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El presente libro ofrece una reflexión sobre el arte a través de sus «derivas», es decir, los movimientos que anidan en la creación y que hacen que en el arte actual quepan todas las maneras. A lo largo de sus capítulos no sólo se considera la creación propiamente dicha sino también la disciplina de la Historia del arte, sus límites y la necesidad de plantear nuevos métodos y estrategias de lectura. Y ello a partir de un modo de entender el conocimiento a través de intercambios de saberes entre disciplinas –afines o no–, en lugar de querer encapsularlo en un único y delimitado campo. Son estos saberes reticulares los que explican las mencionadas «derivas», que, partiendo d...
Critical Cartography of Art and Visuality in the Global Age poses fundamental questions and pinpoints topical discussions central to the field of contemporary art studies in the global age. Resulting from a series of conversations that took place at the international conference ""Critical Cartography of Art and Visuality in the Global Age"" (Barcelona 2013), the volume brings together current debates in cultural and identity-based art histories as a means of expanding the territory of contempor...
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When we talk about the geographical, ecological, ethnographic, historical, documentary, and cosmopolitan “turns” in relation to the work of practitioners of contempory art, what exactly do we mean? Are we talking about a “reading strategy”? About an interpretive model, as would be derived from the linguistic turn of the 1970s, or rather about a stratigraphic structure that could be read across multiple cultural practices? Do we wish to read one system by means of another system, in a way that one nurtures the other so that it can open us up to other forms of being? Or is it rather about a generative movement in which a new horizon emerges in the process, leaving behind the practice t...
The “biennale culture” now determines much of the art world. Literature on the worldwide dissemination of art assumes nationalism and ethnic identity, but rarely analyzes it. At the same time there is extensive theorizing about globalization in political theory, cultural studies, postcolonial theory, political economy, sociology, and anthropology. Art and Globalization brings political and cultural theorists together with writers and historians concerned specifically with the visual arts in order to test the limits of the conceptualization of the global in art. Among the major writers on contemporary international art represented in this book are Rasheed Araeen, Joaquín Barriendos, Susa...
Erweiterte Neuauflage des legendären Arnheim-Katalogs von 1993 in zwei Auflagen: Im März die rein englische Ausgabe anlässlich der Ausstellung in der Tate Liverpool, im Juli 2004 eine Ausgabe mit deutschem Textanhang mit einem zusätzlichen Interview mit Mike Kelley anlässlich der Ausstellung im Museum Moderner Kunst Stiftung Ludwig, Wien. Museum Moderner Kunst, Stiftung Ludwig, Wien, Juli 2004
Few art critics in Western art history have ever had the broad-ranging impact over several decades of Donald Kuspit, a philosopher and psychoanalyst who from 1970 until the present has been a commanding figure on the international stage. A student of German thinker Theodor Adorno under whom he earned the first of his three doctorates, Kuspit introduced a new type of philosophical art criticism into the art world. He drew on both phenomenology and Critical Theory before he then increasingly adopted psychoanalysis. Since Kuspit himself has always measured his own place in the history of art criticism by how rigorously he engages with competing approaches, this book is a searching survey of Kus...
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This volume addresses questions that are crucial to approaching art, visuality, and cultural policies from the perspective of global transformations and the rise of new social, political and cultural paradigms. The concept of territory is the theoretical underpinning off three sections of the volume: "The Geoasthetic Hypothesis: Constructing and Deconstructing Territories"; "Creativity and Dissent: The Future as a Contested Territory"; and "Value, Labour and Gender: Spaces of (Un)Recognition". Obviously, in this case, territory is not viewed as a two-dimensional space that can be abstracted into a map; it rather emerges as a multidimensional place of proximity and difference, of consensus an...
At the start of the twenty-first century, the contemporary implies a clear desire to affirm a type of art that is expanding across the globe, challenging old geographical borders, and reclaiming narratives of place and displacement; in other words, new cultural practices that transfigure the relationship between the global and the local, and articulate the discourse of difference. Being in the place of here and now, working with others in simultaneous and specific practice, and contemplating the production of work in the experience of connection means raising the value of the performative aspect of practice and displacing the reflective role of cultural production. In the new cartography of this multifarious global art, the author, who combines theoretical and curatorial discourse with creative practice, defines how global concepts circulate from the critical analysis of transnational contemporary art to the global.