Conceptual and post-conceptual art

Rad u uvodnom delu daje kratak pregled genealogije pojma
ekstraktivizma i njegova recentna tumačenja u proširenom
kontekstu novih geopolitičkih konstelacija. U teorijskoj diskusiji
razmatra se Marxov pojam ekstraktivnih industrija i
distinkcija između aproprijacije, shvaćene kao osnove svih
oblika svojine i načina proizvodnje, i posebnih oblika aproprijacije,
kao što su eksproprijacija radi profita, karakteristična
za kapitalizam. Marxove teze sučeljavaju se i preispituju kroz
prizmu predstavnika američkog talasa ekosocijalizma Johna
Bellamyja Fostera. Osvrt na aktivističke pokrete koji se javljaju
širom sveta u borbi protiv različitih vidova i posledica
ekstraktivističkog kapitalizma i neokolonijalnizma uvodi središnja
razmatranja o umetničkim praksama koje se bave ekološkim
temama. U drugom delu rada analiziraju se umetničke
pozicije koje razobličujući i kritikujući mehanizme globalnog
ekstraktivizma, koji proizvodi ekocide i ugrožava različite
zajednice u brojnim zemljama sveta, nadasve Globalnog
juga, nude modele saradnje s tim zajednicama, osmišljavaju
drugačije vidove iskazivanja solidarnosti i umrežavanja. Pri
tome, svojim radovima i istraživanjima, umetnici čije se prakse
i primeri razmatraju, posebno ukazuju i na samokolonizujuću
politiku korumpiranih režima koji resurse svojih zemalja
nude korporacijama uz koncesije, ne obazirući se na potencijalne
ekološke katastrofe koje njihove teritorije pretvaraju u
zone žrtvovanja s velikim posledicama po lokalni ekosistem

From the mid-1960s to the mid-1990s, Barbara Steveni' s collaborative practice spanned three expansive initiatives: the APG, European Placement Programme, and Organisation & Imagination. The artwork produced was material, immaterial, and performative, composed of countless documents, negotiations, conversations, and strategic relationships. To describe her practice during this period, Steveni coined the phrase 'the context is half the work'.

Ovaj tekst predstavlja kratku intervenciju povodom problema jedinstva/homogenosti i heterogenosti unutar studentsko-građanske pobune u Srbiji tokom prve polovine 2025. godine. Radi se o pokušaju postavljanja nekih bitnih razgraničenja u nepreglednom izveštavanju i javnom diskursu o jedinstvu i narušavanju jedinstva povodom navedenog društvenog pokreta: najpre, razlike između ideološkog ili apstraktnog jedinstva i konkretnog, delatnog jedinstva, na tragu Marksove distinkcije između klase po sebi i klase za sebe, kao i nekih marksističkih teorija klase. Tekst je objavljen krajem aprila 2025. godine na portalu Normalizuj.me.

Maps. Art Cartography 1960–2011 is a publication accompanying the eponymous extensive exhibition curated by Daniela Čarná and Lucia Gregorová Stach, presented at the City Gallery Bratislava and the Slovak National Gallery. The project explored the rich terrain of cartographic thinking in modern and contemporary art, with a special focus on Central and Eastern European contexts.

Departing from the understanding that maps are never neutral representations but culturally and ideologically charged constructions, the exhibition and publication investigate how artists have appropriated and redefined cartography as a conceptual, post-conceptual, and identitary instrument. From Fluxus, land art, and conceptualism to post-socialist strategies of subjective geography, the book traces how artists use maps to question systems of power, visualize personal or imagined territories, and articulate shifting cultural identities.

This curatorial and research initiative was also an attempt to understand our own point of departure—our situatedness—on the very map of the world. Today, this trajectory could be extended through new research practices not based in state geographies, but employing decolonial, anti-nationalist, and anti-patriarchal strategies to explore both physical and mental territories, allowing for a more fluid, plural, and critical mapping of experience and belonging.

Bu çalışmada, Clement Greenberg’in modernist biçimcilik kuramını kökenleri, gelişimi, etkisi ve eleştirileriyle birlikte çok yönlü bir perspektiften analiz etmek amaçlanmıştır. Çalışmanın kapsamı, biçimcilik kuramının tarihsel öncüllerinden başlayarak Greenberg’in temel argümanlarının gelişimini, soyut dışavurumculuk gibi akımlar üzerindeki yönlendirici rolü ile hakimiyet süreci ve sonrasında aldığı temel eleştirileri içermektedir. Çalışmada nitel araştırma yöntemleri kullanılmış; Greenberg’in metinleri, ilgili literatürdeki temel argümanlar ve dönemin kavramsal yapıları ile karşılaştırmalı analiz yaklaşımıyla yorumlanmış ve çözümlenmiştir. Sonuç olarak, Greenberg’in medyum özgüllüğü, düzlemsellik ve tarihsel ilerleme gibi kavramlarla şekillendirdiği biçimci kuramın, modern sanatın algılanışında ve kanonunun oluşumunda belirleyici bir etki yarattığı saptanmıştır. Ancak bu kuramın içerik, bağlam ve alternatif sanatsal ifadeleri dışlaması nedeniyle indirgemecilik, tarihselcilik ve seçkincilik gibi önemli eleştirilere hedef olduğu da tespit edilmiştir. Kuramın bu sınırlılıkları, onun mirasının hem kurucu hem de sorunlu yönlerini içeren diyalektik doğasını belirlemiştir. Çalışma, Greenberg’in sanat tarihindeki yerinin ve karmaşık mirasının, ancak faaliyet gösterdiği dönemin entelektüel ve kültürel koşulları dikkate alınarak anlaşılabileceğini vurgulamaktadır. Bu analiz, onun düşüncesini bütüncül ve bağlamsal bir çerçevede sunarak ilgili literatüre katkı sağlamayı hedeflemektedir.

