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Art

"Curriculum Vitae in Pictures“

Maria Zinfert (ed.)

Kracauer. Photographic Archive

Kracauer. Photographic Archive presents  largely unknown material from the estate of the German-American theorist of film and photography, ­Siegfried Kracauer and his wife and assistant Elisabeth, known as Lili. The single and group portraits, still lifes, street scenes and landscapes collected in this book all come from the estate of Siegfried Kracauer. Published here for the first time, they are an extensive and representative selection from the enlargements, contact sheets and rolls of film originally archived by Lili Kracauer. With...
  • archive
  • 1930s
  • 20th century
  • biography
  • 1950s
Maria Zinfert
“With a woman like that you can even live in ­Berlin”

“With a woman like that you can even live in ­Berlin”

  • photography
  • Paris
  • exile
  • 1950s
  • photographic images
  • 1930s
  • biography
  • collection
  • History of photography
  • 20th century
  • archive
  • portrait
  • Siegfried Kracauer
Claire Denis

Fragility is the only thing I really know about me

I am not a very balanced person. I am fragile and sad – almost as described in Triste Tropiques by Claude Lévi-Strauss. I feel both those adjectives, I grew up with them. I was aware of my fragility even when I was very young – a baby, learning to walk, living somewhere in Africa and already feeling that the number of white persons was very small compared to the number of black persons and also noticing that most of the black persons that I met were gardeners or maids. I felt – I am sure I am not lying – even at that very young age, not a sense of injustice, but a sort of guilt.

Guilt for what? My parents were nice people, they treated everyone well. My father was avidly learning languages, he spoke many African languages and also Pidgin English very well and he used to speak it...

  • subjectivity
  • autofiction
  • film d'auteur
  • identity
Maurizio Lazzarato

The endless array of merchandise

In contemporary capitalism, subjectivity is the product of a mass industry organized on a global level. For Félix Guattari this is actually the first and most important of capitalist productions, because it preconditions and is part of production in all other forms of merchandise. Subjectivity is a ‘key merchandise,’ which in its ‘nature’ is put together, developed and manufactured in the same way as a car, electricity, or a washing machine. Capitalism organizes the production and control of subjectivity through two different systems, which weave together the manufacture of the individuated subject (“social subjection”) and what seems to be the opposite, de-subjectification (“machinic enslavement”). Therefore capitalism exercises a twofold hold over subjectivity.

Social subjection involves techniques of government, which pass by way of, and mobilize, representation (political and linguistic), areas of knowledge, discursive visual practices, etc., and produce ‘subjects of rights,’ ‘political subjects,’ in short: ‘subjects’ of ‘I’s,’ of individuals. By...

  • data
  • identity
  • capitalism
  • algorithms
  • Governmentality
News + Events

Yves Netzhammer: »Selbstgespräche nähern sich wie scheue Rehe«

04.03.2017 – 23.04.2017

LWL-Museum für Kunst und Kultur
Domplatz 10
48143 Münster
Deutschland

 

Topics
Frank Ruda

Democracy and its Discontents

Fredric Jameson has diagnosed the contemporary situation as one of subjective perplexity and disorientation. After the failures of all the Marxist attempts to install a framework which could provide for a collective subjective orientation, and after the perpetual intensification of late capitalism’s dynamics, the contemporary epoch is marked by the feeling that “the truth of … experience no longer coincides with the place in which it takes place.” This is to say, that individuals become disoriented because they lack an effective cognitive map of the complete situation they are in. This lack of orientation originates in the absence of a standpoint that would provide not only an abstract, but also a concretizable, perspective on the totality of the situation in which an individual finds himself. Badiou has further complicated the problem of disorientation, by linking it to the modalities of subjectivization offered by contemporary societies. In his analysis he refers to...

  • art criticism
  • poetry
  • art
  • contemporary art
  • aesthetics
Alain Badiou

Only art has the power of a form. Mathematics is an exercise for monks.

We all know that the relationship between mathematical activity and artistic creation is a very old one. We know that for a start the Pythagoreans tied the science of number not merely to the movements of the stars but to musical modes. We know that Babylonian and Egyptian architecture presupposed elaborate geometrical knowledge, even if the notion of demonstration had still not been won. Further back still, we find formal, or abstract, outlines mixed in with animal representations, in the great prehistoric decorations, without our knowing precisely to what it is that these mixtures refer. 


For the philosopher that I am, or that I believe I am, the entry into our question, as so many others, passes through the contrasting disposition between Plato and Aristotle. 


For Plato, mathematics is fundamental in the sense that it mediates between, on the one hand, experience, or the relation to the sensory world, and,...

  • aesthetics
  • poetry
  • contemporary art
  • art criticism
  • art

 

Slavoj Žižek

On Holocaust and Art

  • Theodor W. Adorno
  • prose
  • concentration camp
  • shoah
  • figurability / representability
Gail L. Geiger

Alternative approaches to a famous fresco painting

The Presentation is one of the most stunning paintings to have emerged from the restorations of the San Marco fresco cycle.


Fra Angelico created a traditional Presentation with respect to its depiction of Mary and Joseph presenting Jesus at the Temple in Jerusalem at the time of Mary’s postpartum purification in accordance with Mosaic law. They stand on a platform before a simple, flaming altar set off by a shell niche, which although damaged, retains the classical simplicity that Michelozzo’s architecture for the convent inspired in Fra Angelico’s paintings. Mary has given the swaddled child to Simeon, the elderly Jew identified as the high priest who blessed Jesus as the new Messiah.


To complete the scene, however, Fra Angelico included two additional figures on a ledge below the biblical event just within the border of the foreground plane. To the left, the Dominican Saint Peter Martyr kneels at an angle facing into...

  • fresco painting
  • Fra Angelico
  • iconography
  • Florence
  • gender