EG | Ground floor
Rodney Graham, Richard Nonas, Ludger Gerdes, Goshka Macuga
Zertifikat (Wood Slot Series (Munich) I, 1974), 1975
Bleistift auf Papier
Colin Powell, 2011
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Passage. Essai sur la couleur. 1972., 1972
Siebdruck auf Papier
OG | first floor
Untitled 2008, 2008
Screen - galvanised steel, painted steel, mask
As One, 2010
Acryl auf Acrylglas
Text/Context (Plakat 1), 1979
Shattered factories in the snow ..., 2005
w = 600 cm
Model "Two-way mirror bridge and triangular pavilion to existing mill house for "Domaine de Kerguehennec", 1987
corner piece, 1978
paint and letterset print on harboard
flat piece, 1978
marker and letterset print on hardboard
The term Concept Art was first used at the beginning of the 1960s in the context of American modern art for the kind of art that essentially operates with language to express an idea. One of its chief exponents was the American artist Sol LeWitt, whose use of texts in his work led to the widespread use of the term Conceptual Art to describe an art movement for which the idea, the concept, is more important than the work itself. Indeed, the execution of the artwork is subordinate to the idea and need not even be undertaken by the artist himself. In many cases the work merely consists of models, sketches, texts and instructions in lieu of the actually executed artwork, thus transcending the work's physical, material presence still further.
Consequently, with little else to distract him, the viewer's attention focuses on the artist himself and his thoughts and ideas.
The communication of Conceptual Art has been one of the main activities of the Rüdiger Schöttle Gallery since the 1970s. Thus it is that the exhibition Positions on Conceptual Art now takes up one of the gallery's fundamental objectives. It will show not only works by the leading exponents of the first generation, such as Robert Barry, Dan Graham, Douglas Huebler, On Kawara, Joseph Kosuth, Lawrence Weiner, but also works by important Conceptualists of the following generations, including Martin Boyce, Martin Creed, Liam Gillick and Goshka Macuga, to name only a few.
Besides illuminating a longstanding aspect of the gallery's activities, the exhibition's main objective is to highlight the enduring and central significance of Conceptual Art within the context of contemporary art and its history.
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