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.

Bruce Altschuler, Hans Ulrich Obrist Based on the concept of a do-it-yourself manual, Do It provides step by step instructions for producing actions, artworks and events that can be constructed and conducted either at home or at a museum.

Amale Andraos, Dan Wood Forty years after French protestors took to the streets with the rallying cry Sous les pavs, la plage! (Beneath the pavement, the beach!), a new form of radical expression took shape at MoMA's P.S.1 courtyard in Queens, New York. Above the Pavement—the Farm! reveals the groundbreaking efforts of architecture firm WORKac and their team of more than 150 collaborators—farmers, politicians, horticulturists, technicians, soil scientists, engineers, architecture students, and artists—to create a working urban farm, hoisted 30 feet high, using industrial cardboard tubes filled with more than 50 varieties of locally grown fruits and vegetables. Called Public Farm 1 (P.F.1), this new breed of sustainable infrastructure, capable of generating its own power, recycling rainwater, cultivating crops, and encouraging leisure, demonstrated that even the most impossibly utopian visions of green city living are within our reach.

Above the Pavement—the Farm! presents a delectable range of ideas and issues situated at the intersection of architecture, urbanism, and food. Featuring a lively mlange of voices depicting the making of P.F.1—with contributions by artist and agricultural activist Fritz Haeg, architectural historian Meredith TenHoor, architect Winy Maas, and head chef Michael Anthony of New York City's Gramercy Tavern—this book introduces a new era of ecological thinking and urban sustenance.

Amale Andraos and Dan Wood are the founders of New York City-based WORK Architecture Company.

Umbro Apollonio Manifestos and artists' statements were crucial to Futurism, the revolutionary art movement that took Europe by storm in the years preceding the First World War. This title presents some of the most comprehensive selection of the writings that defined the movement.

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.

John Baldessari, Hans Ulrich Obrist Hans Ulrich Obrist has been a staunch supporter of the Los Angeles maestro of Conceptualism John Baldessari from early on in his career. For these conversations, the artist and curator were joined by, among others, the Uruguayan artist and author Alejandro Cesarco, a friend and previous public interlocutor of Baldessari's. Baldessari himself offers readers insight into the motives and semiotics of his multimedia work and his life as an artist, always expressing himself with precision and with wit. A recurrent topic throughout these discussions is the interaction of text and image (on which so much of Baldessari's work leans), and issues such as the museum as institution, idea archives and unrealized projects, and on his career, exhibitions and retrospectives of the past few years.

Frederique Bergholtz

Daniel Birnbaum, Anders Olsson This mind-altering meditation on hunger, the true nature of food and melancholy was first published in Sweden in 1992. It is no less
relevant today, as the authors examine the enigmatic relation of melancholia to an early kind of cannibalism, using readings from Kafka,
Beckett, Freud, and Hegel, among others, to illustrate their points. Touching on such themes as primitive sacrificial rites and contemporary
anthropology, philosophy, and linguistic theory, the text asks if it is possible to transfer this idea of a different kind of food to other art forms, such as painting and sculpture. "The saturnine mind is gloomy and depressed, yet inspired and radiant," write the authors. "It is the state of mind of inspiration."

Beatrice von Bismarck, Jorn Schafaf

Maurice Blanchot The Unavowable Community is an inquiry into the nature and possibility of community, asking whether there can be a community of individuals that is truly "communal." The problem, for Blanchot, is that the very terms of an ideal community make an "avowal" of membership in it a violation of the terms themselves. This meditation ranges from the problematic effects of a defect in language to actual historical experiments in community. As Blanchot's first direct treatment of a subject that has long figured in or behind his work, this small but highly concentrated book stands as an important addition to his own contribution to literary, philosophical, social, and political thought, figuring as it does at the center of the emerging concern for a redefinition of politics and community. Readers of Blanchot know not to expect answers to the great questions that move his thought-rather, to live with the questions at the new level to which they have been raised in his discourse.

Will Bradley, Mika Hannula, Cristina Ricupero, Superflex

Daniel Buren, Charles Esche, Paul O'Neill, Mick Wilson In recent years there has been increased debate on the incorporation of pedagogy into curatorial practice-on what has been termed "the educational turn" ("turn" in the sense of a paradigmatic reorientation, within the arts). In this new volume, artists, curators, critics and academics respond to this widely recognized turn in contemporary art. Consisting primarily of newly commissioned texts, from interviews and position statements to performative text and dialogue, Curating and the Educational Turn also includes a number of previously published writings that have proved primary in the debate so far. Companion to the critically acclaimed Curating Subjects, this anthology presents an essential question for anyone interested in the cultural politics of production at the intersections of art, teaching and learning. Contributors include David Aguirre, Dave Beech, Cornford & Cross, Charles Esche, Liam Gillick, Tom Holert and Emily Pethick.

