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컨템포러리 아트 저널 편집부 엮음

컨템포러리 아트 저널 편집부 엮음

David Lamelas

Anton Vidokle, Julieta Aranda, Brian Kuan Wood Since conceptualism, the field of art has become increasingly accustomed to playing host to its own critique, and recent decades have found institutions engaged in self-critique as if by mandate. Important notions of legibility, autonomy, and critical engagement that were once necessary to carve out a space for a critic or critical art publication have transposed themselves onto artistic production proper, and are now considered to be of equal importance to artist, curator, institution, and engaged audience member alike.

This climate of disciplinary reconfiguration and geographic dispersal has made the art world a highly complex place the objective position that once defined the role of a critic has been effectively replaced by a need to understand just how large and varied the whole thing has become. The urgent task has now become to engage the new intellectual territories in a way that can revitalize the critical vocabulary of contemporary art. Perhaps the most productive way of doing this is through a fresh approach to the function of an art journal as something that situates the multitude of what is currently available, and makes that available back to the multitude. The selection of essays included in this book seeks to highlight an ongoing topical thread that ran throughout the first eight issues of e-flux journal a sequence of overlapping concerns passed on from one contribution to the next.

Contributions by Michael Baers, Luis Camnitzer, Liam Gillick, Boris Groys, Tom Holert, Gean Moreno and Ernesto Oroza, Marion von Osten, Raqs Media Collective, Dieter Roelstraete, Irit Rogoff, Sean Snyder, Hito Steyerl and Monika Szewczyk.

Julieta Aranda, Anton Vidokle, Brian Kuan Wood It is infuriating that most interesting artists are perfectly capable of functioning in at least two or three professions that are, unlike art, respected by society in terms of compensation and general usefulness. Furthermore, when the flexibility, certainty and freedom promised by being part of a critical ''outside'' are considered as extensions of recent advances in economic exploitation, does the field of art then become the uncritical, complicit ''inside'' of something far more compelling? This latest issue of e-flux journal addresses these important (though somewhat hostile) questions in the in-your-face style the journal is known for. Cover design by Liam Gillick.

Julieta Aranda, Brian Kuan Wood, Anton Vidokle, et al. This book began as a two-part issue of e-flux journal devoted to the question: What is contemporary art? At this point, has modernity become our antiquity? A single hegemonic ''ism'' has replaced clearly distinguishable movements and grand narratives. But what exactly does it mean to be working under the auspices of this particular ism? This absorbing collection of writings puts the apparently self-evident term into doubt, asking critics, curators, artists and writers to contemplate the nature of this catchall category. Contributors include Julieta Aranda, Brian Kuan Wood, Anton Vidokle, Cuauhtemoc Medina, Boris Groys, Raqs Media Collective, Hans Ulrich Obrist, Hu Fang, Jorg Heiser, Martha Rosler, Zdenka Badovinac, Carol Yinghua Lu, Dieter Roelstraete, and Jan Verwoert.

Rob Hamelijnck, Nienke Terpsma

Boris Groys, Julieta Aranda, Brian Kuan Wood, Anton Vidokle If all things in the world can be considered sources of aesthetic experience, suggests media critic and philosopher Boris Groys, then art no longer holds a privileged position. Rather, art comes between the subject and the world, and any aesthetic discourse used to legitimize art must also necessarily serve to undermine it. As editor, Groys assembles a multi layered collection of essays by influential contributors as the latest issue of E-Flux Journal, including noted curator Lars Bang Larson and visual artist Paul Chan. Groys and his contributors attempt to disentangle tensions like artist vs. spectator and creator vs. viewer, presenting artistic practices as a type of public address.

헤드에이크 편집부 엮음

Jonas Ekeberg

Boris Groys, Okwui Enwezor, Francesco Bonami, Rosa Martinez, Isabel Carlos, Michele Robecchi, Udo Kittelman, Nicolas Bourriaud, Viktor Misiano, Igor Zabel In 2008 Manifesta Foundation together with Italian publisher Silvana Editoriale made available a reprint of the Manifesta Journal in the form of two books. Initially the single Manifesta Journals were published between 2003 to 2005 in a series of six issues. The first book is composed of the following MJs : MJ#1 The Revenge of the White Cube? (Spring / Summer 2003), MJ#2 Biennials (Winter 2003 / Spring 2004) and MJ#3 Exhibition as a Dream (Spring / Summer 2004).

