art-e-conomy _ reader - marko stamenkovic

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276 SOURCES Félix Guattari, “Le Capitalisme Mondial Intégré et la révolution moléculaire”, Revue Chimères, http://www.revue-chimeres.org/pdf/cmi.pdf http://1libertaire.free.fr/Guattari4.html Ulrich Beck, “Redefining Power in the Global Age: Eight Theses“, in Dissent (Fall 2001), 48 (4), New York: Foundation for the Study of Independent Social Ideas, 2001, 83-89. Tatjana Đurić Kuzmanović, “Globalization: Feminist Economic Perspective“, in globalizacija.com – Journal for Political Theory and Research on Globalisation, Development and Gender Issues, http://www.globalizacija.com Arun Kumar, “Globalizing Elites”, in Kapital & Karma: Aktuelle Positionen Indischer Kunst [Capital & Karma: Recent Positions in Indian Art], Angelika Fitz, Michael Wörgötter (eds.), Wien & Ostfildern: Kunsthalle Wien & Hatje Cantz, 2002, 83-93. Nick Dyer-Witheford, “Cognitive Capitalism and the Contested Campus“, in Engineering Culture: On ‘The Author As (Digital) Producer, Geoff Cox & Joasia Krysa (eds.), New York: Autonomedia (DATA browser 02), 2005, 71-93. Creative Commons Licence. Marion Von Osten, “Such Views Miss the Decisive Point... The Dilemma of Knowledge-Based Economy and its Opponents“, in Sourcebook – Common Property – Allgemeingut, Peter Spillmann (ed.), 6 th Werkleitz Biennale, Germany, Werkleitz Gesellschaft e.V. Halle, 2004. Creative Commons Licence Brett Neilson & Ned Rossiter, “From Precarity to Precariousness and Back Again: Labour, Life and Unstable Networks“, in Fibreculture Journal, Issue 5 - Precarious Labour, Melbourne: Fibreculture Publications, 2005 http://journal.fibreculture.org/issue5/neilson_rossiter.html Jacek Tomkiewicz, “Capital Formation in Post-socialist Countries“, in TIGER - Transformation, Integration and Globalization Economic Research, TIGER Working Paper (February 2003), nr 37, Warsaw: Leon Koźmiński Academy of Entrepreneurship and Management (WSPiZ), 2003 www.tiger.edu.pl/publikacje/TWPNo37.pdf Endre Kiss,. “‘Discourses’ and rhetorics of the post-socialist transition“ in Otherhood and Nation, Rada Iveković and Neda Pagon (eds.), Ljubljana-Paris: Edition de la Maison des sciences de l’homme, 1998, 139-155. Sanjin Dragojević, “Utjecaj kulturnog, društvenog i simboličkog kapitala na razvoj zemalja Srednje i Istočne Europe“[The Influence of Cultural, Social, and Symbolic Capital on the Development of Central and Eastern Europe], in M. Meštrović and A. Štulhofer (eds.), Sociokulturni kapital i tranzicija u Hrvatskoj [The Sociocultural Capital and Transition in Croatia], Zagreb: Hrvatsko sociološko društvo [Croatian Sociological Society], 78-92. Jim McGuigan, “Neo-liberalism, Culture and Policy“, International Journal of Cultural Policy 11.3, December 2005, 229-241 Sandra Braman, “Art in the Information Economy“, Canadian Journal of Communications, 21, 1996, 179-196. http://www.cjc-online.ca/viewarticle.php?id=361 Wolfgang Ullrich, “Kunst in der Wirtschaft – Wirtschaft durch Kunst? Analyse einer Grenzüberschreitung“, in W. Ullrich: Tiefer hängen. Über den Umgang mit der Kunst, Verlag Klaus Wagenbach, Berlin 2003, 106-128.
