Abstract

Nowadays artists and curators increasingly stress terms like ›laboratory‹ and ›research‹ when describing their studio practice or their exhibition space. The contribution argues that this semantic change articulates a striking shift in the understanding of artistic production and authorship. When the studio – traditionally seen as a place where the individual is committed to his or her world-directedness – is described as a laboratory, another dispositive of knowledge production comes into play. This dispositive seems, I would argue, different from the concept of the studio in four respects: Firstly, it refers to the scientific field and its institutions. Secondly, the laboratory-dispositive promises to be more open to collective labour, thirdly, the laboratory relates to different models of labour and production that claim another stake within the knowledge society, and, fourthly, the distinction between production and reception becomes watered down. These changes, at least, run the risk of downplaying the brisance of artistic subjectivity.