Martina Dobbe

This is so contemporary? Konzepte von Moderne und Zeitgenossenschaft bei Jeff Wall

Introduction

This is so contemporary? konzepte von moderne und zeitgenossenschaft bei jeff wall. Martina Dobbe untersucht bei Jeff Wall Konzepte von Moderne & Zeitgenossenschaft. Eine Analyse der Modernekritik in der Bildenden Kunst am Beispiel von „Morning Cleaning“.

Abstract

Zeitgenossenschaft und das Zeitgenössische werden seit den 1990er-Jahren sowohl in der Bildenden Kunst, als auch in den Kunstwissenschaften diskutiert. Vor diesem Hintergrund untersucht Martina Dobbe, wie sich Zeitgenossenschaft über die Revision oder Kritik der Modernekritik erschließt. An Jeff Walls „Morning Cleaning. Mies van der Rohe Foundation Barcelona“ (1999) – einer Arbeit, die Modernekritiken der 1920er-, der 1960er- und der 1980er-/90er-Jahre synthetisiert – exemplifiziert die Autorin, ob die (jeweilige) Modernekritik im einschließenden oder ausschließenden Sinne von Moderne und Zeitgenossenschaft spricht.

Review

Martina Dobbe's article, "This is so contemporary? Konzepte von Moderne und Zeitgenossenschaft bei Jeff Wall," delves into one of the most pressing conceptual debates in contemporary art and art history: the nature of Zeitgenossenschaft (contemporaneity) and the Contemporary. Since the 1990s, these terms have been subject to intense scrutiny, and Dobbe promises a nuanced contribution to this ongoing discussion. The core innovation lies in her approach: rather than merely defining contemporaneity in opposition to modernity, the author explores how it is revealed through a layered examination of *critiques of modernity*. This meta-critical framework offers a sophisticated lens through which to understand the evolving relationship between past and present artistic and theoretical frameworks. The article's methodological strength is exemplified by its choice of case study: Jeff Wall's iconic "Morning Cleaning. Mies van der Rohe Foundation Barcelona" (1999). Dobbe astutely identifies this work as a powerful synthesis of distinct critiques of modernity originating from the 1920s, 1960s, and 1980s/90s. This strategic selection allows for a rich historical and theoretical excavation, enabling the author to investigate a precise research question: whether these diverse critiques of modernity foster an inclusive or exclusive understanding of both modernity and contemporaneity. By focusing on Wall's complex visual engagement with historical architectural and social narratives, the article is poised to unravel the intricate mechanisms through which "the contemporary" is continuously negotiated and redefined in art. Overall, this article presents a compelling and theoretically robust inquiry into the conceptual underpinnings of contemporaneity. By meticulously examining the interplay between historical critiques of modernity and their implications for understanding the contemporary moment, Dobbe's work promises to offer significant insights into art historical periodization and the dynamic relationship between artistic practice and critical discourse. The rigorous analysis of a seminal work by Jeff Wall, through the innovative lens of meta-critique, suggests that this study will be a valuable contribution to the ongoing scholarly conversation about how we define, perceive, and discuss art's temporal dimensions.

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