Lieven De Cautier, Ruben De Roo, Karel Vanhaesebrouck "What roles can art and activism play in a post-Fordist "society of the spectacle"? Can activist art effect real change? Art & Activism in the Age of Globalization asks these and other pressing questions facing contemporary activist art, through case studies by established artists and filmmakers such as Steven Cohen and Christoph Schlingensief, as well as emerging voices such as Renzo Martens and Les Chiens de Navarre. It investigates issues of urban activism and the activism of anonymous networks, giving special consideration to the effects of the War on Terror upon the activist agenda. In our era of unchecked globalization and the extreme crisis of global warming, this indispensable reader concludes by proposing a theoretical scaffolding for modern-day activism, making a passionate appeal for a truly political art.

정은영, 진수미 Siren Eun Young Jeng, Su Mee Chin 목차
ㅇ 인사말 /이한신
 
ㅇ 작가 소개
ㅇ 글쓴이 소개
 
ㅇ 글 / 연대의 열정과 초연 사이
             1. 흐름, "모든 안착한 사람들"에게—————————————————————— p. 19
             2. 스침, "이때 대답해야 하는 것이 바로 살갗이다."——————————— p. 25
             3. 시적인 것들, "내 언어가 아닌 다른 언어로 언술하고 싶다."———— p. 47
             4. 연대, "성직자는 한 사름도 따라가지 않았다."————————————— p. 63
             5. 투쟁, "우리는 우리 자신의 마귀이다."—————————————————— p. 83
             6. 종착, "그리하여 밤이 밤을 밝히었다."—————————————————— p. 95 

Noam Chomsky

Alex Coles This reader in Whitechapel's Documents of Contemporary Art series investigates the interchange between art and design. Since the the Pop and Minimalist eras—as the work of artists ranging from Andy Warhol to Dan Graham demonstrates—the traditional boundaries between art and architectural, graphic, and product design have dissolved in critically significant ways. Design and Art traces the rise of the "design-art" phenomenon through the writings of critics and practitioners active in both fields.

The texts include writings by Paul Rand, Hal Foster, Miwon Kwon, and others that set the parameters of the debate; utopian visions, including those of architect Peter Cook and writer Douglas Coupland; project descriptions by artists (among them Tobias Rehberger and Jorge Pardo) juxtaposed with theoretical writings; surveys of group practices by such collectives as N55 and Superflex; and views of the artist as mediator—a role assumed in the past to be the province of the designer—as seen in work by Frederick Kiesler, Ed Ruscha, and others. Finally, a book that doesn't privilege either the art world or the design world but puts them in dialogue with each other.

Contributors:
David Bourdon, Peter Cook/Archigram, Douglas Coupland, Kees Dorst, Charles Eames, Experimental Jetset, Vilém Flusser, Hal Foster, Liam Gillick, Dan Graham, Clement Greenberg, Richard Hamilton, Donald Judd, Frederick Kiesler, Miwon Kwon, Maria Lind, M/M, N55, George Nelson, Lucy Orta, Jorge Pardo, Norman Potter, Rick Poynor, Paul Rand, Tobias Rehberger, Ed Ruscha, Joe Scanlan, Mary Anne Staniszewski, Superflex, Manfredo Tafuri, Rirkrit Tiravanija, Paul Virilio, Joep van Lieshout, Andy Warhol, Benjamin Weil, Mark Wigley, and Andrea Zittel.

Copublished with Whitechapel Art Gallery, London

Lynne Cooke, Johanna Burton Encounters with art engage various conditions of interiority whether through psychic spaces or specific physical environments such as museums and private residences. The exhibition If you lived here, you d be home by now, presented at the Hessel Museum of Art, CCS Bard, was the catalyst for this anthology. The first in a series titled CCS Readers, this volume provides a paradigmatic case study for probing issues of the personal and subjective experience within realms of the sociological, political and cultural. Features commissioned essays, conversations and talks, historical writings and artistic projects from such intellects as Anni Albers, Moyra Davey and Virginia Woolf to establish the notion of self, society and the contemporary art world.

David Crowley, Steven Ball, David Curtis, Anselm Franke, Leire Vergara, Jan Verwoert, Axel J Wieder, Micha Wolinski

David Crowley, Steven Ball, David Curtis, Anselm Franke, Leire Vergara, Jan Verwoert, Axel J Wieder, Micha Wolinski

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.

T.J. Demos, Okwui Enwezor, Claire Gilman, Margaret Sundell Amid the popularity of documentary practices in contemporary art, The Storyteller addresses the use of storytelling as a means of exploring recent political events. For the artists in this volume, the story operates neither as a purely imaginary conceit nor as an item of verifiable information. In some cases, it may take the form of an invented drama based on real events; in others, it adopts literary genres such as the fairy tale or the quest; in still others, a dialogue is conceived between active participants in a contemporary political situation. Edited by Claire Gilman and Margaret Sundell, The Storyteller includes works by Cao Fei, Jeremy Deller and Mike Figgis, Omer Fast, Mounir Fatmi, Ryan Gander, Lamia Joreige, Joachim Koester, Emanuel Licha, Missing Books, Steve Mumford, Adrian Paci, Michael Rakowitz, Liisa Roberts and Hito Steyerl.

