Politique de l’art : art contemporain et transition vers la postdémocratie

L’une des manières les plus courantes de relier la politique à l’art suppose que ce dernier illustre, d’une façon ou d’une autre, des problématiques politiques. Or il existe une perspective bien plus intéressante : celle de la politique dans le champ de l’art en tant qu’espace de travail.Il s’agit d’observer ce que l’art fait - et non ce qu’il montre. Parmi toutes les autres formes d’art existantes, les beaux-arts sont ceux qui ont été le plus étroitement liés à la spéculation postfordiste, e..

Die Institution der Kritik

'Kritik kann in der Tradition neuzeitlichen Denkens verstanden werden als eine Weise politischer Subjektivierung. Diese These wird für die letzten Jahrzehnte expliziert durch die Arten der Institutionskritik im Kunstfeld, wobei Hinweise auf entsprechende Entwicklungen der kritischen Psychologien gegeben werden. Drei Phasen dieses Verhältnisses von Kritik und Kulturinstitution werden herausgearbeitet: Die Option von Räumen demokratischer Öffentlichkeit in den siebziger Jahren, der Zusammenbruch solcher Forderungen im politisch-ökonomischen Paradigmenwechsel der neunziger Jahre - Institutionskritik wird Repräsentationskritik, es sollte eine Hegemonie in der Darstellung des Anderen erkämpft werden - und aktuell der Gang in die Prekarität, die Produktion eines ambivalenten Subjekts in der Gefahr der Entortung.' (Autorenreferat)'Critique may - in the tradition of modern thinking - be understood as a form of subjectivation. This argument is explained with respect to last decades, referring to the critique of institution in the field of art. Three phases of the relationship between critique and cultural institutions are presented: The possibility of democratic public space in the 1970ies, the decrease of this public claim in the political/ economical paradigm change in 1990ies - the critique of institution is turned into critique of representation the aim now was to create a hegemonic representation of the other - and at present the step towards precarity, the production of the ambivalent subject in danger of delocalization.' (author's abstract

Art, a Test Site (ENG)

Published in: GUERRA, Carles; STEYERL, Hito; FERNANDES, João (2015). Hito Steyerl: duty-free art. Madrid: Museo Nacional Centro de Arte Reina Sofía. Catalogue published to accompany the exhibition held from 10 November 2015 to 21 March 2016

Pattern Discrimination

Algorithmic identity politics reinstate old forms of social segregation - in a digital world, identity politics is pattern discrimination. It is by recognizing patterns in input data that Artificial Intelligence algorithms create bias and practice racial exclusions thereby inscribing power relations into media. How can we filter information out of data without reinserting racist, sexist, and classist beliefs

Um excesso de mundo: a internet está morta?

Deconstructing expectations that the internet would be a vector for the democratization of knowledge, the essay sarcastically reveals the expansion of old media monopolies within social networks. The growth of ideologies, the appearance of fake news, and unexpected attacks at users' opinions, far from being spontaneous attitudes, are instead planned procedures to secure the power of a privileged few.Deconstruyendo la expectativa de que Internet sería un gran vector para la democratización del conocimiento, el texto revela con sarcasmo la expansión de los viejos monopolios ediáticos dentro de las redes sociales. El crecimiento de las ideologías, la aparición de fake news y los ataques intempestivos a las opiniones de los usuarios serían actitudes no espontáneas, sino procedimientos destinados a asegurar el poder de unos pocos privilegiados.Desconstruindo a expectativa de que a Internet seria um grande vetor de democratização do conhecimento, o texto revela de forma sarcástica a expansão de antigos monopólios midiáticos dentro das redes sociais. O crescimento de ideologias, o surgimento de fake news e os ataques intempestivos à opinião de usuários não seriam atitudes espontâneas, mas procedimentos planejados para assegurar o poder a poucos privilegiados

The Psychopathologies of Cognitive Capitalism:Part II

An international array of philosophers, critical theorists, media theorists, art historians, architects, and artists discussed the state of the mind and brain under the conditions of contemporary capitalism, in which these cognitive apparati have become the new focus of labouring. Like its predecessor &#8216;The Psychopathologies of Cognitive Capitalism: Part I&#8217;, this conference investigated how the conditions of &#8216;semiocapitalism&#8217; and &#8216;cognitive capitalism&#8217; have transformed the conditions of labour – specifically the fact that so much contemporary labour is immaterial, affective, and cognitive – and as a result détourned the role of emancipatory politics, art/architecture, and education today. Might these new conditions also have lasting material ramifications for the brain and mind? The conference elaborated upon many of the questions left unattended in Part 1. Questions such as: What is the future of mind in cognitive capitalism? Can a term such as &#8216;plastic materialism&#8217; describe the substantive changes in neural architectures instigated by this contingent cultural habitus? Is there such a thing as &#8216;cognitive communism&#8217;? Is designed space an agent or platform in the production of subjectivity and is parametrics complicit with its devices? How does artistic research create new emancipatory possibilities in opposition to the overwhelming instrumentalization of the general intellect in semiocapitalism?The Psychopathologies of Cognitive Capitalism: Part II, conference, ICI Berlin, 7–9 March 2013 <https://doi.org/10.25620/e130307

