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Datebooks, 1964/65
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"Seek the Extremes ..."
The exhibition at Kunsthalle Wien focuses on the work of two women who resisted all attempts at appropriation - even by feminist theory. Both artists, each using her own means, developed an aesthetic of vehement self-exposure, which occasionally offended their contemporaries.
Grounding God
Now that we have entered the Anthropocene, the geological age in which humans have altered the natural world to such an extent that nature and culture can no longer be separated, the modern dichotomies of mind versus body and culture versus nature have become implausible and need to be replaced. In Grounding God, Arianne Conty argues that it is in the field of religion where we can find a new ontology better suited for the Anthropocene. Conty calls this new religious ontology the grounding of the sacred, in that it seeks to deconstruct the binaries of modernity and provide in their place a revalorization of the immanent earth and the more-than-human beings that inhabit it. Such a grounding of the sacred is a potent means to overcome the exploitation and desecration of the earth and its nonhuman beings and, to provide in its stead, an inclusive cosmopolitics that extends mind into matter and culture into nature. Tracing such a grounding in the Christian, Buddhist, neopagan, and animist traditions, Conty seeks to elaborate an interdisciplinary ecosophy, one that uses philosophy, anthropology, and religious studies to provide new values for the present age.
Datebooks, 1964/65
Sunday, June 21, 1964 "Studio--To date have again done mainly drawings. Coming along. Sometimes I feel they’re good, often I get discouraged. Staying at studio gets a little easier + more pleasant. I usually take break + come home. Tom stays.”---Eva Hesse In 1964--65, Eva Hesse lived with her husband, sculptor Tom Doyle, in Kettwig-on-the-Ruhr, Germany, at the invitation of a European art collector. During this time, as she did throughout most of her life, Hesse kept diaries and made extensive notations in datebook calendars. These two datebooks, published for the first time as facsimile editions, are accompanied by a third volume that includes an essay on their significance in the artis...
Reviewing the Past
Though constantly in decay, ruins continue to fascinate the observer. Their still-standing survival is a loud affirmation of their presence, in which we can admire the struggle against the power of Nature aesthetically manifested during the decay. This volume takes a thematic approach to examining the aesthetics of ruins. It looks at the general aspects of architectural decay and its classical forms of admiration and then turns towards ruins from both classical and contemporary periods, from both Western and non-Western areas, and with examples from “high art” as well as popular culture. Combining the methodologies of art history, aesthetics and cultural history, this book opens up new ways of looking at the phenomenon of ruins.
Endless Andness
In Endless Andness, Mieke Bal pioneers a new understanding of the political potential of abstract art which does not passively yield its meaning to the viewer but creates it anew - an art perceived not only through the retina but experienced viscerally. In this book, the third of her companion volumes on art's political agency, Bal explores perception through an intense engagement with the work of Belgian sculptor Ann Veronica Janssens. In a series of vividly-recalled encounters with Janssen's practice over a number of years, Balpresents a new conception of embodied perception - art experienced in a body conjured into participation and transformed by the experience. From Janssens' 'mist room...
Animism in Art and Performance
This book explores Māori indigenous and non-indigenous scholarship corresponding with the term ‘animism’. In addressing visual, media and performance art, it explores the dualisms of people and things, as well as 'who' or 'what' is credited with 'animacy'. It comprises a diverse array of essays divided into four sections: Indigenous Animacies, Atmospheric Animations, Animacy Hierarchies and Sensational Animisms. Cassandra Barnett discusses artists Terri Te Tau and Bridget Reweti and how personhood and hau (life breath) traverse art-taonga. Artist Natalie Robertson addresses kōrero (talk) with ancestors through photography. Janine Randerson and sound artist Rachel Shearer consider the sun as animate with mauri (life force), while Anna Gibb explores life in the algorithm. Rebecca Schneider and Amelia Jones discuss animacy in queered and raced formations. Stephen Zepke explores Deleuze and Guattari's animist hylozoism and Amelia Barikin examines a mineral ontology of art. This book will appeal to readers interested in indigenous and non-indigenous entanglements and those who seek different approaches to new materialism, the post-human and the anthropocene.
Staging export
VALIE EXPORT ist eine der bedeutendsten multi-media und performance Künstlerinnen der Welt. Ihr Werk ist bahnbrechend und wird seit Jahrzehnten international geschätzt. In den 80er und 90er Jahren lehrte sie an Universitäten in den USA und in Deutschland. Im Jahr 2000 erhielt sie den Oskar Kokoschka-Preis, der von der österreichischen Bundesregierung für hervorragende Leistungen auf dem Gebiet der bildenden Kunst vergeben wird. Das Große Goldene Ehrenzeichen für Verdienste um die Republik Österreich erhielt sie im Juni 2010. Die in diesem Band versammelten Beiträge - sechsundzwanzig an der Zahl und von ganz unterschiedlicher Art - sind zu Ehren VALIE EXPORTs geschrieben und gestaltet worden.
+ QUE 20 ANS APRÈS
"Director of the Generali Foundation from 2008 to 2014, Sabine Folie helped establish the institution's reputation for generating new critical discussion on contemporary art through revisiting modernism. This survey publication, illustrated with photographs and source materials, documents the collection of works acquired during Folie's tenure. Essays by theorists and artists reflect on contemporary art themes exploring areas such as linguistic devices, the dismantling of representation and the reorganization of pictorial space, the changing role of artist and museums, the relationship between subject and environment due to globalization and post-colonialism, artistic processing of history and the production of memorial culture. Included are commentary and artworks by Lothar Baumgarten, Marcel Broodthaers, Ernst Caramelle, Peter Downsbrough, Harun Farocki, Morgan Fisher, Stéphane Mallarmé, Klaus Scherübel, Josef Strau, Ana Torfs, Joëlle Tuerlinckx, and Ian Wallace, among others."--Publisher.
