Nature, the Nonhuman, and the Critique of Representation in Dieter Roth's Biodegradable Work

IF 0.4 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
OCTOBER Pub Date : 2021-04-10 DOI:10.1162/OCTO_A_00416
Heiða Björk Árnadóttir
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引用次数: 1

Abstract

The practice of the Swiss-German artist Dieter Roth is distinguished by his pioneering use, since the early 1960s, of biodegradable materials. This essay examines the development of Roth's practice from Concrete Art to process-oriented and biodegradable work in the context of the reconceptualization of the “concrete” within the global artistic network of Fluxus in the postwar period. Highlighting the challenge Roth's biodegradable work poses to the traditional conceptual limits of the spheres of culture and nature, it argues that the profound transformation of Roth's practice in the early 1960s was rooted in the artist's growing discontent with the idealist and ethical premises of modern art and aesthetics, at the heart of which is the distinction between the human and the nonhuman. In this, Roth's biodegradable works precede later preoccupations with how humans relate to the natural environment, both in early earthworks from the late '60s and in contemporary practice. By examining Roth's biodegradable works in the context of Fluxus, this essay points towards aspects of Fluxus work that remain unexamined, most crucially the role of the natural and the nonhuman in Fluxus critiques of representation.
迪特尔·罗斯可生物降解作品中的自然、非人类与表征批判
瑞士-德国艺术家Dieter Roth的实践以其自20世纪60年代初以来对可生物降解材料的开创性使用而闻名。本文在战后Fluxus全球艺术网络中对“混凝土”的重新定义的背景下,考察了Roth从混凝土艺术到过程导向和可生物降解作品的实践发展。它强调了罗斯的可生物降解作品对文化和自然领域的传统概念极限构成的挑战,认为罗斯在20世纪60年代初的实践发生了深刻的转变,其根源在于艺术家对现代艺术和美学的理想主义和伦理前提的日益不满,其核心是人类和非人类之间的区别。在这方面,Roth的生物可降解作品先于后来对人类如何与自然环境联系的关注,无论是在60年代末的早期土方工程中还是在当代实践中。通过在Fluxus的背景下考察Roth的可生物降解作品,本文指出了Fluxus作品中尚未被检验的方面,最关键的是自然和非人类在Fluxu对表征的批评中的作用。
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来源期刊
OCTOBER
OCTOBER HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.10
自引率
33.30%
发文量
0
期刊介绍: At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.
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