It is a sophisticated defense of a movement deliberately weak in language and growing strong in numbers. While the movement has made declarations, the statement suggests that nothing will be demanded of those who have perpetuated and legitimized a system that has repeatedly worked to consolidate a society’s wealth in the hands of 1% of the population. In place of heroic ideology, an ostensible silence evades recuperation and maintains an opening through which collective sentiment can take the time to formulate its own terms without having to acknowledge the current regime as a necessary precedent.
Here it becomes clear that, in place of making demands, the project of the demonstrations will be to gradually reconstitute society itself through its sheer numbers—a claim to both the right and the capacity to project a new world in broad, open-ended terms.
In this issue, Jan Verwoert finds in the work of Stano Filko a means of articulating totality by claiming the world as his medium and mode of address; Jalal Toufic posits the elusiveness of messianic time against the possibility for contemporary events; Antke Engel looks at the chronopolitics of Pauline Boudry and Renate Lorenz’s work No Future / No Past; Sotirios Bahtsetzis considers nihilism, repetition, and notions of taste in a depoliticized and fiscalized society; Asli Serbest and Mona Mahall reveal mobilization in architecture as both an economic imperative and a mannerist response to classical ideals, and Joshua Simon concludes his three-part “Neo-Materialism” series by recognizing how the commodity speaks the language of our world.
—Julieta Aranda, Brian Kuan Wood, Anton Vidokle
In this issue:
Jan Verwoert—World as Medium: On the Work of Stano Filko
“So, when it articulates a world, a diagrammatic drawing or simple gesture in principle has the same status as a fully designed room installation. Even the smallest thing can show the big picture. These are conditions of autonomy produced within a material practice: Filko creates the freedom to define the value of any artifact or sign according to his own terms, that is, according to the terms of the world systems that he constructs.”
Jalal Toufic—The Contemporary Is Still Forthcoming
“There can be no museum of contemporary art since while now we can have museums but not contemporaneity, with the coming of the messiah we are going to have contemporaneity but no museums—there is going to be no need for a museum in the redeemed world, a world where one finds only what is willed to eternally recur.”
Sotirios Bahtsetzis—The Time That Remains, Part One: On Contemporary Nihilism
“The perverted, late capitalist version of such an engagement with art—the disinterested attitude, Kant’s definition of aesthetic experience—always demands its pre-validation not by the historical Other (for Kant the ahistorical, subjective-universal judgments posed by the genius), but by contemporary society’s proper neosovereign rule: that is, the globalized and institutionalized managers of taste, the individuals nurtured by a depoliticized and fiscalized society. It is through this perversion that the contemporary “homo aestheticus” is born.”
Asli Serbest and Mona Mahall—Eupalinos and the Duck: Conceptualism in Recent Architecture
“Today, skyscrapers are designed to be viewed not at 120, but at 500 kilometers per hour from an airplane. Whether or not they sing is of little importance, because they are too distant to be heard. Furthermore, they are less products of an architectural culture of late capitalism than they are the products of a few major capitalist players.”
Antke Engel—Queer Temporalities and the Chronopolitics of Transtemporal Drag
“This ethics remains bound to violence—the violence of crime and normalcy—and thus confronts the punk archive with the challenge of facing heteronormativity, postcolonialism, and the impossibility of remembering that these produce.”
Joshua Simon—Neo-Materialism, Part Three: The Language of Commodities
“The commodity is the form in which things come to be in this world. Beyond any concept of alienation in relation to labor, we can see that the commodity’s material is constituted by our very social relations. This composition gives the commodity a subjectivity that is not particular to any one of us, but is rather one in which we all participate in forming.”
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-BadenBanff: 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 Bologna Bregenz: 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 GalleryCambridge: Wysing Arts Center Castello: Espai d´art contemporani de Castelló (EACC) Chicago: Graham Foundation / The Renaissance Society Cologne: Kölnischer Kunstverein Copenhagen: Overgaden Dubai: TrafficDublin: 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 Leeds: Pavilion Lisbon: Caribic Residency / Maumaus, Escola de Artes Visuais / Oporto 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 MonclovaMilan: Fondazione Nicola Trussardi Milton Keynes: Milton Keynes Gallery Minneapolis: Walker Arts CenterMontreal: 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 ArtPrishtina: Stacion – Center for Contemporary Art Prishtina Providence: AS220 Reykjavik: Reykjavik Art MuseumRiga: Kim? Rio de Janeiro: Capacete Rome: Opera Rebis Rotterdam: 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 ProjectsStockholm: 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 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.
