e-flux journal issue 33 out now with contributions by
Michael Baers, Mladen Dolar, John Miller,
Hans Ulrich Obrist and Adam Curtis, Martha Rosler, and Alenka Zupančič.
e-flux journal lecture series at MoMA/PS1:
Elizabeth Povinelli on on sensuous modes of becoming within the global circulations of being that have defined modern politics and markets.
25 March at 4pm, Free admission
On some days it is more apparent than others that the ground is shifting below our feet. On a clear day, we can see the horizon that tells us we are in the midst of a global regime change, yet we do not yet know the face of the new power just beyond it. But what we can see is the limit of an economic regime that has dangled vast advances in symbolic spheres of information and communication, in capital flows and even human movement across the globe. Perhaps it was only a matter of time before we realized the extent to which the freedom to move across borders required that the goods, information, and people being moved conform to protocols ensuring that they will be recognizable upon reaching their destination. Just as the movement of commodities presupposes a demand, for an artwork something similar happens where it must conform to an established, shared language of representation in order to be understood as art when it travels. It could even be said that this protocol has superseded the role of the exhibition space in deciding what can be presented as art.
Many artists now join others in feeling that a capacity for lateral, horizontal movement has had a flattening effect upon not only their production, but now also their bodies and minds. This realization makes it all the more interesting to begin to perceive the shape of something else on the horizon—something that will follow the convergence of new forms of popular expression that do not deny, but include the economic realities that have allowed advances in symbolic exchange, but that also cannot be taken any further. With this in mind, what do we then make of the provocative museological safari into a geopolitical stalemate proposed by the Picasso in Palestine project? The persistent comedy of right-wing fanaticism in what is arguably still the most powerful country in the world? And the soft revolution initiated by a demographic identified by Richard Florida as the Creative Class?
The March 2012 issue of e-flux journal also features essays by Mladen Dolar and Alenka Zupančič, as the second installment of texts from the conference “One Divides Into Two: Dialectics, Negativity and Clinamen,” held at the Berlin Institute for Cultural Inquiry from March 28–30, 2011, and organized by Aaron Schuster, Gal Kirn, Pascale Gillot, and Ben Dawson.
—Julieta Aranda, Anton Vidokle, Brian Kuan Wood
In this issue:
Michael Baers—No Good Time for an Exhibition: Reflections on the Picasso in Palestine Project, Part I
It was, after all, a fairly simple proposition, being, as Van Abbemuseum director Charles Esche phrased it at the opening, “only strictly concerned with the shipment of a small amount of wood, canvas, and paint from one country to another.” Yet, as I pondered the news reports, something remained elusive. The constellation of journalistic details seemed to circulate without coming to rest anywhere. I grew interested in what this failure to adequately pin down a meaning outside of several safe, uplifting messages—a failure I felt in myself and saw reflected in the media—implied for the project itself and the context of which it was a part.
John Miller—Politics of Hate in the USA, Part I: Repressive Tolerance
Although the American extremist right is small in numbers, it exerts a disproportionate ideological influence both domestically and internationally. Although built on outlandish claims, the rhetoric of the militant right quickly becomes repetitive and stultifying, and people should not underestimate the danger it poses. Its ridiculousness conceals a violence and divisiveness which are clearly aimed at mainstream and progressive, liberal-democratic values in the United States.
Alenka Zupančič—Not-Mother: On Freud’s Verneinung
The following is a very important question (and answer) asked by psychoanalysis and brought to the attention of both philosophy and logics: If we admit the non-functioning of the principle of the excluded third, what then is the status of the third that we allow for in this way? Is it something in between, a combination of two, a little bit of this and a little bit of that, a nuance with a certain degree of intensity? Or is it effectively something else (that is, precisely something “third”), with its own ontological status, even if the latter turns out to be very paradoxical?
Mladen Dolar—One Divides into Two
What pushes the count in its forward thrust? For if we have successfully managed this heroic feat of addition, assuming that one plus one makes two, then there seems to be no stopping this process, we can reproduce this step again and again, and thus count to infinity. To be sure, what seems to be a simple operation, the most elementary of all, the one acquired with the first lesson in mathematics, is itself full of pitfalls and hidden traps, and we only need to mention Frege, set theory, the suture, or Badiou’s intricate theory of numbers to remind ourselves of the complexity of the operations involved.
