Zur Schließung der Generali Foundation

Angesichts der Übernahme der Sammlung Generali Foundation seitens des Museums der Moderne in Salzburg veranstaltete die Universität für angewandte Kunst Wien am 12. März 2014 eine Podiumsdiskussion. Bei dieser Diskussion trug die Kunsthistorikerin und Kritikerin Sabeth Buchmann folgendes Statement vor ..

Følelsernes opdragelse

The essay discusses the role of affect and emotions in Yvonne Rainer's autobiography 'feelings are facts. a life' from 2006 in relation to her films and choreographic work. Buchmann traces the emotional impact on Rainer's formalist work and argues that the autobiography may be seen as a supplementary work to Rainer's artistic work. Implicitly, Buchmann raises the question of how emotional strength may be used as an artistic force

Das Subjekt, das nicht eins ist

Sabeth Buchmann The Subject that is Not WholeThis paper discusses the aesthetic processes of German artist Simone Schardt, whose work explores the languages of (post-)conceptualism, which are situated between strategies of objectification and subjectification, in terms of the current demands placed on the artist’s existence. Like many of her notes, made on lined paper using a pencil, typewriter, coffee and so on, her Grammatik der Härte – Grammatik der Weichheit, a drawing the artist has specially chosen to contribute to this issue, marks an attempt to translate traditional techniques of critiquing authorship and an artist’s work into the language of governmental concepts of subjectivity. Schardt’s work reflects on the subject or the first person as that particular site provided in a discourse that can and must (albeit never completely) be occupied by way of identification

Introduction: “Is There a Place (Still) For Criticism?”

The texts presented in this special issue of the JSTA have two ambitions. On the one hand, they try to retake the problem of art criticism in a digital age that significantly transformed the means of exhibition and experimentation of works of art. Together they are an introduction to the task of criticism today, taking into account its genealogy in German theoretical romanticism and its new repertoires in post-colonial theory and infra-structural critique. On the other hand, they aim in recovering the discussion of criticism and the need for its inclusion in contemporary art discussions.&nbsp

Putting Rehearsals to the Test : Practices of Rehearsal in Fine Arts, Film, theater, Theory, and Politics

"Although the format of the rehearsal is used across a number of disciplines—film and theater as well as fine arts—it has been scarcely considered in historical and contemporary art discourses. With this in mind, Putting Rehearsals to the Test investigates the role and function of the rehearsal as a methodology, modus operandi, medium, site of representation, and reflection on processes of artistic production. " -- Publisher's website

From Conceptualism to Feminism : Lucy Lippard's Numbers Shows, 1969-74

"Four exhibtions of contemporary art organised by Lucy Lippard have become known as her 'numbers shows'. Each took the population of the city in which it was shown as its title: '557,087' in Seattle, '955,000' in Vancouver, '2,972,453' in Buenos Aires and 'c.7,500' in Valencia, California and touring. This book examines the numbers shows and follows Lippard's trajectory as critic and curator, tracing her growing political engagement and involvement with feminism" -- p. [4] of cover

Art After Conceptual Art

"Art After Conceptual Art tracks the various legacies of conceptual practice over the past three decades. The anthology introduces and develops the idea that conceptual art generated several different, and even contradictory, forms and art practice. Whereas some of these art modes contested commonplace assumptions of what art is, others served to buttress those beliefs. The bulk of the volume features newly written and highly innovative essays challenging standard historicizations of the legacy of Conceptualism, as well as the critical impact of these art practices on art since the 1970s" -- p. 4 of cover