¿Quién le teme al arte conceptual?
Summary
TLDREl arte conceptual ha sido un campo de innovación y provocación en el mundo artístico, desafiando la percepción tradicional de lo que constituye una obra de arte. Este script explora la evolución del arte conceptual desde sus inicios con Marcel Duchamp hasta las audaces creaciones de artistas contemporáneos como Katie Patterson. A través de obras que van desde el uso de objetos cotidianos hasta la incorporación de la tecnología y la participación del público, el arte conceptual ha logrado hacer que los espectadores piensen, se rían y sientan emocionalmente involucrados. La obra de artistas como Piero Manzoni, Martin Creed y Robert Montgomery demuestra cómo el arte conceptual no es solo una simple decoración, sino una poderosa herramienta para la reflexión y la comunicación de ideas.
Takeaways
- 🎨 El arte conceptual no requiere mucha habilidad ni es particularmente hermoso a simple vista, pero desafía la percepción tradicional del arte.
- 🤔 La naturaleza del arte conceptual a menudo es enigmática y a veces frustrante, pero invita a la reflexión y al cuestionamiento del espectador.
- 🧐 Marcel Duchamp es considerado un innovador fundamental en el arte conceptual, al presentar objetos cotidianos como obras de arte.
- 💭 Piero Manzoni, con su obra que含excremento humano, desafió los límites de la propiedad y el valor artístico, poniendo de manifiesto la importancia de la idea sobre la物质 (materia).
- 📜 El trabajo de Martin Creed, como su pieza número 88, un papel crumpled, resalta la simplicidad y la belleza en las formas más sencillas y cotidianas.
- 🌐 El arte conceptual a menudo utiliza la palabra y el lenguaje para transmitir mensajes más allá de la estética, a menudo con un componente crítico o político.
- 📚 La obra de Mary Kelly, 'Post Partum Document', utiliza el registro detallado de la relación madre-hijo para explorar temas emocionales y la identidad femenina.
- 🌟 Robert Montgomery lleva el arte conceptual al mundo real a través de piezas que usan el texto para conmover y reflexionar a una audiencia más amplia.
- 🎭 El performance art, aunque controvertido, ha sido utilizado por artistas como Vito Acconci y Yoko Ono para explorar la interacción entre el cuerpo humano y el arte.
- 🌌 Katie Patterson trabaja con ideas grandiosas relacionadas con el espacio y el tiempo, con obras que transforman elementos ordinarios en experiencias artísticas únicas.
- 🚀 El arte conceptual no tiene límites en la imaginación del artista y puede incluir una amplia gama de materiales y tácticas para explorar y cuestionar la realidad.
- 💡 La participación del espectador es crucial en el arte conceptual; su interpretación y respuesta a la obra son esenciales para su plena apreciación.
Q & A
¿Qué es el arte conceptual y cómo deberíamos abordarlo?
-El arte conceptual es una práctica artística que se centra en la idea o el concepto detrás de una obra en lugar de su ejecución o apariencia física. Debemos abordarlo con una mente abierta, dispuestos a reflexionar sobre las ideas y a cuestionar nuestras percepciones de lo que es arte.
¿Quién fue el primer gran innovador del arte conceptual y cuál fue su contribución?
-El primer gran innovador del arte conceptual fue Marcel Duchamp. Su contribución fue presentar objetos cotidianos como arte, una práctica que desafió la distinción entre objetos y arte y que dio comienzo al arte conceptual.
¿Cómo describiríais la obra de Piero Manzoni, 'Artist's Shit'?
-Piero Manzoni creó 'Artist's Shit' como una provocación al mundo del arte, presentando latas que alegadamente contenían su propia excremento y vendiéndolas por su peso en oro. Esta obra cuestiona el valor y la naturaleza del arte, y ha sido interpretada como una crítica a la pretenciosidad del mundo artístico.
¿Qué es 'Work number 88' de Martin Creed y qué significa?
-'Work number 88' de Martin Creed es una hoja de papel A4 arrugada en una bola. La obra representa una idea y desafía la noción de lo que es arte, al mismo tiempo que explora la simplicidad y la belleza en formas que parecen ser desechos o residuos.
¿Cómo se relaciona el arte conceptual con las palabras y el lenguaje?
-El arte conceptual a menudo utiliza las palabras y el lenguaje para transmitir su mensaje o para cuestionar la naturaleza del arte mismo. Las palabras pueden ser más significativas que las imágenes y, a veces, se utilizan para subvertir o explicar las obras de arte.
¿Por qué podría alguien considerar que el arte conceptual es una estafa o un engaño?
-Algunas personas pueden considerar que el arte conceptual es una estafa o un engaño porque a menudo parece no requerir la habilidad artística tradicional y puede no ser apreciado por su belleza inmediata. Sin embargo, el arte conceptual suele ser una provocación intelectual que desafía a los espectadores a reconsiderar lo que significa y valorar el arte.
¿Cómo es la experiencia de un espectador al interactuar con una obra de arte conceptual?
-La experiencia del espectador con una obra de arte conceptual puede ser desafiante y reflexiva. A menudo, se espera que el espectador no solo observe la obra sino que también la analice, la interprete y, en última instancia, que la idea detrás de la obra provoque una respuesta emocional o una reflexión personal.
¿Cómo se puede ver la obra de Katie Patterson dentro del ámbito del arte conceptual?
-La obra de Katie Patterson, que abarca conceptos amplios como el espacio, el tiempo y el cosmos, se alinea con el arte conceptual en su enfoque de explorar ideas y conceptos a través de la experiencia del espectador. Su trabajo invita a la imaginación y a la participación activa del espectador para que las obras cobren significado.
¿Por qué el arte conceptual a menudo se considera pretencioso o elitista?
