Abstract Less than six months after the suppression of the riots and protests of 2019–20, Hong Kong passed its first National Security Law (NSL) prohibiting—according to particularly strict definitions—“treason,” “secession,” “sedition,” and “subversion” against the Chinese government. Although the new law was not unexpected, many observers were surprised at how rapidly it was enforced against protestors and “rioters.” The effects have been detectable in the art world as well, bringing fears of stricter control of artistic expression and questions about whether self-censorship constitutes a viable survival tactic or an unnecessary sabotaging of cultural progress. It was in this context that M+, Asia's first global museum of modern and contemporary art, opened its door to the public. How will an ambitious institution of international standing maintain its claim of independence? Taking M+ as the lens, this paper contextualizes the issues faced by Hong Kong's art community by mapping the entanglements of social expectations, ethical responsibilities, and (self) censorship practices that are shaping a post-2020 Hong Kong.
{"title":"Where Are We Now? M+ and the Uncertain Future of Hong Kong","authors":"Yeewan Koon","doi":"10.1162/octo_a_00461","DOIUrl":"https://doi.org/10.1162/octo_a_00461","url":null,"abstract":"Abstract Less than six months after the suppression of the riots and protests of 2019–20, Hong Kong passed its first National Security Law (NSL) prohibiting—according to particularly strict definitions—“treason,” “secession,” “sedition,” and “subversion” against the Chinese government. Although the new law was not unexpected, many observers were surprised at how rapidly it was enforced against protestors and “rioters.” The effects have been detectable in the art world as well, bringing fears of stricter control of artistic expression and questions about whether self-censorship constitutes a viable survival tactic or an unnecessary sabotaging of cultural progress. It was in this context that M+, Asia's first global museum of modern and contemporary art, opened its door to the public. How will an ambitious institution of international standing maintain its claim of independence? Taking M+ as the lens, this paper contextualizes the issues faced by Hong Kong's art community by mapping the entanglements of social expectations, ethical responsibilities, and (self) censorship practices that are shaping a post-2020 Hong Kong.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42581791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract October distributed a questionnaire about Global Methods, asking the following: “Coming to terms with global modernisms and global contemporary art calls for an understanding of the different histories, social functions, and aesthetic genealogies that inform art of the 20th and 21st centuries in different localities throughout the world. Is the ‘comparative’ method (foundational in art history, elaborated in comparative literature) adequate anymore to the questions raised by global modernisms and contemporary art? Or are other critical categories or tools such as entanglement, assemblage, or intimacy more appropriate? Western art history's primary tools—formal analysis and nation-, community-, or subject-inflected historicization—carry inherently imperial hierarchies that tend to inscribe value judgments and artificially consolidate categories like race and nation. To build a genuinely global art history thus requires more than addressing an expanded archive. It also demands new theoretical perspectives founded in diverse ‘local’ values and functions of art as well as attending to the distortions that occur when they encounter one another in global circulation. What models for doing so have you developed in your work? What are their advantages and disadvantages? How can we expand our understanding of the global condition by proposing multiple models of modernity and their complex interrelationships?” The following authors responded: Zainab Bahranì, Peter Brunt, Zirwat Chowdhury, Iftikhar Dadi, Nikolas Drosos, Jaś Elsner, Finbarr Barry Flood, Gao Minglu, Atreyee Gupta, Jonathan Hay, Wu Hung, Jennifer Josten, Joan Kee, Anneka Lenssen, and Steven Nelson.
{"title":"A Questionnaire on Global Methods","authors":"","doi":"10.1162/octo_a_00453","DOIUrl":"https://doi.org/10.1162/octo_a_00453","url":null,"abstract":"Abstract October distributed a questionnaire about Global Methods, asking the following: “Coming to terms with global modernisms and global contemporary art calls for an understanding of the different histories, social functions, and aesthetic genealogies that inform art of the 20th and 21st centuries in different localities throughout the world. Is the ‘comparative’ method (foundational in art history, elaborated in comparative literature) adequate anymore to the questions raised by global modernisms and contemporary art? Or are other critical categories or tools such as entanglement, assemblage, or intimacy more appropriate? Western art history's primary tools—formal analysis and nation-, community-, or subject-inflected historicization—carry inherently imperial hierarchies that tend to inscribe value judgments and artificially consolidate categories like race and nation. To build a genuinely global art history thus requires more than addressing an expanded archive. It also demands new theoretical perspectives founded in diverse ‘local’ values and functions of art as well as attending to the distortions that occur when they encounter one another in global circulation. What models for doing so have you developed in your work? What are their advantages and disadvantages? How can we expand our understanding of the global condition by proposing multiple models of modernity and their complex interrelationships?” The following authors responded: Zainab Bahranì, Peter Brunt, Zirwat Chowdhury, Iftikhar Dadi, Nikolas Drosos, Jaś Elsner, Finbarr Barry Flood, Gao Minglu, Atreyee Gupta, Jonathan Hay, Wu Hung, Jennifer Josten, Joan Kee, Anneka Lenssen, and Steven Nelson.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49043707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract From the 1960s until his death in 2021, Lawrence Weiner developed an art practice operating in language, which he described as being that of a “materialist.” This paper examines the scope of Weiner's career to determine what he could mean by that term—to derive the specific characteristics of his linguistic materialism. Differentiating his work from existing materialist paradigms in poetics and linguistics, this paper argues that the matter of language for Weiner was not reducible to the visual character of the signifier or to the physicality of the referent. Rather than attempt to define language as such, Weiner's materialism set into motion the infinite social uses of words within the “stream of life.”
