die Wandformationen zwischen Franz Erhard Walther und Michael Lingner* ... Attentäter und Klassiker zugleich sein ... (Überarbeiteter Auszug aus: "Zwischen Kern und Mantel. Franz Erhard Walther und Michael Lingner im Gespräch über Kunst". Klagenfurt 1985, S. 158-160.) F.E.W. "... Grundvorstellungen für die Wandformationen stammen aus Bildformulierungen, die ich während der Arbeit an den Werkzeichnungen gefunden habe. Die Werkzeichnungen sind ja ein Versuch, die bei der Werksatzarbeit gemachten Erlebnisse und Erfahrungen nicht nur diagrammartig aufzuzeichnen, sondern sie anschaulicher zu machen und ihnen eine andere künstlerische Dimension zu geben. Das war aber mit dem bisher verwendeten DIN-A4-Format nur begrenzt möglich, wo alles immer eher abstrakt blieb und bestenfalls nachzuvollziehen, aber nicht wirklich körperlich erlebbar war. Darum wollte ich das, was in den Werkzeichnungen überwiegend der Vorstellungskraft überlassen blieb, nun groß, auch plastisch, material und sinnlich vor mir sehen. Durch eine bloße Vergrößerung der Zeichnungen auf drei bis vier Q ... >>

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   Michael Lingner Kunst als Projekt der Aufklärung jenseits reiner Vernunft I. Die Entwicklung der Kunst zum aufklärerischen Organ in der Romantik Die bis in die 60er Jahre unseres Jahrhunderts hinein ganz und gar vom Willen zur Modernität beherrschte Avantgardekunst hat permanent den Bruch mit der Kunstgeschichte gesucht. Dennoch hat sie ihn, was von den schärfsten ihrer Kritiker (1) zumeist verkannt wird, bisher nie tatsächlich vollzogen. Gerade angesichts jenes fatalen Paradoxons einer historistischen Geschichtslosigkeit, die sich als postmodernes Denken in den 80er Jahren auch der künstlerischen Praxis bemächtigt hat, ist die geschichtliche Kontinuität, in der die avantgardistische Kunst steht, umso deutlicher geworden. Obwohl unaufhörlich das Bestehende überwindend und ins Unbekannte (2) vordringend, hat sie sich aus dem kunstgeschichtlichen Gesamtzusammenhang nie gelöst. Zumindest ohne ihre christliche Tradition ist die Entwicklung der "aus dem Geist der Religion" (3) geborenen modernen Kunst nicht denkbar. Aber allein aus dieser Vorgeschichte verstehbar ist die Avantgarde keineswegs, weil sie doch eigentlich erst da beginnt, wo die Kunst am Anfang des 19 ... >>

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   Thomas Zaunschirm Bereites Mädchen Ready-made mit einer Einleitung von Serge Stauffer Inhalt Serge Stauffer: rEaDy-MaDe oder Étant Donné Marcel Duchamp 7 Vorwort 11 Abkürzungen 15 I. Revolution durch Schweigen 17 II. Tatort Atelier: ein retouchiertes Foto 25 III. Falle von oben nach unten 29 IV. Wem ist heiß am Arsch? 32 V. Der Chef Leuchtturm-Kind 35 VI. Ein alter Säufer 39 VII. M ... >>

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   Michael Lingner Die zarteste Versuchung seit es Avantgarde gab - Kunsterfahrung mit Geschmack Von der Negierung zur Kultivierung des Geschmacks Die herrschende Erlebnisorientierung der Menschen sowie die umfassende Ästhetisierung der Dingwelt sind zwei sich wechselseitig verstärkende Tendenzen, die für unsere Gegenwartskultur prägend sind. Ein Lebensgefühl hat sich verbreitet - und sei es nur als Wunschvorstellung, das nicht mehr davon bestimmt ist, den Kampf ums Dasein zu bestehen. Wenn trotz "allem Krisenbewußtsein ... das Leben als garantiert gilt, kommt es darauf an, es so zu verbringen, daß man das Gefühl hat, es lohne sich." (1) Dem Diktat der nackten Notwendigkeiten entronnen oder sich entziehend, liegt der Brennpunkt allen Begehrens darin, das "Projekt des schönen Lebens" (2) zu verwirklichen. Anstelle von Notwendigkeiten fungiert überall der Genuß als entscheidender Attraktor. Unsere "Erlebnisgesellschaft", wie sie soziologisch klassifiziert worden ist, bildet die Drift aus, daß selbst die existentiellsten Fragen, die einst für moralisch, religiös oder etwa wissenschaftlich entscheidbar gehalten wurden, nun der Einzelne als seinem Belieben überlassene Geschmackssache ansieht. Selbst dem Recht (3) werden allenfalls Begrenzungen der individuellen W ... >>

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    Einleitung 9 Zur Methode 10 Künstlertheorie als Begriff 13 Konzeptionelle Kunst-Vermittlung 21 DIE BILDER DER BETRACHTER 26 Duchamps Betrachter 27 Lernende Betrachter 31 Vorgehen 33 Die Betrachter machen die Bilder 34 regardeur 34 Ohne nur anzuschauen 36 Machen und Macht zu deuten 38 Egoistisches Medium 42 Unverantwortliches Medium 42 Individuell egoistisch 45 An-artist 53 Keine Antiposition 54 Künstler als Eigner 57 ... >>