-El arte conceptual a menudo se considera pretencioso o elitista porque muchas de sus obras requieren un conocimiento previo o una capacidad de interpretación que puede no ser accesible para todos. Además, la naturaleza intelectual y a veces abstracta del arte conceptual puede hacer que parezca excluyente o difícil de entender para el público en general.
¿Cómo ha evolucionado el arte conceptual desde su inicio hasta la actualidad?
-El arte conceptual ha evolucionado desde su inicio, donde Marcel Duchamp presentó objetos found como arte, hasta abarcar una amplia gama de prácticas artísticas que incluyen el uso de palabras, el cuerpo, la performance y la tecnología. Hoy en día, el arte conceptual sigue explorando y cuestionando las fronteras del arte y su relación con la sociedad y la cultura.
¿Por qué es importante el arte conceptual y cómo deberíamos abordarlo como público?
-El arte conceptual es importante porque desafía las convenciones y nos invita a reconsiderar nuestras percepciones de lo que es arte. Como público, deberíamos abordarlo con curiosidad y disposición para reflexionar y cuestionar, más allá de su apariencia inmediata, para apreciar la idea y la provocación detrás de cada obra.
Outlines
🎨 El arte conceptual de Martin Creed
Se describe la llegada de un paquete que contiene una obra de arte conceptual de Martin Creed, uno de los artistas más celebrados de Gran Bretaña. El narrador comparte su experiencia al abrir la obra con un escalpelo y reflexiona sobre la naturaleza aparentemente simple y el precio que pagó por ella. Esto lo lleva a cuestionar la relevancia y el valor del arte conceptual y su capacidad para desafiar la percepción del público.
🧐 La provocación de Marcel Duchamp
Se explora la subversión intencional de Marcel Duchamp, quien con su obra desafió la noción tradicional de arte. Duchamp, al igual que otros artistas conceptuales, puso de manifiesto que lo que importa es la idea y no el objeto en sí. Se mencionan a otros artistas como Piero Manzoni, quien con su obra provocativa, desafió los límites de la decencia y la percepción del valor artístico.
🤔 La reflexión de Martin Creed sobre su obra
El narrador visita a Martin Creed para entender las ideas detrás de su obra 'Work number 88', una hoja de papel crumpled. Creed comparte su proceso creativo y la intención detrás de su obra, que busca hacer belleza a partir de lo cotidiano y aparentemente insignificante. Se discute la naturaleza de lo que es arte y lo que no, y cómo el arte conceptual puede ser tanto una provocación como una fuente de reflexión.
📜 El poder de las palabras en el arte
Se aborda el uso de las palabras en el arte conceptual, desde la obra de un humorista francés hasta la obra de Michael Craig-Martin y Sol LeWitt. Se destaca cómo las palabras pueden ser tan significativas como las imágenes y cómo el arte conceptual a menudo se vuelve a la introspección y la emoción, como en la obra de Mary Kelly 'Post-Partum Document'.
🌟 El arte conceptual en el mundo real
Se presenta a Robert Montgomery, un artista que lleva el arte conceptual al mundo exterior de la galería a través de piezas en el espacio público. Se discute cómo el arte conceptual puede ser accesible y provocador a la vez, y cómo Montgomery utiliza la tecnología de la publicidad para transmitir mensajes poéticos y políticos.
💃 El arte del cuerpo y la performance
Se examina la performance art y cómo los artistas han utilizado su cuerpo como medio artístico. Se mencionan obras de Vito Acconci, Yoko Ono, y la performance de Bruce McLean que cuestionó la naturaleza de la escultura. Se destaca cómo la performance art puede ser una forma de arte social y político que busca cambiar la sociedad y la política.
🌐 El arte conceptual y los medios de comunicación
Se explora cómo los artistas conceptuales han utilizado los medios de comunicación para transmitir mensajes políticos y desafiar la audiencia. Se habla de Chris Burden, quien con su obra provocó una reflexión sobre la desensibilización a la violencia, y de Christian Jankowski, quien realizó diversas travesuras mediáticas para cuestionar la sociedad y el arte.
🚀 El arte conceptual y la exploración cósmica
Se presenta a Katie Patterson, una artista que trabaja con ideas grandiosas relacionadas con el espacio y el tiempo. Se describe su obra, que incluye enviar una partitura al espacio y recogerla de regreso, crear un candle que huele a espacio exterior, y compilar 10,000 imágenes de eclipses solares. Se discute cómo el arte conceptual puede ser una forma de explorar y comprender nuestra posición en el universo.
🌌 El arte conceptual más allá de la decoración
Se concluye la exploración del arte conceptual destacando su relevancia y el desafío que representa. Se argumenta que el arte conceptual, con sus ideas ambiciosas y su capacidad para involucrar al espectador, es mucho más que mera decoración y que es esencial para la reflexión y la comprensión de nuestra realidad.
Mindmap
Keywords
💡Arte conceptual
💡Marcel Duchamp
💡Piero Manzoni
💡Martin Creed
💡Katie Patterson
💡Performance Art
💡Chris Burden
💡Christian Yankovsky
💡Valor del arte
💡Participación del espectador
💡Ideas artísticas
Highlights
Un paquete valioso ha llegado, contiene una obra de arte conceptual de Martin Creed, uno de los artistas más celebrados de Gran Bretaña.
La obra, adquirida en línea por 180 libras, incluye instrucciones específicas para abrirla con un escalpelo.
La confusión entre objetos y arte comenzó a principios del siglo XX, desafiando la distinción entre lo bello y lo funcional.
Marcel Duchamp, considerado el innovador principal del arte conceptual, presentó objetos cotidianos como "ready-mades".
Piero Manzoni, un aristócrata italiano, cuestionó la naturaleza del objeto artístico con obras que incluían su propia materia fecal.
La obra de Manzoni, que contenía excremento, se vendió en Christie's por 182,500 libras, casi 200 veces más caro que el oro.