{"title":"Lawrence Weiner's Materialism∗","authors":"Trevor Stark","doi":"10.1162/octo_a_00455","DOIUrl":"https://doi.org/10.1162/octo_a_00455","url":null,"abstract":"Abstract From the 1960s until his death in 2021, Lawrence Weiner developed an art practice operating in language, which he described as being that of a “materialist.” This paper examines the scope of Weiner's career to determine what he could mean by that term—to derive the specific characteristics of his linguistic materialism. Differentiating his work from existing materialist paradigms in poetics and linguistics, this paper argues that the matter of language for Weiner was not reducible to the visual character of the signifier or to the physicality of the referent. Rather than attempt to define language as such, Weiner's materialism set into motion the infinite social uses of words within the “stream of life.”","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45330685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Artist and writer Nicolas Guagnini's obituary for his friend Dan Graham deploys the genre's tropes of anecdote and remembrance to elucidate the artist's idiosyncratic pedagogy. Both at the methodological and the art-historical levels these bits of conversations from over more than two decades touch on Graham's position towards his postminimalist peers, his approach to architecture, public space, writing, artistic genealogies, and anthropology.
{"title":"Dan Graham: Pedagogue","authors":"Nicolás Guagnini","doi":"10.1162/octo_a_00459","DOIUrl":"https://doi.org/10.1162/octo_a_00459","url":null,"abstract":"Abstract Artist and writer Nicolas Guagnini's obituary for his friend Dan Graham deploys the genre's tropes of anecdote and remembrance to elucidate the artist's idiosyncratic pedagogy. Both at the methodological and the art-historical levels these bits of conversations from over more than two decades touch on Graham's position towards his postminimalist peers, his approach to architecture, public space, writing, artistic genealogies, and anthropology.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48449172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This wide-ranging conversation with Black cultural theorist Saidiya Hartman—occasioned by the twenty-fifth anniversary of her groundbreaking first book, Scenes of Subjection, to be republished this year in an edition by Norton—explores the author's shifting approaches to the visual over time, the limitations and potentialities of the archive for its discontents, and the models she has both turned to and herself invented—most notably the concept of “critical fabulation”—in the ongoing attempt to find ethical modes of engaging African/Diasporic life, thought, and form in an anti-Black world.
摘要这场与黑人文化理论家赛迪娅·哈特曼（Saidiya Hartman）的广泛对话是在她开创性的第一本书《主体的场景》（Scenes of Subjection）出版25周年之际进行的，该书将于今年由诺顿出版社再版，以及她所求助的和她自己发明的模式——最著名的是“批判性虚构”的概念——在一个反黑人的世界中寻找参与非洲/双孢子虫生活、思想和形式的伦理模式的持续尝试中。
{"title":"Between Visual Scenes and Beautiful Lives: A Conversation with Saidiya Hartman∗","authors":"Huey Copeland, Leah Dickerman, Pamela M. Lee","doi":"10.1162/octo_a_00454","DOIUrl":"https://doi.org/10.1162/octo_a_00454","url":null,"abstract":"Abstract This wide-ranging conversation with Black cultural theorist Saidiya Hartman—occasioned by the twenty-fifth anniversary of her groundbreaking first book, Scenes of Subjection, to be republished this year in an edition by Norton—explores the author's shifting approaches to the visual over time, the limitations and potentialities of the archive for its discontents, and the models she has both turned to and herself invented—most notably the concept of “critical fabulation”—in the ongoing attempt to find ethical modes of engaging African/Diasporic life, thought, and form in an anti-Black world.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49521502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Citing his projects on the squatting body from the last three decades, Simon Leung traces the development of an “open form” in making an ongoing work on Hong Kong.
梁振英以过去三十年的蹲体项目为例，追溯了“开放形式”在香港的发展历程。
{"title":"Squatting Towards Hong Kong∗","authors":"Simon Leung","doi":"10.1162/octo_a_00463","DOIUrl":"https://doi.org/10.1162/octo_a_00463","url":null,"abstract":"Abstract Citing his projects on the squatting body from the last three decades, Simon Leung traces the development of an “open form” in making an ongoing work on Hong Kong.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42537499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this essay, artist Nick Mauss draws attention to the slippage between image and sound in Werner Schroeter's early films, proposing that the deliberate misalignment between song, speech, gesture, and affect opens a space of radical intimacies and unforeseen expressive potentialities that inflect Mauss' own work. Tracing Schroeter's influences through romantic and modernist literature, avant-garde film, philosophy, pop music, and, most importantly, through the advent of the lip sync as a performative resistance to interpellation, Mauss also addresses Schroeter's artistic debt to the filmmaker Edward Owens.