Diplomová práca sa zaoberá mapovaním postkonceptuálnych tendencií práce s textom v generácií česko-slovenských umelcov a umelkýň narodených po roku 1990. Cieľom je preskúmať vnútornú trajektóriu vývoja textových stratégií vo vizuálnom umení na území Česka a Slovenska, a to v historickom aj súčasnom kontexte. Ambíciou je nadviazať na doterajšie teoretické zdroje, ktoré sa venujú konceptuálnemu a postkonceptuálnemu textu, a rozšíriť ich o skúmanie súčasnej generácie umelcov a umelkýň, ktorých aktívnu tvorbu môžeme datovať približne od roku 2015 až po súčasnosť, pričom ich prístup k textu sa vyznačuje návratom k materialite, introspekcii a subjektívnej výpovedi. Tento vývoj je možné kontextualizovať aj v súvislosti so širšími tendenciami na poli výtvarného umenia, s tzv. neoromantizmom, ktorý sa výraznejšie presadil v umeleckom diskurze medzi rokmi 2016 až 2018. Neoromantický subjekt však nie je sentimentálnym dedičom 19. storočia, ktorý sa utápal vo vlastných problémoch. Novodobý hrdina globalizovaného sveta je orientovaný kozmopolitne a komunite, zaujímajú ho problémy sveta ako celku. A tak, kým sa značná časť 20. storočia niesla v duchu racionality a experimentu, čo možno sledovať už od čias avantgardy, dnes sa takmer po dekáde vraciame späť k subjektívnemu prežívaniu a intímnej výpovedi ako nástrojom k rekontextualizácií sveta. Diplomová práca vychádza z dostupnej literatúry a rozhovorov s vybranými autormi a autorkami súčasnej textovej generácie, pričom identifikuje vývojové línie a aktuálne tendencie v česko-slovenskom kontexte, kde má práca s textom vo vizuálnom umení dlhodobú a významnú tradíciu.

Try and imagine what a museum of creativity looks like. This book tells of a challenging exhibition held in one of the major Russian museums-the Tretyakov Gallery in Moscow. Arseniy Zhilyaev created a conceptual project for an imaginary museum. The viewer sees into the future after the liberation/revolution and is confronted with a radically different outlook on the history of twentieth-century art. At the core of the exhibition, there turns out to be a complex dialectic in the relationship between museum and artist: how does an artist's work come to be exhibited in a museum? When and why does an artist engage in artistic creation outside the museum walls? Is the museum the space in which a "happening" takes place? The book includes texts by Russian and foreign art critics as well as a number of previously untranslated Soviet avant-garde texts about museums and proletarian folklore.

A Conceptual Artist in Every School is simultaneously a spectacular artistic gesture and an invisible pedagogical activity. It is both performative and conceptual in that the project is durational and relational (and therefore dynamic). The idea is simple, but the implementation requires the nuance of an artist and the diplomatic acumen of a critical pedagogue. For more than 25 years, I have been doing this type of work both in and out of schools, on the skirts of the art world and most recently as a scholar in the academy. A Conceptual Artist in Every School is a performative work of scholarship where individuals in schools (could be teachers, but this is not required) take on the posture of a conceptual artist within their school buildings. The end goal is not to create art about conceptual art but to be a certain kind of thinker in those particular educational spaces who behaves as a conceptual artist, first at school, but ultimately everywhere, all the time. © 2025 selection and editorial matter, Izabel Galliera and Noni Brynjolson; individual chapters, the contributors.

This paper and demonstration shows how the procedure of creating an electronic visualisation of some particular existing classic algorithmic artworks can give a better and deeper understanding of the original work and, as it happened in the case study, allows to find mistakes that weren't previously identified by historians, critics or researchers. This study is grounded on a case study that identified a mistake on one of the most widely spread documents that integrate Sol LeWitt's masterpiece "Variations of incomplete open cubes". In the contemporary context of digital and electronic technologies, that feed cultural superficiality, this study purposes that re-coding early algorithmic artworks can-besides being a great learning method for coding and thinking-give a deeper understanding about the thoughts and practices of the original piece authors.

Bu çalışma Klasik Batı Müziği kapsamında müzik analizi, müzik teorisi ve müzik performansı arasındaki ilişki ve etkileşimi değerlendirmek amacıyla oluşturulmuştur. Müzik analizi ile müzik teorisi, özellikle müziği performans yönünü öne çıkaran bir perspektiften yaklaşıldığında, çoğu zaman birbirinin yerine geçen kavramlar şeklinde ele alınır. Aynı perspektiften bakıldığında müzik analizinin performans ile ilişkisi ve analizin sanatsal üretime ne şekilde yansıdığı da tartışmalıdır. Bu şüphe, analizin müzik parçasının teorik yanıyla, performansın ise sanatsal tarafıyla ilişkili olarak ele alınmasından doğar. Teorik alanın akademik yayınları ile müzikal performansın konser ve resitalleri arasındaki kategorik fark, iki alanı kimi zaman birbirinin karşıtıymış gibi gösterir. Oysaki analiz, teorisyenin da icracının da kullandığı bir gereçtir; gerek müzik teorisi ve müzik analizi gerekse müzik performansı, müzik yapıtını bir sanat ürünü olarak ele alır ve eserin sanatsal nitelikleri üzerine temellenir. Özellikle 20. yüzyılın ikinci yarısında analiz ve performans alanları arasındaki etkileşim üzerine yeni yaklaşımlar geliştirilmiş ve bu konu birçok müzik yazarının çalışmasında ele alınmıştır. Müzik, nesnel yönleri belirgin olan bir partisyonun hem farklı performanslar yoluyla farklı yorumlara dönüşmesine hem de öznel düşünsel çıkarımlara nesnel yöntem ve ilkeler yoluyla ulaşılmasına imkân tanıyan bir sanattır. İki alan, 'nesnel' yönleri belirgin olan bir metnin 'yorum' yoluyla gerçekleştirilmesi ortak paydasında birleşir. Bu çalışma, müzik analizinin teori ve performans ile ilişkisini ve yorum olgusunun müzik analizi ile müzik performansı arasındaki bağlantı kurma işlevini araştırmayı amaçlar. Çalışmanın ilk adımında müzik teorisi ve müzik analizi arasındaki ilişki tanımlanmış, ardından müzik analizinin öznel yanlarına değinilmiş ve bu öznellik ilişkisi, müzik yapıtının özünü oluşturan 'yoruma açıklık' olgusu üzerinden değerlendirilmiştir. Çalışmanın son adımında üslubun bu alanlara etkisi araştırılmış ve performans kadar müzik analizi sürecinde de üslubun belirleyici bir etken olduğu gösterilmiştir.

