Paper making combines a proclivity towards using found materials and a need to produce my own painting supports. This first of this thesis chronicles the reasons I arrived at paper as my chosen medium, the objects I began to produce, and the projects that stemmed from those early experiments. The second half outlines my final work, a 1:4 scale model in paper of the 1966 exhibition 10 , held in New York at the Dwan Gallery, which showcased the early minimal works of Carl Andre, Jo Baer, Dan Flavin, Donald Judd, Sol LeWitt, Agnes Martin, Robert Morris, Ad Reinhardt, Robert Smithson, and Michael Steiner.

Entrepreneurship as Social Change is the third book in a miniseries of four publications called Movements in Entrepreneurship. The journey from a socalled writers’ workshop to a publishable manuscript is a collective process wherein the quality of dialogue and conversation needs to develop into a focused and enriched book. A new movement in the field of entrepreneurship – in this case social entrepreneurship – is taken up for the purpose of a critical and crucial discussion that does not reproduce just more of the same (entrepreneurship), but rather creates a chance to change our understanding of entrepreneurship itself. Whether this book succeeds in accomplishing such a movement, we will leave up to the interested and critical readers. This cannot prevent us from acknowledging the committed efforts of many direct and indirect contributors that have made the transition from workshop to book a smooth and worthwhile endeavour. With the theme of the ‘earth’ – after the ones of water (see New Movements in Entrepreneurship, Steyaert and Hjorth, 2003) and air (see Narrative and Discursive Approaches in Entrepreneurship, Hjorth and Steyaert, 2004) – we entered the site of the small and beautiful village of Tallberg, Sweden. The village resides on a slope looking down on Lake Siljan. Lake Siljan is one reminder of the third largest meteorite impact in our planet’s history. Around 360 million years ago, a 4-km large meteor fell from space and had an enormous impact on the Earth here, making it a worthy place to explore the groundings of entrepreneurship. Close to Tallberg, we visited the extraordinary festival stage of Dalhalla, a former limestone quarry. The open mining in this area has created a natural amphitheatre – 400 m long, 175 m wide and 60 m deep. How this performance arena came about offers an excellent illustration of cultural entrepreneurship as social change, which was shared with the workshop participants through the intriguing story told by Per Frankelius (University of Orebro). We are grateful for his contribution. Furthermore, Ellen O’Connor (University of Paris Dauphine) and Tor Hernes (Norwegian School of Management BI) gave excellent keynotes to stimulate discussions. We would also like to thank all participants in the workshop including those whose contributions did not make it into the book. Many of the participants acted also as valuable reviewers for the papers of other authors during and after the workshop. We also acknowledge the valuable contribution of the external (anonymous) reviewers who helped us in sharpening the arguments of

This paper analyses the influence of analytic philosophy on conceptual art, as theorized by Ad Reinhardt, Sol LeWitt, Joseph Kosuth and others in the 1960s, and how this influence caused conceptual art to gradually distance itself from the minimal aesthetic conditions required for a democratic experience of the work of art. I then propose to add an ontological model to conceptual art’s framework, with the objective of restoring these aesthetic conditions. The ontological model I propose to use is set theory, following the principles defined by philosopher Alain Badiou in his book Being and Event. Finally, I present some concrete works of art aimed at empirically testing the validity and coherence of this theory. « Art as Art » and Tautological Limitations Conceptual art emerged in the 1960s, partly in reaction to the excess of subjectivity of post-war abstract expressionism. Although one can find indisputable traces of conceptual genealogy in the works of Marcel Duchamp, Kazimir Malevich or Yves Klein, and while one can observe early signs of pure abstraction in the paintings of Mark Rothko and Barnett Newman, it is undoubtedly Ad Reinhardt who initiated the decisive transition towards a purely conceptual theory of art [10]. This theory was derived from the analytic and formalist philosophies of Gottlob Frege and Bertrand Russell and influenced by Ludwig Wittgenstein’s linguistic and cognitive research. Two main orientations emerged from Reinhardt’s original impulse. One, promoted by Sol LeWitt, stressed the primacy of the idea of the work of art over its actual realization [9]; the other, supported by Joseph Kosuth, was a tentative to answer the question what is art? by means of arguments of logic only [8]. Kosuth substituted for the primacy of the idea that of a formal requirement, by which the artistic activity is reduced to the conception of objects whose main characteristics is their consistency. Card File, by Robert Morris (1962), perfectly illustrated this orientation. This formalization of the practice of art had (at least) two impacts. The first, deliberate and assumed, was the progressive replacement of subjective inspiration by purely formal thought processes, leading to a departure from aesthetic considerations. Where Martin Heidegger characterized art as revealing a truth that allows us to grasp an essential dimension of being [7], and where the essentialist and platonic traditions of art had prevailed until then, cognitive and usage considerations took precedence. Conceptual art became “tautological”, i.e., always true by definition, regardless of its representation, projection or interpretation. As Michael Thompson wrote, Kosuth’s final statement in his lengthy and complex essay is that art is a tautology: “Art’s only claim is for art. Art is the definition of art” ([11], p. 153). It is possible to produce an infinity of tautologies, such as 1 = 1, (p ® q) « (~q ® ~p), Five Words in Blue Neon (Figure 1a) or One and Three Chairs (Figure 1b). But supplementing a collection of existing true statements with additional tautologies does not increase our knowledge of the system. This is what I call the “tautological limitations” of conceptual art. The second impact is caused by the side effects induced by the analytic formalization of conceptual art, namely the limitations derived from the incompleteness and undecidability theorems discovered and proved by Kurt Gödel [6] and Paul Cohen [3]. If conceptual art must comply with the syntactic discipline of a formal language, whose objective is to produce “art theorems”, we are naturally led to confront questions Bridges 2018 Conference Proceedings

