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After Hans Haacke

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Tue Greenfort has made several works dedicated or self-consciously indebted to other artists, but within this body of his work he has turned most frequently to Hans Haacke. This can be seen most explicitly in several works entitled ‘After Hans Haacke’; Greenfort's indebtedness to Haacke is also manifest in numerous other works. How should we understand Greenfort's rearticulation of Haacke's work? What does it mean to work ‘after’ Hans Haacke in this way? The extent and depth of Greenfort's engagement indicates that there is more at stake than polite homage or the artworld pressure to conform to patrilineal legitimation. Greenfort works in the space opened up by Haacke's particular form of conceptual art, but negatively, acknowledging that the historical position embodied by his source is no longer tenable. Greenfort goes beyond Haacke by drawing environmentalism into the immanent problematic of the institutionally critical artwork. As such Greenfort's work can be considered an example of eco-institutional critique.

Keywords: Andrea Fraser; Conceptual art; Friedrich Schiller; Hans Haacke; Jacques Rancière; Post-conceptual art; Tue Greenfort; aesthetics; eco-aesthetics; ecology; institutional critique

Document Type: Research Article


Publication date: 2013-01-01

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