Kengo Kuma An "object" is a work of architecture that is expressly designed for maximum isolation. While not exclusive to any particular architectural style, objects have been the organizing principle for many modernist and postmodernist works. Indeed, they might even be said to be the very strategy by which modernism succeeded in conquering the world. Why is objectification so widespread? In Anti-Object, Kengo Kuma argues it is because it shares the aims of the prevailing economic system. He suggests and illustrates his alternative to objectification through a discussion of the various stratagems of his work.

Jan Turnovsky Originally published in German in 1985 as Die Poetik eines Mauervorsprung, Jan Turnovsky's The Poetics of a Wall Projection is ostensibly a description of a corner within the breakfast room of the Villa Stonborough in Vienna, designed by Ludwig Wittgenstein and Paul Engelmann. But it is also much more. Working from within an established Viennese tradition (practised most famously by Krauss, Freud, Loos and Wittgenstein himself), Turnovsky's study elucidates a complex set of ideas from something seemingly trivial - in this case, an analysis of the villa's corner detail expands into a wider exploration of the logics of architectural syntax and his belief that good and poetic architecture is always also practical. Jan Turnovsky (1941-1995) at various times worked as a carpenter, graphic designer, tenor saxophonist, poet and architectural researcher at the Architectural Association and the Technical University in Vienna. The Poetics of a Wall Projection is translated, and introduced, by Kent Kleinman, Dean of the College of Architecture, Art, and Planning at Cornell University.

Claire Doherty

Chris Kraus In Where Art Belongs, Chris Kraus examines artistic enterprises of the past decade that reclaim the use of lived time as a material in the creation of visual art. In four interlinked essays, Kraus expands the argument begun in her earlier book Video Green that "the art world is interesting only insofar as it reflects the larger world outside it." Moving from New York to Berlin to Los Angeles to the Pueblo Nuevo barrio of Mexicali, Kraus addresses such subjects as the ubiquity of video, the legacy of the 1960s Amsterdam underground newspaper Suck, and the activities of the New York art collective Bernadette Corporation. She examines the uses of boredom, poetry, privatized prisons, community art, corporate philanthropy, vertically integrated manufacturing, and discarded utopias, revealing the surprising persistence of microcultures within the matrix.Chronicling the sometimes doomed but persistently heroic efforts of small groups of artists to reclaim public space and time, Where Art Belongs describes the trend towards collectivity manifested in the visual art world during the past decade, and the small forms of resistance to digital disembodiment and the hegemony of the entertainment/media/culture industry. For all its faults, Kraus argues, the art world remains the last frontier for the desire to live differently.

Christian Marazzi The 2010 English-language edition of Christian Marazzi's The Violence of Financial Capitalism made a groundbreaking work on the global financial crisis available to an expanded readership. This new edition has been updated to reflect recent events, up to and including the G20 summit in July 2010 and the broad consensus to reduce government spending that emerged from it. Marazzi, a leading figure in the European postfordist movement, argues that the processes of financialization are not simply irregularities between the traditional categories of wages, rent, and profit, but rather a new type of accumulation adapted to the processes of social and cognitive production today. The financial crisis, he contends, is a fundamental component of contemporary accumulation and not a classic lack of economic growth. Marazzi shows that individual debt and the management of financial markets are actually techniques for governing the transformations of immaterial labor, general intellect, and social cooperation. The financial crisis has radically undermined the very concept of unilateral and multilateral economico-political hegemony, and Marazzi discusses efforts toward a new geomonetary order that have emerged around the globe in response. Offering a radically new understanding of the current stage of international economics as well as crucial post-Marxist guidance for confronting capitalism in its newest form, The Violence of Financial Capitalism is a valuable addition to the contemporary arsenal of postfordist thought. This edition includes the glossary of the esoteric neolanguage of financial capitalism—"Words in Crisis," from "AAA" to "toxic asset"—written for the first English-language edition, and offers a new afterword by Marazzi.

Tiqqun Historical conflict no longer opposes two massive molar heaps, two classes—the exploited and the exploiters, the dominant and dominated, managers and workers—between which, in each individual case, it would be possible to differentiate. The front line no longer cuts through the middle of society; it now runs through each one of us... "—from This Is Not a ProgramTraditional lines of revolutionary struggle no longer hold. Rather, it is ubiquitous cybernetics, surveillance, and terror that create the illusion of difference within hegemony. Configurations of dissent and the rhetoric of revolution are merely the other face of capital, conforming identities to empty predicates, ensuring that even "thieves," "saboteurs," and "terrorists" no longer exceed the totalizing space of Empire. This Is Not a Program offers two texts, both originally published in French by Tiqqun with Introduction to Civil War in 2001. In "This Is Not a Program," Tiqqun outlines a new path for resistance and struggle in the age of Empire, one that eschews the worn-out example of France's May '68 in favor of what they consider to be the still fruitful and contemporary insurrectionary movements in Italy of the 1970s. "As a Science of Apparatuses" examines the way Empire has enforced on the subject a veritable metaphysics of isolation and pacification, "apparatuses" that include chairs, desks, computers; surveillance (security guards, cameras); disease (depression); crutch (cell phone, lover, sedative); and authority. Tiqqun's critique of the biopolitical subject and omnipresent Empire is all the more urgent as we become inured to the permanent state of exception that is the War on Terror and to other, no less intimate forms of pacification. But all is not lost. In its unrelenting production of the Same, Empire itself creates the conditions necessary for the insurrection to come.

