Julieta Aranda, Brian Kuan Wood, Anton Vidokle Editorial
Sotirios Bahtsetzi The Time That Remains, Part One: On Contemporary Nihilism The perverted, late capitalist version of such an engagement with art—the disinterested attitude, Kant’s definition of aesthetic experience—always demands its pre-validation not by the historical Other (for Kant the ahistorical, subjective-universal judgments posed by the genius), but by contemporary society’s proper neosovereign rule: that is, the globalized and institutionalized managers of taste, the individuals nurtured by a depoliticized and fiscalized society. It is through this perversion that the contemporary “homo aestheticus” is born.
Jalal Toufic The Contemporary Is Still Forthcoming There can be no museum of contemporary art since while now we can have museums but not contemporaneity, with the coming of the messiah we are going to have contemporaneity but no museums—there is going to be no need for a museum in the redeemed world, a world where one finds only what is willed to eternally recur.
Jan Verwoert World as Medium: On the Work of Stano Filko So, when it articulates a world, a diagrammatic drawing or simple gesture in principle has the same status as a fully designed room installation. Even the smallest thing can show the big picture. These are conditions of autonomy produced within a material practice: Filko creates the freedom to define the value of any artifact or sign according to his own terms, that is, according to the terms of the world systems that he constructs.
Antke Engel Queer Temporalities and the Chronopolitics of Transtemporal Drag This ethics remains bound to violence—the violence of crime and normalcy—and thus confronts the punk archive with the challenge of facing heteronormativity, postcolonialism, and the impossibility of remembering that these produce.
Joshua Simon Neo-Materialism, Part Three: The Language of Commodities The commodity entails not only the subjectivity of the people who took part in designing, making, delivering, and selling it, but also of those who use, clean, dismantle, and scavenge it. The commodity is the form in which things come to be in this world. Beyond any concept of alienation in relation to labor, we can see that the commodity’s material is constituted by our very social relations. This composition gives the commodity a subjectivity that is not particular to any one of us, but is rather one in which we all participate in forming.
Asli Serbest and Mona Mahall Eupalinos and the Duck: Conceptualism in Recent Architecture Today, skyscrapers are designed to be viewed not at 120, but at 500 kilometers per hour from an airplane. Whether or not they sing is of little importance, because they are too distant to be heard. Furthermore, they are less products of an architectural culture of late capitalism than they are the products of a few major capitalist players.
Letters to the Editors: Responses to Jon Rich’s “The Blood of the Victim”
Gertrude Contemporary maintains a comprehensive Publications Program. With publications accompanying every exhibition, Gertrude Contemporary encourages critical engagement with our exhibitions.
Alongside these smaller exhibition brochures Gertrude Contemporary also works in partnership with leading graphic designers Fabio Ongarato Design and Yanni Florence to create major publications to accompany our international touring exhibitions and other special exhibition projects.
Hans Ulrich Obrist : A Brief History of Curating 11 interviews with curatorial pioneers
이 출판물은 선구자적인 큐레이터들을 위해 출판되어졌고, Hans Ulrich Obrist의 독특한 인터뷰 모음집이기도 하다. (Anne d'Harnoncourt, Werner Hofman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hultén, and Harald Szeema과의 인터뷰 내용이 담겨있다.)
기고자들은 1960년과 1970년대 큐레이터의 지형을 만든 초기 독립 큐레이터로 이 당시에는 유럽과 미국에서 실험적인 교육 프로그램이 Documenta 나 비엔날레와 함께 발전한 때이다.
또한 이 책은 Documents series의 일부이며 Les presses du réel 과 함께 공동 출판되었다.
This publication is dedicated to pioneering curators and presents a unique collection of interviews by Hans Ulrich Obrist: Anne d'Harnoncourt, Werner Hofman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hultén, and Harald Szeemann are gathered together in this volume.
