Podcast appearances and mentions of Boris Groys

In Locust Radio episode #30, Tish Turl interviews fellow Locust comrade, Adam Turl, on their new book, Gothic Capitalism: Art Evicted from Heaven and Earth (Revol Press, May 2, 2025). You can order the book from Revol Press, Amazon, or find it at other booksellers.Artists, ideas, books, writers, artworks and other stuff discussed in this episode: Adam Turl, Gothic Capitalism: Art Evicted from Heaven and Earth (Revol Press 2025); Ernst Fischer, The Necessity of Art (Verso, 2020); Boris Groys, “The Weak Universalism,” e-flux (2010); Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (1936); Walter Benjamin, “Theses on History” (1940); John Berger, Ways of Seeing (1972); Mark Fisher, Capitalist Realism: Is There No Alternative (2009); Mark Fisher, Flatline Constructs: Gothic Materialism and Cybernetic Theory-Fiction (2018); Donna Harraway, “A Cyborg Manifesto” (1985); Karl Marx and Friedrich Engels, The Communist Manifesto (1848); Rena Rädle & Vladan Jeremić; Joseph Beuys; John Heartfield; Anupam Roy; Richard Hamilton; R. Faze; Born Again Labor Museum; Amiri Baraka; Omnia Sol; Sister Wife Sex Strike; Dada; Judy Jordan; Bertolt Brecht; Claire Bishop; The Sublime; “Third Places;” Fluxus; Abstract Expressionism; The Sopranos; The Wire; Surrealism; Charlie Jane Anders; Emily St. John Mandel; Pier Paolo Pasolini, La Ricotta (1963) and The Hawks and the Sparrows (1966); Boots Riley; Federal Arts Project; Luis Buñuel, The Exterminating Angel (1962); The Artists Union; Voltaire, Candide (1759); Gabriel García Márquez, One Hundred Years of Solitude (1967); Public Enemy, Fear of a Black Planet (1989); Beethoven, Symphony #9 (1822-1824); Sam Esmail, Leave the World Behind (2023); David Cronenberg, Videodrome (1983); Richard Seymour, Disaster Nationalism (2024)Produced by Tish Turl, Adam Turl, Omnia Sol and Alexander Billet. Theme by Omnia Sol, Drew Franzblau and Adam Turl. Hosts include Tish Turl, Laura Fair-Schulz and Adam Turl.

This excerpt from the 7th episode of Derek G. Larson‘s animated series Très Mall, with music produced through Derek’s Artist Support Program residency, features a clip from an interview with art historian David Joselit. You can watch the full episode, which also includes music by Jim O’Rourke and conversations with art critic Boris Groys, philosopher […] The post Derek G. Larson – Très Mall, Episode 7 (excerpt) appeared first on Jack Straw Cultural Center.

In this episode of Locust Radio we are flipping the script a bit. Instead of Tish, Laura and Adam interviewing someone, Tish and Adam are interviewed by Locust's own Alexander Billet. They discuss, among other things, the Born Again Labor Museum, Adam and Tish's ongoing sited conceptual art and installation project in southern Illinois. An edited and abridged transcript of the interview is available on Alexander Billet's substack. A note: The interview was recorded the weekend before President Joe Biden quit the presidential race and endorsed Vice-President Kamala Harris. Artworks, artists, concepts, histories, and texts discussed in this episode: Jean Baudrillard, America (1989); Walter Benjamin, “Theses on History” (1940); John Berger, Ways of Seeing (documentary and book) (1972); Joseph Beuys; Claire Bishop, Disordered Attention: How We Look at Art and Performance Today (2024); Nicolas Bourriaud, Relational Art (1998); Bertolt Brehct, “A Short Organum for the Theater” (1949); Bertolt Brecht, War Primer (1955); “Carbondale Starbucks Employees Vote to Unionize” (2022); Anna Casey, “Museum examines workers rights through art” (2022); Class and Social Struggle in southern Illinois; Andrew Cooper; Kallie Cox, “Born Again Labor Museum Offers Free Communist Manifestos” (2022); Ben Davis, Art in the After-Culture: Capitalist Crisis and Cultural Strategy (2022); Mike Davis and Hal Rothman, The Grit Beneath the Glitter: Tales from the Real Las Vegas (2002); Marcel Duchamp; R. Faze, “I Live an Hour from My Body” (2021); Mark Fisher, Capitalist Realism: Is There No Alternative? (2008); Eirc Gellman and Jarod Roll, The Gospel of the Working-Class: Labor's Southern Prophets in New Deal America (2011); Francisco Goya, Disasters of War (1810-1820); Boris Groys, “The Weak Universalism” (2010); Jenny Holzer; Barbara Kruger; Michael Löwy, Fire Alarm: Reading Walter Benjamin's ‘On the Concept of History' (2005); Frances Madeson, “At the Born Again Labor Museum, Art is a Weapon for the Working Class” (2022); Karl Marx, The German Ideology (1846); Karl Marx and Freidrick Engels, The Communist Manifesto (1848); Pablo PIcasso, Guernica (1937); Russian Cosmism; Penelope Spheeris, The Decline of Western Civilization (1981); Stop Cop City; Leon Trotsky, Their Morals and Ours (1938); Adam Turl, “Against the Weak Avant-Garde” (2016); Adam Turl, “The Art Space as Epic Theater” (2015); Adam Turl, “Outsider Art is a Lie” (2019) and Adam Turl, “We're All Outsiders Now” (2019); Tish Turl, “Class Revenge Fanfiction” (2022); Tish Turl, “Toilet Key Anthology” (2020); Tish Turl and Adam Turl, Born Again Labor Museum; Tish Turl and Adam Turl, Born Again Labor Tracts; The Wanderers/Peredvizkniki  In other news, the call for submissions for Locust Review 12 is available on our website, check it out.  Locust Radio is produced by Omnia Sol, Alexander Billet and Adam Turl. Its hosts include Adam Turl, Laura Fair-Schulz, and Tish Turl.

Famed art critic Boris Groys's thoughts on time and the contemporary

Hernán Vanoli y Marcos Zurita analizan las historias que nos contamos cuando nos cuentan historias. Libros, series, películas y algunas cosas más. En este episodio charlamos sobre Devenir obra de arte, el nuevo ensayo de Boris Groys: la condena al autodiseño, el Estado como museo eterno de lo humano y una polémica sobre el género ensayo. Desinteligencia artificial es un contenido especial de Crisis en el aire, que se emite en vivo en Nacional Rock  todos los sábados de 8 a 10 hs.