In celebration of ten years of programming, this year's Saas-Fee Summer Institute of Art in Paris, hosted by Centre des Récollets and Université Paris 6 Panthéon-Sorbonne, will look at alternative historical frameworks of Conceptual art in order to engage the newfound signiTcance of this movement in the digital information age. To do this, we will introduce the novel category of "Wet" Conceptual art at a moment when the knowledge economy and the signiTcance of mind, brain and consciousness have never been more important. While some earlier examples, such as Boris Groys's 6[B[ essay "Moscow Romantic Conceptualism" and the exhibitions Global Conceptualism at Queens Museum (6[[[) and Romantic Conceptualism at Kunsthalle Nurnberg (*((B), attempted to question Conceptual art's limitations and blind spots, exposing its mystical and romantic roots as well as its inherent xenophobia, recent social, political, cultural and technological conditions have developed and accelerated the need for a new understanding of classically deTned Conceptual art to combat the impending despotism of Big Data and a social media-generated consciousness industry.

Faculty
Saâdane ATf, Julieta Aranda, Nicolas Bourriaud, Gaëlle Choisne, Mathieu Copeland, Marieke Dittmar, Claire Fontaine, Sozita Goudouna, Jörg Heiser, Helen Hester, Warren Neidich (founder/director), Kameelah Janan Rasheed, Gregory Sholette, and Yann Toma.

Vaccari ha scritto:  “...il poeta è: il tecnico della comunicazione della coscienza del vivere, oppure, ed è la stessa cosa, un produttore di messaggi a coefficiente minimo di falsa coscienza...". Non c’è poesia senza conoscenza e partecipazione, se si ignora l’importanza di curare e guarire, sopportare, consolare, ridere, condividere, regalare, disobbedire, il chiaro e lo scuro che ci abitano: tutto il possibile che aiuti a vivere. L’11 settembre 2001 doveva indurre a riflettere e non ci fu risposta. Non c’è risposta oggi all’atrocità di cui siamo testimoni. Rileggo l’affettuosa descrizione del lavoro di Vaccari che Adriano Spatola premetteva a «Le tracce»: “E’ questa componente «primitiva» dell’uomo civile che Vaccari ha tentato di enucleare, compiendo un viaggio da etnologo tra fratelli, non tra cavie, e leggendo, decifrando i muri a nome di tutta la tribù, senza indietreggiare di fronte allo scomposto concerto di queste voci che gridano, bestemmiano, sghignazzano, lasciandosi anzi coscientemente coinvolgere in questo allucinato, allucinante interminabile poema...”.
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Vaccari wrote: “...the poet is: the technician of communicating the consciousness of living, or - in other words - a producer of messages with the lowest coefficient of false consciousness. There is no poetry without knowledge and participation, if one ignores the importance of caring and healing, enduring, consoling, laughing, sharing, giving, disobeying - light and shadow that dwell within us: all that is possible to help us live. September 11, 2001 should have led to reflection, and yet there was no response. There is no response today to the atrocity we are witnessing. I reread Adriano Spatola’s affectionate description of Vaccari’s work that he wrote as a preface to «Le tracce»: “It is this ‘primitive’ component of the civilized man that Vaccari has attempted to isolate, undertaking an ethnologist’s journey among brothers, not guinea pigs, reading and deciphering the walls on behalf of the entire tribe, without retreating in the face of the disjointed concert of voices that scream, curse, sneer - indeed, allowing himself to be consciously involved in this hallucinated, hallucinatory, interminable poem...”.

From Dry to Wet Conceptualism in Cognitive Capitalism
Faculty:  Saâdane Afif, Julieta Aranda, Nicolas Bourriaud, Gaëlle Choisne, Mathieu Copeland, Marieke Dittmar, Claire Fontaine, Sozita Goudouna, Jörg Heiser, Helen Hester, Warren Neidich (founder/director), Kameelah Janan Rasheed, Gregory Sholette, and Yann Toma.
In celebration of ten years of programming, this year’s Saas-Fee Summer Institute of Art in Paris, hosted by Centre des Récollets and Université Paris 1 Panthéon-Sorbonne, will look at alternative historical frameworks of Conceptual art in order to engage the newfound significance of this movement in the digital information age. To do this, we will introduce the novel category of “Wet” Conceptual art at a moment when the knowledge economy and the significance of mind, brain and consciousness have never been more important. While some earlier examples, such as Boris Groys’s 1979 essay “Moscow Romantic Conceptualism” and the exhibitions Global Conceptualism at Queens Museum (1999) and Romantic Conceptualism at Kunsthalle Nurnberg (2007), attempted to question Conceptual art’s limitations and blind spots, exposing its mystical and romantic roots as well as its inherent xenophobia, recent social, political, cultural and technological conditions have developed and accelerated the need for a new understanding of classically defined Conceptual art to combat the impending despotism of Big Data and a social media-generated consciousness industry.
https://www.e-flux.com/announcements/665489/from-dry-to-wet-conceptualism-in-cognitive-capitalism/

