art-e-conomy _ reader - marko stamenkovic

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4 CONTENTS Acknowledgments ............................................................................................................. 06 Foreword ............................................................................................................................ 07 Marko Stamenković Introduction ...................................................................................................................... 09 Félix Guattari Le Capitalisme Mondial Intégré et la révolution moléculaire ................................... 23 Ulrich Beck Redefining Power in the Global Age: Eight Theses ..................................................... 33 Tatjana Đurić Kuzmanović Globalization: Feminist Economic Perspective ........................................................... 42 Arun Kumar (Interviewed by Angelika Fitz & Michael Wörgötter) Globalization of the Indian Elite, Marginalization of the Rest ................................... 51 Nick Dyer-Witheford Cognitive Capitalism and the Contested Campus ...................................................... 58 Marion von Osten Such Views Miss the Decisive Point... .......................................................................... 73 The Dilemma of Knowledge-Based Economy and its Opponents Brett Neilson & Ned Rossiter From Precarity to Precariousness and Back Again .................................................... 79 Labour, Life and Unstable Networks Jacek Tomkiewicz Capital Formation in Post-socialist Countries ............................................................. 96 Kiss Endre ‘Discourses’ and Rhetorics of the Post-socialist Transition .................................... 102 Sanjin Dragojević Utjecaj kulturnog, društvenog i simboličkog kapitala na razvoj zemalja Srednje i Istočne Europe ............................................................... 113 Jim McGuigan Neo-liberalism, Culture and Policy .............................................................................. 127 Sandra Braman Art in the Information Economy .................................................................................. 134 Wolfgang Ullrich Kunst in der Wirtschaft – Wirtschaft durch Kunst? ................................................. 149 Analyse einer Grenzüberschreitung
Saskia Sassen Economy and Art Today: Design as Blurring Mediation/Art as Intervention ....................................................... 162 Julian Stallabrass Free Trade / Free Art .................................................................................................... 169 Martin Ferro-Thomsen Change through Exchange: Organisational Art and Learning ................................. 174 Julie Vandenbroucke & Michel Espeel arteconomy.be ............................................................................................................... 180 Elena Filipovic The Global White Cube ................................................................................................. 188 Nina Möntmann Art and Economy at Documenta 11 ............................................................................ 207 Pier Luigi Sacco & Marco Senaldi Zero Interest! - Artistic Strategies for an Economy in Crisis ................................... 212 Žarko Paić The Spectacle of the Nature of Capital ...................................................................... 220 Marina Gržinić Performative Alternative Economics .......................................................................... 226 Susanne Altmannn Artists Strike Back – Responses to Symptoms of Economic Misery ..................... 230 Walter Seidl Economic Interventions on an Artistic Scale: The Life of Plamen Dejanoff .......................................................................................... 239 Suzana Milevska The Ready-Made and The Question Of The Fabrication Of Objects And Subjects................................................................................................ 243 Marina Sorbello (I. Mečl, M. Mircan, V. Misiano, G. Podnar, Z. Somlói, A. Szylak) Eastwards: A Panel Discussion: About the Emerging Art Markets of the New Europe ................................................... 253 Doris Rothauer Die Kreativwirtschaft und das Ende der Kunst ......................................................... 269 Sources ............................................................................................................................ 276 Contributors’ Biographies .............................................................................................. 278 5
Page 3: art-e-conomy theoretical reader edi
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
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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
Page 188 and 189:
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
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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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242 oriented practices into an arti
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244 According to Adorno’s aesthet
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246 The approach underlying the ent
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248 and hypocrisy of the internatio
Page 250 and 251:
250 Interestingly enough, for the s
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252 6. Of course, Adorno’s thesis
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254 art theory. The magazine is pub
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256 grant systems that support not
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258 but also in new media. And ther
Page 260 and 261:
260 MIHNEA MIRCAN: There was, of co
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262 become one of the first victims
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264 as a private museum, which does
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266 edge and this competitive edge
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268 very different from the German
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270 als wichtigste Produktionsfakto
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272 sowohl der Wirtschafts- als auc
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274 Malerei-Bewegung erfolgten viel
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276 SOURCES Félix Guattari, “Le
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278 ABOUT THE CONTRIBUTORS Félix G
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280 Struggle in High Technology Cap
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282 Cultural Politics, Cultural Stu
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284 the collaborations evolved from
Page 286 and 287:
286 Marina Gržinić Born 1958 in R
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288 About the Editor Marko Stamenko
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290 art-e-conomy theoretical reader
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292 CIP - Каталогизаци
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