Hans Ulrich Obrist—In Conversation with Adam Curtis, Part II
McNamara’s generation really believed that they could sanctify everything, technologize and rationalize everything. And that didn’t work. But it doesn’t mean that building great buildings is wrong. And it doesn’t mean that scientific rationality is wrong. That’s the important thing to realize. You see, what then happens is that the conservatives and the hippies both react to this failure and say, well, this means that you can’t plan anything—science is wrong and rationality is wrong, and all you can really do is allow the free market to flourish and order will come out of that. It’s essentially irrational. In the end, I think rationality’s all you’ve got to work with.
Martha Rosler—The Artistic Mode of Revolution: From Gentrification to Occupation
A discussion of the struggles, exoduses, and reappropriations of cognitive labor, especially in the field of visual art, and especially when taken as the leading edge of the “creative class,” while critically important, is trumped by the widespread, even worldwide, public demonstrations and occupations of the past year, this year, and maybe the next. I would like to revisit the creative-class thesis I have explored here in a recent series of essays in order to frame my remarks in light of these occupations, and to make a few observations about the relationship between artists, the positioning of the creative class, and the Occupy movement.
The print edition of e-flux journal can now be found at:
Amsterdam: De Appel / Rijksakademie van beeldende kunsten Andratx: CCA Andratx Antwerp: M HKA Museum van Hedendaagse Kunst Athens: OMMU Auckland: split/fountain Austin: Arthouse at the Jones Center Baden-Baden: Staatliche Kunsthalle Baden-Baden Banff: Walter Phillips Gallery, The Banff Centre Barcelona: Arts Santa Monica / MACBA Basel: Kunsthalle Basel, Museum fur Gegenwartskunst Beijing and Guangzhou: Vitamin Creative Space Beirut: 98weeks Belgrade: Cultural Center of Belgrade Bergen: Bergen Kunsthall / Rakett Berlin: b_books / Berliner Künstlerprogramm – DAAD / do you read me? / NBK, Neuer Berliner Kunstverein / Pro qm Berlin and Zurich: Motto Bern: Kunsthalle Bern Bialystok: Arsenal Gallery Bielefeld: Bielefelder Kunstverein Birmingham: Eastside Projects / Ikon Gallery Bologna: MAMbo – Museo d’Arte Moderna di BolognaBregenz: Kunsthaus Bregenz Bristol: Arnolfini Brussels: Wiels Bucharest: National Museum of Contemporary Art Bucharest (MNAC) / Pavilion Unicredit Cairo: Contemporary Image Collective (CIC) / Townhouse Gallery Calgary: The New Gallery Cambridge: Wysing Arts Center Castello: Espai d´art contemporani de Castelló (EACC) Chicago: Graham Foundation / The Renaissance Society Cologne: Kölnischer Kunstverein Copenhagen: Overgaden Dubai: Traffic Dublin: Dublin City, The Hugh Lane / Project Arts Centre Dusseldorf: Kunstverein für die Rheinlande und Westfalen Eindhoven: Van Abbemuseum Farsta: Konsthall C Frankfurt: Städelschule / Portikus Gdansk: Centrum Sztuki Współczesnej Łaźnia Genève: Centre de la Photographie Ghent: S.M.A.K Glasgow: CCA Centre for Contemporary Arts / Sculpture Studios Graz: Grazer Kunstverein / Kunsthaus Graz / para_SITE Gallery Grijon: LABoral Centre for Art and Creative Industries Hamburg: Kunstverein Helsinki: Museum of Contemporary Art KIASMA Hobart: CAST Gallery / INFLIGHT Hong Kong: Asia Art Archive Istanbul: BAS / CDA – Projects / DEPO / SALT Innsbruck: Galerie im Taxispalais