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Contemporary Art Practices and the Politics of Aesthetics

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Tuesday, October 22, 2013 - 19:00
BAY AREA PUBLIC SCHOOL -- 2141 Broadway, Oakland more
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Hi all,

Looking ahead, here's an offering of possible texts for consideration. I'm not sure how much ground was covered in Bishop's book w/r/t Nancy or Mouffe on community and the public sphere. Also, having missed out on the Ranciere binge I don't know how to gauge people's enthusiasm about that... Everything should be available for download from e-flux or aaaaarg.org.

If others have contributions let's use the next class to tease out the direction we want to go in. If people are amenable I'd say we meet on our regularly scheduled Tuesday Nov 19th at CCA's SF Campus for the Hito Steyerl lecture (details below). We could look at selections from her E-flux reader the meeting before or after.

 

Warm regards,

 

Sean.

 

Politics of Aesthetics: Reading Suggestions

 

More Agamben?, selections from Stanzas, Infancy..., Potentialities

 

Louis Althusser, Letter on Art, Cremonini: Painter of the Abstract

 

Jean-Francois Lyotard, Lessons on the Analytic of the Sublime

 

Chantal Mouffe, Art and Democracy: Art as an Agonistic Intervention in Public Space, Strategies of Radical Politics and Aesthetic Resistance

 

Jean-Luc Nancy, The Inoperative Community, The Muses

 

Antonio Negri, Art and Multitude

 

Peter Osborne, Anywhere or Not at All (The Fiction of the Contemporary, Art Beyond Aesthetics, Art Space)

 

Jacques Ranciere, Aisthesis

 

Martha Rosler, Culture Class

 

Hito Steyerl, The Wretched of the Screen (selections: Is a Museum a Factory, In Defense of the Poor Image, etc.)

 

Tuesday, November 19, 7:00 pm

Timken Lecture Hall, CCA

 

Building disruptive analogies between art and politics, the filmmaker and writer Hito Steyerl examines the history of the museum as a literal site of battle, focusing in particular on the ongoing rebellions in Paris in the 19th century, which made the halls of the Louvre (established as the first truly public museum in the wake of the French Revolution) a primary site of conflict. If the contemporary museum is frequently cast as a sanitary and elitist enclave, Steyerl demonstrates that at certain junctures it has been instead a territory of fierce armed struggle, with the right to public space and the public ownership of art as the desperate stakes.

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