Martin Creed, galardonado con el Premio Turner, ha convertido una amplia gama de objetos en arte, incluyendo una papelera crumpleada.
Cread desciende la esfera perfecta de una papelera, reflejando su interés en la belleza de las formas geométricas.
El arte conceptual no se trata de si es arte o no, sino de si es divertido, original y si nos hace pensar.
Alphonse Allaíz, humorista francés, introdujo imágenes simples de papel coloreado cuyo significado solo se revelaba con sus títulos.
Michael Craig-Martin usó palabras para transformar un vaso de agua en un árbol de roble, utilizando texto para cambiar la percepción.
Sola LeWitt, artista estadounidense, consideraba que la idea se convertía en una máquina que produce arte.
Mary Kelly creó 'Post Partum Document', una obra íntima que explora su relación con su hijo mediante el análisis de intercambios diarios.
Robert Montgomery lleva el arte conceptual al mundo exterior de la galería, utilizando el texto en anuncios publicitarios y poemas.
El arte conceptual a menudo se asocia con la performance, poniendo al cuerpo del artista en el centro de las obras.
Bruce McLean desafió la naturaleza de la escultura, utilizando su propio cuerpo como parte de la obra.
Joseph Beuys, artista alemán, creó 'I like America and America likes me', una obra en la que compartió un espacio con un coyote durante tres días.
Los artistas conceptuales también utilizaron los medios de comunicación para transmitir mensajes políticos a través de actos audaces.
Chris Burden, artista que exploró el sufrimiento y la violencia en el nombre del arte, creando piezas que cuestionaban la desensibilización a la violencia.
Christian Jankowski, artista alemán, ha utilizado bromas en los medios para hacer preguntas profundas sobre la sociedad.
Katie Patterson, una de las talentos más emocionantes de su generación, ha trabajado con ideas sobre el espacio, el tiempo y el cosmos.
El arte conceptual de Patterson solo se hace real cuando el espectador está dispuesto a ponerse al día, completando el círculo de una gran idea artística.
Transcripts
a valuable package has just arrived it
contains a work of conceptual art by
Martin Crete one of Britain's most
celebrated artists I bought this piece
from Martin Creed's gallery online it
cost me a hundred and eighty pounds and
I've been given very specific
instructions on how to open it
apparently I have to use a scalpel to
prise this box open as delicately as I
can like this open it up
that's it Ignatz it something in here a
[Music]
certificate Martin Creed work number 88
a sheet of a4 paper crumpled into a ball
war
welcome to the puzzling sometimes
maddening world of conceptual art this
piece perhaps encapsulate why so many
people struggle with conceptual art it
doesn't seem to require much skill it's
not particularly beautiful and
ultimately it feels like a bit of a
ripoff but maybe we're all missing
something and so in this film I'm going
to attempt the near impossible to really
understand conceptual art what is
conceptual art and how should we
approach it and why should we care to
answer these and other questions I'm
going to examine its key works
meet the movers and shakers of today and
experience some cutting-edge
contemporary conceptual art in an
open-minded guide for the perplexed and
who knows by the end of it we might all
have changed our mind before the 20th
century there were objects and there
were artworks now let's begin with the
objects some objects were natural some
of them functional some of them not very
beautiful artworks on the other hand
were made by artists and they were very
beautiful and often very very expensive
now people were very happy with this
distinction they knew where they stood
but then about a hundred years ago that
system began to fall apart and what
happened was this objects became more
and more like artworks and artworks
became more and more like objects
gradually they began to swap places
until eventually it became difficult to
know which one was which
now this left a lot of people very
confused and some people very very angry
but it was the first major innovation of
conceptual art and its first great
innovator was the enigmatic frenchman
Marcel Duchamp the chain-smoking sphinx
of modern art Duchamp had started as a
painter but around 1913 he became
increasingly attracted to unassuming
everyday objects that he began
presenting as ready-made artworks a
bicycle wheel a bottle rack
[Music]
a snow shovel
and most famously you're going oh so
what was Duchamp up to with his taste
defying ready-mades this is the great
enemy of art AR t that was the
difficulty to find an object that had no
attraction whatsoever from from the
aesthetic angle of course humor came in
as an element it was very important for
me to introduce humor that was my
intention to do something that would not
please everybody hmm Marcel Duchamp was
being deliberately subversive while also
making a revolutionary point not
everything was art but anything could be
art why because the object didn't matter
any longer what mattered was the idea
the concept and that was the beginning
of what we've come to call conceptual
art dushawn did a hit and run on the art
world after dropping his conceptual
bombshell he abandoned it and became a
professional chess player instead but
his audacious acts opened the floodgates
[Applause]
[Music]
twentieth-century art abounds with his
disciples but one of the most original
was a mischievous Italian aristocrat
Piero Manzoni
was a self-taught artist who rose to
prominence with his a Chrome's a series
of white surfaced works made from
increasingly unusual materials
but by the end of the 1950's Manzoni
began questioning the nature of the art
object in bizarre new ways
he signed real bodies to make living
sculptures drew never-ending lines blew
up balloons and called the resulting
sculptures artists breath pressed his
thumbprint on two hard-boiled eggs for
the public to consume and even created
an upside-down plinth that presented the
whole world as a work of art but his
most notorious conceptual creation
pushed both art and propriety to their
limits in May 1961 Manzoni sat down and
produced 90 unique sculptures
he then tuned signed and numbered them
and they contained something well
surprising excrement man's own his own
excrement and if you don't believe me
just look at the label which helpfully
comes in four different languages
artists shipped contents 30 grams net
freshly preserved produced and tinned
may 1961
if you thought conceptual art was crap
here's your proof but Manzoni wasn't
done his outrageous asking price for
these little tins was a crucial part of
the artwork itself man's only declared
that each 30 grand tin was worth its
weight in gold actual gold now you might
think who in their right mind would want
to buy someone else's feces at alone for
the same price as gold well as it turns
out what a lot of people did last year
Christie's sold it in just like this
number 54
for a hundred and eighty two thousand
five hundred pounds and that made man
zonies turd gram for gram almost two
hundred times more expensive than gold
so what does it all mean is a turd the
ultimate person already made who is it