Aquesta setmana a L'illa de Maians, presentat i dirigit per Bernat Dedéu, parlem del llibre 'Filosofia de la cura', de Boris Groys. Ens acompanyen: Joan Burdeus i Marc Rovira. Llibre:  'Filosofia de la cura' - https://onallibres.cat/botiga/filosofia-de-la-cura Un podcast d'Ona Llibres - https://onallibres.catPresentat i dirigit per Bernat Dedéu.Realització i edició per Albert Olaya.

Jazmín López (Buenos Aires, Argentina). She is a filmmaker, a visual artist, and a professor. She graduated from the Universidad del Cine in Buenos Aires. She has also an MFA in Visual Arts from NYU and MFA in Visual Arts from Universidad Torcuato Di Tella. She participated in the WhitneyISP program. Her work is represented by Ruth Benzacar art gallery and has been featured in venues like Fondation Pernod Ricard, San Jose Museum, OCAT, Tabacalera, Kadist, Istanbul Biennial and KW. Her films had participated in festivals like: Orizonti oficial competition Venezia Biennial, Rotterdam Film Fest, Viennale, New Directors New Films at MoMA and Lincoln Center, Centre George Pompidou and KW institute Berlin, among many other world Film Festivals and featured in Variety and New York Times. She has taught a Master Class in École Nationale Supérieure des Beaux-Arts de Lyon and was part of the Jury in the 33 FID Marseille. She works as professor for NYU and as an assistant professor of Boris Groys. She worked as a full faculty professor at Universidad del cine, Buenos Aires. The book mentioned in the interview is In Praise of Love, Book by Alain Badiou.

We are hosting Paul O'Neill. We closed our last episode at a crucial and rather existential moment. This second part of our conversation extends to our small group of audience members. You will hear Paul responding to questions on the educational turn, auto-theory, and variations on how to work with artists.Ahali Conversations are often recorded with an intimate group of audience members, so if you'd like to be in the loop, and join live sessions, please feel free to get in touch.EPISODE NOTES PART 2This episode includes questions by Alessandra Saviotti, Ula Soley, Enrico Arduini, and Furkan İnan. Paul O'Neill is a curator, artist, writer, and educator. He is currently the artistic director of Publics, in Helsinki, Finland.Institute of Contemporary Arts (ICA) is an artistic and cultural center based in London. https://www.ica.art/Mick Wilson is an artist, educator and researcher based in Gothenburg and Dublin.Adrian Rifkin is a professor of art writing at Goldsmiths, University of London. http://gai-savoir.net/Dr. Andrea Phillips is BALTIC Professor and Director of BxNU Research Institute, Northumbria University & BALTIC Centre for Contemporary Art.Richard Birkett was a curator at the ICA, London; and at the Artists Space in New York. He is currently a curator at the Yale Union art center in Portland, Oregon.Dave Beech is an artist and writer. https://www.davebeech.co.uk/Sarah Pierce is an artist based in Dublin.Nought to Sixty was a program of exhibitions and events, curated by Richard Birkett at the ICA, in 2008. Over the course of six months, the program was presenting solo projects by sixty emerging British- and Irish-based artists. https://archive.ica.art/nought-sixty-artists-index/The Copenhagen Free University is an artist-run institution, dedicated to the production of critical consciousness and poetic language. https://en.wikipedia.org/wiki/Copenhagen_Free_Universityunitednationsplaza is a project by Anton Vidokle in collaboration with Boris Groys, Jalal Toufic, Liam Gillick, Martha Rosler, Natascha Sadr Haghighian, Nikolaus Hirsch, Tirdad Zolghadr, and Walid Raad It operated as a temporary, experimental school in Berlin, following the cancellation of Manifesta 6 on Cyprus, in 2006. The project traveled to Mexico City (2008) and to New York City under the name Night School (2008-2009) at the New Museum. Its program was organized around a number of public seminars, most of which are available in the online archive. https://www.unitednationsplaza.org/The text Paul was referring to –Introduction to The Paraeducation Department– written by Annie Fletcher and Sarah Pierce is in the anthology Curating and the Educational Turn edited by Paul O'Neill and Mick Wilson: https://betonsalon.net/PDF/essai.pdfKate Zambreno is an American novelist, essayist, critic, and professor.Roland Barthes (1915 – 1980) was a French literary theorist, essayist, philosopher, critic, and semiotician. https://en.wikipedia.org/wiki/Roland_BarthesOctavia Butler (1947 – 2006) was an American science fiction author. Her writings have finally attracted well-deserved attention in the past years.https://en.wikipedia.org/wiki/Octavia_E._ButlerMaryam Jafri is a Copenhagen-based American artist. The artist's book Independence Days presents an expanded version of her photo installation and includes texts by Ariella Aïsha Azoulay, Paul O'Neill, Nina Tabassomi. https://www.maryamjafri.net/Lygia Pimentel Lins (1920 – 1988), better known as Lygia Clark, was a Brazilian artist and co-founder of Neo-Concrete movement. https://en.wikipedia.org/wiki/Lygia_ClarkP! is a multidisciplinary gallery and project space formerly in New York, currently based in Berlin. http://p-exclamation.com/Taken place in P!, in 2016, We are the (Epi)center was a group exhibition organized with the Center for Curatorial Studies, Bard College, featuring: Can Altay, David Blamey, Katarina Burin, Jasmina Cibic, Céline Condorelli, Marjolijn Dijkman, Chris Kraus, Gareth Long, Ronan McCrea, Harold Offeh, William McKeown, Eduardo Padilha, Sarah Pierce, Richard Venlet, Grace Weir, and many others.PARSE is an international artistic research publishing and biennial conference platform based in the Faculty of Fine, Applied and Performing Arts at University of Gothenburg. This is the visual essay Paul was referring to: https://parsejournal.com/article/before-and-after/Autotheory refers to a critical approach in which the author uses personal experiences as the major creative force and the body as the source of knowledge.Sigmund Freud (1856 – 1939) is an Austrian neurologist and the founder of psychoanalysis. Jacques Marie Émile Lacan (1901-1981) is a French psychoanalyst and interpreter of Sigmund Freud's studies. Their contributions to the psychoanalytic theory have been influential on the literary theory in terms of deciphering a work based on the psychological condition its author is in, or conversely, portraying such condition through unconscious revelations of the author within the work.Maggie Nelson is an American writer. https://en.wikipedia.org/wiki/Maggie_NelsonSemiotext(e) is an independent press, publishing works of theory, fiction, madness, economics, satire, sexuality, science fiction, activism, and confession. http://www.semiotextes.com/McKenzie Wark is an Australian-born writer and professor of Media and Culture at Hudson University.Raymond Williams (1921 – 1988) was a Welsh socialist writer, academic, novelist, and critic. In his essay Dominant, Residual, and Emergent, he characterizes the grounded parts of cultural groups and their operating methods. https://en.wikipedia.org/wiki/Raymond_WilliamsStephen Wright is a writer and gardener. Listen to Episode 1 to get to know him better. https://www.ahali.space/episodes/episode-1-stephen-wrightTania Bruguera is an artist and activist. https://www.taniabruguera.com/Dr. Gregory Sholette is a New York-based artist, writer, teacher, and activist.NTS is a global radio station and media platform founded in 2011 by Femi Adeyemi. https://www.nts.live/Bjork is an Icelandic singer, songwriter, composer, record producer, and actress. https://bjork.com/Annie Fletcher is the Director of the Irish Museum of Modern Art.Leninism is a political ideology developed by Russian Marxist revolutionary Vladimir Lenin that proposes the establishment of communism through dictatorship of the proletariat.Stalinism is a totalitarian extension of Leninism and a period of governing by Joseph Stalin in the Soviet Union from 1927 to 1953.COALESCE is an ongoing exhibition project by Paul O'Neill which takes place at different locations with different artists and shapes around the idea of cohabitation.

