Pub Date : 2021-01-01DOI: 10.1080/20004214.2021.1954417
Pioter Shmugliakov, Alma Itzhaky
ABSTRACT Stanley Cavell and Thierry de Duve have independently proposed that judgments of the type “This is art” are aesthetic judgments, to be understood along the lines of Kant’s analysis of the judgment of taste. Contrary to the common philosophical strategy of pursuing a definition of art that could be applied to controversial cases, Cavell and de Duve reinterpret the art-judgment as a reflective aesthetic judgment that claims universal agreement on non-conceptual grounds. Accordingly, judging something to be a genuine artwork is not a preliminary step but an inherent part of our aesthetic engagement with art. Furthermore, the transcendental grounding of such judgments implies that some universal and necessary conditions of human experience are revealed in the domain of art. Yet, our analysis shows that the two positions disagree on (1) the role of distinct artistic media as being essential (Cavell) or inessential (de Duve) to the art-judgment; and (2) the relation of criticism to judgment in the experience of art. Both points are related to the philosophers’ differences regarding the material aspect of artistic experience, as well as to some further moments in their respective appropriations of Kantian aesthetics. We propose that combining the complementing insights of the two positions contributes to defining the common framework of our experience of art in its characteristic contemporary diversity. Specifically, it serves to negotiate the still much relevant tension between the high modernist position represented by Cavell and the post-conceptual position represented by de Duve.
卡维尔(Stanley Cavell)和迪夫(Thierry de Duve)各自独立地提出，“这是艺术”类型的判断是美学判断，可以按照康德对品味判断的分析来理解。与追求可以应用于有争议案例的艺术定义的常见哲学策略相反，卡维尔和德迪夫将艺术判断重新解释为一种反思性的审美判断，声称在非概念性的基础上达成普遍一致。因此，判断一个东西是真正的艺术品不是一个初步步骤，而是我们与艺术美学接触的固有部分。此外，这种判断的先验基础意味着在艺术领域揭示了人类经验的一些普遍和必要的条件。然而，我们的分析表明，这两种立场在以下方面存在分歧:(1)不同的艺术媒介在艺术判断中是必不可少的(卡维尔)还是非必不可少的(德迪夫);(二)艺术体验中批评与判断的关系。这两点都与哲学家们在艺术经验的物质方面的分歧有关，也与他们各自对康德美学的进一步挪用有关。我们认为，将这两种观点的互补见解结合起来，有助于在当代多样性中定义我们对艺术体验的共同框架。具体来说，它有助于协调以卡维尔为代表的高度现代主义立场和以德·迪夫为代表的后概念立场之间仍然密切相关的紧张关系。
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Pub Date : 2021-01-01DOI: 10.1080/20004214.2021.1920693
Elizabeth A. Hodson
ABSTRACT Central to art was once its relationship to the imaginative interior of the artist. The legacy of romanticism and the sublime has been systematically eroded throughout the 20th and 21st centuries. Although for some not entirely lost. Contemporary discourses around the posthuman have played their part in the erasure of the artist, through the breakdown of the centrality of our bodily self in the world, and correspondingly, our imaginative interior as previously conceived has been jettisoned. Through the rise of the anthropocene, attention is now paid to the more or other-than-human, and even for those who take the person as part of this schema, the body is no longer closed, its interior bracketed off from the world, but part of a wider nexus, where fundamentally for the posthuman, the body-mind of the artist is not necessarily the originating source for creativity. This paper seeks to consider the material embodiments of these developments through exploring the working practice of artist Katie Paterson. Multidisciplinary and cross-medium, her work is concerned with immensity and particularity; her material is the stuff of the world, through which she tells the story of nature’s elusive phenomena. The artist is quelled and transformed in Paterson’s work through a re-articulation of the structures and processes normally hidden from us. In this way the register of the artist shifts and the subjective self is dispersed and reconstructed through alternative frames of reference, most notably geological time and the space of the cosmos. Heir to the romantic sublime, her work offers a reappraisal of the place of artistic subjectivity in the era of the posthuman. In so doing her work reveals the potential for a new posthuman sublime.
