1994 research outputs found
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Re-Presenting Art History:An Unfinished Process
Get PDFCan reenactment both as reactivation of images and restaging of exhibitions be considered an alternative way of tackling the critical task to re-present art history (i.e., to present it anew) in the here and now, over and over and over again? The gesture of restoring visibility to something no longer present, reactivating or reembodying it as an object/image in and for the present, is here proposed as a (political) act of restitution and historical recontextualization. Examining the boundaries between past and present, original and copy (as well as originality and copyright), repetition and variation, authenticity and auraticity, presence and absence, canon and appropriation, durée and transience, the paper focuses on remediation, reinterpretation, and reconstruction as creative gestures and cultural promises in contemporary art practice, curatorship, and museology
Unfold Nan Hoover:On the Importance of Actively Encouraging a Variable Understanding of Artworks for the Sake of their Preservation and Mediation
Get PDFTo support the practice of preservation and mediation of video works in the LIMA Collection (Amsterdam), the authors explore the possibilities of reinterpretation as a rather common practice in the performing arts. As a choreographer and a dramaturge, they establish a correlation between reinterpretation and dramaturgy — as a way to deal with non-objective or transitory aspects of the works — and describe their method in relation to the video and performance artist Nan Hoover
Energy and Chronopolitical Allegory
Get PDFAround the mid-nineteenth century, what had hitherto been described as a multiplicity of physical forces was unified under the novel concept of energy. Working in tandem with and under the aegis of the transition to fossil fuel consumption, this reduction of multiple forces to one single unifying concept also entailed the suggestion that turning the compressed time of fossil deposits into the accelerated time of propulsion engines was not simply an economic but a moral imperative. Mobilizing the physical world on behalf of imperial policy, Victorian physics also helped intensify already ongoing processes of racialization. The talk will survey the ways through which language worlds, or unworlds, by detailing the usages of reduction, conflation, equivocation, and allegory, in and beyond the natural sciences. Ana Teixeira Pinto is a writer and cultural theorist based in Berlin. She is a guest professor at the Academy of Fine Arts Nuremberg (AdBK) and a theory tutor at the Dutch Art Institute. Her writings have appeared in publications such as Third Text, Afterall, e-flux journal, Manifesta Journal, and Texte zur Kunst. She is the editor of a forthcoming book series on the antipolitical turn to be published by Sternberg Press. Together with Kader Attia and Anselm Franke, she is organizing the conference and podcast series The White West: Whose Universal, taking place at HKW Berlin, and she is a member of the 2022 Berlin Biennial artistic team
Medieval Denmark and its Languages:The Case for a More Open Literary Historiography
Get PDFThis chapter makes the case for a literary history that accounts for the multilingual nature of medieval Denmark, giving particular attention to Danish, German, and Latin. It relates such a project to current research interests such as crossing the boundaries of national philologies; demonstrates the need for it by reviewing existing surveys of the period; and outlines some lines of enquiry, including the translation and transmission of texts, that it could pursue
Sadismus mit und ohne Sade
Get PDFIm Mittelpunkt des Vortrags steht die Frage nach der Differenz zwischen der alten Grausamkeit und der neuen kolonialen Gewaltlust. Die neue Gewaltlust, die eine entscheidende Rolle in den organisierten Gewalträumen der transatlantischen Versklavung spielte, wurde von der Sexualwissenschaft unter dem Begriff ‘Sadismus‘ als individuelle ‘Perversion‘ verharmlost, der antikoloniale und körperpolitische Einsatz der Schriften des Marquis de Sades zugleich marginalisiert. Sind die genealogischen Untersuchungen Friedrich Nietzsches und Michel Foucaults in besonderer Weise dazu geeignet, um diese Frage zu profilieren? Welche Rolle können die Schriften Sades diesbezüglich spielen? Iris Därmann ist Professorin für Kulturtheorie und Kulturwissenschaftliche Ästhetik am Institut für Kulturwissenschaft der Humboldt-Universität zu Berlin. Sie studierte Philosophie, Soziologie und Sozialpsychologie an der Ruhr-Universität Bochum, wo sie 1993 mit einer Arbeit zu Tod und Bild als Doktorandin am DFG-Graduiertenkolleg ‘Phänomenologie und Hermeneutik’ promoviert wurde. 2003 habilitierte sie sich in den Fächern Philosophie und Kulturwissenschaft an der Universität Lüneburg mit der Arbeit Fremde Monde der Vernunft. Zuletzt sind erschienen: Widerstände. Gewaltenteilung in statu nascendi (2021) und Undienlichkeit. Gewaltgeschichte und politische Philosophie (2020). Ihr neues Buch Sadismus mit und ohne Sade wird im Frühjahr 2023 erscheinen
Bad Taste?:Culture and Consumption in the Great Acceleration
Get PDF‘The climate crisis is also a crisis of culture.’ Amitav Ghosh The Great Derangement This symposium takes the planetary ecological crisis as an urgent occasion to reflect on the history and politics of taste. Talk of taste today is considered outmoded, if not suspect. But is this not itself suspect in the ongoing Great Acceleration, a period defined since the 1950s by excesses of consumption and corresponding disruptions to the earth? In the context of the contemporary ecological crisis, examination of the implicit relation between taste and consumption seems all the more pressing. To what extent has the Great Acceleration been propelled by taste? What might such a question contribute to understanding these twin crises of climate and culture? Attending to taste in the Great Acceleration involves analyzing the proliferation and the allure of certain aesthetic forms, materials, and attitudes – as well as the obfuscation of the associated production of waste. And it means revisiting historical debates since the 1950s in aesthetic theory and culture critique for their blindspots and evasions as much as for their insights. Might reflection on the politics of taste indicate an intersection of affective embodied experience with the ostensibly more abstract categories of cosmopolitan politics, the global economy, and planetary ecology? Is there an alternative sensus communis to the rampant consumerism that has driven the Great Acceleration and that can no longer be dismissed as mere bad taste