Johannesburg: Center for Historical Reenactments Kristiansand: SKMU Sørlandet Art Museum Kansas City: INKubator PRESS / La Cucaracha Press Leeds: Pavilion Lisbon: Caribic Residency / Maumaus, Escola de Artes Visuais / Oporto Loughborough: Radar, Loughborough University Ljubljana: Moderna Galerija LLandudno: Mostyn London: Architectural Association/Bedford Press / Gasworks / ICA / Serpentine Gallery/ The Showroom / Visiting Arts Los Angeles: REDCAT Luxembourg: Casino Luxembourg Madrid: Brumaria / CA2M / Pensart Maastricht: Jan van Eyck Academie Marfa: Ballroom Marfa Melbourne: Monash University Museum of Art Mexico City: Proyectos Monclova Milan: Fondazione Nicola Trussardi Milton Keynes: Milton Keynes Gallery Minneapolis: Walker Arts Center Montreal: Canadian Centre for Architecture Moscow/ Garage Center for Contemporary Culture Munich: Museum Villa Stuck / Walther Koenig Bookshop, Haus der Kunst Munich New Delhi: Sarai CSDS New York: e-flux / Independent Curators International (ICI) / Printed Matter, Inc Nottingham: Nottingham Contemporary Omaha: Bemis Center for Contemporary Arts Oslo: Kunstnernes hus Oxford: Modern Art Oxford Padona: Fondazione March Paris: castillo/corrales – Section 7 Books / Centre Pompidou / Les Laboratoires d’Aubervilliers / Palais de Tokyo Philadelphia: Bodega Pori: Pori Art Museum Porto: Museu de Arte Contemporânea de Serralves Portland: Portland Institute for Contemporary Art, (PICA) / Publication Studio Prague: Dox Centre for Contemporary Art Prishtina: Stacion – Center for Contemporary Art Prishtina Providence: AS220 Reykjavik: Reykjavik Art Museum Riga: Kim? Rio de Janeiro: Capacete Rome: MACRO Museo d’Arte Contemporanea Roma / Opera Rebis Rotterdam: Piet Zwart Institute / Witte de With Saint-Nazaire: Le Grand Cafe, Centre D’art Contemporain Salzburg: Salzburger Kunstverein San Antonio: Artpace São Paulo: Master in Visual Arts, Faculdade Santa Marcelina Sarajevo: Sarajevo Center for Contemporary Art Seoul: The Books / The Book Society Sherbrooke: Foreman Art Gallery of Bishop’s University Skopje: Press to Exit Project Space Sofia: ICA Sofia / Sofia Art Gallery St Erme Outre et Ramecourt: Performing Arts Forum St Louis: White Flag Projects Stockholm: Bonniers Konsthall / IASPIS / Index / Konstfack, University College of Art, Craft and Design Stuttgart: Württembergischer Kunstverein Stuttgart Sydney: Artspace Tallinn: Kumu Art Museum of Estonia The Hague: Stroom Den Haag Toronto: Mercer Union / The Power Plant Torun: Centre of Contemporary Art Znaki Czasu in Torun Umeå: Bildmuseet, Umeå University Utrecht: BAK, basis voor actuele kunst / Casco-Office for Art, Design and Theory Vaduz: Kunstmuseum Liechtenstein Valletta: Malta Contemporary Art Foundation Vancouver: ARTSPEAK / Morris and Helen Belkin Art Gallery, University of British Columbia / Fillip / Motto / READ Books, Charles H. Scott Gallery, Emily Carr University of Art and Design Vigo: MARCO, Museo de Arte Contemporanea de Vigo Vilnius: Contemporary Art Centre (CAC) Vitoria-Gasteiz: Montehermoso Kulturunea Visby: BAC, Baltic Art Center Warsaw: Zachęta Narodowa Galeria Sztuki / Zachęta National Gallery of Art Wiesbaden: Nassauischer Kunstverein (NKV) Yerevan: Armenian Center For Contemporary Experimental Art, NPAK Zagreb: Galerija Miroslav Kraljevic / Gallery Nova / Institute for Duration, Location and Variables, DeLVe Zurich: Postgraduate Program in Curating, Zürich University of the Arts / Shedhalle / White Space.