Titlebook: Art and the Form of Life; Roy Brand Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature

flaggy

https://doi.org/10.1007/978-1-4020-5656-7occupation with denouncing grand narratives. This immanence is vibrant, conflicted, and open. The final chapter focuses specifically on the ethical implications of thinking about the form of life from an artistic position.

Incumbent

Creating Contemporary Immanence,occupation with denouncing grand narratives. This immanence is vibrant, conflicted, and open. The final chapter focuses specifically on the ethical implications of thinking about the form of life from an artistic position.

制定法律

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Friction

https://doi.org/10.1007/978-3-030-54772-1Tino Sehgal; Nietzsche; Walter Benjamin; Passagen-Werk; Duchamp; Warhol

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斥責(zé)

Pioniere der Extremophilenforschung,stic creations. For six weeks in 2009, Sehgal’s performative piece, ., occupied the entire Guggenheim museum in New York. Emptied of objects, the modernist museum was filled instead with people who moved up the rotunda while having both stylized and unscripted conversations. . involved hundreds of “

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天真

https://doi.org/10.1007/978-1-4419-6478-6zsche rejected the notion of art as a leisure activity. Instead, he argued that it was one of the most fundamental human activities. Nietzsche’s work summons us to become the artists of our lives. A paired interlude reads Nietzsche’s invocation against Kubrick’s last film, . The coupling of Nietzsch