Fischer, Pascalwww.deutschlandfunkkultur.de, LesartDirekter Link zur Audiodatei

Fischer, Pascalwww.deutschlandfunkkultur.de, LesartDirekter Link zur Audiodatei

Read by Kate Finning

Federico Jeanmaire nació en Baradero en 1957. Es licenciado en Letras y fue profesor en la Universidad de Buenos Aires. Especialista en el Siglo de Oro y en El Quijote, su obra literaria es una de las más vastas y de las más premiadas, en Argentina y en el mundo. Sus novelas, escritas en una lengua llana, son propuestas sofisticadas y por momentos experimentales, que tras una aparente sencillez esconden algunas de las apuestas más audaces de la narrativa argentina. Papá, Más liviano que el aire, Miguel, Fernández mata a Fernández, Tacos altos y Werra son algunas de sus novelas. Recientemente editorial Alianza acaba de publicar Darwin o el origen de la vejez, novela ganadora del Premio Unicaja Fernando Quiñones. Esta vez el protagonista de la historia es un músico que, a punto de cumplir 60 años, viaja a Galápagos para pasar allí esa fecha especial. Una mujer de la que está enamorado lo rechazó porque lo considera viejo para ella y es a partir de esa mirada que el narrador advierte lo inexorable del paso del tiempo. Galápagos será el escenario para reencontrarse con el mundo de Darwin dos siglos después, para reflexionar sobre los cambios en la humanidad durante estos 200 años pero también para repensar el lugar del silencio en su actividad como músico y darle nuevos aires a la creación. Al mismo tiempo, intentará conectar con sus instintos vitales y mantener una mirada adulta pero siempre joven sobre lo que lo rodea. En la sección Bienvenidos, Hinde habló de “Viajero de cercanías”, de Roberto Arlt. Aguafuertes 80 años después. Diario El mundo. Prólogo y compilación de Margarita Pierini publicado por Mil Botellas y de “Filosofía del cuidado”, de Boris Groys editado por Caja Negra. En Libros que sí recomendó “Clima”, de Jenny Offil (Libros del Asteroide) y “Nadie te está mirando” (publicado por Monte Hermoso ediciones y traducido por Teresa Arijón) es el último libro publicado en vida de la escritora y periodista Janet Malcolm. En la sección En voz alta, la esctitora Ana Arzoumanian leyó el poema de Karén Karslyan, de Armenia. “Nosotros somos los siguientes” en su traducción al castellano. Ana acabla de publicar “La guerra es un verbo” por editorial La Cebra. En Mesita de luz, la psicoanalista, escritora y crítica literaria Laura Galarza nos contó que libros está leyendo. Laura, junto a Natalia Neo Poblet, recomienda libros en "La solapa".

In this episode Boris Groys discusses his new book Philosophy of Care which has recently published with Verso Books. In Philosophy of Care Groys engages with figures such as Plato, Nietzsche, Bataille in the hopes of revealing the nature of care and its role in society. @red_medicine__ www.redmedicine.xyzSoundtrack by Matt BrowneArtwork by Ava Gardner 

Pt 2 Field Recordings up on Patreon This week I went on the ground reporting from SXSW, a tankie conference (CPI), the Stubbs Axtion Kunst, and more. Part I: We try "gourmet insect" tacos. "By 2050, humans will experience a giant food gap, while nearly 30% of food produced in the U.S. ends up in landfills." Crazy WEF stuff preparing for the pod. Part 2: Wonder House event, technology University of Arizona Part 3: We get gestapo'd out at the Center for Political Innovation tankie conference, friends get wrongly accused of being Maoist Infiltrators. Part 4: Virtual Reality/XR experience at SXSW Jakob Kudnsk Steensen's Liminal Lands Part 5: Matt Ox, Big Jade, S3nsi Molly Rap Also a tangent on USSR art and media theorist Boris Groys and "what is avant garde even". Young Eddy also gives his analysis of what happened. Weirdest episode yet, took hella long to make.

