[{"data":1,"prerenderedAt":240},["ShallowReactive",2],{"navigation":3,"/blog/the-outdoor-exhibition-space-munich-san-francisco":78,"/blog/the-outdoor-exhibition-space-munich-san-francisco-surround":235},[4],{"title":5,"path":6,"stem":7,"children":8,"page":77},"Blog","/blog","blog",[9,13,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73],{"title":10,"path":11,"stem":12},"100 Years to the 1st Zionist Congress in Basel","/blog/100-years-zionist-congress","blog/100 years zionist congress",{"title":14,"path":15,"stem":16},"Hundred and Twenty Years After the First Zionist Congress in Basel","/blog/120-years-after-the-first-zionist-congress","blog/120 Years after the first Zionist Congress",{"title":18,"path":19,"stem":20},"1897, The First Zionist Congress","/blog/1897-the-first-zionist-congress","blog/1897, The First Zionist Congress",{"title":22,"path":23,"stem":24},"Breaking Down the Boundaries between Art and Life","/blog/breaking_down_the_boundaries_between_art_and_life_chapters","blog/Breaking_Down_the_Boundaries_between_Art_and_Life_chapters",{"title":26,"path":27,"stem":28},"Empathy, Direct Experience, Violence and Will","/blog/empathy-direct-experience-violence-and-will","blog/Empathy, Direct Experience, Violence and Will",{"title":30,"path":31,"stem":32},"Illustrations from the Social History of Reading","/blog/illustrations-from-the-social-history-of-reading","blog/Illustrations from the Social History of Reading",{"title":34,"path":35,"stem":36},"Mach versus Boltzmann","/blog/mach-versus-boltzmann","blog/Mach versus Boltzmann",{"title":38,"path":39,"stem":40},"Notes on the Open Public Library","/blog/notes-on-the-opl-hamburg","blog/Notes on the OPL Hamburg",{"title":42,"path":43,"stem":44},"On the Jewish Metaphysics of Death","/blog/on-the-jewish-metaphysics-of-death","blog/On the Jewish Metaphysics of Death",{"title":46,"path":47,"stem":48},"The Open Library, Graz - Location #1 - Terminal Point","/blog/the-open-public-library-graz-location-no.-1-terminal-point","blog/The Open Public Library Graz, Location No. 1 Terminal Point",{"title":50,"path":51,"stem":52},"The Open Public Library, Graz 1991","/blog/the-open-public-libray-graz-1991","blog/The Open Public Libray, Graz 1991",{"title":54,"path":55,"stem":56},"The Outdoor Exhibition Space Munich - San Francisco","/blog/the-outdoor-exhibition-space-munich-san-francisco","blog/The Outdoor Exhibition Space, Munich - San Francisco",{"title":58,"path":59,"stem":60},"The Outdoor Exhibition Space\nMunich - San Francisco Questions & Answers\n","/blog/the-outdoor-exhibition-space-munich-san-francisco-qanda","blog/The Outdoor Exhibition Space, Munich - San Francisco Q&A",{"title":62,"path":63,"stem":64},"The Sick Soul IV - An Auditorium for Film, a Runway for Fashion and a Stage for Music Performance","/blog/the-sick-soul-iv","blog/The Sick Soul IV",{"title":66,"path":67,"stem":68},"The Train Library","/blog/the-train-library","blog/The Train Library",{"title":70,"path":71,"stem":72},"Variants of Aesthetic Collectivism","/blog/variants-of-aesthetic-collectivism-2009","blog/Variants of Aesthetic Collectivism 2009",{"title":74,"path":75,"stem":76},"Zionism as Separatism","/blog/zionism-as-seperatism","blog/zionism as Seperatism",false,{"id":79,"title":54,"author":80,"body":81,"caption":80,"date":205,"description":206,"extension":207,"image":208,"meta":209,"minRead":230,"navigation":231,"path":55,"seo":232,"stem":56,"toc":233,"__hash__":234},"blog/blog/The Outdoor Exhibition Space, Munich - San Francisco.md",null,{"type":82,"value":83,"toc":190},"minimark",[84,87,92,99,101,105,108,112,115,119,122,126,129,133,136,140,143,147,150,154,157,161,164,168,171,173,185],[85,86],"hr",{},[88,89,91],"h2",{"id":90},"project-description","Project Description",[93,94,95],"p",{},[96,97,98],"em",{},"The artworks from the 'Armaly, Bonin, Krebber, Müller' show, (exhibited during May 1991 in K-Raum Daxer, Munich) were shipped to San Francisco. There the pieces were installed under a highway Bridge. The installation was photographed by us and the installation shots were displayed back in Munich in the K-Raum Daxer",[85,100],{},[88,102,104],{"id":103},"_1-field-of-forces","1. Field of Forces",[93,106,107],{},"When a particle enters a field of forces the field makes its presence known, so to speak, by the effect it has on the particle. When the field is constant, each point in the field has a fixed disposition to produce a well defined effect on an incoming particle. The assumption, though, is that even if no particle ever entered the field, the dispositions of the field are completely real. An evidence to the independent reality of fields can be found in the fact that fields can interact with one another. Such interactions may change the dispositions of the interacting fields. The concept of a field emerged from the study of electricity and the magnetic properties of particles by Faraday and Maxwell. It produced, however, profound effects in other areas. Towards the end of the 19th century, concepts like 'semantic fields' and 'social fields' were introduced in order to