|An exhibition of the document in international Conceptual art between 1968 and 1972. This period can be defined in part by the vital network of artists, collectors, publishers and dealers who brought the work of conceptual artists from the margins of artistic practice to a point where its irrevocable influence was established.
In the late 60s, artists within the conceptual movement eschewed form and aesthetics as means of verifying art objects - testing the structures for exhibiting and distributing work. They queried the relationship of the artist to society, working in a climate of anti-authoritarianism and excitement about new technology. The works radicalism - in its straightforwardness, subtlety and economy of means - remains evident.
The term document encompasses a range of media such as photography, text, maps, telegrams, film and sound recording. However, it is more than the authentification of an idea. The Conceptual Document existed as a means of recording or communicating ideas, processes and analyses. It demonstrated the prevailing anti-materialism shared by several of the artists at this time.
||The exhibition will explore the consistent relevance of artists advocacy of anti-materialism and their close scrutiny of concepts and ideas to relate the personal with the universal, above and beyond a purely aesthetic position. It aims to show how the employment of straightforward, often rudimentary documentary techniques, does not undermine the sophistication of artists thinking, nor obstruct the viewers involvement with the work. The exhibition and publication will explore the continued relevance of these ideas to contemporary art practice and theory. The publication includes interviews with Seth Siegelaub, Anny De Decker, Adriaan van Ravesteijn, Herman Daled, Jan Dibbets, Konrad Fischer (by Georg Jappe), David Lamelas, Daniel Buren, Keith Arnatt and Nigel Greenwood. Essays Lynda Morris and Catherine Moseley.