Art (SFSIA) recently inaugurated its fourteenth edition in Paris. Before we delve into this year's program, I'd like to reflect on the institute's origins and philosophical underpinnings. You founded SFSIA in 2015, is that correct? Over the years, it has evolved into a vital platform for interrogating the intersections of artistic practice, philosophy, and cognitive capitalism. Could you elaborate on the foundational ethos of SFSIA? Warren Neidich: I began the Saas-Fee Summer Institute of Art in 2015. I asked the poet and art critic Barry Schwabsky to assist me in getting the program off the ground. It emerged out of our concurrent interest in art, poetry, philosophy, and the brain. To answer the first part of your question, I would like to define terms before proceeding. At SFSIA, we believe that art comes before philosophy -not the other way around. Art is a generator of philosophy. Artistic production estranges, defamiliarizes, and refunctions the social, political, technical, and cultural milieu to such an extent that it requires philosophy, as well as other fields, to retool itself and weave together new infrastructures of meaning.

Résumé

L’une des doxas de l’art conceptuel priorise l’idéation des œuvres sur leurs exécutions, reléguées au statut d’« affaire de routine » ou de « formalités » (LeWitt in Gross (dir.), 2012, p. 208). En effet, certains artistes, comme Lawrence Weiner et Joseph Kosuth, associés à ce mouvement – dans la lignée duquel je situe humblement ma pratique – ont radicalement remis en cause la nécessité d’exécuter leurs travaux, qui étaient alors fréquemment présentés sous la forme de textes courts et plus ou moins descriptifs et que je dénommerai « œuvres-partitions », en référence aux mutations et à l’élargissement du terme « partition » au cours du XXe siècle, qui est alors passé du champ de la musique à celui des arts visuels et de la performance (Sermon in Chapuis et Sermon, 2016, p. 29-32). Dans le cadre de cette thèse-création, je soutiendrai au contraire que les œuvres partitions, entrevues en tant que « formes prescriptives » (Perrier, 2011, n. p.), gagnent à être exécutées, en raison des écarts contextuels et interprétatifs qui peuvent potentiellement les éloigner ou les relancer, voire générer, dans certains cas, d’autres œuvres d’art aux qualités distinctes. Pour y parvenir, je m’appuierai, en guise d’étude de cas, sur un vaste corpus d’énoncés conceptuels, intitulé Performances invisibles, que j’ai conçu à cette fin, mais surtout sur leurs exécutions, ayant donné naissance à cent trente performances minimalistes. Ces performances, programmées par DARE-DARE Centre de diffusion d’art multidisciplinaire de Montréal, ont été réalisées sans convier d’auditoire, sur une période d’une année complète (2015-2016), dans les espaces public et privé. Elles étaient également documentées avec soin par deux complices, Daniel Roy et Martin Vinette. Les documents, principalement photographiques et vidéographiques, et les énoncés conceptuels correspondants ont parallèlement été partagés sur un site Web dédié et sur le réseau social Facebook. Les internautes étaient invités à interpréter à leur tour ces œuvres-partitions et à m’envoyer leurs documents, le cas échéant, afin qu’ils rejoignent les miens propres sur le site Web. À la lumière de nombreux exemples issus de l’histoire de l’art (des Notes de Marcel Duchamp aux œuvres de divers artistes néo-conceptuels, en passant par les Event Scores de la nébuleuse Fluxus), j’analyserai ainsi, dans une perspective historique (inspirée de la philosophie benjaminienne) et intertextuelle, comment mes propres exécutions, qui comptaient un grand nombre de reenactments, ont apporté quelque chose d’autre ou de plus à mes œuvres-partitions, en particulier aux points de vue artistique, historique et politique.

Take-outs, out-takes, stand-ins & stake-outs We wrote these notes to work out some of the conditions for art made by the group. Conditions cover an immense ground, and inevitably there are overlaps in the practices where common language creates dialogue. We wrote down some of these as counter arguments for the possibility of art, if written in a statement as virtually impossible, since life is lived in the severity of its fragments, whether expressive of the deconstructed individual or, dumbed down, in the difficulty of being an artist amid the cross-currents of the politicization of art. To stand our ground. These debates enter as proper subjects, the politics of the image, global power, private lives, the home, the studio, the everyday experience of technology, to understand media's triad, entertainment, art and life, productive of mass delusion. The notes are not in any sense in any order, quite intentionally fragmenting the many possibilities that mark existence by its exclusions. The notes try to figure out how to take risks from a position of exclusion, to stand on the edge of a contemporary void that opens up to unacceptance where art might exceed its conditions, not knowing if it will work out or how, but in taking the risk, making something of exclusion, nothing of inclusion. We might just do without the need for intellectual hesitation here, and just go crazy. As Lawrence Wiener says 'Everyone should have the right to make their own decisions. I don't know if mine were always right, but an artist has to take risks.'

