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COMING OUT AUF TSCHECHO(-SLOWAKISCH) Zuzana Štefková | theory | 01.03.2007
COMING OUT AUF TSCHECHO(-SLOWAKISCH)
„Es ist armselig, dass du an irgendwelche Triebe glaubst“, sagt der ältere Franzose mit dem blutbefleckten Gesicht zu dem ebenfalls mit Blut besudelten jungen Mann, der ein Stück entfernt langsam und offensichtlich sterbend durch den Garten kriecht. „Seinen Schwanz in stinkende Fotzen zu stecken… in Löcher, aus denen das Blut tropft… Danach fällt dir der Schwanz wieder“, fügt der Mann hinzu, ohne…
Augenblicke in Museen Solvej Helweg Ovesen | theory | 01.02.2005
AUGENBLICKE IN MUSEEN
Momente in Museen „Wir haben keine konkreten Kentnisse über die Geschichten, die sich auf Situationen in Museen beziehen: darüber, wie sie entworfen oder nicht entworfen wurden. Sich auf die performative Dimension eines Kunstwerks zu konzentrieren ist mit der Frage verbunden, wie Geschichte und Begebenheit in einem Museum verknüpft sind.“ Es gibt einige besondere Situationen in Museen, die…
I Use That Word Feminism Only Intimately and When it is Dark… Alice Červinková a Kateřina Šaldová | theory | 01.01.2005
I USE THAT WORD FEMINISM ONLY INTIMATELY AND WHEN IT IS DARK…
(from an investigative interview) Recently, we presented two themes as part of a research project (1) aimed at women working in today’s art world: The relationship of women artists towards feminism, and the concept of women’s art. We worked on the presumption that the women’s art scene is created collectively by women. In examining these themes, we talked with the artists themselves—artists,…
Voluntary Invisibility? Věra Sokolová | theory | 01.01.2005
VOLUNTARY INVISIBILITY?
Visual Arts and Lesbian Identity There have always been artists who are lesbians. There have always been lesbians who make art. Putting aside debates about whether it is possible to call lesbians women, who had desired or loved other women before the modern category of a lesbian was established in the end of the 19th century, there have always been “lesbian artists.” However, definitions and…
"Houston, We Have a Problem" Theopisti Stylianou | theory | 01.01.2005
"HOUSTON, WE HAVE A PROBLEM"
Bringing celestialart philosophy production down to the earthly sphere of adult art education Is art philosophy a distant, blinking star in the sky of art education or a shining sun? As a practicing adult art educator I can assure you that the transition from art philosophy to art education practice is not that easy. With this article I attempt to explain why this is the case by demonstrating…
Spaces for Collective Work: Film and Video Estelle Artusová | theory | 01.04.2004
SPACES FOR COLLECTIVE WORK: FILM AND VIDEO
In groups, communities, or simply in pairs, working with others is more than an option for the artist, it may be a temptation. The organization of an artistic group acts upon its members as much as it influences the work which is eventually made. The term, eventually, should be emphasized because the community of artists itself can be presented as an oeuvre. The artistic group, considered as an…
Masochism as a Post-Phallic Mandate Peter Weibel | theory | 01.03.2004
MASOCHISM AS A POST-PHALLIC MANDATE
By Peter Weibel 1 The cruel woman The masochistic construct of the femme fatale and the vamp between nature and machine Duino elegy 1 And if I cried, who'd listen to me in those angelic orders? Even if one of them suddenly held me to his heart, I'd vanish in his overwhelming presence. Because beauty's nothing but the start of terror we can hardly bear, and we adore it because of the serene…
Stripped Pop and Affirmation in Kraftwerk, Laibach and Rammstein Ulf Poschardt | theory | 01.01.2004
STRIPPED POP AND AFFIRMATION IN KRAFTWERK, LAIBACH AND RAMMSTEIN
This is a revised version of a lecture held on 29 January 1999 in Potsdam during the Leni Riefenstahl exhibition. It intended to deal with the issue of Nazi aesthetics and Pop culture. Rammstein, currently the most successful German band, took part in the discussion. In their music video “Stripped” they use shots from Riefenstahl’s 1936 movie Olympia, and after the lecture a discussion was held…
The Creative Multiplicity of Comics Ana Merinová | theory | 01.03.2003
THE CREATIVE MULTIPLICITY OF COMICS
"The comic is a narrative and visual art form capable not only of showing the expressive voice of its creator but of constructing elaborate visual connections that can represent or challenge, among other things, the reality of the present, memory, myths, the subconscious, identity, and culture. Arising at the end of the 19th century, the comic has been able to adapt its expressive possibilities…
Nicolas Bourriaud | theory | 01.04.2002
RELATIONAL AESTHETICS (PART 1)
Relational AestheticsRelational formArtistic activity is a game, whose forms, patterns and functions develop and evolve according to periods and social contexts; it is not an immutable essence. It is the critic’s task to study this activity in the present. A certain aspect of the programme of modernity has been fairly and squarely wound up (and not, let us hasten to emphasise in these bourgeois…
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