art-e-conomy _ reader - marko stamenkovic

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6 ACKNOWLEDGMENTS For this publication, I owe my gratitude to all the contributing authors, as well as their original publishers respectively, who generously granted their permission to include the texts free of charge. My special thanks go to the Pro Helvetia Belgrade – Swiss Cultural Program Serbia and Montenegro, as well as to the Ministry of Culture - Republic of Serbia, for their financial support. I am also thankful to my colleagues and friends at home and abroad, and to my parents, who all contributed, in various ways, to the project’s realization and proper finalization. Marko Stamenković Belgrade, August 2007
FOREWORD This publication is a theoretical reader focused on concepts, themes and issues related to the intersection between contemporary art and economics in the processes of globalization today. It brings together contributions by an international group of theorists, critics, analysts, researchers, experts in various fields, ranging from art theory, cultural studies, contemporary economics, business, public policy, organizational studies, social and political sciences, philosophy, and art management. The principal character of the publication is educational. The goal is to open up a new productive space for artistic and cultural analysis related to the economic transformation in the post-socialist societies, to foster the theoretical and methodological re-thinking of the subject at hand, as well as to engage the local students (and broader international readership, too) with various current theoretical viewpoints dealing with the intersection between contemporary visual arts and economics. The publication principally attempts to provide a firm theoretical framework for the subject concerned, and is related to the main mission of the project: to fulfill the problematic gap concerning the theoretical and practical analyses of artistic and economic production in the contemporary global world. It focuses on the fundamental lack of a specific and articulated discourse related to the intersection between art and economy, and aims at introducing, re-thinking, re-articulating and opening up possibilities for new methodologies and discourses to the cultural and political space of South East Europe and beyond. In order to stimulate an interdisciplinary, multi-leveled and trans-national access, the project fosters the need to encourage a broad range of approaches, from social and economic sciences and humanities to law and public policy, as well as a diverse set of topics to be explored in accordance with the artistic and cultural scope of the idea. Starting mainly from the standpoint of professional institutionalized work relationships, but also from constant changes of global artistic, political and institutional concepts, new roles have been attributed to old professions, thus conceiving new critical positions out of which the experts are about to launch their effective ideas. Here I primarily think of curators, and curators as different from the easily confusing term of custodians (whose professional orientation is supposed to be more connected to the aspects of museology). My contribution is related to the phenomenon of contemporary curatorial practice, under which I imply the strategies of action and (alternative) political engagement in the broad cultural field. The point of departure is a possibility of identifying curators of contemporary art as new political subjects, where the political legitimating (in Fredric Jameson’s terms) comes from the fundamental level on which political struggle is waged, (i.e.) the struggle over the legitimacy of concepts and ideologies. To be identified as a “political subject” here precisely implies the professional configuration of a contemporary art curator 7
Page 3 and 4: art-e-conomy theoretical reader edi
Page 5: Saskia Sassen Economy and Art Today
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
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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
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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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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
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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
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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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