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Extra resources for Again the Metaphor Problem and Other Engaged Critical Discourses about Art: A Conversation between John Baldessari, Liam Gillick and Lawrence Weiner, moderated by Beatrix Ruf

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Und das wollen wir natürlich nicht. Lawrence Weiner Dieses Problem habe ich nicht. Es gibt niemanden, der ein Werk von mir hat und nicht in der Lage wäre, zu sagen, was es ist. Damit ist das Problem gelöst. Liam Gillick John führt lediglich einen begründeten Punkt an, der ein natürliches Vermächtnis der Theorie der Frankfurter Schule ist. Die Idee, dass hochkarätige Kunst sich nach und nach in zunehmender Irrelevanz verliert. John Baldessari Lawrence, du stehst an einem Punkt in deinem Leben, wo Leute eine Menge Geld für deine Arbeiten bezahlen.

000 Papierfetzen 60 John Baldessari We won’t know until we see a transcription. Lawrence Weiner I don’t think this is a word piece, it might be a sound piece. That word ‘piece’ comes out of the 1960s and people not knowing what to call what they made, because it didn’t resemble what everybody thought it should. What happened in the 1970s is that new work became institutionalised and people began to think that it was supposed to resemble something. “This is not an object”, but there are 15,000 pieces of paper on the walls and 47 photographs stating that “This is not an object.

Lawrence Weiner Aber es wirkt wie Art of Our Time e oder wie eine Fachmesse. Bildschirm reiht sich an Bildschirm und Raum an Raum. Wo liegt der Unterschied? Der Unterschied besteht angeblich im Inhalt. 41 dark space to see film, which might remind you of the cinema, you don’t have to call it cinema. Lawrence Weiner But it looks like Art of Our Time or some trade fair. Screen after screen and room after room. What’s the difference? The difference is supposed to be the content. Beatrix Ruf There are many strategies in art films that speak about the cinematic image, about experience, about the world.

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