meant to provoke and what was man zonies
in-game I'll be honest I really don't
know what to make of this piece my
instinct is that man's only is making
fun of us he's making fun of museums
critics he's making fun of people have
got more money than sense he's making
fun of a whole madness of
pretentiousness of the art world and I
have to admit part of me feels like a
bit of an idiot for coming all this way
to look at something that is essentially
a [ __ ] on a plinth but you know thinking
about it I realized that for all its
silliness it is actually an extremely
clever conceit it could be anything in
that tin but we will never know because
as soon as we open that Tim the artworks
destroyed the value is lost so we will
never ever find out if this tin contains
anything
it contains an idea this piece feels
like a shit-filled hand grenade that
manzoni is from fifty five years into
the future and we still don't know how
to diffuse it no wonder he looks so
proud of himself Piero Manzoni died at
the age of 29 but he proved that
conceptual artists had a Midas touch a
good idea could convert practically
anything into a masterpiece and today
like Duchamp he's regarded as one of the
forefathers of conceptual art a
pioneering provocateur whose influence
lives on one of the figures he's helped
inspire is the artist who began this
program Turner Prize winner Martin Creed
[Music]
over a freewheeling career that includes
making music Creed has converted a whole
range of things into our blue tech empty
galleries with the lights coming on and
on and yes even excrement I've come to
Hackney in East London to meet Martin as
he launches a new album of songs and I'm
hoping he can shed some light on the
ideas behind work number 88 that
scrunched up ball of paper that cost me
a hundred and eighty pounds a few days
ago yeah I purchased this one of your
pieces work number 88 and I wonder if
you can help explain it well I was oh
yeah there you go yeah that's it yeah
that's a crumpled ball of paper inside a
nest of shredded people to keep it from
getting it crumpled up so tell me what
how did you how did you come to that
idea of doing that a friend was doing
these editions but he's making book
quotes leader of a4 paper he asked me if
I'd make a book I just couldn't think of
anything I could you know and put in a
bit and I thought well if I crumpled it
into ball the paper instead of making a
bit clover yeah and that was there and I
thought it's funny because it looks like
it's just a piece of garbage mm-hmm but
I tried to make it as beautiful years I
could so how do you do that do you have
a particular method that you used her
yeah pop and scrunching obviously yeah
the best way is to get the paper and and
loosely crumpling it before you actually
so you don't just try to make the ball
in one go usually about one in three of
the
so so what is it that you're looking for
you know when you say that two out of
three you throw away just what is wrong
with the two a perfect sphere you know
what she I mean at all it's never
perfect but I feel like the sphere or
circles a beautiful shape because equal
in all directions you know so you don't
have to decide how many of those giving
you've made through your career and well
I think they're numbered so but I don't
know what this is
695 Martin's quest for the perfect paper
ball reflects her broader interest in
things he's used cacti chairs and that
conceptual favorite balloon is filling
half a room with them in a work called
half the air in a given space but the
crumpled ball is perhaps the hardest
thing to appreciate as art a lot of
people and probably with a lot of our
viewers will be perplexed Rea this being
called art what would you say to those
people how would you try to answer their
concerns Hey
well I wouldn't argue I wouldn't really
want to argue with them because this is
you know I I wouldn't call this are
either but if it's not art
what is it was something that in I did
because I liked it yeah you know I'm
proud of this you know I wanted to get a
bed in the morning to do it you know I
thought it was worth doing I think a lot
of the little things in life are
important you know so not just all the
things that I made a golden over you
know he says anyway what's good and
what's bad if something is exciting and
it feels good that's the test of all
things you
[Music]
Marton Creed's a tricky man to pin down
and I'll admit I'm not totally convinced
by his paper ball but he's helped
persuade me of something really
important when confronted with
conceptual art we really shouldn't worry
about whether it's art or not because no
one really knows what art is instead we
should ask is it funny is it original
and perhaps most importantly does it
make us think and in a way this little
crumpled ball does all of those things
in 1897 a French humorist called
Alphonse
allez introduced the world to a series
of pictures each of them was a plain
sheet of colored paper
they appeared to depict nothing until
you read the titles this one was called
first communion of anemic young girls in
a snowstorm this one apoplectic
Cardinals harvesting tomatoes on the
shore of the Red Sea and this one which
I warn you isn't politically correct
Negros fighting in a cellar at night now
Olay was joking of course but his joke
was a really important moment in the
prehistory of conceptual art because it
showed that words can be more meaningful
than images
when conceptual art really kicked off in
the mid 1960s many of its leading
protagonists were so determined to purge
out of its decorative frilliness they
turned more and more to words in a
revolutionary atmosphere words were used
to explain subvert and occasionally
replace the art they described
[Music]
and the results were often tricky to
decipher one piece proved especially
mind-bending in 1973 Michael Craig
Martin placed a glass of water on a
shelf in a gallery and titled it an oak
tree the work was completed by an
accompanying text a philosophical
dialogue presented as a Q&A session
between artists and confused viewer to
begin with could you describe this work
yes of course what I've done is change a
glass of water into a full-grown an oak
tree it looks like a glass of water well
of course it does I didn't change its
appearance but it's not a glass of water
it's an oak tree haven't you simply
called this glass of water an oak tree
absolutely not it's not a glass of water
anymore seems to me that you are
claiming to have worked and miracle
isn't that the case I'm flattered that
you think so
in my opinion this was neither an oak
tree nor a glass of water it was an
empty exercise in semantics that
deliberately confused its audience but
Craig Martin agreed with do Shaw and
Manzoni when it comes to conceptual art
it's the thought that counts this was
certainly the view of the American
artist Sola wit in the 1960s he declared
the idea becomes a machine that makes
the art it is the objective of the
artist who is concerned with conceptual
art to make his work mentally
interesting to the spectator and
therefore usually he would want it to
become emotionally dry
this is one of my problems with
conceptual art it often puts the brain
before the heart but not all of it does