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.

Boris Groys

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.

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.

Felicity Allen This book will be an original and indispensable resource for all who believe in the importance of art in the wider educational realm. Framing the recent "educational turn" in the arts within a broad historical and social context, this anthology raises fundamental questions about how and what should be taught in an era of distributive rather than media-based practices. Among the many sources and arguments traced here is second-wave feminism, which questioned dominant notions of personal and institutional freedom as enacted through art teaching and practice. Similarly, education-based responses by the art community to the catastrophes of World War II and postcolonial conflict critically inform contemporary art confronting the interrelationships of education, power, market capitalism, and—as Michael Hardt and Antonio Negri describe it—the global condition of war. These writings by artists, philosophers, educators, poets, and activists center on three recurring and interrelated themes: the notion of "indiscipline" in theories and practices that challenge boundaries of all kinds; the present and future role of the art school; and the turn to pedagogy as medium in a diverse range of recent projects. Other writings address such issues as instrumentalism and control, liberation and equality, the production and the politics of culture, and the roots of research-based practice and experimental participatory works.

Wouter Davidts, Kim Paice, Julia Gelshorn, MaryJo Marks Valiz's Antennae series picks up new currents in the arts and commissions essays that transmit current waves of thought. The Fall of the Studio: Artists at Work, a collection of new essays examining the role and significance of the artist's studio in the cultural production and criticism of the second half of the twentieth century, is its first publication. It critically assesses the changes that have occurred in the nature and function of the artist's studio from the postwar period on. A blend of art history, art criticism and art theory, written in an accessible, non-academic style, the book illuminates a number of artists' studio habits—from the 1960s through the present—including Eva Hesse, Mark Rothko, Olafur Eliasson, Bruce Nauman, Robert Morris, Daniel Buren, Martin Kippenberger, Paul McCarthy, Jason Rhoades and Jan De Cock.

Pascal Gielen Here, art sociologist Pascal Gielen examines the notion that the global art economy-with its ever-renewable youth quota, its gender imbalance, flexible working hours and short-term contracts (or lack of contracts)-is wholly congruent with the worst aspirations of late capitalism, and is ripe for economic exploitation. Conscious that art also offers real liberties, Gielen also proposes alternative models and argues for a recognition of the values implied by the creative process, rather than by the subtle coercions of post-Fordist production imperatives to which we are all subject

Paul O'Neill Locating the Producers investigates how and why more long-term and/or accumulative public art projects have began to emerge in response to single locations, and provides in-depth examination of sustained public art projects, including: The Blue House, IJburg (NL), Trekroner Art Plan, Roskilde (DK), Grizdale Arts, Cumbria (UK), and Edgware Road, London.

Tessa Overbeek, Jeroen Boomgaard, Pascal Gielen, Paul De Bruyne Throughout the world, the educational field is being transformed into a marketplace in which institutions must compete for students, and are called on to assess their cultural contributions in terms of finance and management. Is there any room left for art in such a system? Teaching Art in the Neoliberal Realm investigates the wide-scale reorganization of art education in the United States, Europe, Asia, Australia, Latin America, Russia and The Netherlands, and seeks to determine both the current impact and future ramifications of market education on the arts and the artist. Most importantly, it provides prescriptions for a positive direction forward, steering between the cynical big business of the art market and the threatened idealism of classic art education. The thematic chapters, interviews and essays adopt both practical and theoretical approaches, and include such contributors as Richard Sennett, Marco Scotini and Dieter Lesage.

미디어버스 편집부 엮음

미디어버스 편집부 엮음

슬라보예 지젝 지음, 한보희 옮김

알랭 바디우 지음, 현성환 옮김

조르조 아감벤 지음, 김항 옮김

조르조 아감벤 지음, 박진우 옮김

지그문트 바우만 지음, 정일준 옮김

김항 지음

황호덕 지음

강태희 외 지음

강태희 외 지음

김경진 지음

옥인 콜렉티브 지음

박해천 소개
1. <일민 시각문화 총서>의 일곱번째 책으로 출간되는 <공원, 한강, 이득영>은 전시 도록이 아니다. 이득영 사진전 <공원, 한강>과 함께 기획되었지만, 그와는 일정한 거리를 유지하며 준-자율적인 형태로 제작된 단행본이다.
2. <의견 교환>에는 작가 이득영, 미술·디자인 평론가 임근준, 번역가 윤원화, 기계평론가 이영준이 참여해, 사진이라는 시각 기계, 운송 수단에 매개된 시선, 이미지의 디지털 처리 방식, 도시 경관과 시각성의 관계, 동시대 미술과 사진 등에 대해 각자의 의견을 교환한다.
 
목차
포획하는 거울: 이득영의 한강 사진 / 윤원화
헬리콥터에 의해 매개된 시선의 역사 속에서 본 이득영의 사진 / 이영준
메모: 이득영의 의사-광학적 시선의 초월성과 그것이 호출할 수 있는 사실들의 비역사성 / 임근준
한강 주변의 교통망: 육안과 통계적 눈으로 살펴보기 / 전현우
몸의 무게 / 이진
제목을 입력하십시오 / 김형재,박재현,배민기
 
Optical Race_김형재,박재현,배민기

일민미술관

권김현영 외 지음

박해천 지음

복도훈 지음

이상우 지음

이택광 지음

정진열.김형재 지음

최정우 지음