Har vi förlorat förmågan att uppleva de där storslagna sinnesrörelserna som det talas om i romantikens diktning? Och vad söker vi efter istället? Det funderar Dan Jönsson på i den här essän. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ni som var med 2010 minns kanske Youtube-fenomenet Double Rainbow, en kort filmsnutt där en ung amerikan fullkomligt bryter samman inför anblicken av en ja en dubbel regnbåge helt enkelt. Paul Vasquez som han heter, filmar den i drygt tre minuter, först med andlös bävan, men rätt snart under alltmer oregerliga utbrott av estetisk hysteri. Han kvider, skriker, snyftar, gapskrattar, allt på en gång medan kameran sakligt panorerar fram och tillbaka över regnbågen där den reser sig över en oansenlig bergknalle. Filmen fick på kort tid mer än tjugo miljoner visningar och är fortfarande ett av de mest populära internetklippen genom tiderna.Man får tänka sig att det som Vasquez ville förmedla i sin lilla film var ett möte med det som romantikerna på artonhundratalet kallade det sublima alltså en skönhetsupplevelse så genomgripande att den framstår som överjordisk, ominös, till och med skrämmande. Vad betyder det här? What does this mean? var mycket riktigt också det enda begripliga han lyckades få ur sig under sina tre minuters världsberömmelse. Men istället för den stilla andakt som man traditionellt väntar sig av den här sortens upplevelser framstod Vasquez reaktion mest som löjeväckande. Kanske var det något i kontrasten mellan hans överspända utbrott och det småtrista panorerandet över den på skärmen rätt prosaiska regnbågen som gjorde det; kanske var det också något i själva tekniken, det digitala mediet som sådant, som fick hans säkert uppriktiga hänförelse att verka både tvivelaktig och skrattretande.Vad betyder det, i så fall? Skulle vi kanske avfärda den klassiska konstens sublima effekter med samma ironiska distans, om de dök upp idag? Ta till exempel den berömda, potentiellt löjliga scenen i Goethes Werther, ett av den romantiska litteraturens portalverk, där Lotte faller i vanmakt inför anblicken av ett åskväder. Har vi numera tappat förmågan att se den sortens högspända skönhetsrus som trovärdiga? Ja; enligt den amerikanska kulturteoretikern Sianne Ngai har den moderna, och särskilt postmoderna kapitalismen utvecklat en kultur så genompyrd av en kommersiell estetik att de där absoluta idealen har trängts undan. Gårdagens stora, moraliskt uppfordrande estetiska kategorier har fått ersättas av mindre. Alltså: där våra romantiska förfäder strävade mot det sköna, det rätta och det sanna som Tegnér skaldade i Det eviga får deras senkapitalistiska ätteläggar nöja sig med att söka det gulliga, det knasiga och det intressanta.I sin bok Our Aesthetic Categories från 2012 gör Ngai en grundlig genomlysning av detta relativt nya, estetiska begreppskomplex. Den historiska bakgrunden ser hon i den gradvisa utfasning av det sakrala, eller heliga, som pågått de senaste par hundra åren i den västerländska kulturen. När estetiken som disciplin uppstod i slutet av 1700-talet var det som ett svar på upplysningens brott med de religiösa dogmerna. Estetiken och särskilt en kategori som just det sublima blev helt enkelt den kulturella behållare där sakrala föreställningar kunde leva vidare. Under 1800-talet rullade så den moderna kapitalismen ut sin varuestetik över världen, och sakta men säkert har den trängt in i snart sagt varje skrymsle av vår vardag. Estetik och design genomsyrar numera allt från jeans till gener from jeans to genes, som konsthistorikern Hal Foster har formulerat det. I denna hyperdesignade, estetiserade värld trängs det sakrala oundvikligen ut i marginalen, förklarar Ngai.Och med det upphör också ett absolut begrepp som skönhet att verka meningsfullt. Den kapitalistiska varuformens mindre anspråksfulla, mer hanterliga motsvarighet blir istället gulligheten. Ngai spårar den mer än hundra år tillbaka, i sådant som jugendkonstens ornamentglädje men framför allt i den modernistiska poesins nyväckta intresse för intima detaljer och vardagsföreteelser. I gulligheten blir konsumtionsvaran mänsklig, men också ömkansvärd; den väcker så att säga inte bara vårt habegär utan vår beskyddarinstinkt, vädjar till oss som ett värnlöst barn om att bli omhändertagen. Samtidigt, skriver Ngai: just i svaghet ryms också en vilande aggressivitet som i förlängningen föder fantasier om ett möjligt, hotande uppror från gullighetens sida. Något som kommer till uttryck i populärkulturens alla myter om besatta, ondskefulla barn och djur.I en sorts motsats till det gulliga står det knasiga, som gör missanpassningen och normbrottet till konst. Till skillnad från gulligheten skapar knasigheten inte närhet utan distans till sitt objekt. Där gulligheten handlar om konsumtion handlar knasigheten, enligt Ngai, istället om arbete närmare bestämt om de förändringar i yrkesidentiteten som har satt sin prägel på västvärlden under efterkrigstiden. I allt från knäppa sitcoms till performancekonst ventilerar samtidskulturen de lätt ångestladdade kraven på den moderne löntagaren att när som helst vara beredd att iföra sig vilken roll som helst och då i värsta fall avslöjas som en inkompetent amatör. I knasigheten får vår tids osäkra, flytande identiteter ett uttryck som svarar precis mot vårt behov att känna lite avstånd till de prekära kraven, då och då lätta på det sociala trycket i ett befriat skratt.Som en tredje, balanserande och sammanbindande pol i detta estetiska kraftfält hittar vi alltså det intressanta. Det intressanta uppmärksammades visserligen som kategori redan under romantiken, men det var först med moderniteten den fick verklig betydelse, skriver Ngai, eftersom den handlar om att se och värdera skillnader, en basfärdighet i det moderna konsumtionssamhället. Idén om det intressanta färgar hela vår kultur men drivs till sin spets i den postmoderna konceptkonsten, som med förebild i Marcel Duchamps berömda pissoar är en genre som helt går ut på att välja ur verklighetens flöden av föremål och företeelser. Konstnären blir här, som konst- och medieteoretikern Boris Groys har kallat det, en sorts modellkonsument som med sina installationer både idealiserar och lägger en svalkande distans till konsumtionskretsloppets eviga cirkulation av varor och mediefenomen.Låter det här som en väl futtig bild av vår samtida kultur? Kanske det själv undrar jag till sist om inte Sianne Ngais estetiska triad borde utökas med ännu en kategori: det äkta. Ju mer jag fördjupar mig i hennes utan tvivel fascinerande analys, desto mer får jag känslan att den någonstans kretsar kring ett existentiellt tomrum som jag tror får sitt starkaste uttryck i vår tids kulturella verklighetskomplex. Konsten är numera, tycks det mig, inte sig själv nog; dess gestaltningar inte riktigt trovärdiga om de inte i någon mening, som det heter, baseras på en sann historia. Ur allt från reality-tv till gangsterrap, från dramadokumentärer till autofiktiva romaner strålar detta löfte om autenticitet, ett möjligen illusoriskt hopp om någon sorts fast mark under fötterna som väl, om den nu finns, i sina anspråk inte skiljer sig så mycket från de där absoluta värdena Tegnér skaldade om i Det eviga.Dan Jönsson, författare och essäist

PART IThe art world is a complicated place with diverse motivations, bizarre criteria and social norms, yet it also offers profound friendships and solidarity through community. Ryder speaks of the psychology that drove him to choose art as a form of self-help therapy versus a more stable career path,  but also his ridiculous tendency to apply "salvation through works" to his art practice. PART IIA story about farting in church, followed by Ryder's current drawing of business people asleep, levitating through farting. With lots of dumb humor Ryder also brings up the psycho-pathologies of cognitive capitalism that capture, shape us, and determine our existential ennui. For long-time listeners you will see the references to Max Weber, Robert Jackall, Michael Sandel, and even Baudrillard, Gamsci, Mark Twain, and William James. 

