After all, the history of modern and contemporary art can be read as the progressive inclusion of a growing part of the formless into apparatuses.
U-Bahn-Station Altes Landgut (U1)
Akademie der Künste
Akademie der Künste
Epistemologies of Aesthetics
Epistemologien des Ästhetischen
The challenge to the contemporary artist is to strategize a situation rather than construct an art object.
The question is: what kinds of subjects are we becoming, in these networked brains embedded in their fleshy, neuronal viscera? And are these art-implicated subjects finding their parallel in science? Now more than ever we need to think about ›experience‹ as embodied thought – now when that ›cavern‹ and the thick, sensory envelope that populates it with consciousness is studded with earphones, zooming in psychopharmaceuticals, extended with prostheses, dazzled by odorless tastes and tasteless odors, transported by new media, and buzzing with ideas. You will say: this is not the first moment we have confronted such questions. But if the Dadaists anticipated prosthetic subjecthood, their experience was of an intact head with attachments. The complexity of input and internalization in contemporary art, and the sheer scope of scientific interpellation of us as subjects, is a world away. Artists attempt to materialize the sense data of contemporary subject positions. Materialization is...
It’s time to test whether choreography can be an instrument for thinking, rather than showing and reflecting thought.
With “aesthetic burden” I refer to an inherent aestheticism dating from Western modern dance as the persistence of the modernist quest of choreography and dance to reassert its disciplinary specificity, exclusiveness and autonomy in aesthetic categories. Aestheticism in Western theatrical dance is rooted in the oral and mimetic practice of transmission of movement, the “show and copy” model that rests upon the image and imaginability of movement. Regardless of the operation a work of contemporary dance may entail, it is more often than not presented, received, judged, historically recognized, referenced, or transmitted in the image of the body and movement. While in dance it relies on the oral mimetic logic of producing a self-identical aesthetic object by reproduction, the predominance of the visual in framing the sensorial of dance is not unique for dance, but a result of the condition of circulating any work as a commodity. What is specific...