Von Ralf Keuper
Im Jahr 1970 wurde im Museum of Modern Art in New York die inzwischen legendäre Informations-Ausstellung ausgerichtet. In der Pressemitteilung heisst es zur Motivation der Ausstellung:
“Many of the highly intellectual and serious young artists represented here have addressed themselves to the question of how to create an art that reaches out to an audience larger than that which has been interested in contemporary art in the last few de – cades .. Their attempt to be poetic and imaginative, without being either aloof or condescending, has led them into the communications areas that INFORMATION reflects.” The only common denominator is that all are trying to extend the idea of art beyond traditional categories.
Der Künstler Joseph Kosuth wird darin mit den Worten zitiert:
In a sense then art becomes as “serious” as science or philosophy, which don’t have ”audiences” either. It is interesting or it isn’t, just as one is informed or isn’t. Previously, the artist’s ”special” status merely relegated him into being a high priest (or witch doctor) of show business… This conceptual art, then, is an inquiry by artists that understand that artistic activity is not solely limited to the framing of art propositions, but further, the investigation of the function, meaning, and use of any and all (art) propositions, and their consideration within the concept of the general term “art.”
Every unit of an (art) proposition is only that which is functioning with a larger framework (the proposition) and every proposition is only a unit which is functioning within a larger framework (the investigation) and every investigation is only a unit which is functioning within a larger framework (my art) and my art is only a unit which is functioning within a larger framework (the concept “art”) and the concept art is a concept which has a particular meaning at a particular time but which exists only as an idea used by living artists and which ultimately exists only as information.
In dieser Form wohl zum ersten Mal thematisierten die Künstler die Verbreitung neuer Kommunikationstechnologien:
The increasing use of the mail, telegrams, and telex machines for transmission of I works themselves and of ideas is represented in the work of many artists in the exhibitioi j Christine Koslov shows only a telegram; N. E. Thing, Co., Ltd., (Ian Baxter, President), i is transmitting images from Canada by telex and telecopier into the galleries during the I run of the show, as well as exhibiting 27 photographs of ART (aesthetically rejected thin I and ACT (aesthetically claimed thing).