The Monument Is Invisible, the Sign Visible
Bibliographic Data
| ID | 5065643 |
|---|---|
| Authors | Werner Fenz, Maria-Regina Kecht |
| Year | 1989 |
| Volume | 48 |
| Pages | 75 |
| Publication date | 1989-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | October (JOURNAL) |
| Journal identifiers | ISSN: 0162-2870 • E-ISSN: 1536-013X |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/778951 |
| OpenAlex | W2313561411 |
| Language | EN |
| Citations received | 3 |
Robert Musil's remark that a monument is immune to attention, thus invisible, is an old and hackneyed phrase.' But as it bears on the issue of in space, the remark gets to the core of the matter, even when taken out of its historical context. His remark is even more apt when the issue is considered within the broader framework of visual cultural production in general of the past two decades. Recent open air exhibitions, such as portions of Documenta 8, Skulptur Projekte in MiInster (1987), Century 87 in Amsterdam, or the two Viennese events Freizone Dorotheergasse and Querfeld I, have brought for spaces back to the center of attention. Until recently the tradition of permanent or temporary sculpture parks, from Middelheim and Basel to Geneva (to mention only European examples), has been overshadowed by the hectic activities in galleries and major exhibition spaces. Even events such as the Risch Art Prize for in places, which has been awarded regularly since 1983, have received hardly any attention from journals or the general public. In Austria itself, the interest in public art has been kept alive, at least in some places (even if limited to small groups of cognoscenti, some of whom have even raised the issue of our conception of democracy). There are various examples of such art-on-site projects; one of the most controversial and provocative was the design of the Vienna conference center, and, of course, there was the media debate about the antifascist monument by Alfred Hrdlicka. The discussions about artistic intervention in an already visually polluted urban space are, in fact, political. They are political, intensely so, because suddenly an area of creative potential that has traditionally belonged to museums and galleries now escapes their control and establishes itself in places where different norms have been in effect for a long time: namely, in the world of urban renovation and restoration, of the postmodern, functional architecture of banks, insurance companies, and government
Art · Mathematical analysis · Sign (mathematics · Art, Politics, and Modernism · Literature and Cultural Memory · Mathematics · Visual Culture and Art Theory
| Unique citing works | 3 |
|---|---|
| Citations per year | 0,5 |
| Citation span | 2020 - 2025 (6) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 3 |