some artists use words to combine
intellectual curiosity with real
emotional power one of the most talented
was an American artist called Mary Kelly
and this is her stomach heavily pregnant
her resulting child went on to inspire
one of conceptual arts more intimate
works in post partum document Mary Kelly
recorded and analyzed her changing
relationship with her young son a
six-part series each section
concentrates on a different formative
moment between mother and child
blending unusual materials with words
[Music]
part-1 caused a scandal when first shown
in 1976 because Kelly used her son's
dirty nappy liners as a sort of canvas
onto which she typed a log of everything
he'd eaten that day this is the third
section of post partum document and a
police report there are no nappy stains
in sight in fact it doesn't nearly leap
out and grab you as a spectator it
consists of a series of small really
quite murky images that you could very
easily miss when you're walking through
the gallery so what we really need to do
is step in and take a much closer look
[Music]
the work is a kind of collaborative
diary from the autumn of 1975 when
Kelly's son first began nursery each
picture contains a mixture of writing
colored paper and her son's crayon
scribbles so what we're looking at is
three columns of text the first column
on the left that documents Mary Kelly's
son's own words on the date 13th of
September 1975 the second column to the
right of it that document Mary Kelly's
response to her son's words on the same
day and the third column which is
probably the most interesting and isn't
typed to turn written this contains Mary
Kelly's broader reflections on the
original exchange now it's quite
complicated at first but there is a
logic to it
and once you understand that three
column structure you can begin to
understand
entire piece and the closer you read the
more vividly their relationship comes to
life
[Music]
the demands of motherhood are clearly
taking their toll by the final image and
it actually records some very fraught
exchanges between mother and son he
refuses to go to sleep he's bossing her
about over pillows and stories he's
bossing me around he'll just have to
read the story I choose this time I'm
trying not to be weak and there's a
particularly moving passage here where
Kelly writes I feel somehow undermine
not resentful but just confused because
just being affectionate isn't enough
anymore he tests me I feel I have to
gain his respect where before I felt
assured of it simply because I was his
mother
Mary Kelly's art is about self
understanding but it takes effort to
understand it this art isn't simply for
looking at you have to read it analyze
it and decipher it and it repays your
hard work and I'm actually really
surprised at how powerful I find this
piece because when you start investing
it when you start getting up close and
reading it you really get drawn into
this very intimate emotional world
that's intelligent and witty and moving
conceptual art emotionally dry not here
that's for sure
[Music]
today artists inspired by conceptual art
are still trying to use words in fresh
ways one of them is Robert Montgomery
[Music]
Robert aims to take text art out of the
gallery and into the wider world from
like pieces to fire poems to public
billboards like this one of two pieces
he's invited me to come and see in
London today it's really exciting
watching me
two hours
[Applause]
[Music]
so the pieces up and it says the air
chases and scatters blue light more than
it scatters red light that's why the sky
is blue when we are cloudless when it is
big gushed the screens which took you
like butterflies now all your tomorrows
turned to electric waterfalls digital
culture created a new kind of
unconscious hipster capitalist unsub the
glamour from these glass towers blank
the sycophant ik neon undress in the
streets this summer make our
universities free again save our fragile
libraries this is no picture but it's
chock full of imagery you've got a
combination here of the romantic and the
political so it starts with this
wonderful description of sky and the
clouds almost pastoral set of lines but
then you finish with a very strong
dancing myself as traditional British
romantic came to in the innocence like
in the tradition of Turner like I want
to talk about those things I want to
talk about sort of romantic 27 sunsets
and I want to bring that into the dirty
or life of today you know my idea of
being an artist is to be engaged with
the sort of culture and politics a good
time in a real way it's also to do with
billboards in a way that finding the
discourse in conversation of the city
and that becoming increasingly a
conversation that treats us as only
consumers
I want to sucked on the subconscious
mind through a medium that's used to
sellers shampoo so you're using the
infrastructure of capitalism but you're
not trying to sell anything
in fact you're trying to provide an
antidote or to what people normally find
on their Street yeah I mean I'm not sure
I can be an answer to counselors and
just the my entirely open up like a more
sensitive state of mind in this place so
you find the people engage with these
pieces yeah I do worse than before I
started in this neighborhood tuned
billboard PCs let's see it would I see
illegally I'd see unauthorized Lee and I
get hugged quite a lot by too drunk
estate agents who were wandering home to
Essex in the car can see what an ad for
it's not an ad for anything
oh is it point who's that are they
dusters questions and I would say weed
it and see what you think and so the
question is to try to make poetry and
contemporary Simpson up in a hundred
words that it's accessible to people
accessible not normally a word you
associate with conceptual art so Robert
where are we heading now we're heading
down to Berman seawall East which is on
the south of the River Thames and we
have a light piece there today what is
it specifically about words that appeal
to you as a media and I think there's a
certain slowness to words I think I
think we probably live in the age of
accelerated image and we've been boarded
with like hundreds of images a day and
ironically in that context of words can
be a sort of moment of quiet or more of
pause
Wow the people you love become ghosts
inside of you and like this
you keep them alive it's a very personal
piece this one I had this really close
friend during art school called Shawn
Watson and he got hit by car on the edge
revolt and died very suddenly in 2004
and it was the first heartbreak of grief
with in my adult life from the sense and
I was it fed me really badly and then he
was into that I had this dream where
Shawn was just there he's just alive and
just around and I woke up the next day
happier than I'd gone to bed and I
thought okay this maybe is what ghosts
are made maybe ghosts are a positive
thing this very personal piece was
always intended for public display but
the scale of its impact caught Robert by
surprise if you search the people you
love the type of the piece and my name
you get four point three nine million
results in 0.7 seconds this is a tribute
page to a guy called Chico as always mr.
