Arty Party

Hal Foster

In an art gallery over the last decade you might have happened on one of the following. A room empty except for a stack of identical sheets of paper – white, sky-blue, or printed with a simple image of an unmade bed or birds in flight – or a mound of identical sweets wrapped in brilliant coloured foil, the sweets, like the paper, free for the taking. Or a space where office contents were dumped in the exhibition area, and a couple of pots of Thai food were on offer to visitors puzzled enough to linger, eat and talk. Or a scattering of bulletin boards, drawing tables and discussion platforms, some dotted with information about a famous person from the past (Erasmus Darwin or Robert McNamara), as though a documentary script were in the making or a history seminar had just finished. Or, finally, a kiosk cobbled together from plastic and plywood, and filled, like a homemade study-shrine, with images and texts devoted to a particular artist, writer or philosopher (Léger, Carver or Deleuze). Such works, which fall somewhere between a public installation, an obscure performance and a private archive, can also be found outside art galleries, rendering them even more difficult to decipher in aesthetic terms. They can nonetheless be taken to indicate a distinctive turn in recent art. In play in the first two examples – works by Felix Gonzalez-Torres and by Rirkrit Tiravanija – is a notion of art as an ephemeral offering, a precarious gift (as opposed to an accredited painting or sculpture); and in the second two instances (by Liam Gillick and by Thomas Hirschhorn), a notion of art as an informal probing into a specific figure or event in history or politics, fiction or philosophy. Although each type of work can be tagged with a theoretical pedigree (in the first case, ‘the gift’ as seen by Marcel Mauss, say, or in the second ‘discursive practice’ according to Michel Foucault), the abstract concept is transformed into a literal space of operations, a pragmatic way of making and showing, talking and being.

The prominent practitioners of this art draw on a wide range of precedents: the everyday objects of Nouveau Réalisme, the humble materials of Arte Povera, the participatory strategies of Lygia Clark and Hélio Oiticica and the ‘institution-critical’ devices of Marcel Broodthaers and Hans Haacke. But these artists have also transformed the familiar devices of the readymade object, the collaborative project and the installation format. For example, some now treat entire TV shows and Hollywood films as found images: Pierre Huyghe has reshot parts of the Al Pacino movie Dog Day Afternoon with the real-life protagonist (a reluctant bank-robber) returned to the lead role, and Douglas Gordon has adapted a couple of Hitchcock films in drastic ways (his 24 Hour Psycho slows down the original to a near-catatonic running time). For Gordon, such pieces are ‘time readymades’ – that is, given narratives to be sampled in large image-projections (a pervasive medium in art today) – while Nicolas Bourriaud, a co-director of the Palais de Tokyo, a Paris museum devoted to contemporary art, champions such work under the rubric of ‘post-production’. This term underscores secondary manipulations (editing, effects and the like) that are almost as pronounced in such art as in film; it also suggests a changed status of the ‘work’ of art in the age of information which has succeeded the age of production. That we are now in such a new era is an ideological assumption, but even so, it’s true that in a world of shareware, information can appear as the ultimate readymade, as data to be reprocessed and sent on, and some of these artists work, as Bourriaud says, ‘to inventory and select, to use and download’, to revise not only found images and texts but also given forms of exhibition and distribution.

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