facilitate the description of the way a large number of parameters are related to one another and the way the net sum of these relations produces systematic effects. The urban environment can also be seen as a field of forces. The systematic effects by the environment can be detected by aimlessly moving through the city - the flaneur is a 'test particle' which registers the effects of the urban environment. It is also tempting to think about the art object as a test particle, through which the systematic effect of the context can be detected.",[88,109,111],{"id":110},"_2-the-first-salon","2. The First Salon",[93,113,114],{},"The sight of a painting which is exhibited outdoors, is relatively unfamiliar. There are many examples of images painted directly on the walls of buildings, from mosaic images on churches to paintings on open-air chapels in Austria, decorative paintings on small cottages in Germany and murals in American Ghettos. These examples are of paintings which are inseparable from their support and are site specific. But some notable examples where interior, studio paintings made in various artists studios, were shown outside, in a location which had no particular connection to the paintings themselves, are relatively unfamiliar. In the first Salon which took place in Place de Vogue, the paintings hung on the walls of the buildings in the square. At the time there were no public museums, in fact there were very few instances of public institutions so called proper. That is why it is often claimed that hanging the paintings outside of the private sphere in the first salon, constituted one of the first examples of public life, predating the French revolution and to some extent, giving some of its democratic ideals a concrete from.",[88,116,118],{"id":117},"_3-the-industrial-landscape-and-the-planned-garden","3. The Industrial Landscape and the Planned Garden",[93,120,121],{},"The Romantic idea that artists and poets can make an experience of the sublime possible, reached its mature phase during the industrial revolution, when new technologies were introduced, the landscape was transformed and the populations mobilized. Perhaps it was the harsh and unsettling reality of that time which introduced the need to escape inwards, to look for a new type of religious experience introduced by art and poetry. Romantic painters like C.D.Friedrich did not regard their work as an expression of their emotions of personality. Friedrich, for example attempted to 'empty' himself so that he could be a faithful conduit to the sublime. He tried to paint with his \"mind's eye\", to give voice to the immense external forces which shook and disturbed his Person. This romantic conception put art on a high pedestal. But at the same time it was easy for romantic art to transform into escapism pure and simple. When giving concrete form to new alternatives art served as a motivating force. But when it lowered the desire for change by fostering peaceful and reconciling images, it becomes a regressive force.",[88,123,125],{"id":124},"_4-engaged-romanticism","4. Engaged Romanticism",[93,127,128],{},"At least in England, the poetic style and attitude associated with Romanticism were originally developed by artists who parted way with revolutionary ideals of the Jacobins. In particular the romantics were unhappy with the radical atheism of the French republicans. However, even in his disillusioned phase, Coleridge, for one, continued to be preoccupied with questions of social Utopia. He established with few of his friends a commune in the south of England. The communards shared their earnings from their publications and their speeches. In fact, the original plan of Colridge was to immigrate to America, buy a parcel of land in Pennsylvania and establish a permanent commune. At the time, and perhaps ever since, America presented a possibility of religious or spiritual communitrianism in contrast to the European atheist Socialism.",[88,130,132],{"id":131},"_5-the-legacy-of-emile","5. The Legacy of Emile",[93,134,135],{},"Perhaps the most important and far reaching body of ideas concerning social justice, education and the need for a liberation is contained in J.J. Rousseau's Emile. Where he presented his view that education should strive to restore what is natural and resist the unnecessary constraints imposed by social morals and conventions. Some of these ideas have became the pillar-stones of progressive education. The sense of empirical discovery and should be encouraged in children and pre-conceived ideas should not be reinforced. The contemplative and self-sufficient temperament is rewarded and seen as means for resisting the tyranny of the majority. The importance of first-hand knowledge, of experimentation and discovery is recognized and children are encouraged to follow their own leads and to be less dependent on citations from others. The young should be healthy, love the outdoors, discover for themselves the wonders of nature and leave behind the dark prison-like educational institutions of the past. These ideas