always loved to have a message and
that's how it's commonly used online
this was interesting this is a South
Korean rapper called Taeyang who sorta
gather in Paris went home to Korea and
just faked the whole thing including
this video or rapping in front of it he
seems to cause the point of it I'm not
sure he might get the point of it but
you certainly just made it on his own
and then you started to see it Epirus
tattoos gosh sometimes and then this is
a really beautiful incident it's a
brother and sister who I think had lost
her mum and they brought to ask if they
could get tattoos of each other reading
the text as a sound wave on write each
other's arms as a sort of tribute to the
mum and that was lovely because that was
them making their own art for me yeah
let's reinvented it yes it has it with
the life of its own
and people have got to really like this
piece to tattoo it onto their bodies I
mean that's pretty flattering it's
really nice I mean the thing is the
point of our is to touch the hearts of
strangers without the trouble of ever
having to meet them but if you can sort
of touch their hearts in the distance
and help a little bit you know from you
quiet sort of shitty event it's very
nice
[Music]
it's moving party mode makes you think
that the war time I think
the memories or what's happened along
again
we just came by the pad for a fight and
just saw it it's just like amazing like
you stopped in our tracks of it
I think against this dramatic sky
tonight as well as just like really
stood out put that job I mean for me I
think about relationships lost
especially was I'm not actually from
London I'm kind of like I left those
behind and then Here I am
[Music]
the statement is is kind of poignant for
us a moment as we have words it's like a
little discovery Roberts words aren't
exercises in empty semantics they're big
bold out in the real world
hungry for our attention and inviting us
to stop look think and feel and it
reminds me for something Robert said he
said the great thing about words as they
slow you down they slow you down as you
read them and that's what this piece has
done it is encourage people to briefly
put their lives on hold and reflect on
something really rather lovely I must
say I'm beginning to change my mind
about conceptual art
maybe it isn't as pretentious and
elitist as I once feared perhaps all we
need to do is give it a chance however
there's one facet of conceptual art that
still scares us and shows little sign of
being accepted by the public it's often
known as gulp performance art
of course art and the body have a long
and healthy history detailed study of
human anatomy and appearance from the
backbone of thousands of years of
artistic output but the body's full
potential was yet to be unleashed
[Music]
art isn't simply about the making lives
it can also be about doing things and
from the 1960s onwards a number of
conceptual artists involved on a spate
of maths performances and stunts and put
their own bodies at center stage in New
York artist Vito our country spent a
month following strangers through the
city streets for minutes and sometimes
hours at a time until he could no longer
track them a relatively unknown Japanese
artist called
Yoko Ono sat alone an impassive on stage
while her audience were invited to come
up and cut away her clothes
[Music]
and in London an irreverent performance
by a young man called Bruce McLean
attempted to redefine the nature of
sculpture
[Music]
so what was going on well fortunately
Bruce McLain is still very much active
and has suggested revisiting this
pivotal moment of conceptualism with me
Bruce hi good morning I see you too
all right what is this you're doing
sorry what are you doing at these poses
dude no no I'm just moving around the
plinth what limbering up so what we've
got here these are three prints yes
three different heights just about what
are they all about I was hoping you
weren't gonna answer that question for
far enough in 1971 I borrowed 50 plus or
the Tate for an installation called
objects no concern no concepts as
opposed to concepts no objects and three
somehow got left and I thought well what
can I do the reason they seem to require
some sort of sculpture he says there's a
play with them because I like play mmm I
think it's quite a construction that's
not walk yeah I could be the sculpture
off these plans now I can let Lee
splints determine what I did was my very
nimble and athletic dancer this body
that I had at that point in time so I
just got a good on them this was more
than just a series of self-portraits
here the artist became the art
[Music]
I moved in a helmet for a bit then I
moved in a handle for a bit did it for
one hour I think somebody said well why
don't we hold it over okay I can help
bring your leg up no thanks
notnot like cocking in this film what I
like about it is you've got the hints
yeah
this black of my photograph yeah it's
very formal at the same time it's used
subverting yeah a tradition yeah and
having a bit of a laugh but I mean I
wasn't doing it as I thought I was doing
it and I wasn't doing it as a solemn
worry but I thought well let's look at
these cliches and take up a part of it I
look at something I don't understand I'm
interested and where did you get the
idea of using your partner you know
making your body part of the sculpture
itself I like the idea that you can use
your body so you don't have to buy any
material you don't need a bit of wood
you don't need glue paint anything you
can make something up as you go along
with nothing then it was a time of a
student revolution coming from France
and the whole mood of the time was about
our global mode my global feeling young
people's thinking exchanging ideas being
part of what became known as conceptual
art when people didn't want to make
stuff with stuff for people to consume
in a variety consumerism we were there
to question of an issue of sculpture
while Bruce McClane played with the idea
of a femoral human sculpture others were
busy transforming their whole lives into
allegorical artworks the most mercurial
of them was a hugely influential German
artist called Joseph Boyce in 1970 four
boys flew into New York's JFK Airport he
was covered in a layer of felt loaded
onto a stretcher and taken by ambulance
to a West Broadway gallery
[Music]
it was all part of an elaborate
performance piece called I like America
and America likes me in which Boise was
to share a room with a wild coyote for
three whole days
confused you should be boys once
declared that art is not there to be
simply understood or we would have no
need for it understandably the coyote
was also somewhat mystified and fairly
angry to begin with but over time the
animal appeared to grow tolerant even
accepting of the eccentric artist and by
the end they'd formed something of a
friendship so was it just a stunt or was
their method in the madness the lycée
Boyce's performance was a strange but
powerful allegory about peace tolerance
and respect for nature
this was what boys called social
