Artists

Joseph Kosuth

Press release

Monika Sprüth and Philomene Magers are delighted to announce ‘The Question’, a survey exhibition honouring Joseph Kosuth on his eightieth birthday. On view at the London gallery, this exhibition celebrates Kosuth’s profound contributions to conceptual art, underscoring his belief that art is not merely a reflection of the world but a dynamic, ongoing exploration of meaning itself. At the core of Kosuth’s practice lies a radical interrogation of language, reality, and representation. His work challenges viewers to reconsider their engagement with the world, destabilising the boundaries between thought and material. Kosuth’s enduring interest in the philosophy of language stems from his conviction that today’s fragmented, unstable reality offers little certainty—calling instead for investigation and experimentation.

‘The Question’ offers a rare opportunity to trace Kosuth’s artistic trajectory from the 1960s to his most recent works, including ‘The Question (J.M.)’ (2024). It further includes seminal works such as ‘Self-Described Twice [Pink]’ (1966) and ‘C.S. II #11’ (1988), demonstrating how Kosuth’s use of language exposes the limitations of traditional conceptions of art. These works delve into the notion that meaning is fluid and context-dependent, challenging our basic assumptions about communication.

Kosuth’s work engages deeply with the political and cultural upheavals of the 1960s and 1970s, placing his art within the broader social and political context of the time. His work evolved into, and continues to be, a powerful tool for critiquing societal norms and exploring how art can engage with issues of power, culture, and identity. His practice marks a critical response to the aesthetic crises posed by postmodernism: as traditional aesthetic categories collapsed in the latter half of the twentieth century, his work has offered a way to navigate this upheaval. Kosuth’s approach can also be understood as a “geological” gesture—an investigation of both art history and knowledge itself. Notable works such as ‘One and Three Shadows’ [Ety./Hist.] (1965) and ‘Text/Context’ (1978–79) exemplify his deconstruction of the historical and social structures that shape art.