Caja Negra es una de las editoriales independientes más importantes del país. Lleva publicados más de 100 títulos. Su colección “Futuros próximos” funciona como una especie de radar de nuevas tendencias, brindando análisis detallados de los cambios que se están produciendo en el mundo en las esferas tecnológica, estética y filosófica. Han traducido al español a autores imprescindibles como Boris Groys, Bifo Berardi e Hito Steyerl. En este episodio conversamos con Malena Rey, que forma parte de la editorial desde sus inicios en el año 2006, cuando dos amigos, Ezequiel Fanego y Diego Esteras, se atrevieron a comenzar con este osado proyecto. Hablamos sobre la relevancia de los escritos de Mark Fischer, de las misteriosas técnicas de escritura de Oulipo, el boom que implicó la publicación de “La Biblia psíquika” y las novedades del 2021. Te invitamos a conocer más sobre @cajanegraeditora y sus libros, que serán un registro invaluable para entender todo lo que nos pasó en estas últimas décadas.

On this episode, against the backdrop of Myanmar's Civil Disobedience Movement that arose in the wake of the military junta's coup of 1 February 2021, I speak to acclaimed Burmese artist Moe Satt about his performance- and multimedia- based practice. We talk about how visual arts practitioners navigate censorship and restraints on civil liberties. We also discuss the way in which Myanmar's independent cultural organisations like AMCA are engaging in visual activism, how Generation Z and Boomers alike are splitting up across the virtual and actual domains and joining hands against the junta and, indeed, the importance of hands as symbols of solidarity in Moe's work, which we discuss in detail. Click here to access the Image Guide+ and view the images and material being discussed in the podcast: https://sites.google.com/view/artalaap-podcast-resources/episode-6. Credits: Producer: Tunak Teas Design & artwork: Mohini Mukherjee Marketing: Dipalie Mehta Intern: Aastha Anupriya Images: Moe Satt Audio courtesy: Vernouillet by Blue Dot Sessions [CC BY-NC 4.0] Additional support: Kanishka Sharma, Amy Goldstone-Sharma, Raghav Sagar, Shalmoli Halder, Arunima Nair, Jayant Parashar References: Ellen Pearlman 'A Brief History of Contemporary Art in Myanmar', Hyperallergic, 10 July 2017. Lisa Movius, 'The Artists on the frontline of Myanmar's deadly protests', The Art Newspaper, 1 March 2021. Nathalie Johnston, 'The Artists Fighting for a Different Future', Frieze, 19 February 2021. Sarah Cascone, 'After a Military Coup, Artists Across Myanmar Are Making Protest Art to Share Their Struggle for Democracy With the World', Artnet, 16 February 2021. Hannah Beech, 'Paint, Poems and Protest Anthems: Myanmar's Coup Inspires The Art of Defiance', The New York Times, 2 March 2021. Ma Thanegi, 'A brief history of Myanmar modern art', Artstream Myanmar. Yin Ker, 'Where Do We Come From? What Are We? Where Are We Going? Premises for Burmese Contemporary Art with Po Po, Tun Win Aung, Wah Nu and Min Thein Sung.', Afterall: A Journal of Art, Context and Enquiry 2018. 46: 26-37. Nathalie Johnston, ArtReview, 'Myanmar Artists Are Making History', 1 April 2020. Boris Groys, 'On Art Activism', e-flux Journal #56, June 2014. Nicholas Mirzoeff, 'The Right to Look', Critical Inquiry, Vol. 37, No. 3 (Spring 2011), pp. 473-496. Inêz Beleza Barreiros, "Theory is not just words on a page. It's also things that are made": Interview with Nicholas Mirzoeff', Buala, 27 June 2017.

Aquesta setmana a L'illa de Maians, presentat i dirigit per Bernat Dedéu, parlem de 'La lògica de la col·lecció i altres assaigs', de Boris Groys. Ens acompanyen el filòsof Joan Burdeus i la periodista cultural Clàudia Rius. 'La lògica de la col·lecció i altres assaigs', de Boris Groys Un podcast d'Ona Llibres - https://onallibres.cat Presentat i dirigit per Bernat Dedéu. Edició i producció per Albert Olaya.

We talk through three pieces: Leo Strauss's lecture on German Nihilism (https://archive.org/stream/LeoStraussGermanNihilismIntegral1941/Leo%20Strauss%20-%20%27%27German%20Nihilism%27%27%20%5BIntegral%2C%201941%5D_djvu.txt), Bradley Troemel (https://www.patreon.com/bst)'s (recently banned from YouTube) video essay on QAnon, and Boris Groys's essay Self-Design and Aesthetic Responsibility (https://www.e-flux.com/journal/07/61386/self-design-and-aesthetic-responsibility/) to understand the current state of American Nihilism. This one was fun to record, so we hope it's fun to listen to. Sign up for Emmet's lecture on Book I of the Republic. (https://lu.ma/plato-justice) Bibliography (https://exhaust.fireside.fm/articles/eptwentyfourbib). Follow us on Twitter (https://twitter.com/ex_haustpodcast). Closing Song by Tom Inhaler off of the album Distilled (https://youtu.be/-1ZZGGPAoM8). Cover image: Gustave Doré's illustration to Dante's Inferno. Plate IX: Canto III: Arrival of Charon.

O Pindorama é um podcast quinzenal sobre contos de ficção científica nacional. Neste episódio, nós comentamos o conto “Esperança nas Alturas”, de Kali de los Santos, Publicado na edição especial da Revista Trasgo. O conto pode ser lido gratuitamente em: https://trasgo.com.br/esperança-nas-alturas/ Participam Rodrigo Hipólito, Dennis Almeida e Jana Bianchi. Sinopse: A Revolução do Carro Voador evidenciou o abismo da desigualdade socioeconômica no Brasil. Afastada do chão, em seus arranha céus e carros voadores, a elite brasileira agradeceu o fim do SUS, do ensino público e a instituição de um sistema de castas. Abandonados no chão, os pobres são pressionados até se rebelarem. Só que a verdadeira revolução nunca é pacífica.  O episódio comenta as principais características desse conto, como: literatura e discurso político, o pressuposto de que "panfletário" significa algo negativo ou sem valor artístico, as diferenças de receptividade dos públicos para contos de teor político contundente e a frustração por não termos nos nossos carros voadores. Obras e links mencionados Tropas Estelares; Her; Rock 3; Art Power, de Boris Groys; 1984; Fundação; Duna; Apoie o Leitor Cabuloso! Contribua com Catarse do Leitor Cabuloso para que mais iniciativas fabulosas possam existir! www.leitorcabuloso.com.br Catarse: catarse.me/leitor_cabuloso Facebook: www.facebook.com.br/leitorcabuloso Instagram: @leitorcabuloso Twitter @leitorcabuloso Participantes do episódio Rodrigo Hipólito | twitter: @lhamanalama | Podcast: Não Podtocar, twitter: @naopodtocar | Podcast: MIDcast Política Dennis Almeida | twitter: @DennisAlmeira82 | Podcast Clio História e Literatura Jana Bianchi | twitter: @janapbianchi | Podcast Curta Ficção | Mafagafo Revista | Site Próximo episódio Conto Existência, de Lu Ain-Zaila. publicado Revista RaiMundo, em 2018.

