Concerning Matters to be Left for a Later Date, Part 4 of 4 (Guest-Starring Annika Eriksson)

Michael Baers is an artist based in Berlin. He has participated in exhibitions throughout North America and Europe, usually with graphical publications exhibited sculpturally. He frequently collaborates with Fucking Good Art and has contributed to many publications including Chto Delat, SUM, and Princess Lulu. An important correlate to his artistic practice is his work as a teacher. He has been a guest instructor in Denmark and Norway, conducting seminars that mix theory and artistic praxis. Currently he is an instructor at Det Fynske Kunstakademi in Denmark. He also occasionally writes catalogue essays, articles, and reviews.

Journal # 07

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Julieta Aranda, Brian Kuan Wood, and Anton Vidokle

Editorial

The processes of the factory have entered the museum in ways that Warhol and Duchamp could never have dreamed: the amount of art production now by far exceeds what can be processed or understood, and this often creates a degree of mistrust and an absence of common points of reference with which to not only discuss, but also to gain anything from the sheer volume of artworks placed on display today. The time to engage and digest work is often replaced by additional work—it just keeps coming...

Michael Baers

Boris Groys

Self-Design and Aesthetic Responsibility

Production of Sincerity These days, almost everyone seems to agree that the times in which art tried to establish its autonomy—successfully or unsuccessfully—are over. And yet this diagnosis is made with mixed feelings. One tends to celebrate the readiness of contemporary art to transcend the traditional confines of the art system, if such a move is dictated by a will to change the dominant social and political conditions, to make the world a better place—if the move, in other words, is...

Raqs Media Collective

Earthworms Dancing: Notes for a Biennial in Slow Motion

The earthworms take their time; let’s take ours. On Recovery and Anticipation For any calendrical rite to be what it is, the moments before and after it can only make sense in terms of anticipation and recovery. In the case of events characterized by repetitive cyclical periodicity, recovery is always also anticipation, and the moment after the event is also the moment before the event. An event is a plea against the equivalence of all moments vis-à-vis each other; it insists...

Omnia El Shakry

Artistic Sovereignty in the Shadow of Post-Socialism: Egypt’s 20th Annual Youth Salon

While questions of creative sovereignty ( hurriyat al-ibda‛ ) tend to loom large in Egyptian academic writings, the artistic trajectory of the annual juried competition known as the Youth Salon has been marked, historically, by structural inertia. Established in 1989 by the Ministry of Culture, the exhibition was meant to encourage a new generation of Egyptian artists and increase their international visibility. 1 Jessica Winegar has explored the Salon as a “tournament of values” that is...

Hito Steyerl

Is a Museum a Factory?

The film La hora de los hornos ( The Hour of the Furnaces , 1968), a Third Cinema manifesto against neocolonialism, has a brilliant installation specification. 1 A banner was to be hung at every screening with text reading: “Every spectator is either a coward or a traitor.” 2 It was intended to break down the distinctions between filmmaker and audience, author and producer, and thus create a sphere of political action. And where was this film shown? In factories, of course. Now,...

Monika Szewczyk

Art of Conversation, Part II

In continuing this written monologue about conversation, I am becoming aware of the sheer weirdness of thinking in this way about something that behaves so differently than writing “for the record.” But if, as Maurice Blanchot demonstrates, conversation can be defined as a series of interruptions—perhaps the most powerful of which being the neutrality of silence—then writing, which is a kind of silent speech, may itself constitute an interruption to the way conversation is imagined. 1...

Brian Kuan Wood

A Universalism for Everyone

Universe I see your face looks just like mine… — The Microphones, “Universe” It can be difficult today to reconcile oneself with modernist ideals that seem to still contain some liberating promise, considering how in practice so many of these ideals have proven to be ineffective at best, and quite oppressive at worst. Likewise, while ideological systems that accompanied these ideals are no longer reliable, their straightforward certainty and romantic clarity of purpose somehow remain...

Pauline J. Yao

A Game Played Without Rules Has No Losers

That contemporary art in China has developed in response to the cultural, political, intellectual, economic, and social conditions of its particular (and highly transformative) environment is beyond doubt. Yet to what extent we view art as merely reflective, illustrative, or representative of its specific cultural context, rather than endowed with the capacity to transcend difference and engage critically to change, readapt, redesign, or push against these contested frameworks, has nearly...

Michael Baers

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