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The Internet Does Not Exist
The internet does not exist. Maybe it did exist only a short time ago, but now it only remains as a blur, a cloud, a friend, a deadline, a redirect, or a 404. If it ever existed, we couldn't see it. Because it has no shape. It has no face, just this name that describes everything and nothing at the same time. Yet we are still trying to climb onboard, to get inside, to be part of the network, to get in on the language game, to show up on searches, to appear to exist. But we will never get inside of something that isn't there. All this time we've been bemoaning the death of any critical outside position, we should have taken a good look at information networks. Just try to get in. You can't. N...
Forthcoming
Cultural Writing. Jalal Toufic is a writer, film theorist, and video artist presently living in Lebanon. His video and installation works, which include Radical Closure Artist with Bandaged Sense Organ (1997), have been shown at the San Francisco Cinematheque; the Pacific Film Archive; Palais des Beaux-Arts, Brussels; and elsewhere. He edited the special Discourse issue Gilles Deleuze: A Reason to Believe in this World. FORTHCOMING is a fascinating blend of political theory, film theory, and cross-genre writing -- an essential book for those interested in contemporary thought and culture.
Supercommunity
Leading artists, theorists, and writers exhume the dystopian and utopian futures contained within the present “I am the supercommunity, and you are only starting to recognize me. I grew out of something that used to be humanity. Some have compared me to angry crowds in public squares; others compare me to wind and atmosphere, or to software.” Invited to exhibit at the 56th Venice Biennale, e-flux journal produced a single issue over a four-month span, publishing an article a day both online and on site from Venice. In essays, poems, short stories, and plays, artists and theorists trace the negative collective that is the subject of contemporary life, in which art, the internet, and globalization have shed their utopian guises but persist as naked power, in the face of apocalyptic ecological disaster and against the claims of the social commons. “I convert care to cruelty, and cruelty back to care. I convert political desires to economic flows and data, and then I convert them back again. I convert revolutions to revelations. I don’t want security, I want to leave, and then disperse myself everywhere and all the time.”
Navigation Beyond Vision
How the shift from montage to navigation alters the way images--and art--operate as models of political action and modes of political intervention. Navigation begins where the map becomes indecipherable. Navigation operates on a plane of immanence in constant motion. Instead of framing or representing the world, the art of navigation continuously updates and adjusts multiple frames from viewpoints within and beyond the world. Navigation is thus an operational practice of synthesizing various orders of magnitude. Only a few weeks prior to his untimely death in 2014, Harun Farocki briefly referred to navigation as a contemporary challenge to montage--editing distinct sections of film into a co...
Going Public
If all things in the world can be considered as sources of aesthetic experience, then art no longer holds a privileged position. Rather, art comes between the subject and the world, and any aesthetic discourse used to legitimize art must also necessarily serve to undermine it. Following his recent books Art Power and The Communist Postscript, in Going Public Boris Groys looks to escape entrenched aesthetic and sociological understandings of art--which always assume the position of the spectator, of the consumer. Let us instead consider art from the position of the producer, who does not ask what it looks like or where it comes from, but why it exists in the first place. Boris Groys is Professor at New York University and Senior Research Fellow at the Academy of Design, Karlsruhe. He is the author of many books, including The Total Art of Stalinism, Ilya Kabakov: The Man Who Flew into Space from His Apartment, Art Power, The Communist Postscript, History Becomes Form: Moscow Conceptualism. e-flux journal Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle
Shadow Libraries
How students get the materials they need as opportunities for higher education expand but funding shrinks. From the top down, Shadow Libraries explores the institutions that shape the provision of educational materials, from the formal sector of universities and publishers to the broadly informal ones organized by faculty, copy shops, student unions, and students themselves. It looks at the history of policy battles over access to education in the post–World War II era and at the narrower versions that have played out in relation to research and textbooks, from library policies to book subsidies to, more recently, the several “open” publication models that have emerged in the higher ed...
Neomaterialism
In this absorbing theoretical manifesto, Israeli curator Joshua Simon
Art and Cosmotechnics
In light of current discourses on AI and robotics, what do the various experiences of art contribute to the rethinking of technology today? Art and Cosmotechnics addresses the challenge of technology to the existence of art and traditional thought, especially in light of current discourses on artificial intelligence and robotics. It carries out an attempt on the cosmotechnics of Chinese landscape painting in order to address this question, and further asks: What is the significance of shanshui (mountain and water) in face of the new challenges brought about by the current technological transformation? Thinking art and cosmotechnics together is an attempt to look into the varieties of experiences of art and to ask what these experiences might contribute to the rethinking of technology today.
The Way of the Shovel
Catalog for the exhibition held at the Museum of Contemporary Art Chicago from November 9, 2013-March 9, 2014.
E-flux Journal Reader 2009
"Since Conceptualism, the field of art has become increasingly accustomed to playing host to its own critique, and recent decades have seen institutions engaged in self-critique as if by mandate. Important notions of legibility, autonomy, and critical engagement that were once necessary to carve out a space for a critic or critical art publication have transposed themselves onto artistic production proper, and are now considered to be of equal importance to artist, curator, institution, and engaged audience member alike. This has made the distance that was once the bedrock of criticism increasingly hard to come by, compounded by the fact that those same institutions have been faced with an e...