The contributions map the development of the curatorial field, from early independent curating in the 1960s and 1970s and the experimental institutional programs developed in Europe and in the USA at this time, through Documenta and the development of biennales.
The book is part of the Documents series, co-published with Les presses du réel and dedicated to critical writings.
Fourth edition.
Collection Documents Series
Edited by Lionel Bovier Hans Ulrich Obrist Author(s) Daniel Birnbaum Christophe Cherix Hans Ulrich Obrist
Edition English April 2011 ISBN: 978-3-905829-55-6 Softcover, 150 x 210 mm 246 pages
큐레이터의 선구자인 HANS ULRICH OBRIST는 중국의 아방가르드에 일찍부터 관심이 있었다. 큐레이터인 후 한루와 공동으로 기획한 획기적인 전시회’Cities on the Move’ 를 시작으로 오브리스트는 중국의 아티스트, 건축가들, 영화제작가들, 그리고 음악가들과 함께 그들의 작업에 대한 작업의 시작, 과정 그리고 국제적으로 흐르는 예술 운동과의 연결고리들에 관하여 대화를 나누어왔다. 이 책은 오브리스트만의 인터뷰 형식으로 진행되어졌으며, 이러한 대화들은 어떻게 예술적 실행이 중국에서 발달되어 왔는지에 대한 깜짝 놀랄만한 폭로들을 이끌면서 진행되었다. 10년에 걸친 (하지만 거의 2006년과 2007년에 집중되어진) 중국 현대 미술에서의 중추적인 순간은 올림픽 전, 경제 상황의 호전으로 전례없는 국제적인 이목이 집중되었던 이 시기에 이루어짐으로써 이러한 작가와의 대화는 역사적인 화려한 순간인 동시에 작가들이 그들 각자의 궤적을 가차없이, 날카롭고, 적나라하게 자신의 생각을 드러내고 설명하는 독특한 시작이 된다.
Artists included Ai Weiwei, Big-Tail Elephant Group, Cao Chong’en, Cao Fei, Yung Ho Chang, Chen Zhen, Chu Yun, Ding Yi, Gu Dexin, Huang Yong Ping, Jia Zhangke, Liu Wei, Lu Chunsheng, Ma Qingyun, Wang Guangyi, Wang Jianwei, Wang Hui, Wu Shanzhuan, Xu Tan, Xu Zhen, Yan Jun, Yan Lei, Yang Fudong, Zhang Enli, Zheng Guogu, and Zhu Pei.
HANS ULRICH OBRIST
The China Interviews Curatorial pioneer Hans Ulrich Obrist has been an early and frequent observer of the Chinese avant-garde. Beginning with his groundbreaking 1996 exhibition Cities on the Move (co-curated with Hou Hanru), Obrist has engaged China’s leading artists, architects, filmmakers, and musicians in an ongoing dialogue about their work-its origins, evolutions, and connections to artistic movements internationally.
Conducted in Obrist’s signature interview format, these conversations lead to surprising revelations about how artistic practices in China have evolved. Spanning a decade but concentrated in 2006 and 2007 – a pivotal moment for contemporary art in China as international interest surged alongside an unprecedented pre-Olympic market upswing-these conversations present both a snapshot of an exuberant historical moment and a unique introduction to the work of the featured artists, as they explain and interpret their own trajectories in dialogue with this relentlessly sharp and inquisitive mind.
Compiled, edited, and painstakingly translated into English for the first time, the interviews are accompanied by over 200 full-color illustrations. Edited by Philip Tinari and Angie Baecker and with an introduction by Philip Tinari.
