art-e-conomy _ reader - marko stamenkovic

Recommendations

Info

290 art-e-conomy theoretical reader Published and edited by Marko Stamenković © 2007 Marko Stamenković Text copyrights by authors. All rights reserved. No part of this publication may be reproduced or used in any form by electronic or mechanical means, including photocopying, recording and information storage or retrieval, without written permission from the publisher and the contributing authors, respectively Cover design, layout & prepress by Ivan Mijalković - mail@brukvar.net Proofreading by Sophie Hope (Introduction) Translated by Jelica Bogdanović, Jelena Klar, Marko Stamenković (Serbian edition) Printed by Sanimex Beograd, Serbia, August 2007 Print run: 300 copies Supported by: Pro Helvetia Belgrade – Swiss Cultural Programme Serbia and Montenegro The Ministry of Culture - Republic of Serbia
Considerable effort has been made to trace and contact original publishers and copyright holders and to secure rights prior to publication. However this has not always been possible. The editor and publisher apologize for any errors and omissions. If notified, the publisher will endeavor to correct these at the earliest opportunity. 291
Page 3 and 4:
art-e-conomy theoretical reader edi
Page 5 and 6:
Saskia Sassen Economy and Art Today
Page 7 and 8:
FOREWORD This publication is a theo
Page 9 and 10:
Marko STAMENKOVIĆ INTRODUCTION CUR
Page 11 and 12:
not whether there is a connection,
Page 13 and 14:
As it is now evident and possible t
Page 15 and 16:
The current reality of contemporary
Page 17 and 18:
official presentation[12], the Euro
Page 19 and 20:
(1) The capitalist economic system
Page 21:
1 Miško Šuvaković, “The Ideolo
Page 24 and 25:
24 économique du travail. Les sect
Page 26 and 27:
26 d’information et de manipulati
Page 28 and 29:
28 La segmentarité moléculaire Da
Page 30 and 31:
30 Les pédés, les fous, les radio
Page 32 and 33:
32 mesure qu’il se sentira débor
Page 34 and 35:
34 upon consent nor even capable of
Page 36 and 37:
36 universally valid and applicable
Page 38 and 39:
38 imposing obligations on themselv
Page 40 and 41:
40 A cosmopolitan Europe of nationa
Page 42 and 43:
42 Tatjana ĐURIĆ KUZMANOVIĆ Glob
Page 44 and 45:
44 Unlike these countries, the Unit
Page 46 and 47:
46 fact that they benefited from Am
Page 48 and 49:
48 marital status and language. How
Page 50 and 51:
50 influenced by ethnicity, class,
Page 52 and 53:
52 assistance from them. However, i
Page 54 and 55:
54 What is the reason for this enor
Page 56 and 57:
56 In India, the policy of “Econo
Page 58 and 59:
58 Nick DYER-WITHEFORD Cognitive Ca
Page 60 and 61:
60 demands an extraordinary exercis
Page 62 and 63:
62 ‘immaterial labourers’ are t
Page 64 and 65:
64 ranks of immaterial labour is se
Page 66 and 67:
66 Thus, for example, in the cycle
Page 68 and 69:
68 about neoliberal policies and al
Page 70 and 71:
70 Species-being movements are biop
Page 72 and 73:
72 25. See Tony Vellela, New Voices
Page 74 and 75:
74 problem for capitalistic societi
Page 76 and 77:
76 The critique of objectifying the
Page 78 and 79:
78 1. The example of the often-cite
Page 80 and 81:
80 not these tendencies themselves
Page 82 and 83:
82 on the horizon of language and c
Page 84 and 85:
84 Instances where such affiliation
Page 86 and 87:
86 may bolster and/or feed off stat
Page 88 and 89:
88 of-life that changes through wha
Page 90 and 91:
90 - to operate as a transcendent b
Page 92 and 93:
92 Freedom without Security It is w
Page 94 and 95:
94 International Meeting of the Pre
Page 96 and 97:
96 Jacek TOMKIEWICZ Capital Formati
Page 98 and 99:
98 fundamental reasons, such as the
Page 100 and 101:
100 consumption, economy is able to
Page 102 and 103:
102 Endre KISS ‘Discourses’ and
Page 104 and 105:
104 almost inevitable and requires
Page 106 and 107:
106 (though obviously the theory an
Page 108 and 109:
108 The ‘elitist discourse’, ca
