Texte zur Kunst no. 108 (December 2017), which has been guest-edited by Susanne Leeb and Miriam Thomas, is out and looks very promising. It is decidated to the idiom(s) of art:
In art historical and art critical texts, the concept of “idiom” – an expression or mode of speaking that cannot be translated – is frequently used, even if it is rarely spoken of as such. TZK issue 108 explores how the idea of “idiom” might allow us to coherently engage with art’s disparate materialist and iconographic connections at a time when the vitality of historical Western-centric cannons are fading (see: Documenta 14) and the traditional relations within and among artistic systems are ever less self-evident. The “Idiom” issue of TZK asks: What languages does art speak?
My essay “Modernist Memories: On the Contemporaneity of Günther Förg” discusses the ambiguous and often contradictory reception of Förg’s reuse of forms associated with modernist idioms, in his paintings, photographs and wall paintings and installations of the 1980s and 1990s. Analysing curatorial and critical responses to his work in the Netherlands during this period, the text also discusses the current state of an institution strongly associated with Förg’s career, the Stedelijk Museum in Amsterdam, to ask the question what kind of contemporaneity Förg’s work stood and stands for, and what “contemporary art” has become in the course of the past couple of decades.
Image: photo from Förg’s 1988 Barcelona Pavillion series. Unfortunately, in the print issue a different image has recieved the wrong caption: the 1981 “Wandmalerei mit 2 Fotografien“ is incorrectly ascribed to Galerie Barbara Grässlin in Frankfurt, whereas the correct location is Galerie Rudiger Schöttle, Munich. This will be corrected in the online version.
After a lengthy gestation process, Samir Gandesha and Johan Hartle’s volume Aesthetic Marx finally sees the light of day this month, courtesy of Bloomsbury (of Harry Potter fame). The book sees aesthetic questions—in the fundamental sense of issues pertaining to the body and perception, appearance and abstraction—as inherent in Marx’s work and indeed as central to it. I contributed the essay “Filming Capital: On Cinemarxism in the Twenty-first Century,” in which I discuss projects by filmmakers and artists including Sekula/Burch, Alexander Kluge, Farocki/Ehmann, Hito Steyerl and Zachary Formwalt.
In late September, the Volkbühne in Berlin was briefly occupied. For the web site of Texte zur Kunst, I wrote a short piece analysing some of the media discourse surrounding the occupation, and sounding out the implications of the action itself and its reception.
Issue no. 106 of New Left Review (July-August 2017) not only contains an exchange between Nancy Fraser and Luc Boltanski and Arnaud Esquerre on value in contemporary capitalism, but also my article “The Juridical Economy,” which is a significantly extended and developed version of my essay “Legal Forms, Value-Forms, Forms of Resistance,” which was commissioned by Contour Biennale.
Image: Forensic Architecture’s reconstruction of the murder of Halit Yozgat in Kassel (2006), commissioned by the tribunal NSU-Komplex aufklösen/HKW/Documenta 14.
This summer, a German group of artists and writers calling themselves Eurogruppe published the first issue of a zine titled Intercity (a self-described “Zeitschrift für Föderalismus und Polyamorie”), for which they translated my 2016 e-flux journal essay “Who Makes the Nazis?” The magazine is apparently distributed for free within certain networks in Germany. The editorial address is listed as BRD Exil, c/o CONRADI, Rue de la Régence 67, 1000 Brussels. Not much seems to be going on at https://eurogruppe.be yet.
The essay was originally published in e-flux journal in October 2016, so still in the pre-Trumpocene. I was guest-editor for this issue, titled “Perfect Storm,” and on September 30 I sent in a draft for the editorial, which started as follows: “On November 8, 2016, Donald J. Trump will win the American presidential election.” I was told that this would never happen, and the editorial was published without the offending opening salvo.
In an accelerating catastrophe, texts responding to political urgencies can date quickly. “Who Makes the Nazis?” is no exception, yet like the “Perfect Storm” issue as a whole it still provides elements for a fundamental analysis of the rightward drift of American and European politics. “The Powers of the False” from Texte zur Kunst is a more recent sequel of sorts.
Metropolis M has published a report on the Future Caucus I organized with Eric de Bruyn at the Van Abbemuseum in the context of the Becoming More programme. We are planning a publication based on and extending this day.
Over the years, my writings have been included in several volumes of the Whitechapel Gallery/MIT Press Documents of Contemporary Art series; notable examples include David Evans’ Appropriation and Maria Lind’s Abstraction. I’m happy to also be part of Tom McDonough’s carefully composed new volume on Boredom with part of my “Lazy Labour” essay.