artists without artworks – “who have radically chosen non-creation and have assumed the status of artist, the living for one’s self, outside of all artistic production”
The Disappearance of the Artwork – Fabienne Brugère
These days the disappearance of the work increasingly haunts art. This unique thing to be venerated, to reflect upon, or to contemplate belongs less and less to our artistic practices. However, is this necessarily the same as saying that there is no art left? In a certain way art is done with art, in terms of what we have come to call art. We keep the name—art—yet, fundamentally, its content has changed. We can therefore no longer think through discourses on art, either aesthetic or historical, that unite notions of art and artwork to the extent of making us believe in the necessity of the latter as an absolute creation and of asserting the complete independence of the art field. Art practices themselves have abandoned the notion of artwork and the idea of art that accompanied it. Twentieth-century art has thus unceasingly been haunted by minority- becomings, those of “artists without artworks,” to borrow a phrase coined by Jean-Yves Jouannais, (1) who have radically chosen non-creation and have assumed the status of artist, the living for one’s self, outside of all artistic production (Dadaism is a fitting example). Moreover, in this century other artistic practices have come into being that make the word “work” difficult to use with respect to them, and the term “artwork” even more so: performances, actions, happenings, ephemeral art, certain installations and videos, and so forth. Finally, we know very well that we must not examine art as a series of incontestable objects to be preserved. Art does not deploy itself only as a succession of productions offered to the veneration of the public in museums or in galleries, but equally as an artistic path or trajectory.
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It then becomes a matter of abandoning aesthetic discourse as a discipline that follows the artwork and takes an interest in its reception, in the notion of taste, and that analyzes the internal elements that objectively constitute the artwork. Even very recently, with a philosopher such as Nelson Goodman, we still consider the finished or accomplished work through a philosophy of interpretation that studies how to “make works function.” (2)
What is forgotten in all these perspectives is that art, before being an artwork, before it can be understood as a “masterpiece,” also constructs itself by means of the overflow that brings it into being, by experiences that result from a non-linear activity on the part of the artist. The artwork is not necessarily abandoned but reconsidered in the overflow itself. Ensuring that the trajectory is the equivalent of the work, that the work is nothing other than an artistic experience (including the experience of not making), may be the paradoxical signature of the contemporary artist.
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However, how can we come to an understanding of art from the perspective of experience? If the artist’s experience actually exists, it always resides in a sort of formalization of experience itself. Art is no longer defined expressly through the creation of a work often associated with the figure of the inspired artist or of one who possesses genius; it is sustained through formalization, by means of a kind of language or art form, an individual experience rooted in the sensible world and in the singular impressions that are retained by the artist. In support of the idea that the work disappears in favour of the setting in place of artistic experiences, I would like to mention an artist such as Allan Kaprow who developed the concept of the happening in 1959 in New York. As a performer, Kaprow thought he could abolish the frontiers between art and life through a formalization of the experience that takes the shape of experimentation in happenings. Art had to return to events and daily objects in order to restore the proximity between artists and their public and between works and actions. Since the 1960s, the production of environments that introduce objects of daily use around which the public moves amounts to manifestations of a definition of art as an experience of the world that surrounds us. This definition of art brings it closer to life. However, it never reaches the point of confusing the two. The artist’s experimentation always amounts to a formalization of lived experience insofar as it stops short of making this experience sacred, which means that art sides with transience. The fact remains that such formalization in experimentation establishes the power of actions and events in art. The disappearance of the artwork resides in the erasure of its autonomy and of the myth of art’s exceptional character. Art becomes experience, experimentation, and intervention. Not only does it reflect on ordinary life but also, in the same movement, it affirms its precariousness against all logic of power. Precarious, art no longer recognizes itself in the enshrined edifice of the artwork, but tries tirelessly to reclaim the tangled web of experience with what constitutes its own work, formalization, but a formalization that has become uncertain and relational. In having become fragile or tenuous, the work on forms must always begin anew insofar as it has the tendency to melt into lived experience or into the complexity of the world.
It is specifically the artist’s experience, with his or her doubts and everyday uncertainties, that is formalized in such a way as to turn experience into an expression, and expression into an experience. Art distances itself from a thinking that would bring it back to the enshrined site of the work, better to correspond to a world of diversity, series, networks, and links; thus, the artist can experiment and produce an artwork that from now on stands as a fragile trace of this experimentation. Not only human beings are vulnerable, but also art itself as it bears the burden of vulnerability, far from the all-powerful artwork.
Nevertheless, has the work disappeared? No, it lives through its extinction. It still shines in the evanescence that dissipates it, similar to an ephemeral mark in a delimited space and time. In this dissipation of the artwork that postpones it without cancelling it out, the experience of the work’s absence maps out the conditions of a negative artwork. In contemporary art, the subject is not the folly of the artwork’s absence but a certain regime of experimentation of the covert work: the artwork’s disappearance as an illicit work!
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