| Popis: |
Chapter 4 analyses the work’s logico-semantic relations: the relations between signs within linguistic structures, and the relations between signs and extra-linguistic objects and discourses in the meaning-making process. Based on Wittgenstein’s attention to the relation between propositions and the world and Halliday’s consideration of language as social semiotic, this chapter examines Keith Arnatt’s Trouser-Word Piece (1972, London), Victor Burgin’s Room (1970, London and Buenos Aires) and Juan Carlos Romero’s Swift en Swift (1970, Buenos Aires). It addresses the relation between art and politics, the effects of a work’s transposition to different geographical and material sites, and the difference between a tautological and a critically engaged use of language. This is illustrated in the parallel discussion of Joseph Kosuth’s Art after philosophy (1969) and Burgin’s Situational aesthetics (1969). |
