Joseph Kosuth

Württembergischer Kunstverein

The floor was covered with gray carpet, the ceiling with penetrating, domineering tiles that created a gridlike pattern. I cannot think of another exhibition space in which I have seen less successful uses of the available space. Joseph Kosuth’s installation, A grammatical remark, 1993, is, by contrast, noteworthy. Though presented in his signature manner—a black room with white script—the connection it forged with the architecture of the space was more than just another declination of his concept of art. The viewer entered a boxing ring. The carpet floor became a floor of action. Surrounded by quotes from Ludwig Wittgenstein, Walter Benjamin, and Friedrich Schleiermacher, and cut off from the outside, the borders of the space were well-defined. What Kosuth probably envisions in all his installations was made crystal clear here: punctuation marks (comma, parentheses, etc.) made of neon

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