Arquivos da arte moderna

O autor discorre sobre a “dialética do ver” em três momentos distintos da história: metade do século 19, com Baudelaire e Manet; virada do século 20, com Proust e Valéry; e o período que antecede a Segunda Guerra, com Panofsky e Benjamin

Design and Crime

Neste artigo, Hal Foster nos narra o que ele chama da "vingança do capitalismo contra o pós-modernismo" por intermédio do design. Partindo do Art Nouveau, que nos anos 2000 voltou à moda como objeto de exposições e estudos, ele compara este estilo ao design total de nossos dias, tomando como exemplo principal o designer Bruce Mau. Do fordismo ao consumismo, as modulações que levaram à expansão de um tipo de design em detrimento da subjetividade são a base para a argumentação de Foster em favor das distinções que "dão margem de manobra à cultura".In this paper, Hal Foster gives us an account of what he calls the "revenge of capitalism on postmodernism" through design. Beginning with the renewed interest of the years 2000 in Art Nouveau, which resulted in exhibitions and studies, he compares this style with the total design of our days, of which Bruce Mau is his main example. From Fordism to consumerism, the shifts that led to the expansion of a kind of design and to the loss of subjectivity underlie Foster's claim for distinctions that "provide culture with running-room"

An archival impulse

El artículo de Hal Foster «An Archival Impulse» se publicó en el número 110 de la revista October en 2004. En este ensayo Foster inaugura una revisión teórica del concepto de archivo e identifica la presencia de un impulso en el uso del material histórico en las prácticas artísticas de los últimos años. El autor analiza los conceptos y las características del arte de archivo a través del trabajo de Thomas Hirschhorn, Tacita Dean y Sam Durant.Hal Foster’s “An Archival Impulse” was published in OCTOBER 110, Fall 2004. In this article, Foster inaugurates a theoretical revision of the archive concept and identifies the presence of an impulse in the use of historical material in the artistic practices of the last years. The author analyses the concepts and characteristics of archival art through the works of Thomas Hirschhorn, Tacita Dean and Sam Durant.Facultad de Bellas Arte

Mudança no MoMA

Neste texto, Hal Foster examina a iniciativa do Museu de Arte Moderna de Nova York, historicamente reconhecido como bastião do modernismo, de confrontar as transformações no meio artístico global e as novas exigências de um ampliado público de arte. Foster comenta o que vê como os grandes acertos dessa iniciativa – dentre eles, a maior diversidade das obras em relação a gênero, raça e proveniência dos artistas –, mas também os seus problemas, como a desautorização de critérios baseados na história da arte em prol de arranjos meramente caprichosos ou fundados na semelhança morfólogica das obras. Foster nota que mudanças semelhantes vêm ocorrendo em outros grandes museus nos Estados Unidos e assinala a premissa populista que subjaz a muitas delas. In this essay, Hal Foster examines the initiative of The Museum of Modern Art in New York, an institution historically renowned as a Modernist bullwark, in confronting deep changes in the global art world and the new claims emerging from its enlarged audiences. Foster approaches what he sees as the accomplishments in this initiative – among them, greater diversity of artists’ gender, race and region of provenience – while also pointing out its problems, such as the disallowance of art historical criteria in favor of arrangements of works based in pseudomorphisms and whimsical associations. The author remarks that changes like these have been seen in other museums throughout United States and signals the populist tenets embedded in most of them.En este texto, Hal Foster examina la iniciativa del Museo del Arte Moderno de Nueva York, históricamente conocido cómo bastión del modernismo, de confrontar las transformaciones en el medio artístico global y las nuevas exigencias de su público ampliado. Foster comenta aquellos que ve cómo aciertos de la iniciativa – cómo la diversidad de las obras con relación a género, raza y proveniencia de los artistas –, pero también sus problemas, cómo la desautorización de criterios basados en la historia del arte en favor de arreglos caprichosos o fundados en la semblanza morfológica de las obras. Foster observa que cambios semejantes ocurren en otros museos en los Estados Unidos y señala la premisa populista que basa a muchos de ellos

Focal Point Gallery : a new institutional model?

A description is given of how Focal Point Gallery’s (FPG) new building (in Southend-on-Sea, Essex) was conceived in terms of its practical effectiveness in addressing tensions between local and global, utopian, social and political thought, through the commissioning of permanent and temporary artworks – by Marc Camille Chaimowicz, Scott King, Mike Nelson, Elizabeth Price, Allen Rupperberg, Tris Vonna-Michell and Lawrence Weiner – via an ethical curatorial approach involving affirmative modes of criticality. This includes an account of distribution strategies used for FPG’s printed publicity as an artistic program in its own right, and the various platforms, channels and spaces of editorial circulation that informed this curatorial approach

On Forensic Architecture: A Conversation with Eyal Weizman

Yve-Alain Bois, Michel Feher, Hal Foster, and Eyal Weizman discuss “forensic architecture,” the practice of treating common elements of our built environment as entry points through which to interrogate the present. Forensic Architecture is also the name of a research agency established by Weizman to undertake independent investigations in the context of armed conflicts, political struggles, and environmental transformation. Participants discuss cases in which the agency acts on commissions from international prosecutors, investigative journalists, the United Nations, human rights organizations, and environmental-justice and media groups. The discussion of this practice is illustrated by brief examples taken from recent investigations in places such as Pakistan, the former Yugoslavia, Gaza, Syria, and Guatemala