ART-PRESENTATION: Lawrence Weiner
From 1968 onwards, Lawrence Weiner has presented his work using language and, as such, the artist is historically regarded as one of the pioneering practitioners of Conceptual Art. The artist himself categorically refuses that designation, preferring to focus on the material aspects of his work. Nevertheless, his oeuvre has been largely received in terms of a predominantly linguistic intervention.
By Dimitris Lempesis
Photo: Kunsthaus Bregenz Archive
Lawrence Weiner always employs two languages, English and the respective native language, the objects acquiring both optical “dignity” and an interplay between understanding and space. Weiner’s solo exhibition at Kunsthaus Bregenz, has the title “WHEREWITHAL|WAS ES BRAUCHT ” in white uppercase letters outlined in black. It is a work about language and, according to Weiner, a mental image for the state of society, people, and the world today. His works are only apparently site-specific. They relate to themselves, pursue elliptical odysseys through meaning and create deft plays on society, politics, and the place of art. The model for his text works across the building’s four floors is, according to Weiner, a kind of geyser. Geysers provide valves for excessive pressure, and art is a spontaneous escape from apparently hermetic tectonic crusts. He admits to that as being “idealistic”, but this nevertheless remains one of art’s tasks. On the walls of Kunsthaus Bregenz Weiner’s texts become a commentary on the architecture, the space, and sensory experience. “First there was the word, and with the word one realized that there was something before the word” says Lawrence Weiner. In 1968 Weiner published his first book, “STATEMENTS”, which presents typed descriptions or statements of 24 of his works. Subsequently in 1969 he cemented this idea in his Statement of Intent: “1: The artist may construct the piece. 2: The piece may be fabricated. 3: The piece need not be built”. Each being equal and consistent with the intent of the artist, the decision as to condition rests with the receiver upon the occasion of receivership. Existing as an idea rather than a physical object, Weiner frees his artwork from the limitations of more traditional art forms. In determining sculpture through the use of language Weiner’s work seeks to transcend and move between cultures without metaphor, leaving it open to interpretation and the individual needs and desires of the ‘receiver’, promoting a universal accessibility for art.
Info: Kunsthaus Bregenz, Karl-Tizian-Platz, Bregenz, Duration: 12/11/16-15/1/17, Days & Hours: Tue-Wed & Fri-Sun 10:00-18:00, Thu 10:00-20:00, www.kunsthaus-bregenz.at
