Adorno, Theodor W. (1983). Cultural Criticism and Society. In Prisms. Cambridge: MIT Press, pp. 17-34.
Adorno, Theodor W. (1991). The Culture Industry, J. M. Bernstein ed. London: Routledge, p. 66.
Adorno, Theodor W. (1997/1965). Functionalism Today. In Rethinking architecture: a reader in cultural theory, Neil Leach ed. New York: Routledge, pp. 7-19.
Adorno, Theodor W. (2000/1966). Negative Dialectics. Trans. E. B. Ashton. London: … Continue Reading ››
SOPHIA KOSMAOGLOU 2012
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Current debates about political art or aesthetic politics do not take the politics of art into account. How can artists address social politics when the politics of art remain opaque? Exhibiting artists self-consciously acknowledge the institutional frame around their work, and their own complicity with it. This compromised role … Continue Reading ››
The economic crisis of 2008 initiated a shift in the political climate on a global scale: government policies have drifted towards the right and we have grown accustomed to a permanent state of war and the tightening of surveillance and bureaucracy. Professional and social competitiveness, materialism and “connectedness” are the appropriate manners, while a massive accumulation of wealth accompanies an … Continue Reading ››
There’s a strange kind of […] obsolescence written into the film club thing which is that it takes a lot of energy to do it and you can’t make any money out of it. So you can do it for a while, but eventually you are going to be thinking you have … Continue Reading ››
The institution of art is articulated through dominant forms of art practice, discourse, pedagogy, modes of display, dissemination and reception. The institution of art produces artists as well as museums, archives, galleries, markets, journals, art schools and audiences. These institutions undergo paradigm shifts in response to the new territories explored and established by artists, but they also respond … Continue Reading ››
The concept of the autonomy of art lays claim to the appreciation of art as art. Devoid of any practical function, works of art are evaluated aesthetically and independently of any instrumental imperatives (social, moral, economic, pedagogic etc.). Autonomy characterises the work of art as an aesthetic experience, it therefore also characterises works of art and the … Continue Reading ››
The narrative of avant-garde art is a series of shifts in a controversy that revolves around whether artists should practice critique by withdrawing into artistic autonomy, or to abandon the autonomy of art and practice political art. Jacques Ranciere locates the conflict between political and non-political art in the clash between the politics internal to its own … Continue Reading ››
The period between the 1940s and 1970s saw a radical expansion of art into public space; it took the form of protest, confrontation and provocation. This was an international phenomenon and ranged from groups like Cobra, the Lettrists and the Situationist International in Paris to the Art Workers’ Coalition in New York; the Gutai Art Association, Butoh and Angura theatres … Continue Reading ››
At the sound of the engines you strap the seat belt on tight and settle down anticipating take-off. The flight is brief, a routine landing, you get ready and wait in the aisle, glancing around at the others who are travelling alone, they stare back. The … Continue Reading ››