Take-outs, out-takes, stand-ins & stake-outs We wrote these notes to work out some of the conditions for art made by the group. Conditions cover an immense ground, and inevitably there are overlaps in the practices where common language creates dialogue. We wrote down some of these as counter arguments for the possibility of art, if written in a statement as virtually impossible, since life is lived in the severity of its fragments, whether expressive of the deconstructed individual or, dumbed down, in the difficulty of being an artist amid the cross-currents of the politicization of art. To stand our ground. These debates enter as proper subjects, the politics of the image, global power, private lives, the home, the studio, the everyday experience of technology, to understand media's triad, entertainment, art and life, productive of mass delusion. The notes are not in any sense in any order, quite intentionally fragmenting the many possibilities that mark existence by its exclusions. The notes try to figure out how to take risks from a position of exclusion, to stand on the edge of a contemporary void that opens up to unacceptance where art might exceed its conditions, not knowing if it will work out or how, but in taking the risk, making something of exclusion, nothing of inclusion. We might just do without the need for intellectual hesitation here, and just go crazy. As Lawrence Wiener says 'Everyone should have the right to make their own decisions. I don't know if mine were always right, but an artist has to take risks.'

Un atento analisis de la escena artistica contemporanea, revela la existencia de determinadas practicas creativas de caracter mistico que permitirian llevar a cabo una lectura de la experiencia de creacion desde una perspectiva eminentemente espiritual. Este tipo de practicas se producen en todos los ambitos del arte y, de forma muy especial, en el arte grafico. Por ello, tomando como centro de reflexion la experimentacion grafica, entendida como el conjunto de procedimientos propios de la estampacion, queremos destacar la heterodoxia de planteamientos artisticos relacionados con la meditacion y lo espiritual asi como con otros medios de creacion. No en vano, por pura coherencia con nuestra condicion artistica, cultural y vital, circunscribiremos nuestro campo de actuacion en el plano artistico a Occidente, trabajando nuestros planteamientos desde el conocimiento de lo que nos rodea y de lo que ha llegado hasta nosotros. De hecho, si bien nuestra concepcion de elevacion espiritual s...

L'espace a toujours occupé une place primordiale en littérature, puisqu'il demeure la toile de fond contextuel qui l'inscrit dans la diégèse. Les nouvelles recherches dépassent la conception de la géographie fictionnelle, dans l'acte de la créativité scripturale, et son impact sur l'univers politicofictif pour revoir la dimension géopoétique de l'espace. Cet article tente de comprendre, à partir d'une analyse comparative minutieuse, la relation entre la géopolitique et la géopoétique dans les deux témoignages romancés « Le Camp » d'Abdelhamid Benzine et « Cette aveuglante absence de lumière » de Tahar Benjelloun. Nous allons voir comment la prison (espace commun dans les deux oeuvres) devient une espace libérateur des auteurs et de leurs personnages tout en déchiffrant les relations dominé/dominant, et en transgressant l'univers romanesque.

Shards from the iconology of fragility. Notes on the artwork of Kristián Németh / Čriepky z ikonológie krehkosti. Poznámky k tvorbe Kristiána Németha Annotation Kristián Németh's exhibition "Fragment of fragility" at the Gandy Gallery in Bratislava (January 15-March 7, 2015) is a continuation of a long-term reflection on and visualization of the phenomenon of fragility. The variable installation "Fragile" consisting of crystal glasses, vases, bowls, and decanters, has been exhibited in various contexts for thirteen years. Extrusions of protective polystyrene blocks and plants fixed in resin, combined with numerous variations of noble forms of cut glass, confront us with the complicated temporality of the exhibition. The author creates a spatial emblem of fragility, the actualization of which lies mainly in the combination of materials, through which the thinking about the traditional concept of fragility in the Anthropocene changes in a paradigmatic way. Németh's installation confronts us with understanding and experiencing fragility in a new situation, for which we are still searching for adequate forms of expression.

Doc. Mgr. Peter Megyeši, PhD. (*1985) studied history and theory of arts at the Faculty of Philosophy and Arts at the Trnava University in Trnava (2011). He completed his doctoral studies at the Department of History and Theory of Arts at the Trnava University in Trnava with a dissertation thesis devoted to the semantic layers of the medieval iconography of St. Christopher (2014). From 2014 to 2021, he worked as an assistant professor at the Department of Theory and History of Arts at the Faculty of Arts at the Technical University in Košice. He currently works at the Department of History and Theory of Arts at the Faculty of Arts at the Trnava University in Trnava and as a researcher at the Centre of Art Sciences at the Slovak Academy of Sciences in Bratislava. He is engaged in research on the medieval and early modern age arts, iconography, iconology, emblematics, but also in the reflection on contemporary arts and interpretation issues.

In the early 1990's I took up art making again after making forays into Punk Rock and the East Village Gallery scene. I extended my ideas of Punk into art making. This coincided with my adoption of the computer for art making and the early internet. My first Punk Art work was Barbie & Ken Politically Correct or BKPC. The name was a send up of a Fashion Logo DKNY or Donna Karen New York. I used a white Barbie Doll and a black Ken Doll. I placed them in various scenarios and photographed them. I originally got the idea from a news report about traumatized children being coax through dolls to reveal evidence of sexual abuse. I thought the major trauma for America is the racial division between black and white. A major no-no was interracial sex that was expressed in the work. The work has a punk confrontation aspect. The use of dolls, especially commercially available Barbie Dolls position the work in a Louche area. The notion of a straight white male (me) playing with dolls is crass to say the least. At the time the art market was fascinated by large scale color photo C-Prints. This was gaining acceptance as the equivalent of a painting in the art market. I happened to mention to a friend that I was photographing dolls and here response was that another artist was already doing that and selling large scale C-Prints. Somehow dolls were her signature style and I should steer clear of doing something similar. My friend could not understand what I was up to. I did continue Did several variations of presentation. On was a series of photostatic prints from scans of the photos. These also had captions in the manner of a Pop Art Painting. I also did a tilted desktop with large glassine pages in the manner of a design or portfolio presentation. This was shows in a Christmas exhibition called Toys Art Us in the West Chester, NY Museum. The show was supposed to be a cute Christmas show. I was asked to make sure that the piece was contained so that children could not view the work. The piece was panned by the New Times art critic. I thought that was immediately a success! Around the same time my friends were experimenting with early pre-internet site called BBS's. These were electronic bulletin boards. One could use a telephone modem to connect to these primitive computer servers. There were two in New York City. One was stated by my colleague Wolfgang Staehl and Blackhawk (both of whom I knew from the punk scene). The BBS was called The Thing. I was also invited to join a group of artist doing a similar BBS called ArtNet bbs. They had special types of early internet software that was quite experimental. At the time the telephone modems were quite slow so uploading and downloading was a heroic effort. The BBS servers could do mostly text chat and some lo-res images. I decided to do BKPC as a digital work on The Thing. Wolfgang kindly scanned the photos for me and put the int the bbs. I then would introduce an image a week with text descriptions once a week for 12 weeks. This form was later shown at the New Museum in a group show called Courage. This was my first digital networked art work.