Claire Doherty

edited

Charles Esche, Will Bradley The relationship between art and social and political change is not only a highly topical area of current debate, it is also fundamental to the history of modern art. This volume gathers together for the first time the essential texts that have defined this area since the late nineteenth century. Using primary sources, case studies, and new commissions, Art and Social Change provides an overview of the historical development of art with ideas of social and political change, from utopian imaginings to active engagement. Incorporating artists’ writings and public statements, as well as critical and theoretical texts, the volume also highlights developments outside established Western art history.

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

Zoe Gray, Miriam Kathrein, Nicolaus Schafhausen, Monika Szewczyk, Ariadne Urlus This book documents three large-scale symposia at Witte de With Center for Contemporary Art. Structured to establish a lively platform for debate and exchange, these symposia explore the practice of three of the protagonists of the contemporary art world: the critic, the curator and the artist. Are they still the people who decide what art is made, what is seen, and whether it is ''good''? The book includes transcripts from workshops and dialogues, and also contains spirited contributions that arrived from participants in the months after the dialogues took place. Bringing together the cross-generational experience of the attendees, this compendium offers insights from some of the most renowned and promising figures in their fields.

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.

Nav Haq, Tirdad Zolghadr Class inevitably raises awkward questions for the protagonists of contemporary art — about their backgrounds, patrons and ideological proclivities. Lapdogs of the Bourgeoisie investigates this latent yet easily overlooked issue, which has been historically eclipsed by gender, sexuality, ethnicity and nationality. This book creates a conversation on a sensitive subject, bringing together essays by art-world types including artists, curators and critics. On one hand, the ideas here raise the question of whether a given socio-economic background still helps define an artistic career — and to which point this career might reflect or consolidate the hierarchies in question. On the other hand, the project asks whether the traditional ways of analyzing class structure are actually helpful in an examination of who makes art today.

Charles Harrison, Dr Paul J. Wood This popular anthology of twentieth-century art theoretical texts has now been expanded to take account of new research, and to include significant contributions to art theory from the 1990s.New edition of this popular anthology of twentieth-century art-theoretical texts.Now updated to include the results of new research, together with significant contributions from the 1990s.Includes writings by critics, philosophers, politicians and literary figures.The editors provide contextual introductions to 340 texts.Complements Art in Theory 1648-1815 and Art in Theory 1815-1900 to create a complete survey of the theories underpinning the development of art in the modern period.

Abbie; Haber, Izack; Forcade, Tom; Cohen, Bert Hoffman Steal this Book [Mass Market Paperback] [Jan 01, 1971] Abbie Hoffman

Fredric Jameson Utopian thought since Thomas More, and science fiction in the neoliberal age.In an age of globalization characterized by the dizzying technologies of the First World, and the social disintegration of the Third, is the concept of utopia still meaningful? Archaeologies of the Future, Jameson’s most substantial work since Postmodernism, Or, the Cultural Logic of Late Capitalism, investigates the development of this form since Thomas More, and interrogates the functions of utopian thinking in a post-Communist age. The relationship between utopia and science fiction is explored through the representations of otherness … alien life and alien worlds … and a study of the works of Philip K. Dick, Ursula LeGuin, William Gibson, Brian Aldiss, Kim Stanley Robinson and more. Jameson’s essential essays, including “The Desire Called Utopia,” conclude with an examination of the opposing positions on utopia and an assessment of its political value today.

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.

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.

Aaron Levy, William Menking The origins of the architecture biennale are generally traced to the 1970s, when it emerged from under the umbrella of the larger Venice Biennale, which was itself established in 1895. Since then it has become one of the most prestigious forums for architectural discourse today, and has served as a model for a range of international exhibitions. The book explores the biennale through the directors who established its particular discourse, including Vittorio Gregotti, Paolo Portoghesi, Francesco Dal Co, Kurt W Forster, Massimiliano Fuksas, Hans Hollein, Richard Burdett, Deyan Sudjic, Aaron Betsky and Kazuyo Sejima, as well as the current president of the Venice Biennale, Paolo Barrata. These conversations do not seek to recapitulate the exhibitions themselves but rather explore the questions that these exhibitions raise, with the hope of offering a model for future curatorial endeavours.

