Stevphen Shukaitis: The Composition of Movements to Come: Aesthetics and Cultural Labor after the Avant-Garde (2016)

14 July 2018, dusan

“How does the avant-garde create spaces in everyday life that subvert regimes of economic and political control? How do art, aesthetics and activism inform one another? And how do strategic spaces of creativity become the basis for new forms of production and governance?

The Composition of Movements to Come reconsiders the history and the practices of the avant-garde, from the Situationists to the Art Strike, revolutionary Constructivism to Laibach and Neue Slowenische Kunst, through an autonomist Marxist framework. Moving the framework beyond an overly narrow class analysis, the book explores broader questions of the changing nature of cultural labor and forms of resistance around this labor. It examines a doubly articulated process of refusal: the refusal of separating art from daily life and the re-fusing of these antagonistic energies by capitalist production and governance. This relationship opens up a new terrain for strategic thought in relation to everyday politics, where the history of the avant-garde is no longer separated from broader questions of political economy or movement, but becomes a point around which to reorient these considerations.”

Publisher Rowman & Littlefield, London & New York, 2016
New Politics of Autonomy series
ISBN 9781783481736, 1783481730
xx+176 pages

Reviews: Gregory Sholette (Critical Inquiry, 2015), Marc James Léger (Afterimage, 2016), Martin Parker (Culture Machine, 2017).

Publisher
WorldCat

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John Roberts: Revolutionary Time and the Avant-Garde (2015)

23 June 2018, dusan

“Why the avant-garde of art needs to be rehabilitated today

Since the decidedly bleak beginning of the twenty-first century, art practice has become increasingly politicized. Yet few have put forward a sustained defence of this development. Revolutionary Time and the Avant-Garde is the first book to look at the legacy of the avant-garde in relation to the deepening crisis of contemporary capitalism.

An invigorating revitalization of the Frankfurt School legacy, Roberts’s book defines and validates the avant-garde idea with an erudite acuity, providing a refined conceptual set of tools to engage critically with the most advanced art theorists of our day, such as Hal Foster, Andrew Benjamin, Alain Badiou, Jacques Rancière, Paolo Virno, Claire Bishop, Michael Hardt, and Toni Negri.”

Publisher Verso, London, 2015
ISBN 9781781689134, 178168913X
xii+322 pages

Reviews: Noni Brynjolson (Field, 2015), Danica Radoshevich (Red Wedge, 2015), Kim Charnley (Platypus Review, 2016), Geoffrey Wildanger (LA Review of Books, 2016).

Publisher
WorldCat

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1000 Infrathins (2018)

29 April 2018, dusan

“Marcel Duchamp gave six instances of the infrathin. We wrote 1000 of them.”

“What is infrathin? It’s not really clear. Purposely. The French word inframince (translated into English as infrathin) was coined by Marcel Duchamp, but in typical Duchampian fashion, he claimed that it couldn’t be defined. Instead, he insisted that one could only give examples of it. Over the course of his life, he gave a few:

– The warmth of a seat (which has just/been left) is infra-thin.
– When the tobacco smoke smells also of the mouth which exhales it, the 2 odors marry by the infra-thin.
– Velvet trousers, their whistling sound is an infra-thin separation signaled.

Without getting too specific, we can surmise that infranthin is the space between spaces, the sound between sounds, the sensation between sensations; neither here nor there, this nor that, but both—all at the same time. The closest metaphor is the fourth dimension, which is best illustrated by a cube collapsing in on itself and at the same time expanding. I know. It’s not very helpful. But that’s the whole point—it’s a moving target, a ball of contradictions; just when you think you’ve got it, it’s escaped you.”

Edited by Kenneth Goldsmith
Authors: Cecily Chen, Andrew Howard, William Kahn, Grace Knight, Jonida Kupa, Amy Marcus, Charlie Sosnick, Zoe Stoller
Publisher The Center for Programs in Contemporary Writing, University of Pennsylvania, 2018
121 pages

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