NEO-CONCEPT: Return to the Idea.

Neo-Conceptualism, a term that came to prominence in the 1980s and 1990s, is a fascinating return to the fundamental assumptions of conceptual art, while taking into account the socio-cultural changes and new contexts that emerged after the revolutions of the 1960s and 1970s. It is not a simple revival of old ideas, but rather their reinterpretation and adaptation to a new reality dominated by media, consumerism, and complex power relations. Neo-Conceptualism, like its predecessor, places the idea and conceptual layer of the work above its aesthetic qualities or the artist’s manual skills, but it does so in a more complex and often ironic way.

The origins of neo-Conceptualism lie in the legacy of pioneers of conceptual art such as Sol LeWitt, Joseph Kosuth, and Marcel Duchamp. They challenged the traditional understanding of art by shifting the emphasis from the visual object to the idea that generates it. Duchamp's famous "Fountain" or Kosuth's "One and Three Chairs" revolutionized the thinking about what a work of art can be. Neo-conceptualists continue this tradition, but their works often have a stronger critical, social and political element.

One of the key aspects of neo-conceptualism is its commitment to deconstructing systems of power, ideologies and mechanisms of representation. Artists of this trend often use strategies of appropriation, quotation and intertextuality to reveal hidden assumptions and paradoxes in the reality around us. The works of Sherrie Levine, who photographs reproductions of famous works of art, question the notion of originality and authorship, forcing us to reflect on the construction of values in the art world. Barbara Kruger, through her characteristic combination of black-and-white photographs with concise texts, unmasks the mechanisms of persuasion and manipulation in the media and advertising.

Neo-conceptualism is also often characterized by irony and humor. Artists use these tools to distance themselves from dogmatic attitudes and open up a space for ambiguity and interpretation. Maurizio Cattelan’s works, such as “The Comedian” (a banana taped to a wall), provoke a discussion about the nature of artistic value and the limits of absurdity in contemporary art. Jeff Koons, on the other hand, through his monumental and shiny sculptures of everyday objects, ironically comments on consumer culture and kitsch.

An important element of neo-conceptualism is also the reflection on language itself and sign systems. Artists often explore the relationship between word and image, between representation and reality. Jenny Holzer’s works, using LED boards with provocative and aphoristic texts, blur the boundaries between public art and media, forcing us to reflect on the role of language in shaping our beliefs.

Neo-conceptualism is not a homogeneous style or movement with clearly defined manifestos. It is rather an artistic approach that is characterized by a conceptual approach to creation, a critical engagement with social and political issues, and an awareness of the historical context of art. Unlike early conceptualism, which often sought a puristic dematerialization of the work of art, neo-conceptualism willingly uses a variety of media and forms of expression, from photography and video to installations and objects.

In summary, neo-conceptualism constitutes a significant chapter in the history of contemporary art, being not only a continuation but also an evolution of the ideas initiated by the conceptual artists of the 1960s and 1970s. Through their critical, ironic, and often provocative works, neo-conceptualists force us to constantly question the definitions of art, the mechanisms of power and ideology, and to reflect on the complex and ambiguous nature of the contemporary world. Their return to the idea, enriched by new contexts and strategies, proves that the power of conceptual art remains relevant and inspiring.