»Contingent«, auf Deutsch zufällig, ungewiss, unvorhergesehen ..., besteht aus acht fahnenartigen Elementen, die von der Decke zum Boden hängen. In jedem der Elemente spannt sich ein großes rechtwinkliges, Latex überzogenes Nesseltuch (cheesecloth) zwischen durchsichtigen Feldern von Fiberglas. Es entsteht der Eindruck, als handele es sich um Decken oder dünne Kissen aus ganz eigentümlichem Material. Oberfläche und Format lassen zwar an Gemälde denken, aber trotz ihres flächigen Charakters sind es eben keine Bilder, da die parallel montierten Elemente in einem Winkel von 90 Grad von der Wand abstehen. Eva Hesse lotet den Grenzbereich zwischen Malerei und Skulptur aus, und sie wählt außergewöhnliche Materialien. Latex, eine Dispersion von Naturkautschuk, ist langfristig nicht lichtbeständig, wie wir das von Gummibändern her kennen, es verändert seine Konsistenz und ist unvorhersehbar unbeständig. Eine vergängliche Kunst also.

This exhibition could have been titled “Geometrizing life in the photographic work of Peter Downsbrough”, after Lucy Lippard’s notion of photography*, mainly because the third exhibition by Peter Downsbrough at àngels barcelona focuses on the conceptual photographic work that the artist has been consistently producing since 1978 and that has been of major relevance in his multidisciplinary artistic practice which includes sculpture, works on paper, photographs, films and books.

Sol LeWitt: The Well-Tempered Grid is the first exhibition to focus on the centrality of the grid in LeWitt's art. The exhibition focuses on LeWitt's use of the grid as a generative matrix for his artistic production over the span of nearly five decades, from 1960 until his death in 2007. Inspired by his first encounter with the work of photographer Eadweard Muybridge in the late 1950s, LeWitt began experimenting with a loosely structured grid in several large oil paintings of 1960, based on the Muybridge motif of a running man. By 1962 he had simplified his use of this format to exclude figurative elements, and by 1964 he was making his first wall-mounted grid structures. When LeWitt made his first wall drawings in 1968 he used the grid as the underlying structural principle. Thereafter, grids became a pervasive matrix in all of the media in which LeWitt worked--three-dimensional structures, drawings and gouaches on paper, photographic cycles, artist's books, furniture and wall drawings. Fully illustrated with 95 color images (and a plate section), the book includes three essays, including Charles W. Haxthausen on LeWitt's relationship to the grid and classical music, especially Bach; Christianna Bonin on LeWitt's relationship to Richard Serra and the wall drawing; and Erica DiBenedetto on LeWitt's 1980 artist's book, Autobiography, a publication consisting solely of 1,101 photographs of LeWitt's New York studio, organized over 128 pages in nine-part grids.

Published to accompany MASS MoCA's landmark installation of LeWitt's innovative wall drawings, this book celebrates the artist and his illustrious 50-year career.

In the 1960s, in a dense art scene in New York City, Minimal Art and Concept Art were born. The artists Carl Andre, Mel Bochner, Dan Flavin, Dan Graham, Donald Judd, Sol LeWitt and Robert Morris are subsumed into these two schools of art by contemporary critique and historical retrospection or simply credited as the protagonists of these movements. Additionally, the German immigrants, Hanne Darboven, Eva Hesse and Ruth Vollmer – the important links between the European and American avantgarde – could be found in this setting. 1

Sol LeWitt, who once worked as a draftsman for I. M. Pei, has said of his own directions for drawings executed by collaborators that, The contribution brought by the draftsman may not be predicted by the artist, even when the artist is also the draftsman. This separation of the plan, the written score for a work, from its execution and the finished piece lies at the center of the work for which LeWitt is best known, whose execution he entrusts to strangers. Wall Drawings tracks the creation of one recent work, beginning with the plan, so spare that it looks as though it might have arrived at the gallery by fax, and continuing through to a schematic drawing on the wall, then figures on stepladders drawing intently, their faces clear but their pencils blurred. Close-ups of their scribbles and images of the completed work are followed by a picture of the triumphant cast, a curtain call.