2009 / Hardcover / 5 x 7 1/4 inches / 410 pp / 200 color ISBN: 978-988-17367-2-7
미학의 부활과 개념주의(conceptualism) 의 지속성 사이에 현대미술에 관한 비평의 글들은 다시 한번 다각도의 미학적 차원에 초점을 맞추어 집중해 왔다. 1960년대부터 미술 관행의 변화, 기관, 정치적인 맥락들, 이론적 패러다임들의 변화, 그리고 그 논의 가운데의 맥락과 특징은 특히 1989년부터 이어진 서구 미술 세계의 글로벌 확장과 함께 현저하게 움직여왔다. 이 책은 철학자, 예술가, 비평가와 미술 역사가들이 썼던 초학문적인 글들을 모아 네 가지 주요 주제들: “감각적 사고”, 예술적인 제약의 소멸, 포스트 자율주의적인 관행과 글로벌 미술세계의 전시적 가치를 언급하면서 현대예술의 미학의 장소를 재고한다.
이 글들은 현대 유럽의 철학 연구센터 CEMEP, 런던의 미들섹스 대학, 리서치 센터“Aesthetic Experience and the Dissolution of Artistic Limits” 와 베를린 자유대학이 협력하여 기획한 국제 컨퍼런스“Aesthetics and Contemporary Art” (2008) 의 회담 내용에서 발췌하였다.
Torn between a revival of aesthetics and the persistence of conceptualism, critical writing about contemporary art has once again come to focus on differing views of its aesthetic dimension. The context and character of these debates has, however, shifted markedly since the 1960s, with changes in art practices, institutions, political contexts, and theoretical paradigms—and in particular, with the global extension of the Western art world since 1989. This inter- and transdisciplinary collection of essays by philosophers, artists, critics, and art historians, reconsiders the place of the aesthetic in contemporary art, with reference to four main themes: aesthetics as “sensate thinking”; the dissolution of artistic limits; post-autonomous practices; and exhibition-values in a global artworld.
The essays originate in talks given on the occasion of an international conference on “Aesthetics and Contemporary Art” (2008), organized by the Centre for Research in Modern European Philosophy (CRMEP), Middlesex University, London, in cooperation with the Collaborative Research Centre “Aesthetic Experience and the Dissolution of Artistic Limits” (SfB 626), Free University Berlin.
On three occasions, between the fall of 2008 and the spring of 2009, Witte de With Center for Contemporary Art organized three symposia under the title Rotterdam Dialogues: The Critics, The Curators, The Artists. Each three-day event focused on one agent in the art world, looking at their expectations, positions and the contexts in which they operate.
If a book cannot capture the atmosphere of lively excitement of 35 international critics, 48 curators and 57 artists, not to mention the 500+ visitors who attended each symposium, it can highlight the individual tone and spirit of many discussions that remain, by necessity, unfinished. This book follows a chronological structure, containing selected transcriptions from each symposium and the outcomes of the associated workshops. After this comes a free-wheeling section titled 'What are you talking about now?', a question sent to all the guests in the months that followed the symposia.
Their diverse reactions give a sense of the range of characters, ideas and practices that the symposia brought together.
Published by post editions
co-published with Witte de With, center for contemporary art Design by Kummer & Herrman, Utrecht editors :
Zoë Gray,
Miriam Kathrein, Nicolaus Schafhausen, Monika Szewczyk,
1. Sung Hwan Kim, Ki-Da Rilke (기-다 릴께), May 2011
2. Wendelien van Oldenborgh, A Well Respected Man, or Book of Echoes, April 2011
3. Markus Miessen, The Nightmare of Participation, October 2010
4. Nav Haq, Tirdad Zolghadr (Eds.), Lapdogs of the Bourgeoisie: Class Hegemony in Contemporary Art, June 2010
5. Haegue Yang, Siblings and Twins, May 2010
1. Armen Avanessian, Luke Skrebowski, Aesthetics and Contemporary Art, May 2011
2. Momus, Solution 214–238: The Book of Japans, May 2011
3. Joshua Simon, Solution 196–213: United States of Palestine-Israel, March 2011
4. Hans Ulrich Obrist, Everything You Always Wanted to Know About Curating**But Were Afraid to Ask, March 2011
