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Art and philosophy
There is clearly a friendship between art and philosophy. Like with any friendship, the articulation of a certain difference between the two parties is an important part. Art and philosophy are not one and the same thing. However, the difference already fades in the conceptualisation of art and of philosophy. Perhaps what connects art and philosophy is that art generates a singular concept of art, and philosophy its own concept of philosophy. This publication accompanies the exhibition of the same name curated by Marcus Steinweg.
The Terror of Evidence
Meditations, maxims, aphorisms, notes, and comments address topics that range from pathos and genius to careerism and club sandwiches. Marcus Steinweg's capacity to implicate the other is beautiful, bright, precise, and logical, grounded in everyday questions, which to him are always big questions. —from the foreword by Thomas Hirschhorn The houses of philosophy need not be palaces. —Marcus Steinweg, “House,” The Terror of Evidence This is the first book by the prolific German philosopher Marcus Steinweg to be available in English translation. The Terror of Evidence offers meditations, maxims, aphorisms, notes, and comments—191 texts ranging in length from three words to three page...
Inconsistencies
Meditations, aphorisms, maxims, notes, and comments construct a philosophy of thought congruent with the inconsistency of our reality. Those who continue to think never return to their point of departure. —Inconsistencies These 130 short texts—aphoristic, interlacing, and sometimes perplexing—target a perennial philosophical problem: Our consciousness and our experience of reality are inconsistent, fragmentary, and unstable; God is dead, and our identity as subjects discordant. How can we establish a new mode of thought that does not cling to new gods or the false security of rationality? Marcus Steinweg, as he did in his earlier book The Terror of Evidence, constructs a philosophical ...
Richard Phillips
The first monograph on New York-based contemporary artist Richard Phillips, best known for his large-scale paintings that are ultracool in execution and very hot in effect. Richard Phillips's hyperrealistic oil paintings embody themes as broad as power, politics, celebrity, fashion, ideology, beauty, and sex, and pose questions about the status of painting today: Does the medium remain valid, or has it become a historical pastime? Pornography, propaganda, advertising, entertainment, fashion--Phillips incorporates material from a range of sources to confront what is at the core of contemporary image making, from the power of celebrity branding to complicity between viewer and viewed. The book's exploitative design strategy celebrates the commercial and fashion alliances of the artist's practice, while revealing the complex politics behind the imagery the artist chooses to paint.
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Thomas Hirschhorn
Bringing together 15 maps realized between 2003 and 2016 by Swiss artist Thomas Hirschhorn, this volume focuses on this particular aspect of his practice that could be seen as a matrix to understand his unique position within the art world and visual culture. As the artist himself explains: With my maps, I want to make clear I have a goal, that I am also a maker, and not only a thinker, a theoretician. I want my maps to be statements and also commitments toward myself, first and foremost. Acting as an archive of Hirschhorn's projects, his maps are simultaneously tools to clarify his thinking, memorials to inspirational figures such as Foucault, Spinoza, Arendt, Nietzsche, manifestoes about topics such as Friendship Between Art and Philosophy, as well as a way to resist. Published all together they provide a remarkable insight into the uncompromising art and aesthetics that Hirschhorn has been building consistently for 30 years.
Dizziness
Dizziness is more than feeling dizzy. In this multidisciplinary reader, artists, philosophers, and researchers from a range of experimental sciences and cultural studies trace dizziness not only as a phenomenon of sensory input impacting our vestibular system, but also as a twofold phenomenon of “sense”—creating meaning and triggering emotions. It is an interdependence of sense and sensing, of cultural constructs and sensuality, of somatic and cognitive knowledge, that can only be conceived of as a complex relation of both formation and dissolution, habituations and transformations, pertaining to our shared reality and our individual experiences. This is further reflected in the programmatic claim that states of dizziness can be seen as a resource. co-published with Academy of Fine Arts Vienna Contributors Ruth Anderwald, Mathias Benedek, Oliver A. I. Botar, Katrin Bucher Trantow, Davide Deriu, Karoline Feyertag, Leonhard Grond, François Jullien, Sarah Kolb, Rebekka Ladewig, Jarosław Lubiak, Alice Pechriggl, Oliver Ressler, Maya M. Shmailov, Maria Spindler, Marcus Steinweg
Venturing Upon Dizzy Heights
This book assembles lectures and essays on literature (William Wordsworth, Walter Benjamin, Chinese mountain poetry, Friedrich Nietzsche, the Tao Te Ching), art (Paleolithic cave art, Vincent Van Gogh, American landscape painting), and Japanese poetry forms (haiku, haibun, tanka) that were originally presented and published between 2000 and 2007. The essays identify strategies to counter the so-called postmodern condition. Matters of will, ethics, and consciousness are examined in comparative contexts with the aim of formulizing models of enlightened states of being and their aesthetic expressions. This study focuses on Wordsworth's rainbow epiphany; Walter Benjamin's «aura» and «monad»;...
Portrait of the Manager as a Young Author
What happens to the relationship between business and literature when storytelling becomes a privileged form of communication for organizations. Corporations love a good story. Microsoft employs a chief storyteller, who heads a team of twenty-five corporate storytellers. IBM, Coca-Cola, and the World Bank are among other organizations that have worked with storytelling methods. And, of course, Steve Jobs was famous for his storytelling. Today, narrative is a privileged form of communication for organizations. In Portrait of the Manager as a Young Author, Philipp Schönthaler explains this unlikely alliance between business and storytelling. The contradictions are immediately apparent. If, as...
The Radical Fool of Capitalism
A fresh interpretation of Jeremy Bentham, finding that his “radical foolery” embodied a social ethics that was revolutionary for its time. Jeremy Bentham (1748–1832) is best remembered today as the founder of utilitarianism (a philosophy infamously abused by the Victorians) and the conceiver of the Panopticon, the circular prison house in which all prisoners could be seen by an unseen observer—later seized upon by Michel Foucault as the apotheosis of the neoliberal control society. In this volume in the Untimely Meditation series, Christian Welzbacher offers a new interpretation of Bentham, arguing that his “radical foolery” (paraphrasing Goethe's characterization of Bentham) act...
