Kunst und Dokument

Bilanz einer Debatte

Daniel Hornuff

Seit rund fünfzehn Jahren wird das Verhältnis von Kunst und Dokument heiß diskutiert. Das Buch bilanziert diese Debatte – und stellt die Frage nach ihrem Ertrag.
So ambitioniert die Diskussion geführt wird, so unklar bleibt ihr Gewinn. Dreht sie sich einerseits um die Rolle der Kunst in der Gesellschaft, neigt sie andererseits zur Verselbstständigung. Denn aus dem Blick geraten Kunstformen, die das Dokumentarische spielerisch, mit Witz und Ironie erproben. Daniel Hornuff arbeitet die Hauptströmungen dieser Debatte heraus. Und er gewichtet sie, indem er sie in Bezug zu aktuellen künstlerischen Positionen setzt. Untersucht werden Beiträge u.a. von Boris Groys, Diedrich Diederichsen und Jacques Rancière ebenso wie Arbeiten von Lois Hechenblaikner, Martin Parr und Andri Pol.

Artistic Mentoring as a Decolonizing Methodology

An Evolving 18-year Collaborative Painting Ethnography with Guatemalan Maya Artists

Series:

Kryssi Staikidis

To expand the possibilities of “doing arts thinking” from a non-Eurocentric view, Artistic Mentoring as a Decolonizing Methodology: An Evolving 18-year Collaborative Painting Ethnography with Maya Artists is grounded in Indigenous perspectives on arts practice, arts research, and art education. Mentored in painting for eighteen years by two Guatemalan Maya artists, Kryssi Staikidis, a North American painter and art education professor, used both Indigenous and decolonizing methodologies, which involve respectful collaboration, and continuously reexamined her positions as student, artist, and ethnographer searching to redefine and transform the roles of the artist as mentor, historian/activist, ethnographer, and teacher.

The primary purpose of the book is to illuminate the Maya artists as mentors, the collaborative and holistic processes underlying their painting, and the teaching and insights from their studios. These include Imagined Realism, a process excluding rendering from observation, and the fusion of pedagogy and curriculum into a holistic paradigm of decentralized teaching, negotiated curriculum, personal and cultural narrative as thematic content, and the surrounding visual culture and community as text.

The Maya artist as cultural historian creates paintings as platforms of protest and vehicles of cultural transmission, for example, genocide witnessed in paintings as historical evidence. The mentored artist as ethnographer cedes the traditional ethnographic authority of the colonizing stance to the Indigenous expert as partner and mentor, and under this mentorship analyzes its possibilities as decolonizing arts-based qualitative inquiry. For the teacher, Maya world views broaden and integrate arts practice and arts research, inaugurating possibilities to transform arts education.

Series:

- Prof Dr Thomas Dreier

Law and images are generally not regarded as having much in common, since law is based on textual and images are based on visual information. The paper demonstrates that quite to the contrary, legal norms can be understood as models of intended moral behaviour and hence as images, in the same way as images can be said to have a normative and hence regulatory effect. Following an interdisciplinary approach along the lines of cultural research, the paper explains how images “function” to lawyers and how the law “works” to those trained in the visual sciences. In addition, laying the foundations for a research field “Law and Images” in parallel to the well-established “Law and Literature”, the paper describes the main avenues for future research in this field. Also, the paper contains a brief systematization of images in law, of law and for law.

From Fountain to Moleskine

The Work of Art in the Age of its Technological Producibility

Series:

Maurizio Ferraris

Photography was invented in the mid-nineteenth century, and ever since that moment painters have been asking what they are there for. Everyone has their own strategy. Some say they do not paint what is there, but their impressions. Others paint things that are not seen in the world, and therefore cannot be photographed, because they are abstractions. Others yet exhibit urinals in art galleries. This may look like the end of art but, instead, it is the dawn of a new day, not only for painting but – this is the novelty – for every form of art, as well as for the social world in general and for industry, where repetitive tasks are left to machines and humans are required to behave like artists.

Arts-Based Education

China and Its Intersection with the World

Series:

Edited by Tatiana Chemi, Lihong Wang and Xiangyun Du

Core texts addressing creativity in a number of contexts show that creativity as a scientific subject has received principally the attention of Western scholars. Is this due to the fact that Western cultures are more creative or sensitive to creativity than the Eastern cultures? The editors strongly believe that this is more due to the differences in understanding and practising creativity in the West and East than to an Eastern indifference to creativity.

Arts-Based Education: China and Its Intersection with the World investigates the field of arts-based educational practices and research. It argues that reflections on these themes must necessarily be reframed and re-read beyond the limits of colonialist oppositions and suggests a constructive and reflexive approach to theory and methodology, which takes into account intercultural and critical perspectives in these studies.

