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This study traces the history of a cultural and artistic landscape that has taken shape since the year 2000, with the Internet. Omar Kholeif aims to put into context a new language for seeing, feeling, and being that has emerged through post-millennial technologies, and argues for a nuanced understanding of the post-digital condition.
Goodbye, world! Looking at art in the digital age
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This study traces the history of a cultural and artistic landscape that has taken shape since the year 2000, with the Internet. Omar Kholeif aims to put into context a new language for seeing, feeling, and being that has emerged through post-millennial technologies, and argues for a nuanced understanding of the post-digital condition.
Théorie de l’art
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Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s "The Love of(...)
The love of painting: genealogy of a success medium
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Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s "The Love of Painting" considers the art form not as something fixed, but as a visual and discursive material formation with the potential to fascinate owing to its ability to produce the fantasy of liveliness. Thus, painting is not restricted to the limits of its own frame, but possesses a specific potential that is located in its material and physical signs. Its value is grounded in its capacity to both reveal and mystify its conditions of production. Alongside in-depth analyses of the work of artists like Édouard Manet, Jutta Koether, Martin Kippenberger, Jana Euler, and Marcel Broodthaers, the book includes conversations with artists in which Graw’s insights are further discussed and put to the test.
Théorie de l’art
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Les multiples dimensions de l'essor de la pensée sur l'ornement, les arts appliqués et l'architecture à l'ère industrielle, entre pulsion ornementale et projet décoratif.
Face au chaos : théories de l’ornement à l’âge de l’industrie
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Les multiples dimensions de l'essor de la pensée sur l'ornement, les arts appliqués et l'architecture à l'ère industrielle, entre pulsion ornementale et projet décoratif.
Théorie de l’architecture
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Arising from a course on repair at the Faculty of Architecture at the University of Applied Sciences in Munich, this book responds to our culture of disposability and built-in obsolescence, to encourage thinking and making, from product design to architecture.
Repair: encouragement to think and make
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Arising from a course on repair at the Faculty of Architecture at the University of Applied Sciences in Munich, this book responds to our culture of disposability and built-in obsolescence, to encourage thinking and making, from product design to architecture.
Théorie du design
Présences de l'histoire
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L'échange de Peter Zumthor avec l'historienne de l'architecture norvégienne Mari Lending explore par touches impressionnistes la façon dont l'histoire, le temps, la mémoire et les temporalités se reflètent dans l'oeuvre de Peter Zumthor : une vue surprenante et révélatrice sur un architecte important de notre époque.
Présences de l'histoire
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L'échange de Peter Zumthor avec l'historienne de l'architecture norvégienne Mari Lending explore par touches impressionnistes la façon dont l'histoire, le temps, la mémoire et les temporalités se reflètent dans l'oeuvre de Peter Zumthor : une vue surprenante et révélatrice sur un architecte important de notre époque.
Théorie de l’architecture
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Monuments represent power: explicitly and simply, but not universally. In Estonia, the classical notion of a monument is a strange one. Its presence is marginal, its tradition non-existent and its form tormented by an apparent cultural displacement. The statue on a square never claimed the central position so common in Western Europe. This semantic void directs attention(...)
Théorie de l’architecture
juillet 2018
Weak monument: architectures beyond the plinth
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Monuments represent power: explicitly and simply, but not universally. In Estonia, the classical notion of a monument is a strange one. Its presence is marginal, its tradition non-existent and its form tormented by an apparent cultural displacement. The statue on a square never claimed the central position so common in Western Europe. This semantic void directs attention to other, less exceptional pieces of architecture. Sometimes a stairway marks a politically charged location, or a pavement becomes symbolic. Instead of explicit meanings inscribed in marble and bronze, an implicit charge is revealed that might be weaker yet more relevant, for what is only implicit cannot be openly questioned. Weak Monument explores the blurred line between a monument's explicitly political form and the architecture of everyday. It juxtaposes classical monuments with seemingly insignificant architectural objects and public space in a collection of images and drawings, archival as well as newly commissioned ones, alongside essays and brief texts
Théorie de l’architecture
Les temps modernes
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L'opinion intellectuelle dit que nous en avons fini avec les Grands récits et avec le modernisme artistique. Il n'est pas sûr pourtant que nous avons commencé à penser ce que recouvrent ces termes. Pour comprendre ce qui se joue dans les mouvements d'émancipation et dans les bouleversements des arts qui les accompagnent, il faut prendre en compte la double dimension du(...)
