Harry Lehmann

Contemporary art describes itself very often as “conceptual.” However, what exactly does it mean? Usually, these artworks in question have little in common with the prime examples of Conceptual Art from the 1960th. It is of paramount importance for art theory today to have a clear understanding and a clear notion of the conceptual character of the arts. In my lecture, I would like to present a model of Conceptualism which allows to integrate into this model such different pieces like “One and Three Chairs” by Joseph Kosuth and the “Fettstuhl” by Joseph Beuys, or, in respect to music, 4’33’’ by John Cage and “Pendulum Music” by Steve Reich. Conceptual art arose in opposition toward the aesthetics of classical modernism. Conceptual artists tried to show that art can be separated from any aesthetic experience and reduced to one single idea. Nevertheless, the anesthetic character is not the decisive criteria for Conceptualism. My thesis is that Conceptual Music and Conceptual Art are based on the principle of an isomorphic mapping between idea and work. On the one hand, the idea of the artwork manifest itself entirely in the piece, and on the other hand, every perceivable aspect of the artwork is a representation of that idea.

Main Research Interests

• Music Philosophy
• Art Philosophy
• Systems Theory

Publications (selected)

• “Digitization and Concept: A Thought Experiment Concerning New Music.” In: Search. Journal for New Music and Culture, Issue no. 7 2010, 1-14.
• With Ullrich, Wolfgang: “Why the Socialist States Have Failed in Respect of Design.” In: Villa Sovietica. Soviet Objects: Import-Export. Musée d’ethnographie de Genève 2009, 175-183.
• “Avant-garde Today. A Theoretical Model of Aesthetic Modernity.” In: Critical Composition Today. Hofheim: Wolke 2006, 9-42.

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