Museus sem lugar: ensaios, manifestos e diálogos em rede

Contém artigos de: Helena Barranha - Introdução: manifestos por um museu sem lugar (pp.3-8); Natalie Bookchin e Alexei Shulgin - Introdução à net.art (1994-1999) [1999] (pp.11-18); Andreas Broegger - Net Art, web art, online art, net.art? [2000] (pp.19-24); Josephine Berry - Humano, demasiado Pós-Humano? A Net Art e os seus críticos [2000] (pp.25-33); Jon Ippolito - Dez mitos sobre a Internet Art [2002] (pp.34-44); Manuel Castells - Os museus na era da informação: conectores culturais de tempo e espaço [2001] (pp.47-62); Yehuda Kalay e John Marx - Arquitectura e Internet: projectar lugares no ciberespaço [2005] (pp.63-87); Erkki Huhtamo - Nas (ou para além das) pontas dos dedos: arte contemporânea, práticas expositivas e tactilidade [2008] (pp.88-102); Domenico Quaranta - Perdido na tradução. Ou trazer a Net Art para outro lugar – desculpem, contexto [2008] (pp.103-120); Marisa Olson - Pós-Internet: A Arte depois da Internet [2011] (pp.123-136); Fred Forest - A arte cosa mentale. Do visível ao invisível e da realidade a uma realidade... diferente. [2012] (pp.137-141); Hito Steyerl - Demasiado mundo: a Internet morreu? [2012] (pp.142-158); Excertos das entrevistas realizadas, no âmbito do projecto unplace, a artistas, curadores e investigadores (pp.159-196)

Cross-Fadings of Racialisation and Migratisation: The Postcolonial Turn in Western European Gender and Migration Studies

Looking at feminist and anti-racist approaches situated in or focused on Western Europe, especially Germany, this article investigates how racism and migration can be theorised in relation to each other in critical knowledge production. Rather than being an article ‘about Germany’, my intervention understands the German context as an exemplary place for deconstructing Europe and its gendered, racialised and sexualised premises. I argue that a ‘postcolonial turn’ has begun to emerge in Western European gender and migration studies and is questioning easy assumptions about the connections between racism and migration. Discussing examples from academic knowledge production and media debates, I suggest to think of migratisation (the ascription of migration) as performative practice that repeatedly re-stages a sending-off to an elsewhere and works in close interaction with racialisation. In particular, drawing on postcolonial approaches, I carve out the interconnection of racialisation and migratisation with class and gender. I argue that equating racialisation with migratisation carries the risk of whitening understandings of migration and/or reinforcing already whitened understandings of nation and Europeanness. To make discrimination ‘accessible’ to critical knowledge production, I engage in an epistemological discussion of the potentials and challenges of differentiating analytical categorisations. With this, this article engages with ascriptions, exclusions and abjectifications and attempts to formulate precise conceptualisations for the ever shifting forms of resistance we urgently need in transnational feminist activism and knowledge productio

Luciano Floridi and contemporary art practice

This article examines how the thinking of Luciano Floridi, especially his emphasis on information, could affect the way we approach art practice. It aims to situate art practice in relation to contemporary informational theories and suggests that the way we view contemporary art practice needs to move beyond existing theories. Key components to Floridi’s philosophy are introduced with relevance to art practice, followed by an analysis of these concepts with examples from the history of art. It is hoped that, by clarifying some of the more complex terms and concepts, readers will form a better understanding of the connections and potential synergy between art practice and the sciences of information, through the philosophy of Floridi

Incertidumbre documental

Recuerdo muy gráficamente una extraña emisión televisiva de hace unos años. En uno de los primeros días de la invasión estadounidense de Iraq, en 2003, un experimentado corresponsal de la CNN iba subido en un vehículo blindado. Se le veía exultante porque estaba realizando una emisión en directo con la cámara de un teléfono móvil colocado fuera de la ventana. Decía a voz en grito que nunca antes se había visto una emisión de ese tipo. Y realmente era así. Porque era difícil ver algo en aquellas imágenes. Debido a la baja resolución, lo único que se veía eran unas manchas verdes y marrones moviéndose lentamente sobre la pantalla. En realidad, la imagen era como el camuflaje de los uniformes de combate; una versión militar de expresionismo abstracto. ¿Qué nos dice este tipo de documentalismo abstracto sobre el documentalismo como tal? Apunta hacia una característica más profunda de muchas imágenes documentales contemporáneas: cuanto más rápido se transforman, menos hay que ver en ellas. Cuanto más cerca de la realidad estamos, menos inteligible es. Lo llamaremos ’el principio de incertidumbre del documentalismo moderno’