Joseph Kosuth. Architecture is the most political of all art forms

In anticipation to the opening at the Venice Architecture Biennale 2018, a new episode of the Time-Space-Existence series features an interview with Joseph Kosuth.

As part of the Time-Space-Existence series, PLANE–SITE interviewed American Artist Joseph Kosuth. Born in Toledo, Ohio in 1945, Kosuth is one of the world’s best-known living artists. A pioneer of conceptualism, he is particularly acclaimed for his works that make use of language and signification. He was educated at the School of Visual Arts in New York. Later, in response to his own “ethnocentricity as a white, male artist”, he studied anthropology at the New School, NY. 

  “Art is really a work of meaning, not forms and colours.” Known for his playful use of language, Kosuth has always been interested in what lies outside of the frame of a work — often spilling out into rooms and buildings. In this video, he discusses his relationship with architecture and the responsibility of artists and intellectuals, who are committed to long-term views of society: “We are the stable forces, not the other ones who present us so often as irrational. We have to resist corporate culture, we struggle against a market that wants to provide the meaning, while it’s been always our job to fight for the meaning.”

Img.1 Joseph Kosuth, “Still Waters Run Deep”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2018. Photo Ching Yang Cheng, courtesy Kaohsiung Museum of Fine Arts Taiwan
Img.2 Joseph Kosuth, “W.F.T.
Img.3 Joseph Kosuth, “One and Three Chairs”, 1965. Collection of The Museum of Modern Art, New York (Larry Aldrich Fund). Image courtesy of the artist and Sean Kelly Gallery
Img.4 Joseph Kosuth, “Agnosia, an Illuminated Ontology”, Sean Kelly Gallery, New York, USA. Photo Jason Wyche and Jason Wyche
Img.5 Joseph Kosuth, “Agnosia, an Illuminated Ontology”, Sean Kelly Gallery, New York, USA. Photo Jason Wyche and Jason Wyche
Img.6 Joseph Kosuth, “Agnosia, an Illuminated Ontology”, Sean Kelly Gallery, New York, USA. Photo Jason Wyche and Jason Wyche
Img.7 Joseph Kosuth, “Recognizable Differences & Andersen Self-Described”, Nikolaj Copenhagen Contemporary Art Center, Copenhagen, Denmark, 2005. Image courtesy Joseph Kosuth Studio
Img.8 Joseph Kosuth, “Recognizable Differences & Andersen Self-Described”, Nikolaj Copenhagen Contemporary Art Center, Copenhagen, Denmark, 2005. Image courtesy Joseph Kosuth Studio
Img.9 Joseph Kosuth, “Recognizable Differences & Andersen Self-Described”, Nikolaj Copenhagen Contemporary Art Center, Copenhagen, Denmark, 2005. Image courtesy Joseph Kosuth Studio
Img.10 Joseph Kosuth, “A Zoology of Thinking”, Galleri Brandstrup, Oslo, Norway, 2015. Courtesy Galleri Brandstrup
Img.11 Joseph Kosuth, “A Zoology of Thinking”, Galleri Brandstrup, Oslo, Norway, 2015. Courtesy Galleri Brandstrup
Img.12 Joseph Kosuth, “A Zoology of Thinking”, Galleri Brandstrup, Oslo, Norway, 2015. Courtesy Galleri Brandstrup
Img.13 Joseph Kosuth, “Waiting For, Texts for Nothing Samuel Beckett, in play”, Australia Center for Contemporary Art, Melbourne, Australia, 2010. Image courtesy Joseph Kosuth and photographer Christian Capurro
Img.14 Joseph Kosuth, “Waiting For, Texts for Nothing Samuel Beckett, in play”, Australia Center for Contemporary Art, Melbourne, Australia, 2010. Image courtesy Joseph Kosuth and photographer Christian Capurro
Img.15 Joseph Kosuth, “Waiting For, Texts for Nothing Samuel Beckett, in play”, Australia Center for Contemporary Art, Melbourne, Australia, 2010. Image courtesy Joseph Kosuth and photographer Christian Capurro
Img.16 Joseph Kosuth, “Waiting For, Texts for Nothing Samuel Beckett, in play”, Australia Center for Contemporary Art, Melbourne, Australia, 2010. Image courtesy Joseph Kosuth and photographer Christian Capurro
Img.17 Joseph Kosuth, ‘ni apparence ni illusion’, Musėe du Louvre, Paris, France, 2001. Courtesy Joseph Kosuth and Musée du Louvre, photo Tim Mason
Img.18 Joseph Kosuth, ‘ni apparence ni illusion’, Musėe du Louvre, Paris, France, 2001. Courtesy Joseph Kosuth and Musée du Louvre, photo Tim Mason
Img.19 Joseph Kosuth, ‘ni apparence ni illusion’, Musėe du Louvre, Paris, France, 2001. Courtesy Joseph Kosuth and Musée du Louvre, photo Tim Mason
Img.20 Joseph Kosuth, ‘ni apparence ni illusion’, Musėe du Louvre, Paris, France, 2001. Courtesy Joseph Kosuth and Musée du Louvre, photo Tim Mason
Img.21 Joseph Kosuth, ‘ni apparence ni illusion’, Musėe du Louvre, Paris, France, 2001. Courtesy Joseph Kosuth and Musée du Louvre, photo Tim Mason
Img.22 Joseph Kosuth, “One Field to the Next”, Taipei Station, Taipei, Taiwan, 2013. Image courtesy Joseph Kosuth Studio, photo Tim Mason
Img.23 Joseph Kosuth, “One Field to the Next”, Taipei Station, Taipei, Taiwan, 2013. Image courtesy Joseph Kosuth Studio, photo Tim Mason
Img.24 Joseph Kosuth, “One Field to the Next”, Taipei Station, Taipei, Taiwan, 2013. Image courtesy Joseph Kosuth Studio, photo Tim Mason

Produced by PLANE–SITE, the video has been commissioned by the GAA Foundation and funded by the ECC in the run-up to the Time-Space-Existence exhibition during next Venice Architecture Biennale, opening May 26, 2018.

  • form 26 May to 25 November 2018
  • 16th International Architecture Exhibition
  • Time–Space–Existence
  • PLANE–SITE / plane-site.com
  • GAA Foundation
  • European Cultural Centre
  • Palazzo Bembo, Riva del Carbon 4793-4785, Venice
  • Palazzo Mora, Strada Nova 3659, Venice