Primer Episodio

Radical Conceptual Art revisited: A social and political perspective from the East and the South

Workshop - STUTTGART

Conceptual practices from the 1960s to the 1980s
under the conditions of communist regimes and military dictatorships in Europe and Latin America

Workshop: 28. – 30. September 2007
Württembergischer Kunstverein Stuttgart

Research project / Database project / Exhibition project

Vivid radical memory : Research and database project (2006/2007)

The vivid radical memory project initiated by the University of Barcelona in co-operation with Württembergischer Kunstverein Stuttgart and the Center for Culture and Communication (C3) in Budapest focuses on the conceptual practices from the 1960s to the 1980s that evolved under the conditions of communist regimes and military dictatorships in Europe and Latin America. The project begins by exploring the gaps in the reception of global conceptualism, in addition highlighting the few present, but complex networks forged between the art scenes of both continents.

In view of the fact that a number of curators, art theorists and artists from Europe and Latin America are currently examining these gaps in great depth, the project was linked up with a decentralised network from the outset.


The aim of vivid radical memory (November 2006 – November 2007) is to create an online database that will make the material researched during the project publicly available with the goal of encouraging further discussion of the subject. After an initial workshop in Barcelona (May 2007) there will be two further meetings as part of this project in Stuttgart (September 28-30, 2007) and Budapest (October 2007).



Exhibition project 2008/2009, Stuttgart and Bremen


The aim of the workshop in Stuttgart is also to prepare an exhibition that is planned as a follow-up project to vivid radical memory in autumn 2008 (October – December) at Württembergischer Kunstverein in Stuttgart and for spring 2009 (April – June) at Weserburg, Museum für Moderne Kunst, Bremen (spring 2009). The exhibition is also to be developed on the basis of a decentralised network. In the course of the Stuttgart workshop, we want to firm up the further co-operation and discuss initial starting points for the exhibition.



Starting points
From the very beginning, conceptual practices were not only widespread throughout the art metropolises of Western Europe and North America, but also globally networked at many different levels. This is due to the fundamental structures of conceptual art itself, that not only encouraged a re-assessment of art but also a wide circulation of ideas and works: by creating independent production and distribution channels, by artistically appropriating communication and mass media, by favouring collaborative forms of work, and by abandoning the fetishised art object in favour of information and idea art, performative and participatory strategies.

The free spaces that conceptual practices have engendered – with their criticism of institutionalised codifications of art, artists, work and the audience – are not only of artistic relevance but also of genuine socio-political significance. Under the conditions of political repression, however, they played a specific role.

The planned exhibition will set out to explore these peculiarities in the context of conceptual positions from the 1960s to the 1980s, that evolved under very different conditions of communist regimes and military dictatorships in Europe and Latin America.
The aim will be to spotlight the different political and social contexts with a high degree of precision. For there were considerable differences not only between the political situations in Latin America and Europe but also between the various states within the two continents.

The exhibition is intended as a contribution to provide access to important positions in concept art that are largely masked out in today’s reception, and to contextualising them within global conceptualism. At the same time, the aim is to counteract the isolation and marginalisation of some artists from “Latin America” and “Eastern Europe”, who have been rightly re-discovered on the international scene – for example Cildo Mereiles, Lygia Clark or Sanja Ivecovic – but whose artistic settings are totally ignored.

Two essential structural questions are relevant with regard to the concept of the exhibition: How can an exhibition embrace conceptual practices and their anti-institutional and ephemeral strategies? How can the complex historical contexts be conveyed?



September 28 – 30, 2007
Württembergischer Kunstverein Stuttgart

The speakers at the workshop are invited to present the works, practices and projects of an individual artist or several artists, artist groups, and/or initiatives on the basis of the following questions:

- What was the specific political and social context of their work?
- What specific oppositional and critical practices were applied: both with regard to the institutionalised, hierarchised codifications of art, artist, work and audiences and in terms of political repression?
- In which local/global contexts and networks did the artists work?
- What role did independent formats and channels of communication, presentation and circulation of works, ideas and concepts play?
- What role did the artistic appropriation of mass media (print, photography, radio, video/TV) and (tele)communication systems (postal system, fax) play?
- What other peculiarities can be described by looking at their works?
- To what extent are the works, concepts, actions or projects accessible today? How are they perceived?
- What problems and contradictions of “translation” or “re-enactment” would need to be taken into account for an exhibition presentation today?


Programme (subject to change)

Thursday, 27 September 2007


6 pm
[Open offer: Exhibition Tour “Stan Douglas. Past Imperfect. Works 1986 – 2007”]

9 pm Dinner


Friday, 28 September 2007
(each presentation: 30 Min. + 15 Min. discussion)

10 am
Antoni Mercader, Valerie Rubinstein (Barcelona)
Presentation of the restructured web, the uploaded materials and the corresponding proposals of organization and coordination for its maintenance.

10:45 am
Iris Dressler (Stuttgart)
Presentation of the exhibition’s idea

11:30 am
Iván Orellana (Barcelona)
Tere Badia (Mex/Barcelona)
Cultural network: the dynamics of social and cultural capital

12:15 am
Cordelia Martens (Berlin)
Conceptual art practices in the GDR
Artists: Robert Rehfeld, Ruth Wolf-Rehfeld a.o.

1 pm – 3 pm Lunch

3 pm
Annamaria Szoke / Miklos Peternak (Budapest)
Conceptual art practices in Hungarian and Poland
Artists/Artist groups: …

3:45 pm
Miguel Lopez (Lima)
Conceptual practices in Peru
Artists/Artist groups: …

4:30 pm
Valentin Roma/Daniel Garcia Andujar (Barcelona)
Political, economic, aesthetic and social contexts around the
Grup de Treball

5:15 pm

6 pm
Fernando Davis
Context Argentina
Artists/Artist groups: Edgardo Antonio Vigo a.o.

8 pm


Saturday, 29. September

11 am
Ramon Castillo
Context Chile
11:45 am
Ileana Pintilie Teleaga
"Conceptual Art on the Edge - Some Romanian Perspectives between the '60's
and the 80's"

12:30 am
Miklos Peternak
Workshop in Budapest
[subject to be confirmed]

1 pm – 3 pm Lunch

3 pm – 5 pm



Sunday 30. September

11 am
Next steps (if necessary)

[Open offer: Exhibition Tour “Stan Douglas. Past Imperfect. Works 1986 – 2007”]


Württembergischer Kunstverein Stuttgart
Schlossplatz 2
D - 70173 Stuttgart
T: +49 (0)711 - 22 33 70
F: +49 (0)711 - 29 36 17