were developed by many thinkers from Emerson to Rudolf Steiner. Many attempts were made to go one step further and develop communities based on these educational ideals. From the Kibbutz of the 20's where men and women performed gymnastics exercises to the projects of Le Corbusier which intended to give concrete forms to ideals of communication and self-discovery, to the Summerhill school where all curriculum requirement were dispensed with and the students were encouraged to stay outdoors as much as they wanted, to the isolated rural communes of northern California like Belinas which attempted radical self-sufficiency and redistribution of property.",[88,137,139],{"id":138},"_6-theatricality-in-the-open-air","6. Theatricality in the Open Air",[93,141,142],{},"In the mid 1960's there has been a shift in the perception of Marcel Duchamp's readymades which made it possible to see them in a more philosophical light. While the surrealists looked at the urinal-in-the-museum as a strange poetic combination on a par with, say a piano on the beach and the pop artists saw in the typewriter cover and snow shovel examples of art which embrace the iconography of the \"real\" world, the minimalists looked at the readymades as works of art which have so little internal content that they force the viewer into looking at the context, at the institutional setting of the work of art. The idea was that the readymade, being an object with prior identity, does not enable the viewer to enter into the work of art through the preoccupation with the technique, the iconography of the workmanship. Hence the attention of the viewer is \"deflected outside\" into the room, the building, the institutional context. Among the first minimalist works done in this spirit are the floors of Andre, the florescent lights of Flavin and the simple metal cubes of Judd which literally reflected the exhibition rooms. These works were called \"theatrical\" by Fried, since they gave rise to a heightened and self-consciousness experience of spectatorship. This type of experience is contrasted by Fried with the loss of self-consciousness which is experienced by those \"absorbed\" into the work of art. The next generation of minimalists tried to expand the notion of an art-work attempting to reflect its institutional setting. In particular Smithson developed in his writing a much broader set of answers to the question - what is a museum? In his trips to Passaic, New Jersey he tried to bring himself to see the large semi-functional industrial structures as readymades placed in an imaginary outdoor museum having the dome of the sky as it's ceiling. The fact that the 'monuments of Passaic' are relics of an earlier industrial era and that they are semi-functional introduces an underlying observation - when we can see objects as useless artifacts framed in their historical period we can begin to see them as works of art which reflect their historical context, or rather objects, the contemplation of which makes it possible to see the shifts from the past to the present.",[88,144,146],{"id":145},"_7-the-outdoor-exhibition-space","7. The Outdoor Exhibition Space",[93,148,149],{},"The objective of the 'Outdoor Exhibition Space' was to define the particular context of the K-raum as a 'field of forces' rather than as an object. The shift from objects to fields is intended, as in physics, to be a guard against reification - the context is not to be identified with a particular collection of objects or with the architectural details, but rather with a constellation of forces which inflict a 'systematic distortion' on any work of art which is placed within the 'sphere of effectiveness'. The only way to identify the field of forces is in its effects. The particular effects can be observed when the art objects which were placed once within the field, are transposed outside of the field, to a different location, to another field. The result of these observations, is a measure of the relative difference between the two contexts. By repeating the same procedure, a more refined characterization of the original field can be obtained. This method was applied by us in the case of the K-raum Daxer.",[88,151,153],{"id":152},"_8-an-addendum-to-the-characterization-of-institutional-critique","8. An Addendum to the Characterization of Institutional Critique",[93,155,156],{},"Many artists who are preoccupied with the critique of the institutional exhibition-space, regard the main objective of their activities to be the detection of a 'field of forces' in a particular location. The measure of the distorting effect is regarded, and rightly so, as a measure of 'surplus aggression' affected by the institution. This measure can also be used as an indication of a presence of an 'hidden agenda', that is, a process by which the content of the exhibited art is used as a way of reforming the image of the institution itself: a high distorting effect is interpreted as a sign for a 'filter' which prepares the art for its role as an image-reforming device. However, institutions can be