Alternatives Handeln und Denkmodell
Edited By Rachel Mader
159 Strukturen 160 161 The Audience as an Authorial Presence in the Creative Act: Considering Authorship and the Performative Turn in the 1960s and 1970s PATRICK VAN ROSSEM […] I mistrust audience participation. That is why I try to make these works as limiting as possible. I can only give so much, […]. It has more to do with me not allowing people to make their own performance out of my art.1 Bruce Nauman Conflicted terrain In a recent edition of Modern Painters, French artist Benoît Maire (1978) stated that he likes it when nobody understands what he is doing.2 The artist, surprisingly, not only accepts the possibility of not being under- stood (and as a consequence also that he might possibly be misunder- stood), but he even seems to suggest that it is in fact a highly attractive idea. The remark of this young artist allows us to take some distance from past worries and disappointments. We remember Ernst Gombrich (1909–2001), who in 1950 vulnerably shared his own anxiety about “the ‘pure art’ of exhibitions and galleries”, which he said that “many of us find hard to understand”.3 In that very same year an artist even re- 1 Bruce Nauman interviewed by Willoughby Sharp. First published as Sharp 1970. Quote taken from a reprint in: Kraynak 2003, p. 113. 2 Benoît Maire quoted in Huberman 2008/09, p. 60. 3 Gombrich 1995 (first ed. 1950), p. 596. Gombrich however still attributes – notwithstand- ing the fact that he realizes...
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