Lehrende/r: Dr. Christian Berger; Jun. Prof. Dr. Annika Schlitte
Veranstaltungsart: Tagung
Anzeige im Stundenplan: Tagung / Konferenz
Credits: 1,0
Unterrichtssprache: Deutsch
Min. | Max. Teilnehmerzahl: - | -
Voraussetzungen / Organisatorisches: Bitte beachten Sie das im Vorfeld der Veranstaltung aktualisierte Programm auf der Konferenzseite http://sublimation.uni-mainz.de Geplante Veranstaltungsorte: Donnerstag und Freitag: Fakultätssaal Philosophicum Veranstaltungsort am Samstag ist die Kunsthalle Mainz, Am Zollhafen 3–5
Inhalt: During the “long Sixties,” a period coined by Arthur Marwick to describe the late 1950s to the mid-1970s, artists, critics and theorists criticized established notions regarding works of art as autonomous aesthetic objects designed primarily for visual contemplation in the allegedly neutral space of a gallery. They confronted, in other words, the Modernist conception of art espoused by influential American art critic Clement Greenberg and his followers. One particular strain in this respect is the tendency to use volatile materials or substances that may evaporate or sublimate, thereby destabilizing notions of the visual character and the objecthood of art. These tendencies are often subsumed within the generalizing notion about the “dematerialization” of art – a term introduced in 1968 by critics Lucy R. Lippard and John Chandler. This conference seeks to address the shortcomings of this view by focusing on the complex negotiations between materiality and immateriality informing art practices of the time. As a frame and a starting point, the conference draws on the philosophical concept of “sublimation” and explores its analytic potential for this critical reflection. In chemistry and physics, sublimation is defined as the “conversion of a substance from the solid to the gaseous state without its becoming liquid” (Encyclopedia Britannica). Beyond this literal sense, the term “sublimation” has been used to describe a psychological process with cultural and social impact in philosophy and psychoanalysis. By analyzing practices that engage with volatile materials and chemical processes against the background of contemporary philosophical reflections on sublimation, we intend to highlight the significance of matter and materiality in conceptualism and contemporaneous experimental art practices of the 1950s to 1970s in the United States and elsewhere. Our basic premise is that the concept of “sublimation” is a key term for an interdisciplinary reflection on such practices and, more fundamentally, contributes to a deeper understanding of conceptualism and other art practices that departed from Greenbergian conceptions of art. Thus, our conference aims for mutual ground upon which the disciplines of art history and philosophy may address important artistic approaches within postwar United States and international communities.
Zusätzliche Informationen: http://sublimation.uni-mainz.de
