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

在工业化和去工业化的同时，工业的加工和生产模式也转移到了艺术上。这一研究项目的目的是通过示范研究的方法，对20世纪和21世纪全球北方艺术的工业生产方式进行历史和系统的探索。艺术生产方式处于社会生产方式之中，本文认为，艺术生产方式是用来协商艺术生产在工业社会中的地位的。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什么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分析，这些转移对视觉艺术的理论和实践产生了什么后果，以及生产、生物繁殖和护理工作的性别编码在这一过程中是有效的。从20世纪20年代到现在的研究时期，涵盖了与全球北方工业生产和艺术生产之间的关系相关的历史背景：20世纪20/30年代，工业劳动被视为视觉艺术中合理化、进步劳动的典范；20世纪60/70年代，失业的缩影，而艺术劳动带来的灵活性和创造力成为异化劳动的典范；21世纪头10年，工业生产在数字化和非物质劳动的背景下被讨论。准确地说，该项目的目的是通过选定的例子，1)根据文字和图片来源以及技术历史的成果，使所有演员的作品和作品的生产模式变得可见，2)确定工具、材料、程序和技术，同时考虑到它们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，以便在这种细致入微的历史批判和性别批判分析的基础上，打开对具体艺术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，即艺术品的生产方式对它们的感知和接受起到了什么作用，以及如何有条不紊地考虑其中包含的生产方式和作品。因此，它提供了一种视觉艺术的方法，这种方法以社会文化产品分析中的生产方式研究为基础。

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.