{"title":"The register of the artist","authors":"Elizabeth A. Hodson","doi":"10.1080/20004214.2021.1920693","DOIUrl":"https://doi.org/10.1080/20004214.2021.1920693","url":null,"abstract":"ABSTRACT Central to art was once its relationship to the imaginative interior of the artist. The legacy of romanticism and the sublime has been systematically eroded throughout the 20th and 21st centuries. Although for some not entirely lost. Contemporary discourses around the posthuman have played their part in the erasure of the artist, through the breakdown of the centrality of our bodily self in the world, and correspondingly, our imaginative interior as previously conceived has been jettisoned. Through the rise of the anthropocene, attention is now paid to the more or other-than-human, and even for those who take the person as part of this schema, the body is no longer closed, its interior bracketed off from the world, but part of a wider nexus, where fundamentally for the posthuman, the body-mind of the artist is not necessarily the originating source for creativity. This paper seeks to consider the material embodiments of these developments through exploring the working practice of artist Katie Paterson. Multidisciplinary and cross-medium, her work is concerned with immensity and particularity; her material is the stuff of the world, through which she tells the story of nature’s elusive phenomena. The artist is quelled and transformed in Paterson’s work through a re-articulation of the structures and processes normally hidden from us. In this way the register of the artist shifts and the subjective self is dispersed and reconstructed through alternative frames of reference, most notably geological time and the space of the cosmos. Heir to the romantic sublime, her work offers a reappraisal of the place of artistic subjectivity in the era of the posthuman. In so doing her work reveals the potential for a new posthuman sublime.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2021.1920693","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49178324","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1080/20004214.2021.1886444
Roberto Filippello
ABSTRACT In this article, a photo story depicting “white trash” subjects in the act of defying middle-class proprieties of dress and manners serves as a case study for a critical exploration of the performative registers through which working-class bodies figure as agents of social sedition in the visual economy of fashion. The unglamorous and confrontational bodies in Memory—shot by Alexei Hay and Justine Parsons for Dutch in 2000—enact a parody of professional fashion models by exhibiting an exuberant, uncontained sexuality that cuts against the codes of “good taste” and decorum. The photo spread epitomizes how the vernacular aesthetic of “white trash” has been embraced by independent fashion magazines in order to unsettle the normative aesthetics associated with high fashion imagery and, more broadly, mainstream visual culture. Engaging with Giorgio Agamben’s reflections on gesture and profanation, the article discusses the political effect of an overperformance of corporeality through prosaic, bawdy gestures and argues that the unboundedness of the bodies in the photo spread represents an affront to the capitalist regime of productivity from which these bodies are excluded. Finally, it highlights the contribution of the aesthetic category of “white trash” to the troubling of the representational conventions within the genre of editorial fashion photography and calls for a politically committed rethinking of the aesthetic consumption of fashion images.
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Pub Date : 2021-01-01DOI: 10.1080/20004214.2021.1972526
Nina Möntmann
ABSTRACT The debate on restitution and other decolonizing practices of museums has been getting a lot of attention both in the public debate and in cultural studies. This essay shifts the focus to small-scale institutions and art spaces and their specific decolonizing practices and sensibilities. Unlike anthropological as well as art museums, which are dealing primarily with the politics of collecting, exhibition-making, provenance research, and restitution, smaller institutions and art spaces do not start out from the need to decentre collections and decolonize material objects. Instead, they work with artists, researchers, activists, and audiences to raise sensibilities, while discussing and experiencing how to relate to the history and current situation of a specific place in the context of a global colonial situation. Based on these practices of smaller organizations and their capacity to offer a platform for civic interests and participation, they suggest a dissent, a space of conflict, that, at a distance from the narrative of Western modernity, might reclaim futurity.
