Page 30 - Studio International - May 1972

Notes on the The exhibition provides the opportunity to :

context 1. Examine the possibility of a modern
classical art based upon the idea of 'order with
of `Systems'* endless variety'. A non-utopian art rejecting
fixed absolutes, accepting non-static concepts of
order, paradox and change.
2. Examine the possibility of an art
operational at a number of levels —conceptual,
methodological, perceptual together with
attempts to make available information at all of
these interrelated levels.
3. Attempt to place both the generative
activity and the artefact in as wide a context
as possible and introduce parallel modes of
expression. i.e. music, poetry and other
creative disciplines.
4. Propose the rejection of one-dimensional
art—i.e. art that relies primarily on immediacy
and that tends to operate on a single level of
response.
5. Examine the possibility of a non-hierarchical
art, where no one aspect is more important
than any other. Where the sum of the parts is
greater than the whole.
6. Assess the present position of some British
artists working relative to the constructivist
tradition and see their activity in the context
of structuralism and semiology.

II [The following are extracts from unedited tapes
The following information is relevant to a recorded at a series of discussions and seminars
more complete awareness of the context of between the artists, Tom Cross and Stephen
`Systems' : Bann.]
(a) Systeemi— System' —an exhibition of
syntactic art from Britain at the Amos DAVE SAUNDERS : A negotiable thing—one could
Anderson Museum, Helsinki, Finland, take the information contained within a piece of
December 1969 organised by Arja and work, and this information could be used as
Jeffrey Steele. data for another piece of work ... the data
(b) 'Matrix' —an exhibition at the Arnolfini exists as an independent thing ... which could
Gallery Bristol, June—July 1971, organised by be extracted from the work and thought
Jeremy Rees. Subsequently shown at the about... it is highly conceptual—not conceptual
Welsh Arts Council Gallery, Cardiff, and the in the sense of 'non-object art'—the objects
University of Kent, Canterbury. would be the kind that could be derived from a
(c) The didactic nature of the exhibition grew particular kind of order ... one of the uses of
out of 'Four Artists—Reliefs, Constructions syntactic procedures is that you can invent a
and Drawings' —John Ernest, Anthony Hill, grammar and not know what the outcome is
Malcolm Hughes, Gillian Wise. A Victoria going to be by following a rigorous procedure...
and Albert Museum Loan Exhibition 1969/71. you can know what the data are you are feeding
(d) The following periodicals / books have in, how many variables, how many elements,
importance to the form of the documentation / colours, etc, how many of all kinds of things,
catalogue—which has always been seen as an and the modes of arrangements, generating
integral part of the conception of the exhibition. structures—while not knowing what is going to
Die Reihe, a periodical devoted to developments be the final result. The thing, if it is successful,
in contemporary music. Edited by Herbert will be more than the sum of the parts. And
Eiment and Karlheinz Stockhausen. 1950/60. you don't know what the sum is going to be ...
Structure, a magazine of Constructionist Art. in a sense you are giving yourself freedom by
Ed. by Joost Baljeu. 1958/64. setting up restraints ...the more elaborate the
Form, edited by Philip Steadman, Mike restraints the more rich in possibilities
Weaver, Stephen Bann. This provided the the gain is.
typographical and design format and Philip MALCOLM HUGHES: I would say this is one of
Steadman was the designer of the the more important aspects, and looking at it
documentation/catalogue. 1958/64. from my own point of view the more rigorous
DATA, directions in art, theory and the system one starts with, the more
aesthetics. An anthology edited by Anthony perceptual possibilities emerge ... which is the
Hill. Faber and Faber 1968. thing that interests me ... i n terms of what the
end products are. You could start with an
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