Les temps modernes
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L'opinion intellectuelle dit que nous en avons fini avec les Grands récits et avec le modernisme artistique. Il n'est pas sûr pourtant que nous avons commencé à penser ce que recouvrent ces termes. Pour comprendre ce qui se joue dans les mouvements d'émancipation et dans les bouleversements des arts qui les accompagnent, il faut prendre en compte la double dimension du temps. Derrière l'image simple de la ligne tendue entre le passé et l'avenir qui porte promesses et désillusions. Il y a la hiérarchie des formes de vie séparant ceux qui ont le temps de ceux qui ne l'ont pas. Jacques Rancière montre comment la lutte contre ce partage des temps est au coeur des révolutions politiques et artistiques modernes et complexifie la trop simple apparence de la rupture entre l'ancien et le nouveau. Un philosophe transcendantaliste, deux ouvriers du bâtiment, trois cinéastes et quelques danseuses l'aident à en construire la scène.
Théorie/ philosophie
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Peggy Guggenheim (1898–1979) and Nelly van Doesburg (1899–1975) were vital participants in the De Stijl movement, promoting, exhibiting and buying De Stijl at a time when few had interest in the geometric language of forms being developed by Theo van Doesburg, Piet Mondrian and others in the Netherlands. Guggenheim and van Doesburg’s efforts helped ensure that De Stijl(...)
Peggy Guggenheim and Nelly van Doesburg: advocates of De Stijl
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Peggy Guggenheim (1898–1979) and Nelly van Doesburg (1899–1975) were vital participants in the De Stijl movement, promoting, exhibiting and buying De Stijl at a time when few had interest in the geometric language of forms being developed by Theo van Doesburg, Piet Mondrian and others in the Netherlands. Guggenheim and van Doesburg’s efforts helped ensure that De Stijl came to be recognized internationally as one of the most important art movements of the 20th century.
Théorie de l’art
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"Being Public" is an anthology of essays investigating, from different perspectives, the notion of "public". "Public" is one of the most issued categories in current debates on culture, yet the notion itself remains largely un-reflected. The meaning of both "art publics" and "public space" have become complex in a time where boundaries between public and private are(...)
Being public: how art creates the public
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"Being Public" is an anthology of essays investigating, from different perspectives, the notion of "public". "Public" is one of the most issued categories in current debates on culture, yet the notion itself remains largely un-reflected. The meaning of both "art publics" and "public space" have become complex in a time where boundaries between public and private are shifting, and where "the public" actually comprises different groups of changing composition and identity. What does it mean to be public today? And what is the role of art in constituting both "public space" as well as "a public"? Taking these questions as a starting point, the book aims to create a better understanding of the relationships between art and the notion of the public.
Théorie de l’art
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"The Long 1980s" speculates on the significance of the 1980s for the arts and society today. Arguing that the 1980s saw a fundamental reorientation in the relationship between governments and their publics, this volume explores how the effects of this shift have shaped our contemporary condition. Looking back at texts and artworks produced at the time, "The Long 1980s"(...)
Théorie/ philosophie
juin 2018
The long 1980s: constellations of art, politics, and identities
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"The Long 1980s" speculates on the significance of the 1980s for the arts and society today. Arguing that the 1980s saw a fundamental reorientation in the relationship between governments and their publics, this volume explores how the effects of this shift have shaped our contemporary condition. Looking back at texts and artworks produced at the time, "The Long 1980s" puts this pivotal decade in context, exploring how it continues to shape the imaginative landscape of the 21st century.
Théorie/ philosophie