Brian Massumi: Semblance and Event: Activist Philosophy and the Occurrent Arts (2011)

Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the is-about-to-be as much as what is actually present? In Semblance and Event, Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of “semblance” as a way to approach this question.

It is, he argues, a question of abstraction, not as the opposite of the concrete but as a dimension of it: “lived abstraction.” A semblance is a lived abstraction. Massumi uses the category of the semblance to investigate practices of art that are relational and event-oriented–variously known as interactive art, ephemeral art, performance art, art intervention–which he refers to collectively as the “occurrent arts.” Massumi argues that traditional art practices, including perspective painting, conventionally considered to be object-oriented freeze frames, also organize events of perception, and must be considered occurrent arts in their own way. Each art practice invents its own kinds of relational events of lived abstraction, to produce a signature species of semblance.

The artwork’s relational engagement, Massumi continues, gives it a political valence just as necessary and immediate as the aesthetic dimension. Massumi investigates occurrent art practices in order to examine, on the broadest level, how the aesthetic and the political are always intertwined in any creative activity.

Publisher MIT Press, 2011
Technologies of Lived Abstraction series
ISBN 0262134918, 9780262134910
220 pages

publisher
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PDF (updated on 2012-7-24)

Minglu Gao: Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art (2011)

“To the extent that Chinese contemporary art has become a global phenomenon, it is largely through the groundbreaking exhibitions curated by Gao Minglu: ‘China/Avant-Garde’ (Beijing, 1989), ‘Inside Out: New Chinese Art’ (Asia Society, New York, 1998), and ‘The Wall: Reshaping Contemporary Chinese Art’ (Albright-Knox Art Gallery, 2005) among them. As the first Chinese writer to articulate a distinctively Chinese avant-gardism and modernity—one not defined by Western chronology or formalism—Gao Minglu is largely responsible for the visibility of Chinese art in the global art scene today.

Contemporary Chinese artists tend to navigate between extremes, either embracing or rejecting a rich classical tradition. Indeed, for Chinese artists, the term “modernity” refers not to a new epoch or aesthetic but to a new nation—modernity inextricably connects politics to art. It is this notion of “total modernity” that forms the foundation of the Chinese avant-garde aesthetic, and of this book.

Gao examines the many ways Chinese artists engaged with this intrinsic total modernity, including the ’85 Movement, political pop, cynical realism, apartment art, maximalism, and the museum age, encompassing the emergence of local art museums and organizations as well as such major events as the Shanghai Biennial. He describes the inner logic of the Chinese context while locating the art within the framework of a worldwide avant-garde. He vividly describes the Chinese avant-garde’s embrace of a modernity that unifies politics, aesthetics, and social life, blurring the boundaries between abstraction, conception, and representation. Lavishly illustrated with color images throughout, this book will be a touchstone for all considerations of Chinese contemporary art.”

Publisher MIT Press, 2011
ISBN 0262014947, 9780262014946
409 pages

Reviews: Craig Clunas (Artforum, 2011), David Carrier (artCritical, 2011).

Publisher

PDF (30 MB, updated on 2021-1-19)

Mary Bittner Wiseman, Liu Yuedi (eds.): Subversive Strategies in Contemporary Chinese Art (2011)

What is art and what is its role in a China that is changing at a dizzying speed? These questions lie at the heart of Chinese contemporary art. Subversive Strategies paves the way for the rebirth of a Chinese aesthetics adequate to the art whose sheer energy and imaginative power is subverting the ideas through which western and Chinese critics think about art. The first collection of essays by American and Chinese philosophers and art historians, Subversive Strategies begins by showing how the art reflects current crises and is working them out through bodies gendered and political. The essays raise the question of Chinese identity in a global world and note a blurring of the boundary between art and everyday life.

Publisher Brill Academic Pub, 2011
Volume 31 of Philosophy of History and Culture
ISBN 9004187952, 9789004187955
417 pages

Publisher
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PDF, PDF (updated on 2014-12-22)