In the interdisciplinary reflection on the selected social phenomenon, Samuel Velebný guides
us through the network of non-obvious correlations, connects the analysis of locally specific
conditions in the region with global influences and overlaps, examines the permeability
of established boundaries between large categories of nature, play and culture, and finally, in the
actual implementation of the works, confidently moves on the border of urbanism, design and
visual art. Velebný´s approach can be characterized by a focus on the informative detail, patient
untangling the bundle of correlations combined with the ability to think in broader contexts
overcoming commonly perceived space-and-time relationships. In search of connections,
he crosses the borders of disciplines, regions, continents and, ultimately, our home planet itself.
For example, the concentrated interest in the cultural history of the potato beetle allows the artist
to follow a subtle web of imagination, biology, military conflicts, colonialism, and the settlement
of extraterrestrial spaces. He subjects the phenomenon of globalized football and its media
representation to a similar discursive analysis. The persuasiveness and quality of Samuel Velebny’s
works lies in his ability to create enriching objects and situations through which surprising
correlations and exploratory cross-connections become visible in our living space.

Introduzione L'arte concettuale rende evidente la complessa relazione che corre tra l'idea dell'opera e la sua espressione materiale. Come restaurare un'opera che consiste puramente in un'idea 47? Quanta libertà ci si può o deve prendere reinterpretando l'opera al momento della sua re-installazione? Quanto è elastica la sua potenziale variabilità e fin dove può essere spinta senza che la manifestazione dell'opera tradisca l'idea di partenza? E riguardo ai materiali, la tecnica e l'aspetto previsto dell'opera? Ci sono stati cambiamenti? Quali sono i criteri di contestualizzazione ambientale e architettonica da tener presenti? Come valutare ognuna delle varie manifestazioni dell'opera senza sentire il parere dell'artista? Come sapere quale manifestazione può servire da guida in future occasioni d'installazione? Tutti questi interrogativi vengono qui esaminati nell'ottica del restauratore con riferimento a All shadows that occurred to me in… are marked with tape [Tutte le ombre che ho scoperto a… sono state segnate col nastro adesivo] (1969), opera concettuale, variabile e pertinente al sito [site-related] di Jan Dibbets, costituita da strisce di nastro adesivo che marcano lo spostamento del sole 48. Questo studio si prefigge un quadruplo obiettivo. Per primo, si esplorano la storia, l'identità e l'aspetto di All shadows… di Dibbets

In this article, I seek to outline a theoretical framework to critically assess as artistic the aesthetic value of participatory art, namely, art where the audience's activity is constitutive of the artwork proper. I depart both from the idea that, in participatory art, aesthetic qualities emerge in the participants' performances, and from a functional account of art criticism that assesses works in terms of the kinds of objects they are, the goals they pursue, and manners in which they do so. My paper raises the issue of whether and how a functional account of art criticism, which makes artistic value dependent on the artist's intentions can apply to the criticism of participatory art, whose aesthetic qualities arise in the activity performed by the audience detached from the specific artefacts designed by artists. I analyse the question considering how such detachment varies across forms of participatory art-from interactive art such as installations to fully collaborative artistic projects.

Odnos simboličke i materijalne proizvodnje – ili odnos kulture i ekonomije, ideja i društvene reprodukcije, intelektualnog i manuelnog rada, mišljenja i proizvodnje, baze i nadgradnje, što su sve modaliteti kroz koje se ovaj odnos još može izraziti – jeste bio jedan od čestih problema istorijsko-materijalističke literature, pogotovu one koja je zainteresovana za analizu umetnosti, nauke, filozofije, religije i sličnih oblika „neekonomskih” društvenih praksi. Ipak, retki su primeri u ovoj literaturi koji su kao osnovu za analizu ovih praksi kretali od Marksovog Kapitala. Čitav naš rad u ovoj knjizi, kao i na drugim mestima (Dedić, 2021), fokusiran je stoga upravo na ideju da je baš Kapital, a ne Marksovi rani radovi, mesto u kome treba tražiti osnove za Marksovu nenapisanu materijalističku teoriju umetnosti i kulture. U ovom eseju ćemo pomenutu vezu između simboličkog i materijalnog potražiti u prvom tomu Kapitala za koji tvrdimo da problematizuje dva međusobno uvezana oblika društvene prakse – ekonomski i kulturni oblik i to kroz artikulaciju dveju vrsta apstrakcije. Prvu ćemo, pozivajući se na Alfreda Son-Retela (Sohn-Rethel, 2021), označiti kao realnu apstrakciju, a drugu kao idealnu apstrakciju.