Saskia Sassen, “Economy and Art Today: Design as Blurring Mediation/Art as Intervention“, based upon S. Sassen, Territory, Authority, Rights: From Medieval to Global Assemblages, Princeton, NJ: Princeton University Press, 2006. Julian Stallabrass, “Free Trade / Free Art“, in Neil Cummings/ Marysia Lewandowska, Free Trade, Manchester: Manchester Art Gallery, 2003, 34-40. Martin Ferro-Thomsen, “Change through Exchange: Organisational Art and Learning“, in Sophisticated Survival Techniques. Strategies in Art and Economy. Product and Vision - Reader (Brellochs and Schrat, eds.), Berlin: Kulturverlag Kadmos, 2005, 182-197. Julie Vandenbroucke & Michel Espeel, “arteconomy.be”, originally published as: “Arteconomy in staat van verbinding“ (by Charlotte Bonduel), in art magazine, February 15, 2007; and as “Kunst en onderneming vandaag” (by Michel Espeel), in Artists and Entrepreneurs: A New Relationship, Marc Ruyters (ed.), LannooCampus and Arteconomy, October 2006, January 2007. Elena Filipovic, “The Global White Cube“, in The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe, Barbara Vanderlinden and Elena Filipovic (eds.), Cambridge, MA & Brussels: The MIT Press & Roomade, 2006, 63-84. Nina Möntmann, “Art and Economy“, in Parachute: Contemporary Art Magazine, Nr. 110, April- June, 2003, 110-121 Pier Luigi Sacco & Marco Senaldi, “Zero Interest! - Artistic Strategies for an Economy in Crisis”, in Workartonline, Galleria Civica di arte Contemporanea di Trento, 2005 Žarko Paić, “The Spectacle Of The Nature Of Capital“, in Tvrđja, 1-2, Društvo hrvatskih pisaca [Croatian Writers Society], Zagreb, 2005, 300-309. Marina Gržinić, “Performative Alternative Economics“, in Alternative Economics, Alternative Societies, Oliver Ressler and New Media Center_kuda.org (eds.), Novi Sad & Frankfurt a/M: kuda.org & Revolver, Archiv fur aktuelle Kunst, 2005, 21-25. Susanne Altmann, “Artists Strike Back – Responses to Symptoms of Economic Misery“, in Umelec 3/2004, 59-65. Walter Seidl, “Economic Interventions on an Artistic Scale: The Life of Plamen Dejanoff“, in Život Umjetnosti – Magazine for Contemporary Visual Art, No. 69/03, Zagreb, 2003, 4-9. Suzana Milevska, “The Ready-Made and the Question of the Fabrication of Objects and Subjects“, in Primary Documents - A Sourcebook for Eastern and Central European Art since the 1950s, Laura Hoptman and Tomas Pospiszyl (eds.), New York: The Museum of Modern Art, 2002, 182-191. Marina Sorbello, “Eastwards: A Panel Discussion - About the Emerging Art Markets of the New Europe“, in ARTMargins, Contemporary Central and Eastern European Visual culture, 2006, June 15, Santa Barbara: University of California, www.artmargins.com/content/interview/sorbello.htm Doris Rothauer, “Die Kreativwirtschaft und das Ende der Kunst“, in D. Rothauer, Kreativität & Kapital, Kunst und Wirtschaft im Umbruch, Vienna: WUV Verlag, 2005, 8-16. 277
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art-e-conomy theoretical reader edi
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Saskia Sassen Economy and Art Today
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FOREWORD This publication is a theo
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Marko STAMENKOVIĆ INTRODUCTION CUR
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not whether there is a connection,
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As it is now evident and possible t
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The current reality of contemporary
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official presentation[12], the Euro
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(1) The capitalist economic system
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1 Miško Šuvaković, “The Ideolo
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24 économique du travail. Les sect
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26 d’information et de manipulati
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28 La segmentarité moléculaire Da
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30 Les pédés, les fous, les radio
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32 mesure qu’il se sentira débor
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34 upon consent nor even capable of
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36 universally valid and applicable
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38 imposing obligations on themselv
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40 A cosmopolitan Europe of nationa
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42 Tatjana ĐURIĆ KUZMANOVIĆ Glob
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44 Unlike these countries, the Unit
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46 fact that they benefited from Am
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48 marital status and language. How
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50 influenced by ethnicity, class,
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52 assistance from them. However, i
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54 What is the reason for this enor
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56 In India, the policy of “Econo
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58 Nick DYER-WITHEFORD Cognitive Ca
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60 demands an extraordinary exercis
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62 ‘immaterial labourers’ are t
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64 ranks of immaterial labour is se
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66 Thus, for example, in the cycle
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68 about neoliberal policies and al
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70 Species-being movements are biop
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72 25. See Tony Vellela, New Voices
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74 problem for capitalistic societi
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76 The critique of objectifying the
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78 1. The example of the often-cite
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80 not these tendencies themselves
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82 on the horizon of language and c
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84 Instances where such affiliation
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86 may bolster and/or feed off stat
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88 of-life that changes through wha
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90 - to operate as a transcendent b
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92 Freedom without Security It is w
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94 International Meeting of the Pre
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96 Jacek TOMKIEWICZ Capital Formati
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98 fundamental reasons, such as the
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100 consumption, economy is able to
