Issue #73 Freeportism as Style and Ideology: Post-Internet and Speculative Realism, Part II

Freeportism as Style and Ideology: Post-Internet and Speculative Realism, Part II

Stefan Heidenreich

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Issue #73
May 2016










Notes
1

See Stefan Heidenreich, “Make Time: Temporalities and Contemporary Art,” Manifesta Journal 9 (September 2009): 69–79.

2

Cf. Graham Harman, “Art Without Relations,” ArtReview, September 2014: “As for the dead, I will take an even bigger risk, and suggest that we give a second look to none other than the Dutchman M.C. Escher—the favourite artist of countless children and few respectable adults—for reasons similar to those given in Bruskin’s case. If nothing else, a counterfactual art history in which Escher looms large is a delightful thought experiment” .

3

Suhail Malik, “Reason to Destroy Contemporary Art: 21st Century Theory,” Spike Art 37 (Autumn 2013) .

4

David Joselit, C. Lambert-Beatty, and Hal Foster, “A Questionnaire on Materialisms,” October, Winter 2016: 3.

5

See Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham: Duke University Press 2010), xiii.

6

Ibid., 4.

7

Realism Materialism Art, eds. Christoph Cox, Jenny Jaskey, and Suhail Malik (Berlin: Sternberg Press, 2015), 15.

8

Harman, “Art Without Relations.”

9

Ibid.

10

Graham Harman, The Quadruple Object, (Alresford: John Hunt, 2011), 47.

11

Graham Harman, Tool Being. Heidegger and the Metaphysics of Objects (Chicago: Open Court, 2002), 283.

12

Quentin Meillassoux, After Finitude. An Essay on the Necessity of Contingency (London: Continuum 2008), 5.

13

Malik, “Reason to Destroy Contemporary Art”

14

Ibid.

15

Ibid.

16

Ibid.