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Schriften
Artwork by Jenny Holzer. Text by Noemi Smolik.
In the Sphere of The Soviets
The book distinctive is listed in points (i) it focuses on Eastern European art covering the historical avant-garde to the post-war and contemporary periods of; (ii) it looks at some key artists in the countries that have not been given so much attention within this content i.e. Georgia, Dagestan, Chechnya and Central Asia; (iii) it looks beyond Eastern Europe to the influence of Russia/Soviet Union in Asia. It explores the theoretical models developed for understanding contemporary art across Eastern Europe and focus on the new generation of Georgian artists who emerged in the immediate years before and after the country’s independence from the Soviet Union; and on to discuss the legacy and debates around monuments across Poland, Russia and Ukraine.helps in Better understanding the postwar and contemporary art in Eastern Europe.
The Blue Rider
»Das ganze Werk, Kunst genannt, kennt keine Grenzen und Völker, sondern die Menschheit.« So schrieben es Franz Marc und Wassily Kandinsky 1911 für ihren Almanach Der Blaue Reiter. Dieses programmatische Jahrbuch etablierte den Blauen Reiter (ca. 1911–1914) als einen der ersten transnationalen Künstler*innenkreise. Und dieses Credo inspirierte das Lenbachhaus dazu, das Werk der beteiligten Künstler*innen – unter ihnen Gabriele Münter, Alfred Kubin, Maria Marc und Elisabeth Epstein – nicht nur ästhetisch und historisch, sondern in seinen geistigen, sozio-ökonomischen sowie politischen Zusammenhängen zu betrachten. Denn nicht nur mit Worten, sondern auch mit Bildern und Taten setzte sich der Kreis des Blauen Reiter für ein globales, gleichberechtigtes Kunstverständnis ein. Gefangen in der Zeit der kolonialen Weltordnung vor dem Ersten Weltkrieg, gelang es allerdings auch ihnen nicht, eine emanzipatorische Praxis von Kunst jenseits nationaler Zugehörigkeit sowie tradierter Hierarchien und Gattungen umzusetzen.
Ane Mette Hol
Welchen Stellenwert hat die Kopie im Verhältnis zum Original? Welche Rolle spielt das Original, wenn es hinter perfekten Reproduktionen verschwindet? Wie beeinflussen mediale Umsetzungen die Wahrnehmung? Ane Mette Hols Kunst stellt diese Fragen, indem sie exakte Doppelgänger von Bildern, Fotografien, Texten, Filmen oder Buchseiten erstellt. Das ist durch Hols reduzierte Präzision auch fesselnd. In ihrer Paradoxalität sind ihre Werke (nicht) Magrittes Pfeife für das 21. Jahrhundert. Auch die Publikation arbeitet mit dieser Strategie: Sie bietet nicht nur eine Werkschau der letzten zwei Schaffensjahre Hols, sondern wird auch selbst Teil dieses dialektischen Spiels. Einige der Buchseiten hat Hol selbst noch einmal reproduziert, um sie als kopierte Originale einer Kopie in den Katalog zu integrieren.
Erotics of Deconstruction
Erotics of Deconstruction takes advantage of over a decade of publications from Derrida's seminars to creatively demonstrate the deep material range of deconstruction and emphasise its under-recognised erotic nature. It activates psychoanalysis without the long-embedded philosophical trajectory that forged the human, psychic life and sexuality as categorically distinct from 'the animal' (inherent to dialectics and psychoanalysis). It generates new conversations with Derrida's feminist contemporaries as they encounter pressing questions in current critical thought. From the larger frame of 'life death' and the broadest auto-affective relation of inside to outside, to the difficult to grasp interface of conceptual and sensible, Erotics of Deconstruction does not retreat to a reparative life force or erotics of the good, but includes the unsettling friction of an originary relation to violence. Parsed by means of case studies from literature, philosophy and vis ual culture, erotics in this volume lap at every edge.
Art as Demonstration
How artists wield demonstration to question the status quo both aesthetically and politically, marshaling art and education as powerful agents of change. Demonstration, in short, says: See here. It is the practice of pointing to something in order to explain or contest it. As such, Sven Spieker argues that demonstration has helped reshape art from the height of the Cold War to the late twentieth century, reformatting our understanding of how art and political engagement relate to each other. Focusing on Western Europe (especially Germany), Eastern Europe, and the United States, Art as Demonstration expands on contemporary discussions of art-as-protest, activism, and resistance. Spieker shows...
Intimate Collaborations
Beautifully illustrated, this insightful book looks at two influential artist couples and the roles of gender and the applied arts in the emergence of abstraction.
Modernism and the Spiritual in Russian Art
In 1911 Vasily Kandinsky published the first edition of ‘On the Spiritual in Art’, a landmark modernist treatise in which he sought to reframe the meaning of art and the true role of the artist. For many artists of late Imperial Russia – a culture deeply influenced by the regime’s adoption of Byzantine Orthodoxy centuries before – questions of religion and spirituality were of paramount importance. As artists and the wider art community experimented with new ideas and interpretations at the dawn of the twentieth century, their relationship with ‘the spiritual’ – broadly defined – was inextricably linked to their roles as pioneers of modernism. This diverse collection of ess...
The Total Art of Stalinism
From the ruins of communism, Boris Groys emerges to provoke our interest in the aesthetic goals pursued with such catastrophic consequences by its founders. Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists' goal of producing world-transformative art. In this new edition, Groys revisits the debate that the book has stimulated since its first publication.
Drawing from the Modern
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