La gran cantidad de propuestas artísticas recientes hace difícil decidir qué hacer con el arte contemporáneo. El propósito de este escrito es reconocer los hitos o posibles casos paradigmáticos, desde algunas vanguardias hasta las últimas relaciones del arte con la ciencia y la tecnología, haciendo principal hincapié en el denominado Pop art, buscando con esto tener un panorama que permita contextualizar cualquier juicio. Se sostiene que sin este desarrollo no se puede tener una visión de conjunto que permita entender lo que ha pasado y pasa con el arte contemporáneo más reciente. Este trabajo está dividido en siete secciones: 1) Arte conceptual y Activismo: Dadaísmo, Marcel Duchamp, Fluxus y Joseph Beuys, 2) El cuerpo del artista, 3) Arte, crisis ecológica y el arte medioambiental, 4) Arte, historia y memoria, 5) Arte, descolonización y multiculturalismo, 6) Las últimas Documenta y 7) Arte, ciencia y tecnología.

This title features the recovered and re-edited transcript of a 1998 conversation between artist/philosopher Adrian Piper and philosopher/critic Peter Osborne at Jerry’s restaurant in Soho, New York.


As Piper describes it: 'Our conversation is wide-ranging—from the genesis, definition, and art-historical impact of early Conceptual art; to Minimalism; to historical revisionism; to the political turn that we all took; to the relation between methodological individualism and the explanation of xenophobia; to metaphysical emergence and reduction in scientific explanation; to metaphysical explanation in Kant, Hegel, and Vedic philosophy more generally; and more. The dialogical style is fast-paced, argumentative, good-natured, and civilized (an unusual combination). It is clear that we were both having a really good time, plus the food at Jerry’s was great.'


Edited by: Alejandro Cesarco, Kylie Gilchrist, and Louis Hartnoll
Design Supervision: Stoodio Santiago da Silva, Ana Cecilia Breña

Bir sanat eleştirmeni ve filozof olan Arthur Danto, 1960'larda 'sanat dünyası' nosyonuna felsefi bir tanım kazandırmış ve sanatın doğasına ilişkin kültürel bir yaklaşım geliştirmiştir. Sonrasında 'sanat dünyası', George Dickie tarafından sosyal bir pratiğe gönderme yapan bir kurum olarak tanımlanmıştır. Bu çerçevede Dickie'nin formüle ettiği kurumsal sanat kuramı, çağdaş sanat yapıtlarına da açıklama getirebilmektedir. Kurumsal sanat kuramına göre, bir nesne ancak ve ancak 'sanat dünyası' olarak adlandırılan bir kurum bağlamında bir sanat yapıtı olarak ortaya konabilmektedir. Bu doğrultuda, hem çağdaş sanat tarafından etkilenen hem de çağdaş sanatı şekillendiren kurumsal kuram ve yaklaşımlar irdelenecektir.

Sanat yapıtlarının değerlendirilmesi bir estetik anlayış doğrultusunda ve bu anlayışın geliştirilmesi amacıyla yapılır. Bu değerlendirmeler yapıtlara birtakım estetik nitelikler aracılığıyla estetik bir değer atfeder. Sanatçıların üretimlerine biçilen estetik değer de yapıtların estetik statüsünü belirlemektedir. Genel olarak estetik değer orijinal yapıtların sahip olduğu bir statü olarak düşünülmektedir. Ancak Nelson Goodman'ın otantiklik başlığı altında tartışmaya açtığı sahtecilik sorunu; orijinal yapıt, kopya ve sahte yapıt ilişkilerini gündeme getirmiştir. Bu makalede Goodman'ın pozisyonundan farklı bir şekilde kopya ve sahte yapıt farkına dikkat çekilerek, orijinal yapıtlar için söz konusu edilen ayırıcı estetik niteliklerin özellikle sahte yapıtlar için kabul edilebileceği bir yaklaşım geliştirilecektir. Sahte yapıtların estetik statüsüne ilişkin problem estetik anlayış için olduğu kadar sanatsal yaratım süreçlerine bakışımız açısından da aydınlatıcı olmaktadır. Bu doğrultuda orijinal ve sahte yapıt ayrımının estetiğin bir sorunu olmadığı, çünkü ayrımın kendisinin sahte bir sorun olduğu ortaya konulacaktır. Söz konusu edilen ayrımın hangi boyutlarda ele alındığı görsel sanat formları özelinde tartışılacak, sahte yapıtların sanat dünyasındaki konumları ve estetik anlayış açısından işlevleri üzerinde durulacaktır. Sahte yapıtlara ilkece daha düşük bir statü öngören ayrım reddedilerek sanatın çarpıtmayı görev edinmesi gereken nesnel gerçeklikle bağlantılı orijinallik takıntısı zayıflatılmaya çalışılacaktır.

Способ организации музейно-выставочного пространства является важным аспектом, позволяющим направить и отчасти предопределить эстетическую реакцию зрителя. Эстетическое восприятие имеет богатую междисциплинарную историографию – этой проблемой занимались философы, историки искусства, арт-критики и психологи: Э. Гомбрих, М. Блэк, Р. Арнхейм и др. Блестящие наблюдения высказали Н. Серота, а также К. Гровье. В связи с тенденцией принципиальной стилистической разнородности современного искусства, мы приходим к выводу о целесообразности научного кураторства, в основе которого лежит концептуальная идея выставки, подкрепленная традиционной искусствоведческой методологией, способствующая выстраиванию логики повествования. Примечательно, что куратор, оказывая влияние на процесс восприятия экспозиции, становится соавтором эстетического опыта
зрителя.