Following up on Arendt's 'active life' we discuss how watching mastery has become a replacement for learning or doing yourself. This leads to other issues, such as decreased time to participate in the real world, leading to further frustration or inadequacy in the real world. Boris Groys bring up the contradiction that movies are not about moving; they promote action on screen, but only at the cost of you sitting and being passive. The removal of your action, motion, and even contemplation (as you must passively absorb the narrative) frames a world in which low-risk passivity is preferred to actual risk, action, or uniqueness. The Will to DIY website has references: https://thewilltodiy.com/step-9-the-passive-life/0:36 Watching people build things online: provides the emotion and illusion of competence2:07 Observation over doing: the time watching prevents the fantasy from becoming reality.4:00 The contradiction of the "active life" versus the "contemplative life" in movies5:29 Tokyo Drifting: From "Activity" to "Activity worship" 6:35 Spectatorship as Identity: a path towards nothing?  

In the second episode, Alphan Eşeli hosts Boris Groys, art critic, media theorist, and philosopher. The podcast examines the virus as a cultural factor and questions the role of the internet and online economy in this upcoming era of real conflicts.

Check it out, we read the e-flux so you don’t have to!! Support us on Patreon for recordings of Lucia’s reading group!! “Boris Groys is a philosopher, essayist, art critic, media theorist, and an internationally renowned expert on Soviet-era art and literature, especially the Russian avant-garde.” If you like the podcast and want more, please … Continue reading "READING – Towards the New Realism by Boris Groys"

A starting point for this conversation was the essay ‘Arranging the Deck Chairs’ by Josephine Zarkovich, published by the Oregon Visual Arts Ecology Project this month, where she describes in no uncertain terms the disappearance of medium-sized arts spaces due to rising rents, declining college enrollments, and a diminishing middle class. This means few options for emerging artists to take the next step that doesn’t involve leaving the Northwest or giving it all up in favor of paid gigs. The precarity of the worker in the gig economy applies also to the arts with the difference that art often has nothing to sell, at least not enough for individual artists to live on. Culture largely doesn’t return the same recognizable value that a product in the marketplace would, yet we are squeezing art into this economic model it isn’t fit for. We reference the book ‘In the Flow’ by Boris Groys, where he explains why modern and contemporary art is necessarily unpopular, which of course doesn’t do it any favors on the free market. We live in a world that despises ambiguity, without which art becomes design and not art. Design is everything and art is nothing. Art doesn’t provide solutions, it only asks questions and creates more questions. It seems that art is funded when it takes on the task of design and becomes sellable as an object, or when it can prove to aid our ailing society. What does that do to artists and the nature of art? We consider the always popular immersive and interactive experiences where technology often ends up taking over, and art is side-lined as a mere excuse for the spectacle. Whose agenda is being driven forward when art and tech are brought together? Arts funding doesn’t reflect today’s financial reality, and often leads to developing art for business, not for the benefit to society and public life. The government’s spending on art amounts to less than half a penny on a hundred dollar bill, with priorities obviously elsewhere. We talk about the differences in how we value culture, comparing the US and European countries like Sweden. Where does the motivation for nurturing culture lie? In the economic results that are produced or in its historically intrinsic value? This question can be framed on the one hand as the value of culture to the individual, and on the other as a social good. Eugene Contemporary Art has been agonizing over the choice of going nonprofit or forming an LLC, asking ourselves: Who are you beholden to and what position does it put you in as an arts organization? The administrative burden of nonprofits is weighed against the financial pressure of the LLC. Fiscal sponsorship has been our alternative because it gives us an opportunity to innovate on the model of the organization, the risk being that this organizational effort entirely takes up our capacity. We agree with Josephine Zarkovich about the unsustainable nature of asking other artists for financial support. If we all just help fund each other’s projects, where does the money come from? How does money enter into this loop? The idea of revenue filters into grant applications for arts funding in that they require quantitative proof of effectiveness and community engagement. We contend, that with government and state funding cut, the different grant giving foundations and trusts have become obliged to take on the burden of teaching art in the schools and providing accessible art, foreclosing funding for more challenging art and complex discourse, and thereby narrowing the field of art. What are the systemic problems and what can we do about them on an individual level? How are you accountable if not quantitatively? Are the tools we use to build organizations neutral? We come back to the value of the mission statement as a tool for sticking to your politics, rather than your bottomline, weighing every decision against the mission statement. There is no getting away from politics since the 2016 election, and that’s a good thing. Links: ‘Arranging the Deck Chairs’ by Josephine Zarkovich: https://oregonvisualarts.org/portfolio-items/arranging-the-deck-chairs/?portfolioCats=4051 ‘Books: Organizing the Future’ by James McAnally: https://www.artinamericamagazine.com/news-features/magazines/books-organizing-future/ ‘In the Flow’ by Boris Groys: https://www.versobooks.com/books/2525-in-the-flow New Inc: https://www.newinc.org/ Meow Wolf: https://meowwolf.com/ A manifesto written for The Luminary in St. Louis by James McAnally: http://temporaryartreview.com/the-work-of-the-institution-in-an-age-of-professionalization/

e-flux founder, journal editor, and artist Anton Vidokle discusses cosmism with Kaye Cain-Nielsen, editor-in-chief of e-flux journal. You can read more on cosmism in the 88th issue of e-flux journal (February 2018). Featuring texts by Robert Bird, Maria Chehonadskih, Keti Chukhrov, Boris Groys, Trevor Paglen, Alexei Penzin, Marina Simakova, Arseny Zhilyaev, and a Timeline of Russian Cosmism compiled by Anastasia Gacheva, Arseny Zhilyaev, and Anton Vidokle. 