sculpture an art form that turned life
into art in order to change both
politics and society
[Music]
elsewhere conceptual artists took a more
direct approach and distributed their
political messages by any means
necessary
[Music]
in Brazil a young artist devised an
ingenious plan to combat his country's
oppressive us-backed military
dictatorship not with coyotes but coke
bottles
[Music]
silver Morelli's began by purchasing a
number of coca-cola bottles and then he
made some careful modifications the
bottle in the foreground reads Yankees
go home and the one in the middle has
the recipe from Molotov cocktail
now crucially when Marella's had made
his modifications he then sent these
bottles back out into circulation where
they were purchased in shops and drunk
by the public Marella is considered this
to be an act of guerrilla warfare
against capitalism against censorship
against dictatorship and he was fighting
his foes with conceptual
no Ellis's work again shows that
conceptual art takes many different
forms objects words bodies actions even
fizzy drinks but in the 1970s artists
found a new medium to exploit the media
itself I'd like to introduce myself my
name is Chris burden and today on this
tape I'm going to show you excerpts or
visual records from eleven different
pieces that I've done starting in 1971
into 1974
Chris burden pushed himself to the
limits in the name of art from balancing
above electrified water to being shot
with a 22 caliber rifle
here was a man intent on exploring what
both artist and audience could endure
holding my hands behind my back I
crawled through about 50 feet of glass
very few spectators saw this piece most
of them just passers-by
[Music]
strange this piece it's almost
unwatchable but at the same time you
can't stop watching it at least I can't
there is something horribly gripping
about observing another person suffering
that I think was the point this piece
was made during the Vietnam War and it
was all about people Americans becoming
increasingly desensitized to images of
death and violence that they were seeing
in the media burden realized that the
very same media could potentially be
infiltrated to shock and confuse his
fellow Americans and the television held
the biggest captive audience so in a
separate artistic act he created a
series of guerrilla TV adverts to be
broadcast almost subliminally amid the
normal schedule Ranko presents Good
Vibrations
what I do original is once you've been
watching is the advertisement that
actually precedes mine
well that was it he saw how short it was
I didn't have any illusions that people
understood this but I know it stuck out
like a sore thumb and that I had the
satisfaction of knowing that 250,000
people Saturday night and that it was
disturbing to them in a conceptual
master stroke the artist had hijacked
the medium of TV along with its audience
to think the burden actually bought
airtime and sent his commercials into
the homes of hundreds of thousands of
unsuspecting people it was utterly
audacious
[Music]
artists like Chris burden blazed an edgy
provocative trail in the relationship
between conceptual artists and the mass
media but they also reconnected with the
creative potential of the prank
[Music]
Christian yankovsky is a German artist
who has spent the last 25 years
masterminding a whole range of media
pranks but often rely on innocent
collaborators he spoofed supermarket
sweep style daytime TV
[Music]
persuaded a team of high-ranking Vatican
officials to cast Jesus in a talent show
contest and got polish weight lifters to
lift public sculptures in Warsaw from
mock TV sports show
[Music]
[Applause]
Christian's agreed to meet me at his
Berlin studio but I have to admit that
what with his track record by feeling a
little bit nervous I've been told to
just go with the flow and enjoy the
experience whatever happens do you like
to shock people Christian yes and and no
I'm in shock for the shock saying no I'm
interested in images and I'm interested
in seeing images I have not exactly seen
before and I was born in the 60s you
know I didn't grow up with looking at an
oil painting I grew up with looking at a
television set doesn't mean I'm not into
paintings I love paintings too I love
you know all kind of media's but I am
very much my thinking has been informed
a lot by television and one of the most
successful TV formats of the last 10
years I suppose been the talent show and
the piece I'm thinking about of yours
that relates to that is casting Jesus
mm-hmm did you tell me a little bit
about how that concept Howard idea came
about yeah I was in in in Rome and then
I thought in Italy about all of this
different artists over the centuries
that needed models to you know act as
Jesus because Jesus had to be refreshed
from century to century to really reach
the audience
and I thought hmm what are really strong
formats of our days and I thought the
casting show is a great format to bring
real vatican priests on board and be the
jury today avanti and have casting
agency to send two different Roman
actors that could act in the truces
world and so they were in competitions
with each other they in airplane in
front of these priests that had to you
know look for perfect rice watch a
yellow Porsche Sulaymaniyah called who
no name position is in Amman which
entities are you trying to make people
laugh is that important strategy of
yours and I think there's something
quite quite an artistic was humor
because you can express feelings you can
express opinions with it but not in the
teacherly way of saying this is bad and
this is good there's a different style a
Christian
some media formats of potential
conceptual playgrounds be they Texan
televangelism
pop video pissed takes can I start to
bidding here at 300 year old police lock
or vehicles to satirize the art market
1200 very popular it is 1200 euro now at
2200 euro and whether his collaborators
are in on the joke or not without them
there'd be no artworks but you bring
lots of people together in your work
don't you it's not just about you doing
something on your own the audience
participate you get strangers and people
in the streets and weightlifters
everyone's participating it's a real
group enterprise isn't it yeah because
that's where I find the unexpected you
know for me if you call people the
medium or the material you work with it
sounds a little bit sick I'm not saying
your paint brush right now but you are
also a media everybody I drag into my
pieces from this world outside of the
art may it be sportsman made the
anchorman made you know they all bring a
new perspective out in the end of the
day is about reaching to a new
perspective
so Christian to deal with the elephant
in the room so to speak I can't help
noticing that you're naked and have been
naked throughout this interview can you
tell me why don't you see why it's quite
nice now I just thought what can I add
to a situation like this how can we have
a little bit of fun creating images that
are out in the mass media if I would