{"title":"Small-scale art organizations as participatory platforms for decolonizing practices and sensibilities","authors":"Nina Möntmann","doi":"10.1080/20004214.2021.1972526","DOIUrl":"https://doi.org/10.1080/20004214.2021.1972526","url":null,"abstract":"ABSTRACT The debate on restitution and other decolonizing practices of museums has been getting a lot of attention both in the public debate and in cultural studies. This essay shifts the focus to small-scale institutions and art spaces and their specific decolonizing practices and sensibilities. Unlike anthropological as well as art museums, which are dealing primarily with the politics of collecting, exhibition-making, provenance research, and restitution, smaller institutions and art spaces do not start out from the need to decentre collections and decolonize material objects. Instead, they work with artists, researchers, activists, and audiences to raise sensibilities, while discussing and experiencing how to relate to the history and current situation of a specific place in the context of a global colonial situation. Based on these practices of smaller organizations and their capacity to offer a platform for civic interests and participation, they suggest a dissent, a space of conflict, that, at a distance from the narrative of Western modernity, might reclaim futurity.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42357517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1080/20004214.2021.1997462
Stephanie von Spreter
ABSTRACT This article shows how contemporary artistic practice seeks to re-evaluate, re-interpret and re-imagine (historical) Arctic exploration narratives that have generally been considered gendered and dominated by men. It particularly examines the work of contemporary Norwegian artist Tonje Bøe Birkeland, whose entire practice emerges from embodying and staging imagined turn of the century woman explorers. One of Birkeland’s explorers travels to the Arctic and the circumpolar North and explicitly references persisting narratives deriving from the so-called heroic era of polar exploration. In order to change these narratives, I argue, Birkeland employs two feminist strategies: firstly, by storytelling and speculative fabulation (Haraway); secondly, by simultaneously complying with and disrupting re-occurring Arctic motifs and representations. Photography, travel writing and found objects are hereby her primary artistic mediums and “accomplices” in fulfilling these strategies, carefully orchestrated in a photobook in order to establish her story and view on the Arctic world. As a result, Birkeland not only reveals which stories about the Arctic are missing and could have been told. She also asks us to imagine how our relationship to the Arctic could have been shaped differently and how, through this process, it is possible to influence a future narrative of a (still) gendered Arctic.
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Pub Date : 2021-01-01DOI: 10.1080/20004214.2021.1914969
Irene Valle Corpas
ABSTRACT This article sets out to review the films of Chantal Akerman, mainly those that she made in the 1970s and 1980s, observing how her filmmaking formulates a journey to and from the home against the background of the historical scene post 1968. Through a selection of examples, I will argue that the singularities of her filmmaking—the exploration of suspended time, the preference for a frontal gaze at the female body, or the inclination to autobiography, being the most noteworthy traits—have their basis in her critical observation of the life of women in social spaces, and also in a commitment to their emancipation through desire. Seen in perspective, the path that Akerman takes is one of unstable—though coherent—movement through the rejection of domesticity as the place from which the oppression of women originates, the flight from this (in other words, nomadism), and a search for other interiors that function as the opposite of the family home. These other interiors are empty and anonymous rooms where time and the rules that govern society are suspended, where Akerman herself, or other characters who are her alter ego, go from one corporeal state to another, carrying out the basic activities of the body, such as eating, sleeping or having sex.
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Pub Date : 2021-01-01DOI: 10.1080/20004214.2021.1945239
Emily Brayshaw
ABSTRACT This article contextualises a previously unpublished manuscript on the subject of kitsch written in 1922 by the Bauhaus practitioner Oskar Schlemmer and provides an original annotated translation as an appendix. The article positions Schlemmer’s manuscript as a response to debates about the aesthetics of kitsch among his contemporaries in the German and Austrian intelligentsia, including Austrian architect Adolf Loos; Stuttgart-based art historian and member of the Deutscher Werkbund Gustav Pazaurek; the founding member of the Dürerbund, Ferdinand Avenarius; and the avant-garde satirist Frank Wedekind. Schlemmer’s unpublished manuscript is also located as part of a broader response to the social upheavals of industrialisation and the First World War, where the concept of kitsch figured centrally in discussions among taste-makers about the progress and purpose of art and design in the new century. While “kitsch” in Germany before 1920 was generally considered to be in poor taste and an expression of bourgeois excess, Schlemmer argues that not all kitsch is bad. Schlemmer’s manuscript highlights a shift, following the First World War, in attitudes among the German avant-garde towards what constituted kitsch and the role that it may have had on design inspiration within modernist theatre. Like Pazaurek, who classified different categories of kitsch, Schlemmer, too, identifies a new category of kitsch—“true” kitsch—and states not only that it appears as an expression of the joy found in popular entertainment, such as at circuses and market fairs, but that it is beautiful and as such should be celebrated.
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Pub Date : 2021-01-01DOI: 10.1080/20004214.2021.2010335
Simon Sheikh
ABSTRACT This essay will consider the possibilities for contemporary art and culture in the current age of anger, the post-public condition, the historical phase of deglobalization, and the demise of the international artworld and contemporary art as we knew it. First of all, I will outline how contemporary art came to be structurally and historically after 1989, and how this was aligned with the central notion and economy of globalization itself. In the second half, I will describe how this historical formation is changing, and arguably disappearing, and consider what can and will replace it. I will do so through a reading of Walter Mignolo’s outline of five options for the future: decoloniality, rewesternization, reorientation of the Left, dewesternization, and spiritual reawakening. To these, I will then add and consider a sixth option: neo-fascism, drawing upon the work of Rastko Močnik, which also provides a road map for the present and future.