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102 Endre KISS ‘Discourses’ and
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104 almost inevitable and requires
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106 (though obviously the theory an
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108 The ‘elitist discourse’, ca
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110 The political and social rhetor
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112 consequences that the theory on
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114 upravo kao što će to jednako
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116 jednostavno nisu moguće bez iz
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118 Upravo nas ta nedavna „traged
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120 3. preformulirati ciljeve, odno
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122 njihove analize mahom temelje u
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124 je nemoguće preskakanje u viš
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126
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128 has been remarkably successful
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130 More specifically to do with cu
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132 set out in their 1992 book, Rei
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134 Sandra BRAMAN Art in the Inform
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136 Taste in art is to some degree
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138 It is one of the features of th
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140 now concerned about the fact th
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142 It is, as it was in the example
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144 interactional exchange, and hie
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146 works of art and those who may
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148 Ewen, S. (1988). All consuming
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150 Die Mechanik des Kunstbegriffs
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152 Doch so aktuell und vielseitig,
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154 abgetan worden wäre. Dies ist,
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156 sich lässig, smart, durchsetzu
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158 Katalogen lesen, von Art Consul
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160 das Marketing verdingen und so
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162 Saskia SASSEN Economy and Art T
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164 capacity to make present is a n
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166 the development of communicatio
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168 3 One interesting instance here
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170 the market for mass culture. To
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172 may produce future consumers, a
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174 Martin FERRO-THOMSEN Change thr
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176 anything other than artists. To
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178 - ungrounded, fluid, virtual«[
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180 Julie VANDENBROUCKE & Michel ES
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182 great deal of social resistance
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184 But is producing “this sort o
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186 become more involved. Once the
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188 Elena FILIPOVIC The Global Whit
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190 Now, Biennials and Other Large-
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192 almost categorically fixed, a p
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194 of dialogue between artists, in
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196 to white cubes amounted to a ra
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198 stage stood in the middle of th
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200 the constitution of society in
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202 Yet, one could say that the “
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204 See, in particular, Douglas Cri
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206 manner, verging on seamless sli
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208 Such a statement naturally call
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210 exploitive and forced nature of
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212 Pier Luigi SACCO & Marco SENALD
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214 academicism for the feverous re
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216 a notable step ahead toward ben
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218 Pietroiusti on one side and Tak
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220 Žarko PAIĆ The Spectacle of t
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222 The project was brought to a cl
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224 Martinis’s “intervention in
Page 226 and 227: 226 Marina GRŽINIĆ Performative A
Page 228 and 229: 228 Economic contradictions are cen
Page 230 and 231: 230 Susanne ALTMANN Artists Strike
Page 232 and 233: 232 its creation, Althamer investig
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Page 236 and 237: 236 Some of the hopes and illusions
Page 238 and 239: 238 27. Dan Perjovschi in an email
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Page 244 and 245: 244 According to Adorno’s aesthet
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Page 248 and 249: 248 and hypocrisy of the internatio
Page 250 and 251: 250 Interestingly enough, for the s
Page 252 and 253: 252 6. Of course, Adorno’s thesis
Page 254 and 255: 254 art theory. The magazine is pub
Page 256 and 257: 256 grant systems that support not
Page 258 and 259: 258 but also in new media. And ther
Page 260 and 261: 260 MIHNEA MIRCAN: There was, of co
Page 262 and 263: 262 become one of the first victims
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Page 268 and 269: 268 very different from the German
Page 270 and 271: 270 als wichtigste Produktionsfakto
Page 272 and 273: 272 sowohl der Wirtschafts- als auc
Page 274 and 275: 274 Malerei-Bewegung erfolgten viel
Page 278 and 279: 278 ABOUT THE CONTRIBUTORS Félix G
Page 280 and 281: 280 Struggle in High Technology Cap
Page 282 and 283: 282 Cultural Politics, Cultural Stu
Page 284 and 285: 284 the collaborations evolved from
Page 286 and 287: 286 Marina Gržinić Born 1958 in R
Page 288 and 289: 288 About the Editor Marko Stamenko
Page 290 and 291: 290 art-e-conomy theoretical reader
Page 292: 292 CIP - Каталогизаци
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