Critique: The Stakes of Form
(Sprache: Englisch)
Critique is a form of thinking and acting. It is determined by its objects, yet never accesses them immediately but is always mediated through its own forms of (re)presentation. Since the end of the 18th century, there has been a dynamization and...
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Critique is a form of thinking and acting. It is determined by its objects, yet never accesses them immediately but is always mediated through its own forms of (re)presentation. Since the end of the 18th century, there has been a dynamization and fluidization of the understanding of form, as topoi such as the break, the marginalization, the tearing and opening indicate. However, these multifarious attempts to "build on the structure through demolition" (Benjamin) testify to the dependence of all articulation on the forms of (re)presentation ["Darstellung"]. As a philosophical problem, the question of form arises in critical theory from Marx to Adorno. Since the 1960s, literary practices have proliferated which generate their critical statements less argumentatively than through the programmatic use of formal means. At the same time, the writing self, along with its attitudes, reflections, affects and instruments, visibly enters the critical scene-whereas the theatrical scene as a stage of critique has been contested intensively during the 20th century. This volume examines how the interdependence of critique, object, and form translates into critical stances, understood as learnable, reproducible gestures, which bear witness to changing conditions and media of critical practice.
Inhaltsverzeichnis zu „Critique: The Stakes of Form “
7 - 34 An Introduction to "The Stakes of Form" (Sami Khatib, Holger Kuhn, Oona Lochner, Isabel Mehl, Beate Söntgen)37 - 52 How to Do Materialistic Dialectics with Words? Adorno and the Resistance of Presentation (Heiko Stubenrauch)53 - 68 Expression and Suffering; Semblance and Mimesis (Notes on an Enigmatic Passage in Adorno's Aesthetic Theory) (Eva Geulen)69 - 92 Marx, Real Abstraction, and the Question of Form (Sami Khatib)95 - 116 Forms of Critique, Modes of Combat (Birgit M. Kaiser, Kathrin Thiele)117 - 138 "To Arlene on Wings of Love": Shared Forms of Life, Art, and Writing (Oona Lochner)139 - 172 Decorating Charleston Farmhouse: Bloomsbury's Experiments in Forms of Life, Work, and Art (Beate Söntgen)175 - 184 Feedback Systems: Artwriting as Critique? (Isabel Mehl)185 - 196 On Slowing Down and Not Being Shy. A Conversation (Chris Kraus, Isabel Mehl)197 - 212 The Horse's Eye (Lynne Tillman)213 - 224 Editing as the Practice of Criticism (Masha Tupitsyn)225 - 238 ECZEMA! (Maria Fusco)239 - 258 Roland Barthes' Critical Writing from the Materials of Cy Twombly-and the Criticism of Form in the Early Texts of Lukács and Benjamin (Thomas Glaser)261 - 296 Gesture and Citability: Theater as Critical Praxis (Bettine Menke)297 - 324 The Stakes of the Stage: Piscator's Scenography as a Practice of Critique and Benjamin's Discontent with the "Zeittheater" (Mimmi Woisnitza)325 - 342 Why Streets Are No Longer Paved with Theater Gold: Critique and Stage Form(s) (Sebastian Kirsch)343 - 344 List of Illustrations345 - 352 Contributors
Autoren-Porträt
Söntgen, BeateBeate Söntgen ist Professorin für Kunstgeschichte an der Leuphana. Neben freier Mitarbeit im Feuilleton der FAZ, Mitwirkung an Ausstellungen, zuletzt als Ko-Kuratorin zu "Matisse. Figur Farbe Raum" (K20, Düsseldorf). WS 2009/10: Flaubert-Gastprofessorin am Flaubert-Zentrum der LMU München/Venedig. Kuhn, HolgerHolger Kuhn works as postdoctoral researcher at the DFG research training group "Cultures of Critique" at Leuphana University Lüneburg. He is currently working on a book project on "Liquidity: The Cultural Logic of Governmentality in Contemporary Video and Film." From 2012 to 2016 he worked at the Department of Art History at Leuphana University. Recent publications include a book on the "holy kinship" and the construction of family in early capitalism, Die Heilige Sippe und die Mediengeschichte des Triptychons (Emsdetten and Berlin: Edition Imorde, 2018), and a book on the depiction of merchants in paintings from the sixteenth century, Die leibhaftige Münze. Quentin Massys' Goldwäger und die altniederländische Malerei (Paderborn: Wilhelm Fink, 2015). Lochner, OonaOona Lochner is a research assistant at the Institute of Philosophy and Sciences of Art and a PhD candidate in the research training group "Cultures of Critique," both at Leuphana University Lüneburg. Her PhD project focuses on forms of feminist art criticism since the 1960s, asking how writing about art can contribute to a negotiation of subjectivity. Together with Isabel Mehl, she founded the collaborative "From Where I Stand" which addresses the current conditions and possibilities of writing feminist art histories. She was an editor of Texte zur Kunst and writes about contemporary art. Khatib, SamiSami Khatib is professor of visual arts at the American University in Cairo (AUC) and member of the Mellon Foundation research group "Extimacies: Critical Theory from the Global South." Mehl, IsabelIsabel Mehl is a writer and an art critic. Since 2016 she is part of the research training
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group "Cultures of Critique" and researches on the function of fiction for art criticism. Her texts have been published in frieze, Texte zur Kunst, and elsewhere. Dialogue is at the core of her work - collaborators include: art historian Oona Lochner, artist Grazyna Roguski and Susan Funk (as DJ DUO). In 2012 she co-founded the Feminist Working Collective (FAK) and co-edited their publication Body of Work. She is developing a radio play for WDR with opera singer Pauline Jacob and musician Georg Conrad; and plans an anthology on digiphrenia with critic Masha Tupitsyn.
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Bibliographische Angaben
- 2020, 352 Seiten, mit zahlreichen Abbildungen, Maße: 11,9 x 19 cm, Kartoniert (TB), Englisch
- Herausgegeben: Beate Söntgen, Holger Kuhn, Oona Lochner, Sami Khatib, Isabel Mehl
- Verlag: diaphanes
- ISBN-10: 3035802408
- ISBN-13: 9783035802405
- Erscheinungsdatum: 28.07.2020
Sprache:
Englisch
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