Art without death: Russian Cosmism Lecture, Sep 1, 2017 German translation

Art without death: Russian Cosmism Lecture, Sep 1, 2017 Original version

El libro que vamos a ver hoy es “Volverse público. Las transformaciones del arte en el ágora contemporánea”, de Boris Groys. Lo que se entendía en la época de las vanguardias del siglo XX como utopía se ha convertido hoy en una obligación: todo ser humano tiene que asumir una responsabilidad estética por su apariencia frente al mundo, por el diseño de sí. Aunque no todos producen obras, todos son una obra. El acceso relativamente fácil a los dispositivos para la producción de imágenes, Internet,  las redes sociales,Facebook, Twitter, YouTube, Instagram, ofrecen a las global la personas la oportunidad de mostrar sus fotos, videos y textos de un modo que no puede distinguirse de cualquier otra obra de arte conceptualista o post-conceptualista. “Volverse público” fue editado en Argentina en el año 2014 por Editorial Caja Negra. Boris Groys es filósofo, crítico de arte y teórico de los medios. Nació en Alemania en 1947, estudió en Rusia y se convirtió en uno de los teóricos más destacados de Arte Contemporáneo en los últimos años. Estudió filosofía y matemáticas en la Universidad de Leningrado. Desarrolló su trabajo académico en la Escuela Superior de Diseño de Karlsruhe, la Academia de Bellas Artes de Viena y las universidades de Filadelfia, Pensilvania y Nueva York, entre otras. Mi nombre es Evelyn Marquez, curadora y gestora cultural, y te invito a suscribirte a nuestro podcast en temporadaderelampagos.com  y en itunes. Buscanos también en Facebook  (@temporadaderelampagos ) y en Twitter  (@TRelampagos)! Hasta el próximo episodio!

Greetings, Pushkin! Stalinist Cultural Politics and the Russian National Bard (University of Pittsburgh Press, 2016) by Jonathan Brooks Platt explores the national celebrations around the centennial anniversary of Pushkin’s death in 1937. Platt structures his book around the dichotomy of what he sees as two different approaches to temporalities and modernity: monumentalism and eschatology, which celebrate, respectively, the formative moments of cultural narratives as opposed to their ruptures and changes. This theoretical framework engages deeply with the work of such scholars as Mikhail Bakhtin, Susan Buck-Morss, Katerina Clark, and Boris Groys. Through the discussion of the planning and the execution of the jubilee celebration, Platt analyzes the pedagogical practices and the role of teaching of Pushkin at the time; the attitudes of Soviet intellectuals to the phenomenon of the national poet; and the way the life and death of Pushkin were re-imagined in contemporary visual arts, literature, and drama. The concluding chapter of the book traces the transformation of the figure of Pushkin, as well as the memory and legacy of the 1937 jubilee, throughout 20th-century Russian literature. A particularly remarkable aspect of Platt’s book is his decision not to inscribe the Pushkin jubilee celebrations in the historical context of the era of “ezhovshina” and Stalinist purges. Platt argues that the cultural development around the jubilee celebrations demonstrates that the temporal logic that arose in the Stalinist period, is much more complicated than usually believed, and that the jubilee case demonstrates how different perceptions of time and the project of modernity in general could co-exist side by side in Stalin’s time challenging, thus, our established notion and representations of this era. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literatura. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greetings, Pushkin! Stalinist Cultural Politics and the Russian National Bard (University of Pittsburgh Press, 2016) by Jonathan Brooks Platt explores the national celebrations around the centennial anniversary of Pushkin’s death in 1937. Platt structures his book around the dichotomy of what he sees as two different approaches to temporalities and modernity: monumentalism and eschatology, which celebrate, respectively, the formative moments of cultural narratives as opposed to their ruptures and changes. This theoretical framework engages deeply with the work of such scholars as Mikhail Bakhtin, Susan Buck-Morss, Katerina Clark, and Boris Groys. Through the discussion of the planning and the execution of the jubilee celebration, Platt analyzes the pedagogical practices and the role of teaching of Pushkin at the time; the attitudes of Soviet intellectuals to the phenomenon of the national poet; and the way the life and death of Pushkin were re-imagined in contemporary visual arts, literature, and drama. The concluding chapter of the book traces the transformation of the figure of Pushkin, as well as the memory and legacy of the 1937 jubilee, throughout 20th-century Russian literature. A particularly remarkable aspect of Platt’s book is his decision not to inscribe the Pushkin jubilee celebrations in the historical context of the era of “ezhovshina” and Stalinist purges. Platt argues that the cultural development around the jubilee celebrations demonstrates that the temporal logic that arose in the Stalinist period, is much more complicated than usually believed, and that the jubilee case demonstrates how different perceptions of time and the project of modernity in general could co-exist side by side in Stalin’s time challenging, thus, our established notion and representations of this era. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literatura. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greetings, Pushkin! Stalinist Cultural Politics and the Russian National Bard (University of Pittsburgh Press, 2016) by Jonathan Brooks Platt explores the national celebrations around the centennial anniversary of Pushkin’s death in 1937. Platt structures his book around the dichotomy of what he sees as two different approaches to temporalities and modernity: monumentalism and eschatology, which celebrate, respectively, the formative moments of cultural narratives as opposed to their ruptures and changes. This theoretical framework engages deeply with the work of such scholars as Mikhail Bakhtin, Susan Buck-Morss, Katerina Clark, and Boris Groys. Through the discussion of the planning and the execution of the jubilee celebration, Platt analyzes the pedagogical practices and the role of teaching of Pushkin at the time; the attitudes of Soviet intellectuals to the phenomenon of the national poet; and the way the life and death of Pushkin were re-imagined in contemporary visual arts, literature, and drama. The concluding chapter of the book traces the transformation of the figure of Pushkin, as well as the memory and legacy of the 1937 jubilee, throughout 20th-century Russian literature. A particularly remarkable aspect of Platt’s book is his decision not to inscribe the Pushkin jubilee celebrations in the historical context of the era of “ezhovshina” and Stalinist purges. Platt argues that the cultural development around the jubilee celebrations demonstrates that the temporal logic that arose in the Stalinist period, is much more complicated than usually believed, and that the jubilee case demonstrates how different perceptions of time and the project of modernity in general could co-exist side by side in Stalin’s time challenging, thus, our established notion and representations of this era. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literatura. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greetings, Pushkin! Stalinist Cultural Politics and the Russian National Bard (University of Pittsburgh Press, 2016) by Jonathan Brooks Platt explores the national celebrations around the centennial anniversary of Pushkin’s death in 1937. Platt structures his book around the dichotomy of what he sees as two different approaches to temporalities and modernity: monumentalism and eschatology, which celebrate, respectively, the formative moments of cultural narratives as opposed to their ruptures and changes. This theoretical framework engages deeply with the work of such scholars as Mikhail Bakhtin, Susan Buck-Morss, Katerina Clark, and Boris Groys. Through the discussion of the planning and the execution of the jubilee celebration, Platt analyzes the pedagogical practices and the role of teaching of Pushkin at the time; the attitudes of Soviet intellectuals to the phenomenon of the national poet; and the way the life and death of Pushkin were re-imagined in contemporary visual arts, literature, and drama. The concluding chapter of the book traces the transformation of the figure of Pushkin, as well as the memory and legacy of the 1937 jubilee, throughout 20th-century Russian literature. A particularly remarkable aspect of Platt’s book is his decision not to inscribe the Pushkin jubilee celebrations in the historical context of the era of “ezhovshina” and Stalinist purges. Platt argues that the cultural development around the jubilee celebrations demonstrates that the temporal logic that arose in the Stalinist period, is much more complicated than usually believed, and that the jubilee case demonstrates how different perceptions of time and the project of modernity in general could co-exist side by side in Stalin’s time challenging, thus, our established notion and representations of this era. Olga Breininger is a PhD candidate in Slavic and Middle Eastern Studies at Harvard University. Her research interests include post-Soviet culture and geopolitics, with a special focus on Islam, nation-building, and energy politics. Olga is the author of the novel There Was No Adderall in the Soviet Union and columnist at Literatura. Learn more about your ad choices. Visit megaphone.fm/adchoices