안정주, 임산 Jungju An, Shan Lim 2012아르코미디어 비평 총서 시리즈 2
 
목차
ㅇ 인사말 / 이한신
 
ㅇ 작가 소개
ㅇ 글쓴이 소개
 
ㅇ 글 / 역설의 자유를 향유하다- 안정주의 비디오예술——————————————-p. 19

Lucy Lippard, Hans Ulrich Obrist Part of JRP|Ringer's innovative Documents series, published with Les Presses du Reel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field—from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs—with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator's death in 2005, critic Aaron Schuster summed up, "the image we have of the curator today: the curator-as-artist, a roaming, freelance designer of exhibitions, or in his own witty formulation, a 'spiritual guest worker'... If artists since Marcel Duchamp have affirmed selection and arrangement as legitimate artistic strategies, was it not simply a matter of time before curatorial practice—itself defined by selection and arrangement—would come to be seen as an art that operates on the field of art itself?"

R.hehl Eds. M.angelil The first volume in a forthcoming series developed in conjunction with the Urban Mutations on the Edge seminar at the ETH, Zurich. The collection of essays presents a cross-section of urban informality by drawing from specific case studies in Serbia, Morocco, and India as well as broader theoretical frameworks.

John Maeda Received an Honorable Mention in the Communication and Cultural Studies category of the 2005 Professional/Scholarly Publishing Annual Awards Competition presented by the Association of American Publishers, Inc.

Finally, we are learning that simplicity equals sanity. We're rebelling against technology that's too complicated, DVD players with too many menus, and software accompanied by 75-megabyte "read me" manuals. The iPod's clean gadgetry has made simplicity hip. But sometimes we find ourselves caught up in the simplicity paradox: we want something that's simple and easy to use, but also does all the complex things we might ever want it to do. In The Laws of Simplicity, John Maeda offers ten laws for balancing simplicity and complexity in business, technology, and design—guidelines for needing less and actually getting more.

Maeda—a professor in MIT's Media Lab and a world-renowned graphic designer—explores the question of how we can redefine the notion of "improved" so that it doesn't always mean something more, something added on.

Maeda's first law of simplicity is "Reduce." It's not necessarily beneficial to add technology features just because we can. And the features that we do have must be organized (Law 2) in a sensible hierarchy so users aren't distracted by features and functions they don't need. But simplicity is not less just for the sake of less. Skip ahead to Law 9: "Failure: Accept the fact that some things can never be made simple." Maeda's concise guide to simplicity in the digital age shows us how this idea can be a cornerstone of organizations and their products—how it can drive both business and technology. We can learn to simplify without sacrificing comfort and meaning, and we can achieve the balance described in Law 10. This law, which Maeda calls "The One," tells us: "Simplicity is about subtracting the obvious, and adding the meaningful."

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.

Charles Merewether In the modern era, the archive—official or personal—has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing conflicts, the emergence of the postcolonial era, and the fall of communism have each provoked a reconsideration of the authority given the archive—no longer viewed as a neutral, transparent site of record but as a contested subject and medium in itself.

This volume surveys the full diversity of our transformed theoretical and critical notions of the archive—as idea and as physical presence—from Freud's "mystic writing pad" to Derrida's "archive fever"; from Christian Boltanski's first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Renée Green, and The Atlas Group in the present.

Copublished with Whitechapel Art Gallery, London

Markus Miessen Welcome to Harmonistan! Berlin-based architect/writer Markus Miessen tackles the pervasive contemporary overuse of the concept of ''participation'' in the final part of his paradigm-changing trilogy. Supported by a nostalgic veneer of worthiness, phony solidarity and political correctness, participation has become the default of politicians withdrawing from responsibility. Miessen argues for an urgent inversion of participation, reflecting cogently on the limits and traps of its real motivations. He dreads breeding the next generation of facilitators and mediators, insisting on conflict as an enabling, instead of disabling, force. With refreshing candor, this internationally known architect and professor outlines a format for acting as uninvited irritant, forcing entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, Miessen writes, democracy has to be avoided at all costs!

Markus Miessen, Nikolaus Hirsch

Chantal Mouffe A new understanding of democracy that acknowledges the inescapable and essential antagonism in its workings, by one of today’s foremost radical political theorists.The Democratic Paradox is Chantal Mouffe’s most accessible and illuminating study of democracy’s sharp edges, fractures, and incongruities. Orienting her discussion within the debates over modern liberal democracy, Mouffe takes aim at John Rawls, Jürgen Habermas, and the consensus building of 'third way' politics to show how their conceptions of democracy fall victim to paralyzing contradictions. Against this background, Mouffe develops a rich conception of 'agonistic pluralism' that draws on Wittgenstein, Derrida, and the provocative theses of Carl Schmitt, attempting to reclaim the antagonism and conflict of radical democracy as its most vital, abiding feature.

Bruno Munari How do we see the world around us? "The Penguin on Design" series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. Bruno Munari was among the most inspirational designers of all time, described by Picasso as 'the new Leonardo'. Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze.