step to a program like this everything
and what are they doing there and it's
very conceptual or maybe it also I have
nothing to hide you know I'm just
telling you what I think about
conceptual art and might not make you
the most happy but maybe does who knows
well you've certainly made me feel
overdressed you make me feel
underdressed
[Music]
well that was one of the most surreal
experiences I've ever had
you know I've interviewed a lot of
artists over my time but I've never
interviewed a naked one but I really
actually enjoyed meeting Christian you
know and he was one of the artists I
thought I was going to struggle with the
most I really thought of him as a
prankster but he clearly is a very very
intelligent thoughtful man who uses
humor and uses the media to ask really
profound questions about the society
which we're living in I have to confess
I've grown to rather like conceptual art
because in the hundred years since
Marcel Duchamp zorrino conceptual
artists have achieved a lot there made
us laugh think and feel they've
redefined art and beauty they've taken
bold political stances and they've tried
to make the world a more unpredictable
and imaginative place but to really
understand how far conceptual art has
come today
we must delve deep into the final
frontier Katie Patterson is one of the
most exciting talents of my generation
and for a few years now she's been
boldly going where no conceptual artist
has gone before
she's melted down and recast a four and
a half billion year old meteorite before
sending it back into space she's mapped
all the dead stars we know of in the
universe 27,000 apparently and she's
even made music with celestial objects
[Music]
this is one of Katy Patterson's most
famous works you may recognize the music
as Beethoven's moonlight sonata but
let's have a closer listen
[Music]
now you might have noticed that this
rendition is actually missing a few
notes but you won't believe why because
what Katie Patterson has done is taken a
score of the moonlight sonata converted
it into Morse code and sent it by radio
transmission all the way to the surface
of the Moon and then bounced it back
into this room and into this piano
so wherever the missing notes gone well
they've actually been lost in the
valleys the craters the shadows of the
lunar surface so in many ways this is
the moonlight sonata remade by the moon
itself
in the same way that do shawls fountain
was just a urinal this is just an
everyday piano plunked inside a gallery
but it's been transformed by an
extraordinary idea my final stop on this
conceptual journey is to try and
discover where these cosmic brain waves
come from and to see what else Patterson
has been dreaming up
so what are we got here then Casey we
have got a number of different samples
and bits and pieces from the different
artworks I've been working on for the
last few years this is a candle that
smells of outer space and I don't think
in outer space have a smell it has a lot
of smells that turns out it's quite a
sentence please
it is a Sun what does the Sun spawn
welding fumes surprise lots of hot metal
yeah like that I fear the virus Mel's an
old penny some of the scents have come
from astronauts clothing that's been
analyzed the scent of the moon I worked
with a biochemist to develop these very
particular perfumes that's just amazing
you know just looking burnt almond
cookie is the smell of the moon how do
you come up with an idea like that I
mean the idea of said you know what does
the universe know what yeah let's turn
it into a candle that's just an amazing
idea where where is where those concepts
coming from oh my goodness where did the
concepts come from I still surprised
myself with the concepts come from I was
thinking as if you're taking a journey
through space and through time in how to
translate the this may love a journey
into a physical thing in that and that
became a candle what is it that inspires
you as an artist what is it what kind of
things get you get you going it's almost
everything nature and geology and
geography the planet and the wider
universe that's pretty white so what are
these then so this is
a series called history of darkness and
I've been taking images of nothing
effectively of dark spaces from
throughout the universe and so these are
slides right there slides and they're
all just black but they're from multiple
places in the universe and they span
billions of years so what is that saying
then this that is a distance from Earth
in lightyears which is four billion
billion two hundred and thirty nine
million one hundred eight thousand eight
hundred twenty like
exactly I kind of like to think that
these spaces of emptiness can never be
filled with life and other planets
I mean it's so remarkable that in this
little slide you've got all billion
light years that's an amazing
awe-inspiring idea in the same right
isn't it and one of the concerns a lot
of people have about conceptual art and
I have to confess that I've had these
concerns as well in the past is that
it's somehow easy that anyone can do it
but looking at your work I realize that
it's completely the opposite this is not
easy at all
there's pain so yeah it's not easy
because these ideas are kind of on the
brink of the possible and the impossible
there's so many things that go on behind
every single work but ultimately I hope
for the audience
and make it come alive by activating
that idea through their imagination and
[Music]
that dear viewer is where you come in
most conceptual art only comes to life
when you're prepared to put in the work
understanding often takes effort but you
can complete the circle of an artist's
big idea and here's one of Katie
Patterson's biggest
Wow it may only be a miracle but it's
like no Mirabal I've ever seen before
Katie Patterson has painstakingly
compiled and arranged 10,000 images of
solar eclipses almost everyone ever
documented by humankind and these
transient spectral moments brought
together in this otherworldly object
have been granted new life as they
scatter and dance all around me it feels
like I've stepped out of the solar
system out of time and space and I'm
staring back at the entire universe from
a great distance
[Music]
this is conceptual art alright but
what's there not to like it's
intelligent and beautiful and hugely
ambitious conceptual art is above all
about ideas now as we've seen those
ideas can come in many different shapes
and sizes but Katie Patterson deals with
the biggest ideas imaginable space time
the cosmos
now those ideas are relevant to each and
every one of us because they help define
our place in the universe so let's stop
being scared of conceptual art because
art without ideas is just decoration
isn't it
[Music]
more in our conceptual art season next
here on bbc4 as we enter the weird and
wonderful world of performance artist
Bob parks and tomorrow the bricks that
spark such outrage and wonder at the
Tate Gallery in 1976 don't miss that
[Music]
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