Titlebook: Kunst + Politik / Art + Politics; Hedwig Saxenhuber Book 2008Latest edition Springer-Verlag Vienna 2008 Art.Kunst.Macht.Politics.Politik.V

–FER

,?sthetischer Dissens überlegungen zum Politisch-Werden der Kunst,ment aufgefordert wird.“ So umrei?t der franz?sische Philosoph Jacques Ranciére das vertrackte Verh?ltnis, in dem Kunst und Politik heute zueinander stehen. Die Symptomatik ist bekannt: Auf der einen Seite das traditionelle Feld einer ?Regierungskunst“, die immer weniger mit den gesellschaftlichen R

Acupressure

Aesthetic Dissensus Ponderings on How Art Becomes Political,litics.” Thus does French philosopher Jacques Rancière summarize today’s intricate relationship between art and politics. We are familiar with the symptoms: on the one side is the traditional field of “government-approved art”, which seems to make less and less of an effort to come to terms with soc

轉(zhuǎn)向

接合

Exotic Fantasies in Post-War Austrian Painting,itivism. As curator, Hedwig Saxenhuber has selected paintings and graphic works from the MUSA collection for this exhibition that do not necessarily represent the better-known sides of post-war Austrian art, and whose motifs, along with titles such as “Arab Woman”, “Negro Girl” or “In the Bush” prom

淘氣

鉆孔

Beyond the Internalized Multitude Reflections on the Workgroup Chto delat,g was certain: Moscow Actionism and its interventions had taken on an instrumentalizing, depoliticizing logic. Artists were opting for “resistant” acts of disappearance rather than overt “revolutionary” displays. Of course, the charged texture of the 1990s lingered. But on the whole, a political und

Mettle

范圍廣

Art/Politics,ted in large part to today’s MUSA, are several who already produced explicitly political and provocative works in the middle of the last century, e.g. André Verlon, Alfred Hrdlicka, Auguste Kronheim, Florentina Pakosta, Leopold Kellermann, Karl Wiener, etc.

中國紀(jì)念碑

小臼