노재운, 노병우 Jae Oon Rho, Myungwoo Nho  2012 아르코미디어 비평 총서 시리즈 1
 
목차
ㅇ 인사말 /  이한신
 
ㅇ 작가 소개
ㅇ 글쓴이 소개
 
ㅇ 글 / 미디어 신체의 예술가와 랜덤 SF시간- 비말라키와 목련경의 미디어화된 세계와 노재운의 미디어 미학
            미디어 신체를 지닌 예술가———————— p. 27
            이중 미디어화된 세계: 비말라키 넷이라는 `A New World`————————p. 41
            시간의 화살이 부러지면—————————— p. 71
            극종(劇終)과 역사의 종말————————— p. 77

Ingo Niermann, Erik Niedling, Chus Martinez In this book/DVD combo, Niermann, everybody's favorite kindacomic provocateur asks, ''Could a single object transform the future of art? Could an artist succeed in merely creating this one object?'' With artist Erik Niedling, Niermann starts asking art-world figures for advice on his quest to create an artwork of epochal importance; the results, on paper and video, will surprise you. With guidance by Thomas Bayrle, Lady Jaye and Genesis Breyer P-Orridge, Olafur Eliasson, Boris Groys, Damien Hirst, Gregor Jansen, Terence Koh, Marcos Lutyens, Philomene Magers, Antje Majewski, Hans Ulrich Obrist, Thomas Olbricht and Tobias Rehberger; and commentary by Chus Martinez. Including the DVD The Future of Art by Erik Niedling and Ingo Niermann (HD, 157 min.)

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.

Paul O'Neill Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul O'Neill examines the emergence of independent curatorship and the discourse that helped to establish it. O'Neill describes how, by the 1980s, curated group exhibitions—large-scale, temporary projects with artworks cast as illustrative fragments—came to be understood as the creative work of curator-auteurs. The proliferation of new biennials and other large international exhibitions in the 1990s created a cohort of high-profile, globally mobile curators, moving from Venice to Paris to Kassel. In the 1990s, curatorial and artistic practice converged, blurring the distinction between artist and curator. O'Neill argues that this change in the understanding of curatorship was shaped by a curator-centered discourse that effectively advocated—and authorized—the new independent curatorial practice. Drawing on the extensive curatorial literature and his own interviews with leading curators, critics, art historians, and artists, O'Neill traces the development of the curator-as-artist model and the ways it has been contested. The Culture of Curating and the Curating of Culture(s) documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.

Hans Ulrich Obrist, Hu Fan On January 31, 2008, Swiss curator, critic and historian Hans Ulrich Obrist conducted a "marathon" of conversations in Beijing, after the example of his famous Serpentine Gallery marathons. This marathon called on artists, cultural producers and media practitioners to discuss the post-Olympic state of the city. Participants included internationally renowned artists Ai Weiwei and Cao Fei, writer and publisher Hung Huang, fashion designer Zhang Da and many others. Topics discussed included everyday life in contemporary Chinese society, the impact of the Olympic Games and the role of the internet in daily life.

Hans Ulrich Obrist, April Elizabeth Lamm Everything you ever wanted to know about Hans Ulrich Obrist but were afraid to ask has now been asked, revealing the truth from the beginning of his career as a young curator in his Zurich kitchen to his recent position as co-director of the Serpentine in London. This book is a ''production of reality conversations,'' otherwise known as interviews. It undertakes the impossible: pinning down this peripatetic curator, and affirming the wisdom of an artist who told Obrist ''don't go'' when he contemplated leaving the art world for other fields. Interviews by Jean Max Colard, Robert Fleck, Jefferson Hack, Nav Haq, Sophia Krzys Acord, Brendan McGetrick, Ingo Niermann, Paul O'Neill, Philippe Parreno & Alex Poots, Juri Steiner, Gavin Wade, et al.

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.

Laura Rascaroli The Personal Camera is an exploration of an elusive but more and more compelling field: essayistic cinema. The essay film, together with its cognate forms—the diary, the travelogue, the notebook and the self-portrait—is cinema in the first person. It is a cinema of thought, of investigation and self-reflection, in which the filmmaker, instead of withdrawing behind the camera, comes out into the open, to say 'I', to take responsibility, and to address and engage with the spectator within a shared space of embodied subjectivity. Authorial, experimental and radical, essayistic cinema belongs within the lineage of avant-garde and political filmmaking and responds above all to the need we feel today for more contingent, autobiographical, private forms of expression. This study provides a unique insight into an intricate but fascinating field, by engaging with the work of directors such as Jean-Luc Godard, Chris Marker, Harun Farocki, Pier Paolo Pasolini, Alexander Sokurov, Michelangelo Antonioni, Derek Jarman, Federico Fellini, Wim Wenders, Jonas Mekas and Agnés Varda.

