art-e-conomy _ reader - marko stamenkovic

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292 CIP – Каталогизација у публикацији Народна библиотека Србије, Београд 316 . 32 (082) 7 : 339 . 92 (082) 7 : 330 (082) art-e-conomy : theoretical reader / edited by Marko Stamenković – Beograd : M. Stamenković, 2007 (Beograd : Sanimex) . – 292 str. ; 30 cm Radovi na stranim jezicima. – Tiraž 300. – Str. 7-8 : Foreword / Marko Stamenković. – About the Contributors : str. 278-287. – About the Editor : str. 288. – Napomene i bibliografske reference uz većinu radova. – Bibliografija : str. 276 – 277. ISBN 978-86-910467-0-5 1. Stamenković, Marko a) Уметност – Глобализација – Зборници b) Уметност – Економија – Зборници COBISS.SR - ID 142744076
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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
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226 Marina GRŽINIĆ Performative A
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228 Economic contradictions are cen
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230 Susanne ALTMANN Artists Strike
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232 its creation, Althamer investig
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234 Dawicki’s colleagues from Sou
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236 Some of the hopes and illusions
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238 27. Dan Perjovschi in an email
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240 Quitting the common artistic wo
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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
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