The way the museum and exhibition space is organized is an important aspect that allows you to direct and, to some extent, determine the aesthetic reaction of the viewer. Aesthetic perception has a rich interdisciplinary historiography – philosophers, art historians, art critics and psychologists have dealt with this problem: E. Gombrich, M. Black, R. Arnheim, etc. Brilliant observations were made by N. Serota, as well as 
K. Grovier. Due to the tendency of the fundamental stylistic heterogeneity of modern art, we come to the conclusion about the expediency of scientific curation, which is based on the conceptual idea of the exhibition, supported by traditional art criticism methodology, contributing to the construction of the logic of the narrative. It is noteworthy that the curator, influencing the process of perception of the exhibition, becomes a co-author of the aesthetic experience of the viewer.

Živimo u konzumerističkom društvu.  Pametni telefoni, dizajnerska odeća, skupi automobili, brza hrana, sve ovo je vrlo poželjno kada ste kupac i kada postojite u kontekstu konzumerizma. Ljudima je vrlo važno da imaju najnovije modele telefona, najskuplju odeću, najskuplje automobile, da žive u raskoši kapitalizma i svega što im kapitalizam pruža. Kroz konzumiranje i kupovanje ovakve robe, stvorila se ideja o tome da je ova roba kvalitetnija, i bolja, a svakako se kroz posedovanje ovakvih proizvoda prikazuje i određeni status i položaj ljudi u društvu. Odakle dolazi želja za kupovinom dizajnerske odeće i najnovijih pametnih telefona?

One of the most rewarding exercises in “cross-pollination” you can accomplish throughout numerous spatiotemporal coordinates, traversing multiple synchronic and diachronic paths, is that of undertaking an analysis of the formal processes and resources that creators in different cultures and civilizations have used over the course of human history. This analysis gains in acumen and breadth when we look for
THE RIGHT GAZE UPON ART AND DESIGN, RIGHT NOW.
There is no doubt that the way you imagine and map out the future today will shape not only the future but the present itself.
So it is that in an approach to the History of Contemporary and Current Art and Design every one is, so to speak, on probation when the school year starts. It is a time of trial and error in which the class (comprised of students and teacher) not only reflect on, and critically analyze the present, as well as immediate underlying causes in the past, but also project themselves onto the future by weaving it mentally and render it into verbal equation, submitting to close and sometimes pitiless scrutiny on the part of all. Pitiless analyses which are hard on students of the pictorial arts especially—they anticipate a future in the arts demanding of them not only the know-how they have already mastered but also the deployment of a vast body of theoretical, artistic and technical knowledge that broaches all aspects of the human. Such knowledge will be at the heart of future creative developments, so far unpredictable, yet it’s been foreshadowed that such developments will be especially exacting.

La personalidad de un maestro, y su vida social «Tú serás arquitecto», le auguró su profesor de arte; «nunca jamás; detesto ese oficio», respondió en 1905 el joven Charles-Édouard Jeanneret. Ahora lo conocemos como Le Corbusier, maestro indiscutible de la arquitectura del siglo xx. Escrito con motivo del 40° aniversario de su muerte, este libro se centra en la vida social de Le Corbusier. Así conocemos, por ejemplo, sus dificultades juveniles con el alemán, que «le jugaba malas pasadas», lo que le impidió ir a Zúrich a ampliar su formación técnica. La ilustración de su primer carné de identidad francés (1930) nos ofrece su retrato fisico. Profesión declarada: 'hombre de letras' (no tenía título oficial de arqui

Resumen La desmaterialización del objeto artístico ha sido un tema discutido en lo concerniente a las nociones de &quot;materia&quot; y &quot;espíritu&quot;. Según García Varas la polémica planteada ha to-mado dos vertientes: una que defiende la liberación de la idea respecto de la materia y otra que considera que tal pretensión es una utopía. Según García Varas ambas pos-turas poseen un trasfondo cartesiano que consolida la di-ferenciación entre la res extensa y la res cogitans no obstan-te, el concepto de &quot;desmaterialización&quot; pretende anular dicha separación. La &quot;desmaterialización&quot; compartiría en-tonces ciertos puntos en común con la filosofía de Mer-leau-Ponty, planteados en la investigación. Abstract Dematerialization of the artistic object has been a subject discussed regarding notions of &quot;matter&quot; and &quot;spirit.&quot; According to García Varas, the controversy has taken two directions: one that defends liberation of the idea in relation to matt...

Physical Education has its own definition inside the system of anthropomorphological sciences. But, there is a question whether it is possible to explain the phenomenon of physical education only inside of the system of abstrct atitudes based on an objective observation of reality or it is (at least some of its parts are) an activity which has for an object the stimulation of human senses, mind or spirit. In this essey we discuss, in a very subjective way, the matter which concerns the culture in order to define the position of physical education inside the art system. The word &quot;art&quot; can relate to the variety of subjects, feelings or activities. Because of it, the fragments of art can be defined as creative interpretations of indefinite concepts or ideas. Having in mind the fact that in a world of art it is not possible to define standards that determine the art itself, according to the criteria which are generally accepted, it is still possible to make connection between ...

Conceptual art is alive and well....all its artists keep on protecting the basis tenets by Duchamp even the scandal that Damian Hirst's decomposing animals, his famous  desire for  A Wow! to Hirst that is a reaction and a load of ideas against his work so what is more conceptual than generate a reaction an a list of arguments against something that is his waiting for a big WOW....but many things have changed....the movement adapted to the 21st Century

This pptx concentrates during the counterculture in the USA even though it began in  France in 69. To Duchamp, the founding father, and putting together the incongruous, he  envision postmodernism and  that idea that art can be just an idea without it material production....