Alex Ross Winner of the 2007 National Book Critics Circle Award for Criticism
A New York Times Book Review Top Ten Book of the Year
Time magazine Top Ten Nonfiction Book of 2007
Newsweek Favorite Books of 2007
A Washington Post Book World Best Book of 2007

In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

Gregor Stemmrich, Lawrence Weiner, Gerti Fietzek Lawrence Weiner's art uses language in reference to materials. Language itself is a material and at the same time a means of presentation of his work. Weiner evolved this approach in the context of the Conceptual art of the late 60s, yet he does not see his own work as "conceptual." The "space" he works within is the entire cultural context, and his works are associated with various different media and forms of presentation: books, posters, videos, films, records, drawings, multiples, installations indoors and outdoors, and more.

Since his earliest days as a professional artist, Weiner has given written and verbal expression to questions concerning his work and its context. These utterances—statements, interviews, lectures, and conference contributions—have been collected together in this publication for the first time, and ordered chronologically. Taken as a whole they afford an insight both into a complex individual biography and into the wider development of art and culture and the challenge that this entails. Edited by Gregor Stemmrich and Gerti Fietzek. Paperback, 6.5 x 9.5 in. / 496 pgs / 190 b/w.

Sarah Thornton Named one of the best art books of 2008 by The New York Times and The Sunday Times [London]: “An indelible portrait of a peculiar society.”—VogueThe art market has been booming. Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion.

In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture. 8 illustrations

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.

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.

Matthias Ulrich From 2009 to 2011, Schirm Kunsthalle presented more than 50 performances, happenings, installations, workshops, markets, rallies and demonstrations in Frankfurt downtown center.The 58 international artists involved shared the aim of interacting with the public, often by turning bystanders into participants themselves. The project incorporates important artistic strands from earlier in the 20th century from Dada and Fluxus to the Situationists with those characterized as social turn, or the community based art currently in vogue. In this jam packed, lively reader, curator Matthias Ulrich engages 51 of the artists by asking them ten central questions about participatory public art and creates through those insights a comprehensive roundup on interactive, cooperative practices today.

Paolo Cherchi Usai, David Francis, Alexander Horwath, Michael Loebenstein What are the major issues and challenges film archives, cinémathèques and film museums are bound to face in the Digital Age and at a time when there is an expectation of Access on Demand?

Film Curatorship neither offers a scholarly analysis, nor attempts to provide definitive answers to a complex situation involving aesthetic as well as technological, economic and political issues. As a collective text, a montage of dialogues, conversations and exchanges between four professionals representing three generations of film archivists and curators, this book calls for an open philosophical and ethical debate on fundamental questions the profession must come to terms with. What is curatorship, and what does it imply in the context of film preservation and presentation? Is there a concept of the "film artifact" that transcends the idea of film as "content" or "art" in the information age?

The four authors of Film Curatorship have agreed to lay bare their concerns, visions, and strategies in a multi-faceted brainstorming session, aimed at fostering an open, non-dogmatic debate on the relationship of film to other forms of moving image and its presentation and preservation in the 21st century.

Olav Velthuis, Maria Lind How will artists and galleries produce and distribute their work? How much money will everyone make? This pocket sized reader provides a provocative look into the future by mapping the complex entanglements of contemporary art and its commercial markets. In cheeky, controversial essays, critics, academics and artists offer insights into the artwork as an asset category and celebrity accessory, the rise of the art fair and the increased competition of auction houses. The first in a series from Temsta Konsthall and Sternberg Press.

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.

Anton Vidokle, Brian Sholis Anton Vidokle is an artist who captures the attention of 70,000 people each day through e-flux, as well as unitednationsplaza, Martha Rosler Library, and other traveling projects. Yet comparatively few members of this audience consider him an artist, despite the fact that he has publicly identified himself as such for over a decade and has exhibited in museums and galleries across the world. The contributors to this book emphasize two aspects of his artistic practice that are partly responsible for this disparity. The first characteristic is the self-effacing nature of his endeavors. Not only are many of his projects subsumed under an anonymous-sounding corporate identity, e-flux, but they are also nearly always collaborative. The second quality is his relative freedom from the network of institutions that is generally believed to confer legitimacy upon individual artistic practices. Vidokle, through e-flux, is able to produce, disseminate, and critically interrogate the ideas that animate his practice. He can also display the fruits of this process publicly and convene friends and collaborators to discuss and refine them. Vidokle does not shun conventional artistic institutions, but e-flux is a robustly healthy ecosystem that grants him the opportunity to engage them selectively.

This book focuses attention on the implications of this singular undertaking: Can one be an artist without making anything that is easily defined as art even at a moment when nearly everything can be so designated? Can one play down one s own contributions to diverse projects and still be recognized as the point of convergence that unifies them?

Contributions by Media Farzin, Liam Gillick, Boris Groys, Maria Lind, Monika Szewczyk, Jan Verwoert. Interview with Martha Rosler by Bosko Blagojevic.

Paul Virilio We are living under the administration of fear: fear has become an environment, an everyday landscape. There was a time when wars, famines, and epidemics were localized and limited by a certain timeframe. Today, it is the world itself that is limited, saturated, and manipulated, the world itself that seizes us and confines us with a stressful claustrophobia. Stock-market crises, undifferentiated terrorism, lightning pandemics, "professional" suicides.... Fear has become the world we live in.

