By Wiktor Komorowski (PhD student)
Softer Targets is a solo exhibition by Jenny Holzer at Hauser & Wirth Somerset, featuring both new work and a selection of significant pieces drawn from over three decades of the artist’s career. The exhibition was accompanied by a symposium under the McLuhanian title ‘The Message and the Medium’. The main aim of this one day meeting was to explore the use of language and technology in art.
The undisputable highlight of the symposium were talks given by Dave Beech and Pavel Büchler. Dave Beech is an artist in the collective Freee, as well as a writer and curator. He is also Professor of Art at Valand Academy, Gothenburg, Sweden. His work focuses on slogans, billboards and publications that challenge the commercial and bureaucratic colonisation of the public sphere of opinion formation. Pavel Büchler is an artist, teacher and occasional writer who describes his practice as ‘making nothing happen’. Büchler teaches on MA Fine Art at Manchester School of Art.
The presence of two conceptual artists among the panellists contributed to a more interactive discussion by providing a testimony of the first-hand experience of artistic practice and through brining ample examples drawn from the portfolio of both speakers. Beech’s talk concerned the foundations and the almost 50-year long tradition of text art. His presentation emphasised the artistic potential of language that provides almost limitless opportunities to unfold different contexts. Language, as a highly culturally-related medium, became a foundation of all conceptual creation as it facilitates artists to introduce additional levels of meaning. His presentation was followed by Büchler’s talk on the discrepancy between the limitless potential of language and technological limitations of working with letters and words. Pavel Büchler focused on the gap between ideology that supports the conceptual practice and the frequent practical difficulty of bringing these ideological assumption to life.
The presentations given by Beech and Büchler fully engaged the audience, but, surprisingly, did not build on the links between the tradition of text art and the work of Jenny Holzer. The lack of a more structured commentary from Beech and Büchler left an impression that the tragedy Holzer talks about in her art becomes marginalised and serves merely as a platform for a discussion over aesthetic form and different modes of reception.
The absence of further considerations of the message Holzer is trying to convey, pauperises her work to a purposefully hyperaesthetic commodity. Her practice seen in such a light does not provide the silent victims an opportunity to speak but rather questions the moral condition of the contemporary audience, in particular, its ability to spot the message under a thick layer of conceptual aestheticisms. Holzer’s exhibition at Hauser & Wirth, similarly to the recent exhibition of Ai Weiwei’s works at the Royal Academy, raises the question how far has the politically inspired conceptual art turned into a mockery of contemporary art taste?