This volume is the tangible product of the acknowledgement that China and Chinese culture deserves a more systematic and up-to-date dissemination through recent studies that bring together the arts, learning and creativity. It is clustered around two themes: (1) China and its communication with the world through arts-based education in international contexts, and (2) the development of arts education in China.

How to Do Things with Affects

Affective Triggers in Aesthetic Forms and Cultural Practices

Series:

Edited by Ernst van Alphen and Tomáš Jirsa

How to Do Things with Affects develops affect as a highly productive concept for both cultural analysis and the reading of aesthetic forms. Shifting the focus from individual experiences and the human interiority of personal emotions and feelings toward the agency of cultural objects, social arrangements, and aesthetic matter, the book examines how affects operate and are triggered by aesthetic forms, media events, and cultural practices. Transgressing disciplinary boundaries and emphasizing close reading, the collected essays explore manifold affective transmissions and resonances enacted by modernist literary works, contemporary visual arts, horror and documentary films, museum displays, and animated pornography, with a special focus on how they impact on political events, media strategies, and social situations.

Contributors: Ernst van Alphen, Mieke Bal, Maria Boletsi, Eugenie Brinkema, Pietro Conte, Anne Fleig, Bernd Herzogenrath, Tomáš Jirsa, Matthias Lüthjohann, Susanna Paasonen, Christina Riley, Jan Slaby, Eliza Steinbock, Christiane Voss.

Blanchot und das Bild

Bilder und Begriffe nach Maurice Blanchot

Edited by Barbara Filser and Kristin Marek

In den Schriften Maurice Blanchots, der maßgebliche französische Philosophen unserer Zeit geprägt hat, finden sich auch zahlreiche bildtheoretische Überlegungen. Der Band versammelt Beiträge, die seinem Denken des Bildes nachgehen und es für Analysen fruchtbar machen.
„Anwesende Abwesenheit“, „enthüllender Schleier“, „Ähnlichkeit, die nichts gleicht“ … – so lauten einige der Beschreibungen des Bildlichen bei Maurice Blanchot. Ihre Verschränkung von begrifflichen Gegensätzen lässt sie ebenso rätselhaft wie faszinierend erscheinen. Diesen überraschenden Wendungen, den Metaphern und Modellen für Bild und Bildlichkeit, die sich in den theoretischen Schriften und den Romanen des französischen Literaten und Literaturkritikers aufspüren lassen, widmet sich dieser Band.

Writing Spaces

Writing as Transformative, Scholarly and Creative Practice

Series:

Edited by Esthir Lemi, Ekaterina Midgette and Jessica Seymour

This collection of papers invites the reader to look deeply at traditional and contemporary forms of writing, their implications for teaching and pedagogy, and their use of space as a strategy and as an implied device. We explore the lives and times of great writers, how they use space and how space influenced them, and we unveil the patterns upon which writing, as an artistic act, may be influenced by the spaces experienced by the creator. Contributors are David W. Bulla, Nathan James Crane, Phil Fitzsimmons, Gail Hammill, Genevieve Jorolan-Quintero, Syeda Hajirah Junaid, Edie Lanphar, Esthir Lemi, Imogen Lesser Woods, Panagiota Mavridou, Sam Meekings, Barış Mete, Ekaterina Midgette, Sevil Nakisli, Layla Roesler, Yadigar Sanli and Shelley Smith.

The Writing Shop

Putting 'Shop' Back in Writing Workshop

Series:

Suzanne Farrell Smith

Since the 1970s, writing workshop has been a go-to method for teaching writing. It’s helped students of all ages find their voices and stories while developing skills and craft. In The Writing Shop, the author reimagines what writing workshop can be. By studying workshops of different kinds—carpentry, textile, machine—she pushes us to see writing workshop the way other makers see their own shops, as places where creativity is fueled by the sensory experience. When the essential elements of all workshops are adopted in writing workshop, the author argues, writers will flourish.

The author builds on writing workshop literature to introduce the model to newcomers, while offering practical advice for those looking to strengthen their writing instruction. The Writing Shop illustrates what happens when writing is taught in an authentic shop: play is prioritized, all types of learners are included, and a host of skills beyond the mechanics of composition are embedded in the process of learning to write.

With its stories from diverse workshops and emphasis on exploration and experimentation, The Writing Shop shows us that learning to write can be, above all things, fun.

Series:

Marcel Danesi

Pop culture emerged in the first decades of the twentieth century as a reaction to the restrictive social traditions of colonial America. It spread quickly and broadly throughout the bustling urban centers of the 1920s—an era when it formed a partnership with technology and the business world. This coalition gave pop culture its identity, allowing it to thrive and form alliances with artistic and literary movements. But pop culture may have run its course with the rise of meme culture. This publication revisits the social, psychic, and aesthetic roots of pop culture, suggesting that meme culture has fragmented its historical flow, thus threatening to bring about its demise.