Page 110 and 111:
110 The political and social rhetor
Page 112 and 113:
112 consequences that the theory on
Page 114 and 115:
114 upravo kao što će to jednako
Page 116 and 117:
116 jednostavno nisu moguće bez iz
Page 118 and 119:
118 Upravo nas ta nedavna „traged
Page 120 and 121:
120 3. preformulirati ciljeve, odno
Page 122 and 123:
122 njihove analize mahom temelje u
Page 124 and 125:
124 je nemoguće preskakanje u viš
Page 126 and 127:
126
Page 128 and 129:
128 has been remarkably successful
Page 130 and 131:
130 More specifically to do with cu
Page 132 and 133:
132 set out in their 1992 book, Rei
Page 134 and 135:
134 Sandra BRAMAN Art in the Inform
Page 136 and 137:
136 Taste in art is to some degree
Page 138 and 139:
138 It is one of the features of th
Page 140 and 141:
140 now concerned about the fact th
Page 142 and 143:
142 It is, as it was in the example
Page 144 and 145:
144 interactional exchange, and hie
Page 146 and 147:
146 works of art and those who may
Page 148 and 149:
148 Ewen, S. (1988). All consuming
Page 150 and 151:
150 Die Mechanik des Kunstbegriffs
Page 152 and 153:
152 Doch so aktuell und vielseitig,
Page 154 and 155:
154 abgetan worden wäre. Dies ist,
Page 156 and 157:
156 sich lässig, smart, durchsetzu
Page 158 and 159:
158 Katalogen lesen, von Art Consul
Page 160 and 161:
160 das Marketing verdingen und so
Page 162 and 163:
162 Saskia SASSEN Economy and Art T
Page 164 and 165:
164 capacity to make present is a n
Page 166 and 167:
166 the development of communicatio
Page 168 and 169:
168 3 One interesting instance here
Page 170 and 171:
170 the market for mass culture. To
Page 172 and 173:
172 may produce future consumers, a
Page 174 and 175:
174 Martin FERRO-THOMSEN Change thr
Page 176 and 177:
176 anything other than artists. To
Page 178 and 179:
178 - ungrounded, fluid, virtual«[
Page 180 and 181:
180 Julie VANDENBROUCKE & Michel ES
Page 182 and 183:
182 great deal of social resistance
Page 184 and 185:
184 But is producing “this sort o
Page 186 and 187:
186 become more involved. Once the
Page 188 and 189:
188 Elena FILIPOVIC The Global Whit
Page 190 and 191:
190 Now, Biennials and Other Large-
Page 192 and 193:
192 almost categorically fixed, a p
Page 194 and 195:
194 of dialogue between artists, in
Page 196 and 197:
196 to white cubes amounted to a ra
Page 198 and 199:
198 stage stood in the middle of th
Page 200 and 201:
200 the constitution of society in
Page 202 and 203:
202 Yet, one could say that the “
Page 204 and 205:
204 See, in particular, Douglas Cri
Page 206 and 207:
206 manner, verging on seamless sli
Page 208 and 209:
208 Such a statement naturally call
Page 210 and 211:
210 exploitive and forced nature of
Page 212 and 213:
212 Pier Luigi SACCO & Marco SENALD
Page 214 and 215:
214 academicism for the feverous re
Page 216 and 217:
216 a notable step ahead toward ben
Page 218 and 219:
218 Pietroiusti on one side and Tak
Page 220 and 221:
220 Žarko PAIĆ The Spectacle of t
Page 222 and 223:
222 The project was brought to a cl
Page 224 and 225:
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
Page 234 and 235:
234 Dawicki’s colleagues from Sou
Page 236 and 237:
236 Some of the hopes and illusions
Page 238 and 239:
238 27. Dan Perjovschi in an email
Page 240 and 241: 240 Quitting the common artistic wo
Page 242 and 243: 242 oriented practices into an arti
Page 244 and 245: 244 According to Adorno’s aesthet
Page 246 and 247: 246 The approach underlying the ent
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
Page 264 and 265: 264 as a private museum, which does
Page 266 and 267: 266 edge and this competitive edge
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 276 and 277: 276 SOURCES Félix Guattari, “Le
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 292: 292 CIP - Каталогизаци
show all

art-e-conomy _ reader - marko stamenkovic

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?