Various The Grammar of the Exhibition Manifesta Journals new series on contemporary curatorship starts with an inquiry into the fundamental aspects of curating - namely the grammar of the exhibition. In this context, grammar can be defined as the linguistics and vocabulary of curating, and can also be considered an accepted methodology to help interpret and define the ideas, decisions and actions of the curator. Subdivided in various sections, a differentiated group of authors has been invited to contribute to MJ#.

Various

Various

Various

Robert Fleck, Richard Wood, Natasa Petresin, Francesco Manacorda, Jens Hoffmann, Barbara Steiner, Michele Robecchi, Hans Ulrich Obrist, Viktor Misiano, Igor Zabel In 2008 Manifesta Foundation together with Italian publisher Silvana Editoriale made available a reprint of the Manifesta Journal in the form of two books. Initially the single Manifesta Journals were published between 2003 to 2005 in a series of six issues. The second book contains MJ#4 Teaching Curatorship (Autumn / Winter 2004), MJ#5 Artist & Curator and Archive (Spring / Summer 2005, first published in this book) and MJ#6 Memory of the Show (Autumn / Winter 2005, first published in this book).

Ranjit HOSKOTE, Nancy ADAJANIA, Ricardo BASBAUM, Jean-Paul FARGIER, YANG Haegue(양혜규), Peter WEIBEL, John RAJCHMAN, Arjen MULDER, Hiroshi YOSHIOKA(吉岡洋), Clara KIM, Lev MANOVICH, JO Jeonghwan(조정환), PARK Wongil, Susanne RENNERT, KissPal SZABOLCS, Simon O'SULLIVAN, David ZERBIB First issue of the biannual journal by the Nam June Paik Art Center. Digital version available for download.

'The aim of the NJP Reader is to contextualize Nam June Paik's artistic thought and random access strategies in a topical discursive practice.' (Excerpt from the editorial on page 2)

This issue presents selected responses of international artists, critics and curators to the following 3 questions posted in the form of a questionnaire:
1. Artistic anthropology intends to produce novel models of relationality and connectivity. Could (Nam June Paik’s legacy as a form of) artistic anthropology contribute to an artistic discourse going beyond the framework of “relational aesthetics”? What artists in our day have developed relevant examples of rethinking and recontextualizing an artistic anthropology?
2. What could artistic anthropology mean to current artistic practice? How could it relate to medium-specific qualities? Is it a form of artistic communication defined by a postmedium-condition? Or is it a practice demanding the concept of medium-specificity to change?
3. What could artistic anthropology - as a form of knowledge production - mean for the current classification system? Will it challenge the dominant paradigms of the established humanities and sciences? What type of new models might trigger this? How could artistic anthropology contribute to a better and more political understanding of the “human condition”? And what could artistic anthropology mean for the concept of art in general?

Pnina Avidar, Klaske Havik, David Mulder Is gentrification necessary for urban renewal? To what extent is it a natural course of events, and to what extent is it being induced? The process of transforming a low-income neighborhood into a middle-class enclave, often driven by members of the creative classes, used to start from the bottom, as seen in run-down parts of London and New York. It has since been discovered by the market, and developers now look to lure creative industries and cultural facilities as top-down mechanisms to kick-start the process. This issue of the architectural journal OASE explores the theoretical background of the gentrification phenomenon from perspectives including the visual arts, cultural history, economics, landscape and urban design and sociology. It also includes case studies on London, Amsterdam, Rotterdam, Antwerp and Vienna.

Richard Grusin, Jorinde Seijdel, Liesbeth Melis With the rise of less formal, more personal media outlets like YouTube and blogs, the mass media is no longer our only public forum. This issue of the Dutch architectural journal Open investigates these new user-tailored media, asking, "What are the opportunities for artistic practices and critical forms of publicness?"

Maria Hlavajova, Thierry de Duve, Chantal Mouffe, Molly Nesbit This year, Open celebrates its fifth anniversary with this extra edition, which addresses the role of the art biennial in city marketing. Open 16 is published concurrently with the first Brussels Biennial.

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