Industrial modes of production in the arts of the global north in the 20th and 21st centuries. Studies in art and factories

20 世纪和 21 世纪北方艺术的工业生产模式。

• 批准号: 508930320
• 负责人: Dr. Kathrin Rottmann
• 金额: --
• 依托单位: Kunstgeschichtliches Institut
• 依托单位国家: 德国
• 项目类别: Research Grants
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/508930320?language=en
• 关键词: Industrial; modes; production; arts; global

Parallel to the process of industrialisation and deindustrialisation, industrial modes of processing and production were transferred to the arts. The aim of this research project is to explore historically and systematically the industrial modes of production in the art of the global North in the 20th and 21st centuries by means of exemplary studies. Artistic modes of production are situated in social modes of production and, this thesis argues, are used to negotiate the status of artistic production in industrial society. Industrial modes of production are particularly suitable for these negotiations because they seem to be the very antithesis of artistic production due to alienated machine and mass labour. The project will work out a historical-critical analysis of how and under what socio-political and gender-political conditions the production processes were transferred from the factory to art, what consequences these transfers had for the theory and practice of the visual arts and what gender codings of production, biological reproduction and care work were effective in the process. The period of investigation from the 1920s to the present encompasses the historical contexts relevant to the relationship between industrial and artistic production in the global North: the 1920s/30s, when industrial labour was considered a model of rationalised, progressive labour in the visual arts as well; the 1960s/70s, when it came to epitomise unemployment, while the flexibility and creativity attributed to artistic labour became a model for alienated labour; and the 2000s, when industrial production was discussed in the context of digitalisation and immaterial labour. In precise terms, the project aims by means of selected examples 1) to make the modes of production of the artworks and the work of all the actors visible on the basis of written and pictorial sources and the results of the history of technology, 2) to identify the tools, materials, procedures and techniques, taking into account their respective historical and social use, 3) to reveal the socio-political and gender-political conditions of the artistic modes of production, in order 4) on the basis of this nuanced historical-critical and gender-critical analysis to open up new readings of concrete artworks and artistic modes of production. Methodologically, the project makes a fundamental contribution for art history to the question of what role the modes of production of artefacts play for their perception and reception and how the modes of production and the work contained therein are to be methodically taken into account. Thus, it provides an approach to the visual arts that anchors the study of modes of production in the analysis of socio-cultural goods.

在工业化和去工业化的同时，加工和生产的工业模式也转移到了艺术领域。该研究项目的目的是通过典型研究的方式，历史地、系统地探索20世纪和21世纪全球北方艺术的工业生产方式。艺术生产方式是社会生产方式中的一种，它是艺术生产在工业社会中地位的一种协商。工业生产方式特别适合于这些谈判，因为它们似乎是艺术生产的对立面，因为异化的机器和大规模劳动。该项目将对生产过程如何以及在何种社会政治和性别政治条件下从工厂转移到艺术进行历史批判性分析，这些转移对视觉艺术的理论和实践产生了什么影响，以及在这一过程中，生产、生物繁殖和护理工作的性别编码是有效的。从20世纪20年代到现在的调查时期包括与全球北方工业和艺术生产之间关系相关的历史背景：20世纪20年代/30年代，工业劳动被认为是视觉艺术中合理化的进步劳动的典范; 20世纪60/70年代，当它成为失业的缩影时，艺术劳动的灵活性和创造力成为异化劳动的典范;以及2000年代，在数字化和非物质劳动的背景下讨论工业生产。确切地说，该项目的目的是通过选定的例子1）使艺术品的生产模式和所有行为者的工作可见的基础上，书面和图片来源和技术历史的结果，2）确定工具，材料，程序和技术，考虑到其各自的历史和社会用途，3）揭示艺术生产方式的社会政治和性别政治条件，以便4）在这种细致入微的历史批判和性别批判分析的基础上，开辟对具体艺术作品和艺术生产方式的新解读。在方法论上，该项目为艺术史做出了根本性的贡献，即人工制品的生产方式对它们的感知和接受起着什么作用，以及如何有条不紊地考虑生产方式和其中包含的工作。因此，它为视觉艺术提供了一种方法，将生产模式的研究锚定在社会文化产品的分析中。