The administration of fear also means that states are tempted to create policies for the orchestration and management of fear. Globalization has progressively eaten away at the traditional prerogatives of states (most notably of the welfare state), and states have to convince citizens that they can ensure their physical safety.

In this new and lengthy interview, Paul Virilio shows us how the "propaganda of progress," the illuminism of new technologies, provide unexpected vectors for fear in the way that they manufacture frenzy and stupor. For Virilio, the economic catastrophe of 2007 was not the death knell of capitalism, as some have claimed, but just further evidence that capitalism has accelerated into turbo-capitalism, and is accelerating still. With every natural disaster, health scare, and malicious rumor now comes the inevitable "information bomb"—live feeds take over real space, and technology connects life to the immediacy of terror, the ultimate expression of speed. With the nuclear dissuasion of the Cold War behind us, we are faced with a new form of civil dissuasion: a state of fear that allows for the suspension of controversial social situations.

Patrick Vonderau, Pelle Snickars YouTube has come to epitomize the possibilities of digital culture. With more than seventy million unique users a month and approximately eighty million videos online, this brand-name video distribution platform holds the richest repository of popular culture on the Internet. As the fastest growing site in the history of the Web, YouTube promises endless new opportunities for amateur video, political campaigning, entertainment formats, and viral marketing—a clip culture that has seemed to outpace both cinema and television.

The YouTube Reader is the first full-length book to explore YouTube as an industry, archive, and cultural form. This remarkable volume brings together renowned film and media scholars to debate the problems and potential of "broadcasting yourself." The YouTube Reader takes on claims of newness, immediacy, and popularity with sytematic and theoretically informed arguments, offering a closer look at the available texts on YouTube and the policies and norms that govern their access and use.

Contributors include Christopher Anderson, Thomas Elsaesser, Richard Grusin, Bernard Stiegler, Toby Miller, Lisa Parks, William Uricchio, and Janet Wasko.

Rosten Woo, Meredith TenHoor Downtown Brooklyn's Fulton Mall is one of the most bustling public spaces in New York City. A colossus of commerce, it welcomes over one hundred thousand shoppers daily and ranks among the most profitable commercial real estate in the entire country, and is also home to some of the city's most recognized institutions, including cheesecake mecca Junior's, that have been immortalized in song, film, and culture. Despite its historic link to Brooklyn's past and its financial success as a shopping district, Fulton Street is rarely celebrated in New York. The street's hand-painted signs, customized jewelry, rare sneakers, mega-church, and vendors offer a special sampling of noncorporate commerce, but many consider its sensorial and physical density a sign of blight. Misunderstandings about race, class, and profitability have led Fulton Street to be characterized as run-down, dangerous, or underutilized, and as a result it has been subject to nearly continuous renovation. Recently rezoned and becoming increasingly attractive to national chain stores, Fulton Street is once again poised for big changes.

Street Value is a challenge to creatively rethink the planning and urban design of Fulton Street and other urban shopping districts. Street Value explores the mall's historical and contemporary conditions through original essays, oral histories, new and archival photographs, historic documents, and interviews with key planners, developers, city officials, historians, and activists from the 1960s to the present. Street Value probes the ideology of redevelopment and demonstrates how commercial, governmental, and activist forces have coalesced to produce one of Brooklyn's most legendary public spaces.

Slavoj Zizek From the tragedy of 9/11 to the farce of the financial meltdown.

Billions of dollars have been hastily poured into the global banking system in a frantic attempt at financial stabilization. So why has it not been possible to bring the same forces to bear in addressing world poverty and environmental crisis?

In this take-no-prisoners analysis, Slavoj Zizek frames the moral failures of the modern world in terms of the epoch-making events of the first decade of this century. What he finds is the old one-two punch of history: the jab of tragedy, the right hook of farce. In the attacks of 9/11 and the global credit crunch, liberalism dies twice: as a political doctrine and as an economic theory.

First as Tragedy, Then as Farce is a call for the Left to reinvent itself in the light of our desperate historical situation. The time for liberal, moralistic blackmail is over.

사와라기 노이 지음, 김정복 옮김, 김용철 감수

슬라보예 지젝 지음, 주성우 옮김, 이현우 감수

서경식 지음, 송현숙 그림

양정무 외 엮음, 참여사회연구소 기획

쌈지스페이스 Book published in conjunction with the lecture program, 'The Past of Alternative Spaces and the Future of Korean Contemporary Art' organized by SSamzie Space, Seoul in 2008.

