Verena Krieger

Modi ästhetischer Ambiguität in der zeitgenössischen Kunst – vier exemplarische Werkanalysen

Introduction

Modi ästhetischer ambiguität in der zeitgenössischen kunst – vier exemplarische werkanalysen. Verena Krieger analysiert ästhetische Ambiguität in der zeitgenössischen Kunst. Vier Werkanalysen von Gilbert & George, Santiago Sierra, Neo Rauch & Rachel Harrison beleuchten Strukturen und Funktionen.

Abstract

Verena Krieger unterucht Modi ästhetischer Ambiguität in der zeitgenössischen Kunst anhand von vier exemplarischen Werkanalysen: Gilbert und Georges Fototafel „Fuck“, Santiago Sierras Konzeptkunstwerk „250 cm-Linie, auf 6 bezahlte Leute tätowiert“, Neo Rauchs Gemälde „Abstraktion“ und Rachel Harrisons Assemblage „The Opening“. Mit diesen heterogenen Medien und künstlerischen Herangehensweisen beschreibt die Autorin vier unterschiedliche Strukturen und Funktionsweisen von Ambiguität, aus denen sich Verallgemeinerungen ableiten lassen.

Review

This paper, "Modi ästhetischer Ambiguität in der zeitgenössischen Kunst – vier exemplarische Werkanalysen," promises a focused and insightful exploration of a critical aspect of contemporary art. Verena Krieger sets out to investigate the various modes of aesthetic ambiguity, a concept central to understanding much of post-modern and contemporary artistic practice. The chosen approach, centering on four distinct exemplary works, provides a clear and manageable scope for a topic that could otherwise become unwieldy, allowing for in-depth analysis rather than broad generalizations. A particular strength lies in the selection of the case studies: Gilbert & George's "Fuck," Santiago Sierra's conceptual piece, Neo Rauch's painting "Abstraktion," and Rachel Harrison's assemblage "The Opening." This deliberately heterogeneous group, spanning photography, conceptual art, painting, and sculpture/assemblage, offers a rich ground for demonstrating the diverse manifestations and operational logics of ambiguity across different media and artistic intentions. The abstract indicates that the author will not only describe these differences but also derive "four different structures and Funktionsweisen von Ambiguität," which will then lead to "Verallgemeinerungen." This commitment to moving from specific analyses to broader theoretical insights is highly commendable and suggests a robust analytical framework. The paper appears poised to make a significant contribution to discourse surrounding contemporary art theory, offering a nuanced understanding of how ambiguity functions aesthetically and conceptually within specific artworks. A detailed examination of how Krieger defines and distinguishes 'aesthetic ambiguity' from other forms of uncertainty, and the precise nature of the 'generalizations' derived from her analyses, will undoubtedly be a highlight of the full text. Overall, this promises to be a timely and valuable contribution, providing clarity on a fundamental characteristic of much contemporary art while showcasing a rigorous analytical method.

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