{"title":"On Werner Schroeter","authors":"Nick Mauss","doi":"10.1162/octo_a_00451","DOIUrl":"https://doi.org/10.1162/octo_a_00451","url":null,"abstract":"Abstract In this essay, artist Nick Mauss draws attention to the slippage between image and sound in Werner Schroeter's early films, proposing that the deliberate misalignment between song, speech, gesture, and affect opens a space of radical intimacies and unforeseen expressive potentialities that inflect Mauss' own work. Tracing Schroeter's influences through romantic and modernist literature, avant-garde film, philosophy, pop music, and, most importantly, through the advent of the lip sync as a performative resistance to interpellation, Mauss also addresses Schroeter's artistic debt to the filmmaker Edward Owens.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45342716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this memoir—which is part diary, part scrapbook—Yve-Alain Bois sifts through his nearly half-a-century correspondence with the British art critic Guy Brett to recount their friendship and evoke the numerous exhibitions the latter curated as well as the many books and catalogues he wrote, from his publications on Kinetic art and Helio Oiticica in the 1960s to his pioneering forays into contemporary art in the global South from the 1970s on. (Four short texts previously published by Bois on Brett's work are interspersed in the narrative). Particular attention is given to the Filipino artist David Medalla and the Brazilian artist Lygia Clark, whom Brett championed all his life and whose work and tribulations are discussed throughout.
{"title":"Angels with Guns: A Memoir on Guy Brett (and David Medalla)","authors":"Yve-Alain Bois","doi":"10.1162/octo_a_00447","DOIUrl":"https://doi.org/10.1162/octo_a_00447","url":null,"abstract":"Abstract In this memoir—which is part diary, part scrapbook—Yve-Alain Bois sifts through his nearly half-a-century correspondence with the British art critic Guy Brett to recount their friendship and evoke the numerous exhibitions the latter curated as well as the many books and catalogues he wrote, from his publications on Kinetic art and Helio Oiticica in the 1960s to his pioneering forays into contemporary art in the global South from the 1970s on. (Four short texts previously published by Bois on Brett's work are interspersed in the narrative). Particular attention is given to the Filipino artist David Medalla and the Brazilian artist Lygia Clark, whom Brett championed all his life and whose work and tribulations are discussed throughout.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42262504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Focusing on the early work and collaborations of the Japanese architect Arata Isozaki, this paper researches links between the robotic culture of postwar Japan and the surge of figuration in postmodernism, challenging the commonly held view that this architectural movement emerged in the West. Specifically, the paper looks at how Isozaki's robotic creation for Expo '70 embodied the notion of theatrical mask, which characterized both postmodern ideals and early Japanese robotics, and influenced his own architectural work. Delving into Isozaki's creative exchanges with the film director Hiroshi Teshigahara and the novelist Kōbō Abe, coming into contact with each other in the 1950s, a synergy between cinema, literature, and architecture is highlighted, considering their speculations about possible technological means of reconstructing the human face in light of the symbolic dimension of this enterprise for Japan as a nation, and for architecture as a discipline.
{"title":"The Face of Another: Isozaki, Deme, and the Postmodern Turn","authors":"François Blanciak","doi":"10.1162/octo_a_00448","DOIUrl":"https://doi.org/10.1162/octo_a_00448","url":null,"abstract":"Abstract Focusing on the early work and collaborations of the Japanese architect Arata Isozaki, this paper researches links between the robotic culture of postwar Japan and the surge of figuration in postmodernism, challenging the commonly held view that this architectural movement emerged in the West. Specifically, the paper looks at how Isozaki's robotic creation for Expo '70 embodied the notion of theatrical mask, which characterized both postmodern ideals and early Japanese robotics, and influenced his own architectural work. Delving into Isozaki's creative exchanges with the film director Hiroshi Teshigahara and the novelist Kōbō Abe, coming into contact with each other in the 1950s, a synergy between cinema, literature, and architecture is highlighted, considering their speculations about possible technological means of reconstructing the human face in light of the symbolic dimension of this enterprise for Japan as a nation, and for architecture as a discipline.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48511070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This text analyses the impact of Russia's war against Ukraine on Ukrainian art and features interviews with five Ukrainian artists: Alevtina Kakhidze, Maria Kulikovska, Lia Dostlieva, Andrii Dostliev, and Piotr Armianovski. The artists speak about their experiences of displacement and migration following the annexation of Crimea and the occupation of parts of Donbas in 2014 as well as their premonitions of the full-scale Russian invasion that was to come.
{"title":"Art Communities at Risk: On Ukraine","authors":"Svitlana Biedarieva","doi":"10.1162/octo_a_00452","DOIUrl":"https://doi.org/10.1162/octo_a_00452","url":null,"abstract":"Abstract This text analyses the impact of Russia's war against Ukraine on Ukrainian art and features interviews with five Ukrainian artists: Alevtina Kakhidze, Maria Kulikovska, Lia Dostlieva, Andrii Dostliev, and Piotr Armianovski. The artists speak about their experiences of displacement and migration following the annexation of Crimea and the occupation of parts of Donbas in 2014 as well as their premonitions of the full-scale Russian invasion that was to come.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43157522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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