김정헌 외 엮음

당대비평 기획위원회 엮음

미디어버스 편집부 엮음

바루흐 고틀립 지음, 양지윤 엮음

비교역사문화연구소 기획, 임지현.염운옥 엮음

윤난지 엮음

유현미 엮음

윤난지 엮음

가라타니 고진 지음, 조영일 옮김

가야트리 스피박 지음, 태혜숙.박미선 옮김

고지마 기요타카 지음, 박지현 옮김

기 드보르 지음, 이경숙 옮김

노먼 포터 지음, 최성민 옮김

노먼 포터 지음, 최성민 옮김

다이아나 크레인 지음, 조진근 옮김

대니얼 챈들러 지음, 강인규 옮김

더그 헨우드 외 지음, 신기섭 옮김

데이브 히키 지음, 박대정 옮김

로빈 도드 지음, 김경선 옮김

롤랑 바르트 지음, 이화여자대학교 기호학연구소 옮김

루치아노 바사폴로 외 지음, 황성원.윤영광 옮김

리처드 커니 지음, 이지영 옮김

리타 펠스키 지음, 김영찬 옮김

마르틴 졸리 지음, 이선형 옮김

발터 벤야민 지음, 조형준 옮김

발터 벤야민 지음, 조형준 옮김

베네딕트 앤더슨 지음, 윤형숙 옮김

베르나르 앙리 레비&미셸 우엘벡 지음, 변광배 옮김

베르나르-앙리 레비 지음, 박정자 옮김

빌 리제베로 지음, 박인석 옮김

빌렘 플루서 지음, 김성재 옮김

빌렘 플루서 지음, 김현진 옮김

수잔 레이시 엮음, 이영욱 외 옮김

수잔 손택 지음, 이민아 옮김

수잔 손택 지음, 이병용.안재연 옮김

수잔 손택 지음, 이재원 옮김

수잔 손택 지음, 홍한별 옮김

슬라보예 지젝 지음, 김서영 옮김

슬라보예 지젝 지음, 박정수 옮김

슬라보예 지젝 지음, 이성민 옮김

슬라보예 지젝 지음, 한보희 옮김

알랭 바디우 외 지음, 이현우 외 옮김

알랭 바디우 지음, 현성환 옮김

알렉스 라이트 지음, 김익현.김지연 옮김

앨리 러셀 혹실드 지음, 이가람 옮김

에드워드 W. 사이드 지음, 김정하 옮김

에이메 세제르 지음, 이석호 옮김

울리히 벡 지음, 홍성태 옮김

움베르토 에코 지음, 오숙은 옮김

움베르토 에코 지음, 이현경 옮김

월터 J. 옹 지음, 이기우 외 옮김

웬디 브라운 지음, 이승철 옮김

자크 랑시에르 지음, 오윤성 옮김

자크 랑시에르 지음, 주형일 옮김

장 보드리야르 지음, 하태환 옮김

조르조 아감벤 지음, 김항 옮김

조르조 아감벤 지음, 박진우 옮김

조지 L. 모스 지음, 서강여성문학연구회 옮김

조지 오웰 지음, 이한중 옮김

조지 오웰 지음, 이한중 옮김

존 스토리 지음, 박모 옮김

쥬디스 버틀러 지음, 김윤상 옮김

지그문트 바우만 지음, 정일준 옮김

카를-알브레히트 이멜 지음, 클라우스 트렌클레 그래픽, 서정일 옮김

캐서린 애셴버그 지음, 박수철 옮김

클로드 레비-스트로스 지음, 박옥줄 옮김

테리 이글턴 지음, 이재원 옮김

토머스 크로 지음, 조주연 옮김

파블로 엘구에라 지음, 이수안 옮김

페터 V. 지마 지음, 김태환 옮김

프란츠 파농 지음, 남경태 옮김

프란츠 파농 지음, 이석호 옮김

프랑코 베라르디 지음, 유충현 옮김

프리드리히 키틀러 지음, 윤원화 옮김

피에르 부르디외 지음, 최종철 옮김

피에르 부르디외 지음, 최종철 옮김

한나 아렌트 지음, 김정한 옮김

한병철 지음, 김태환 옮김

한병철 지음, 김태환 옮김

할 포스터 지음, 전영백과 현대미술연구팀 옮김

할 포스터 지음, 최연희 옮김

해롤드 A. 이니스 지음, 김문정 옮김

비교역사문화연구소 지음, 이재원 외

강수미 지음

권김현영 외 지음

김민수 지음

김항 지음

당대비평 기획위원회 지음

미셸 푸코 지음

박삼철 지음

박해천 지음

복도훈 지음

서동진 지음

우석훈 지음

윤상욱 지음

이경민 지음

이상우 지음

이영범 지음

이영아 지음

이영준 지음

이영준 지음

이영준 지음

이진경 지음

이택광 지음

이택광 지음

임태훈 지음

이택광.홍세화.임민욱 지음

전남일 외 지음

전상인 지음

정기용 지음

정진열.김형재 지음

주경철 지음

천정환 지음

최열 지음

최정우 지음

한나 아렌트 지음

함성호 외 지음

홍두승 지음

황호덕 지음