Filed under book | Tags: · aesthetics, art, art history, art theory, beauty, body, cinema, dance, film, life, literature, music, painting, pantomime, philosophy, photography, poetry, politics, representation, sculpture, theatre, theory
Rancière’s magnum opus on the aesthetic.
Composed in a series of scenes, Aisthesis–Rancière’s definitive statement on the aesthetic–takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarmé to the Folies-Bergère, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Rancière uses these sites and events—some famous, others forgotten—to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the specificities of the different arts, as well as the borders that separated them from ordinary experience. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.
First published as Aisthesis : Scènes du régime esthétique de l’art, Éditions Galilée, 2011
Translated by Zakir Paul
Publisher Verso Books, 2013
ISBN 1781680892, 9781781680896
Review (Hal Foster, London Review of Books)
Review (Joseph Tanke, Los Angeles Review of Books)
Review (Marc Farrant, The New Inquiry)
Review (Ali Alizadeh, Sydney Review of Books)
Roundtable discussion with Rancière at Columbia (video, 43 min)
Selected interviews and reviews (in French)
Dietmar Unterkofler: Grupa 143: Critical Thinking at the Borders of Conceptual Art, 1975–1980 (2012) [Serbian/English]
Filed under book | Tags: · 1970s, art, art history, conceptual art, film, performance art, photography, serbia, yugoslavia
The late-conceptualist art collective Group 143 was founded in March 1975 by Biljana Tomić in Belgrade as an open educational and theoretical platform at the Student Cultural Centre. Besides Tomić, the other key figures in the group were Miško Šuvaković, Jovan Čekić, Paja Stanković, Neša Paripović, and Maja Savić. The group worked together for five years, producing a broad range of artistic work in the media of photography, film, the artist’s book, diagrams and charts, public lectures, and performance art. Their research was focused primarily on epistemological and theoretical questions about the “art world” in general and the critical potential of intellectualized art-thinking within the conditions of late socialism in Yugoslavia.
The theoretical foundation of their art was shaped by structuralist and post-structuralist French theory, language philosophy, post-constructivism, and British and American conceptual art. Their last public presentation of their work came in August 1980, when Group 143 had a solo exhibition at Galerija Loža in Koper. (Source)
Grupa 143: kritičko mišljenje na granicama konceptualne umetnosti 1975-1980
Publisher Glasnik, Belgrade, 2012
Filed under cahier | Tags: · chronophotography, cinema, film, film history, film theory, history of photography, image, photography, time
The aim of this Cahier is to bring together contributions that, induced by digitalization but not confined to digital images, explore historical and contemporary image practices that are situated beyond the habitual definitions of photography and film. The first part of the essays traces the pre-digital history of photography as a time-image in early photography (Timm Starl), the implications of using photographic images for proto-cinematic optical toys (Friedrich Tietjen) and Auguste Chevallier’s translation of panoramic images into a circular image which upsets traditional notions of photographic temporality as much as notions of the frame (Katja Müller-Helle). The second part explores the historical legacy of the digital “moving still” such as the freeze effect (Eivind Røssaak) employed in the blockbuster film The Matrix (1999) or the ubiquitous Ken Burns effect (Ingrid Hoelzl) used as a display feature in Apple iPhoto and other photo-software. It is preluded by a visual essay by Maarten Vanvolsem and Jonathan Shaw. The essay assembles and discusses their respective artistic practice in relation to their chronophotographic predecessors such as Bragagila—in the unusual format of the photographic still.
Publisher Luca School of Arts, Brussels, December 2012
R. Bruce Elder: Harmony and Dissent: Film and Avant-garde Art Movements in the Early Twentieth Century (2008)
Filed under book | Tags: · abstract cinema, art history, avant-garde, cinema, colour, constructivism, dissent, film, film history, film theory, marxism, modernism, music, occultism, productivism, revolution, suprematism, symbolism, theology
R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape.
To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity’s cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of “pneumatic (spiritual) epistemology.” Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, “objectless” (non-representational) art and Russian Suprematism, Constructivism, and Productivism.
Publisher Wilfrid Laurier University Press, Waterloo, 2008
ISBN 1554580285, 9781554580286
Review (David Sterritt, Quarterly Review of Film and Video)Comment (0)
Filed under book | Tags: · avant-garde, cinema, cultural history, culture, film, politics, yugoslavia
“Ovo je knjiga koja se naizgled bavi jednim sasvim određenim segmentom prošlosti, nečime što se je nekada zvalo kulturna povijest. No, tu kulturnu povijest ona ne tretira kao posebnu disciplinu historiografije koja za svoj predmet uzima ono što je u prošlosti steklo status kulturnog dobra. Za ovu knjigu kulturna povijest je sama forma u kojoj nam se danas ukazuje prošlost. U mjeri u kojoj smo svjesni prošlosti, svjesni smo je kao kulture.
Konkretno, kada se u ovoj knjizi govori o kulturnoj proizvodnji bivše Jugoslavije, o filmovima, odnosno o takozvanom filmskom jeziku redatelja Želimira Žilnika, kada se u njoj raspravlja o sukobima u kulturi, njihovim akterima, odnosu politike i umjetnosti, o ekonomskim pretpostavkama filmske produkcije i njenim društvenim efektima, onda se o tome ne govori u disciplinarnom smislu jedne, recimo, povijesti jugoslavenskog filma, odnosno, individualnog filmskog djela određenog redatelja, pri čemu kategorije društva, politike i ekonomije služe kontekstualizaciji jednog po sebi čisto kulturnog narativa. Kultura se ne zbiva u nekakvom unaprijed zadanom ekonomskom, političkom i društvenom kontekstu; ona je kao takva uvijek već i ekonomska činjenica i politički faktor i društveni proizvod. Ona nam ne govori o tome kakva je prošlost doista bila, nego jest ta prošlost u njenoj prisutnosti, aktualnosti, neizvjesnosti, otvorenosti. Ona je prošlost s onu stranu njene razlike spram sadašnjosti i budućnosti.” (Iz predgovora)
Publisher Centar za nove medije_kuda.org, Novi Sad, September 2013