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A permanent state of emergency: a neo-aesthetic view on contemporary politics and artMiško Šuvakovi? describes his experience of the twentieth and twenty-first centuries as a "permanent state of emergency". The author explores this perspective in relation to the politics of time (dialectic historicizing) and the politics of space (geographic difference). By mapping visual arts, performance arts, architecture, music, new media and postmedia arts with contemporary theory, philosophy and aesthetics, he challenges established conceptualizations in modern and contemporary art movements.
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Art Theory & CriticismANNOTATIONS
1 Jürgen Habermas: “Modernity: An Incomplete Project”, trans. Seyla Ben-Habib, in: Postmodern Culture, ed. Hal Foster. London: Pluto Press, 1985, 9.
2 Peter Osborne: The Politics of Time: Modernity and Avant-garde. London: Verso, 1995, 13–14.
3 Terry Eagleton: The Ideology of the Aesthetic. Oxford: Blackwell Publishers, 1990, 3.
4 T. J. Clark: The Painting of Modern Life: Paris in the Art of Manet and his Followers. London: Thames and Hudson, 1985, 3–4.
5 Walter Benjamin: “K (Dream City and Dream House, Dreams of the Future, Anthropological Nihilism, Jung)”, in: The Arcades Project, trans. Howard Eiland, Kevin McLaughlin. Cambridge, MA: The Belknap Press of Harvard University Press, 2002, 163.
6 Theodor W. Adorno: “Dialectic of Loneliness”, in: Philosophy of New Music, trans. Robert Hullot-Kentor. Minneapolis: University of Minnesota Press, 2006, 37–40.
7 Fredric Jameson: “Culture and Finance Capital”, in: The Cultural Turn: Selected Writings on the Postmodern, 1983–1998. London and New York: Verso, 2009, 136–161.
8 Raymond Williams: “When Was Modernism?”, in: Politics of Modernism. London: Verso, 2007, 32.
9 Cf. the logic of thinking about a changed state of things in: Jacques Rancière: “In What Time Do We Live?”, in: The State of Things. London: Office for Contemporary Art, Norway and Koening Books, 2012, 12.
10 Adorno: Aesthetic Theory, 1.
11 Arthur C. Danto: “The Appreciation and Interpretation of Works of Art”, in: The Philosophical Disenfranchisement of Art. New York: Columbia University Press, 1986, 23.
12 Arthur C. Danto: “The Artworld”, in: Philosophy Looks at the Arts: Contemporary Readings in Aesthetics, ed. Joseph Margolis. Philadelphia: Temple University Press, 1986, 162.
13 Clement Greenberg: “Intuition and the Esthetic Experience”, in: Homemade Esthetics: Observations of Art and Taste. Oxford: Oxford University Press, 1999, 4–9.
14 Clement Greenberg: “Modernist Painting” (1965), in: Modern Art and Modernism: A Critical Anthology, eds. Francis Frascina and Charles Harrison. London: Harper & Row, 1986, 8–9.
15 Benjamin H. D. Buchloh: “Cold War Constructivism”, in: Formalism and Historicity. Models and Methods in Twentieth-Cenrtury Art. Cambridge MA: The MIT Press, 2015, 402.
16 Charles Harrison: “Introduction: The Judgment of Art”, in: Greenberg, Homemade Esthetics, xiii.
17 Ibid., xvii.
18 Clement Greenberg: “Abstract, Representational and So Forth” (1954), in: Art and Culture: Critical Essays. Boston: Beacon Press, 1961, 133.
19 Charles Harrison: “A Kind of Context: Modernism in Two Voices”, in: Essays on Art & Language. Oxford: Basil Blackwell, 1991, 5.
20 Idem.
21 Peter Bürger: “Avant-garde and Neo-avant-garde: An Attempt to Answer Certain Critics of Theory of the Avant-garde”, trans. Bettina Brandt and Daniel Purdy, in: New Literary History 41 (2010), 695–715, here 707. The interpolated quotation is from Peter Bürger, “The Avant-gardiste Work of Art”, in: Theory of the Avant-garde, trans. Michael Shaw. Minneapolis: University of Minnesota Press, 1984, 58.
22 Charles Harrison: “Introduction”, in: Art & Language: Text zum Phänomen Kunst und Sprache, eds. Paul Maenz, Gerd de Vries. Cologne: Verlag M. DuMont Schauberg, 1972, 14.
23 Cf. the exhibition concept in: High and Low: Modern Art and Popular Culture, eds. Kirk Varnedoe and Adam Gopnik. New York: Museum of Modern Art, 1990; Thomas Crow: Modern Art in the Common Culture. New Haven, CT: Yale University Press, 1996.
24 C. G. Argan: “Progetto e destino”, in: Progetto e destino. Milan: Il saggiatore, 1965, 9–74.
25 G. C. Argan: “Arte come ricerca”, in: Arte in Europa: scritti di storia dell’arte in onore di Edoardo Arslan. Milano, 1966, 3–8.
26 Gurminder K. Bhambra: “Introduction: Postcolonialism, Sociology, and the Politics of Knowledge Production”, in: Rethinking Modernity: Postcolonialism and the Sociological Imagination. New York: Palgrave, 2009, 5.
27 Bhambra: “From Modernisation to Multiple Modernities: Eurocentrism redux”, in: Rethinking Modernity, 56.
28 Piotr Piotrowski: “On the Spatial Turn, or Horizontal Art History”, Umèni/Art: Journal of the Institute for Art History 56 (2008), 378–383.
29 Paul Wood: “Approaching Conceptual Art”, in: Conceptual Art. London: Tate Publishing, 2002, 9.
30 Vladimir Lenin: “Report on the Work of the Council of the People’s Commissars. December 22, 1920”, http://soviethistory.macalester.edu/index.php?page=subject&SubjectID=1921electric&Year=1921, 3.4. 2014.
31 Leon Trotsky: “Revolutionary and Socialist Art” (1924), in: Literature and Revolution, trans. Rose Strunsky. London: Haymarket Books 2000, 123.
32 Leon Trotsky: “What Did the Theory of the Permanent Revolution Look Like in Practice?”, in: The Permanent Revolution, and Results and Prospects, trans. John G. Wright. Seattle: Red Letter Press, 2010, 231–252.
33 Ješa Denegri: “Inside or Outside Socialist Modernism? Radical Views on the Yugoslav Art Scene, 1950–1970”, trans. Branka Nikolić, in: Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918–1991, eds. Dubravka Đurić and Miško Šuvaković. Cambridge, MA: MIT Press, 2003, 170–208.
34 Piotr Piotrowski: In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1...
Table of contents
- Cover
- Title
- Dedication
- Imprint
- CONTENTS
- INTRODUCTION
- POLITICS OF THEORY
- SOCIALISM / COLD WAR / POSTSOCIALISM
- MUSIC THROUGH AESTHETICS
- CRITICAL ARCHITECTURE
- PERFORMANCE ART
- POST-MEDIA ART
- EXPERIMENTAL THEORY
- ABOUT THE ESSAYS
- LITERATURE
- ANNOTATIONS
- ABOUT THE AUTHOR