700 Künste; Bildende und angewandte Kunst
Filtern
Erscheinungsjahr
- 2017 (6) (entfernen)
Dokumenttyp
Sprache
- Englisch (6) (entfernen)
Volltext vorhanden
- ja (6)
Schlagworte
- Archivar (1)
- Buchgestaltung (1)
- Erkenntnistheorie (1)
- Free Jazz (1)
- Kant (1)
- Kant, Immanuel (1)
- Kunst (1)
- Letov, Sergej (1)
- Marx (1)
- Moscow Conceptualism (1)
Within documentary practices the relationship between fact and fiction is
constantly renegotiated. The films and videos by John Smith address this
relationship in a special way, disarrange it, and in doing so, reveal the
conditions of producing filmic truth. We invited John Smith to show his
films and comment on them in this regard. Here we present audio
recordings of his statements and short descriptions of the films he
referred to. In the following text, film scholar Volker Pantenburg points
out the importance of John Smith’s voice in his films, it creates a
reflexive level. In a similar way, the audio files create a commentary
level for the films in this article. Additional drawings by the Berlin
based artist Maxim Bauer illustrate the conversational character of the
evening.
07.11.2016 Reconsidering the Shape of Evidence: Visual Documents in and Beyond Contemporary Art.
(2017)
Sophie Berrebi discusses in her lecture the use of documents in the
visual arts in the first decade of the 21rst century. She focusses on
artists, who shed light on the potentials, mechanisms and traditions of
analogue forms of documentary practices in contrast to the contemporary
emphasis on the usage of digital media. In doing so they question the
status of art works as well as of documents and the relationship of
museums and archives. We present here the presentation manuscript of the
lecture and add the notes taken by two members of the research training
group. This most common kind of documentation of lectures in most
scientific disciplines points out the processes of selection und
accentuation in listening and recording.
Scientific experiments with documenting and archiving sound resulted in
the creation of diverse techniques which were eventually used beyond the
sciences, too. By addressing the poetics and politics of scientific sound
archives an institution comes into focus which is at the intersection of
art and science. While Viktoria Tkaczyk analyzed sound recordings from
the perspective of cultural studies, Gill Aubry presented his artistic
work with sound archives. Here, the evening is documented by photographs,
documentation of Gilles Aubry’s works and the transcription of Aubry’s
lecture.
In this article, the Moscow Conceptualist Vadim Zakharov reflects on the intertwinement of his artistic practice and his work as book designer. One of the main insights is that, for Zakharov, art becomes interesting when it emerges from, and yet goes beyond, work. This transgression is minimal, but it is founded in the particular experience of, and reflection on, work. Zakharov’s knowledge of book design becomes a means for his artistic expression. This article implies a critique of the indeterminate potentiality of the artist, herewith questioning the post-medium condition of art.
Mostly autobiographical, this article describes the development of Free Jazz in the Soviet Union and how its social status changed since the 1980s. Letov and most of his Free-Jazz colleagues were engineers and chemists. At their workplace the involvement with Free Jazz was well supported and promoted, for example, through the reduction of working time. For Letov, making music in his free time was a conscious decision and corresponded with his ideal of ‘free art’. However, in the 1990s this changed dramatically, and the consequence of the liberalization of the art and labour market led to a commercialization of Free Jazz.
This essay attempts to draw out the implications of Alfred Sohn-Rethel’s Intellectual and Manual Labour for the consideration of art. This is not something Sohn-Rethel intended or invited, but the aim here is to proceed immanently: by simply extending his critique of Kant’s epistemology to Kant’s aesthetics. The result is a critique of Kant’s influential account of aesthetic experience and art as an ideological form of commodity exchange abstraction.