replaced and new ones can be invented. Therefore, the detection of 'surplus violence' should lead us to inquire into the possibility of alternative institutions and not to convince us that the particular institutions we are familiar with are immanent. Premature fatalism has a paralyzing effect which one should recognize as such. Should we really believe that if the big industrialists who support the existing art exhibition spaces will go bankrupt, art will no longer be possible? The contemplation of such a situation may allow us, to find out whether the preconditions for the possibility of art preclude the idea of a 'homeless art' exhibited in a much looser institutional Setting.",[88,158,160],{"id":159},"_9-a-project-for-the-sociology-of-art","9. A Project for the Sociology of Art",[93,162,163],{},"One should ask: What is the minimal institutional setting necessary for the definition of art? This question, of course, is relevant for all those artists who use methods and techniques borrowed from non-artistic practices. But it is absolutely essential for those conceptual artists who define art, as opposed to painting, sculpture etc. as necessarily involving a continual expansion of earlier artistic methods and practices. What are, for example the minimal institutional setting for a 'Duchampian transformation'? that is, the minimal conditions which will make it possible to exhibit a bottle rack as a work of art? Surely, we can put the bottle rack on a pedestal with a proper label, and leave it outdoors. However, what is the proper generalization for a pedestal or a label? As we remarked earlier this question is not only a theoretical one. If the rejection of imperialism and militarism forces upon us the need to reconcile ourselves with images of an impoverished world, we should begin to prepare ourselves for such a world by contemplating radically different conditions for producing or exhibiting art.",[88,165,167],{"id":166},"_10-on-public-art","10. On Public Art",[93,169,170],{},"There are, of course, many familiar examples of works of art which are left outdoors without guards. These public sculptures are usually made of very strong and durable materials so as to resist any eventuality, and survive the contact with the violence and frustration of the passers by. Because of their durability, works of public art are often perceived as a triumph of the system of law and order, and when they are vandalized, the violence done to the art should be interpreted as a defiance of law and order. It is very likely that works of art which do not inspire this symbolism with have a totally different reception.",[85,172],{},[174,175],"img",{"src":176,"alt":177,"className":178},"/blog/The OES Munich - SF interior.webp","The OES Munich - SF interior",[179,180,181,182,183,184],"rounded-sm","w-full","max-h-[60vh]","object-contain","mx-auto","my-8",[93,186,187],{},[96,188,189],{},"Installatiion at the K-Raum Daxer, Munich - 1992",{"title":191,"searchDepth":192,"depth":192,"links":193},"",2,[194,195,196,197,198,199,200,201,202,203,204],{"id":90,"depth":192,"text":91},{"id":103,"depth":192,"text":104},{"id":110,"depth":192,"text":111},{"id":117,"depth":192,"text":118},{"id":124,"depth":192,"text":125},{"id":131,"depth":192,"text":132},{"id":138,"depth":192,"text":139},{"id":145,"depth":192,"text":146},{"id":152,"depth":192,"text":153},{"id":159,"depth":192,"text":160},{"id":166,"depth":192,"text":167},"1992-05-05T00:00:00.000Z","Essay for the exhibition at the K-Raum Daxer, Munich - The Outdoor Exhibition Space, Munich - San Francisco, May 1992","md","/blog/The Outdoor Exhibition Space, Munich - San Francisco 300dpi.jpg",{"head":210},{"meta":211},[212,215,218,221,224,227],{"name":213,"content":214},"keywords","field of forces, K-Raum Daxer, contextual displacement, institutional setting, theatricality, Duchamp, readymades, surplus aggression, homeless art, Fareed Armaly, Cosima Bonin, Michael Krebber, Christian Philipp Müller, Marcel Duchamp, Carl Andre, Dan Flavin, Donald Judd, Robert Smithson, C.D. Friedrich, Clegg & Guttmann",{"name":216,"content":217},"robots","index, follow",{"name":219,"content":220},"author","Michael Clegg and Martin Guttmann",{"name":222,"content":223},"copyright","institutional critique, field theory, public art, romanticism, outdoor exhibition, readymades, minimalism, context",{"name":225,"content":226},"description","The text first appeared in a catalogue for the exhibition at the Kunstraum Daxer, Munich - The Outdoor Exhibition Space, Munich - San Francisco, May 1992",{"name":228,"content":229},"og:title","This is an OpenGraph title",15,true,{"title":54,"description":206},"true","fTmTto09QYmDGAyQ12K9eo0APIlGlQoDbJR9pXURTI4",[236,238],{"title":50,"path":51,"stem":52,"description":237,"children":-1},"A proposal for a public project in Graz, Austria 1991",{"title":58,"path":59,"stem":60,"description":239,"children":-1},"An Interview with Michael Clegg and Martin Guttmann for the exhibition at the K-Raum Daxer, Munich - The Outdoor Exhibition Space, Munich - San Francisco, May 1992",1772638419915]