{"title":"The roads of rage and ruin: contemporary art and its publics after the global","authors":"Simon Sheikh","doi":"10.1080/20004214.2021.2010335","DOIUrl":"https://doi.org/10.1080/20004214.2021.2010335","url":null,"abstract":"ABSTRACT This essay will consider the possibilities for contemporary art and culture in the current age of anger, the post-public condition, the historical phase of deglobalization, and the demise of the international artworld and contemporary art as we knew it. First of all, I will outline how contemporary art came to be structurally and historically after 1989, and how this was aligned with the central notion and economy of globalization itself. In the second half, I will describe how this historical formation is changing, and arguably disappearing, and consider what can and will replace it. I will do so through a reading of Walter Mignolo’s outline of five options for the future: decoloniality, rewesternization, reorientation of the Left, dewesternization, and spiritual reawakening. To these, I will then add and consider a sixth option: neo-fascism, drawing upon the work of Rastko Močnik, which also provides a road map for the present and future.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42981544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1080/20004214.2021.1898766
Anne Ring Petersen, S. Nielsen
ABSTRACT Across the world, public spaces are undergoing profound transformations, in tandem with the pluralization processes resulting from several decades of intensified global migration. The aim of this article is to provide some overarching perspectives on the topic of this special issue by examining how artistic and curatorial modes of address contribute to the creation of new public spaces and new forms of publics and assemblies attuned to today’s culturally pluralized and transnationally interconnected societies. The first part outlines how the various roles of art in public spaces (broadly understood) have been defined and evaluated by influential theorists. This account also prepares the way for the focus of the subsequent parts on art’s capacity to intervene into, or alternatively negotiate, social conflicts, and on how this change has gone hand in hand with an increasing artistic and curatorial use of participatory strategies. We then move on to critically discuss this “participatory turn” and explore, by way of a case study of the Maxim Gorki Theatre’s 4. Berliner Herbstsalon (2019), how such practices may permit public spaces to serve as sites of contestation where hegemonic structures and practices are confronted and new forms of collective identification may emerge. We also introduce the concept of postmigrant public spaces to more accurately describe the conflict-negotiating and coalition-building role that art is increasingly called upon to fulfil in the public spaces of today’s culturally diverse “societies of negotiation” (Foroutan).
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Pub Date : 2021-01-01DOI: 10.1080/20004214.2021.1994179
Stijn De Cauwer
ABSTRACT In two striking books released in 2019, Ariella Aïsha Azoulay and Georges Didi-Huberman explicitly draw a connection between their respective theoretical approaches to images and their family histories. In Potential History: Unlearning Imperialism, Azoulay recounts the suppression of the existence of her Algerian-Jewish grandmother Aïsha by her father, who wanted to hide his Arabic-Algerian origins. Azoulay consequently develops a critical view on the history of photography and its role in the imperialist destruction of entire lifeworlds. In Pour Commencer Encore, Didi-Huberman recounts the story of his mother, who had to hide her Jewishness to survive the Nazi occupation of France, and of his father, who migrated to France as a Jewish Tunisian. In both cases, their relatives’ cultural identity had to remain invisible for various reasons in the countries in which their children grew up. Azoulay and Didi-Huberman present their approaches to images as influenced by the injustices experienced by these relatives and their commitment to them even goes as far as both them of changing their author names: Azoulay added “Aïsha” to her name and Didi-Huberman adopted his paternal (“Didi”) and maternal (“Huberman”) family name. However, this commitment led them to develop vastly different approaches to images and photographs. Whereas Azoulay emphasizes the role of photography in the imperialist destruction of worlds, remaining cautious of even reproducing certain photographs in her book, Didi-Huberman argues that worlds are never completely lost and that traces of these worlds always reappear by means of images. Azoulay aligns photography with imperialism and colonialism, while Didi-Huberman associates photography with migration. In their desire to do justice to the sufferings of their relatives, both influential theorists of images develop strongly diverging views on the politics of photographs and how they can reveal traces of lost worlds.
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