Boris Groys’s introduction to “Media, New Media, Post-Media: What is German Philosophy of Media?” http://ia801503.us.archive.org/5/items/20110526GermanMediaLorenzGroysTalk/2011_05_26_GermanMedia_LorenzGroys_talk.mp3

Boris Groys (writer, curator and philosopher, New York) speaks at Frieze London 2008

IKKM Lectures 2013: Boris Groys (New York)»Alexander Kojève: The Sage as Photographer«Paper presented as part of the IKKM Lectures 2013 on June 19th, 2013For further information, please visit www.ikkm-weimar.de

episodes above are 1 the visit to phlight 2 the trip to leeds CHANCE: A THROW OF THE DICE Leeds MA Art and Design have worked with the artist and broadcaster Simon Tyszko. His practice is an example of how spoken transmission (radio broadcast), and object making (specifically the installation of objects) also adjust our experience to the living-space of art, co-extensive in public and private realms; unseen, or unheard; and how we compose our experience through chance encounters to revisit an event. The panel will ask how chance is to be anticipated, put into play, and it might define an encounter with an object’s undecideable and transitory character. A Throw of the Dice Un coup de dés jamais n’abolira le hazard - (A throw of the dice will never abolish chance) Stephane Mallarmé The concept A throw of the Dice derives from a project that has looked at how Stephane Mallarmé composed the poem Un coup de dés over a hundred years ago in 1897 which anticipated, by the ‘logic’ of chance, a kernel of mathematical truth. Art is a performative signifier that placed onus on the spectator and reader as creator and interpreter of a work. What is chance, but an event that deters all predictable outcomes? Where does the contemporary artist, designer or curator locate chance as part of a practice? The relation of chance to visibility/invisibility is one that is raised through the public space of performance and dialogue. Since Mallarmé’s work resounded in how it ‘sounded’ differently through repeated readings and how words slipped across signification to mean other things at other imagined times, the poem is evocative of figures and yet also constituted as a precise technology of musical arrangements and visual metaphors. We have invited speakers who are artists who are also practitioners in the fields of music, journalism, and criticism to discuss the power of chance operating outside the official cultural signs of the ‘voice’ by multiple readings of the text. This becomes very apparent in rereading the work Un coup de dés. It is on this basis that the MA participants have developed responses to present a constellation of new works under the umbrella of Un coup de dés that interrogate avant garde practice, as a constant need for repetition in the ‘throwing the dice’. It is precisely why, we ask, the avant-garde cannot take place, or throw the dice, once and for all times, ‘but must be permanently repeated to resist permanent historical change and chronic lack of time.’ Boris Groys ‘At the beginning of his Lectures on Aesthetics, Hegel asserted that in his time, art was already a thing of the past. Hegel believed that, in the time of modernity, art could no longer manifest anything true about the world as it is. But avant-garde art has shown that art still has something to say about the modern world: it can demonstrate its transitory character, its lack of time; and to transcend this lack of time through a weak minimal gesture requires very little time—or even no time at all. Boris Groys, The Weak Universalism e-flux journal 2010 Talk A panel discussion with Peter Fillingham, artist, curator and academic, Nooshin Farhid, artist and curator currently lecturing at Central St Martins, University of the Arts, London; Colm Lally, Artist and Director of Event Gallery; Giorgio Sadotti, artist; Peter Suchin, artist and critic for Art Monthly, Frieze; Simon Tyszko, artist and broadcaster for Resonance Radio FM; Dr Cecilia Wee, Lecturer in Communications at Royal College of Art, musicologist, and broadcaster for Resonance Radio FM; and Elizabeth Wright, artist and Pathway Leader in 3D at Central St Martins, University of the Arts, London. The MA Art and Design cordially invites the public to take part in the event and to contribute during the day to the discussion with the panel of guest speakers, chaired by Peter Lewis, Course Leader, MA Art and Design.The discussion will consider the operation of chance or ‘open’ textual procedures evidenced i...

Götter und Schriften rund ums Mittelmeer. Symposion in memoriam Friedrich Kittler | Symposium Fr, 19.10.2012 – Sa, 20.10.2012, ZKM_Medientheater Die Schrift ist das erste Medium. Das ist der Sinn der Behauptung: Am Anfang war das Wort. Mit der Schrift begann jene Kette von Medienrevolutionen, die uns von Runen und Piktogrammen über musikalische und mathematische Notationen bis zu den Symbolen auf den grafischen Benutzeroberflächen von Computermenüs führte. Die Schrift ist das Medium der Absenz und gemäß Freud (Das Unbehagen der Kultur, 1930) setzt die Technik die Arbeit der Schrift fort. Technik ist also ebenfalls ein Medium der Absenz. Deswegen lautet meine These: Alle Technologie ist Teletechnologie (Telefax, Telefon, Television etc.) und alle Teletechnologie ist Theotechnologie. Jede Medienrevolution ist daher nicht nur eine technische, sondern auch eine soziale, erkenntnistheoretische und sogar religiöse. Die Religion ist gewissermaßen ein Effekt der Medien. Die Schrift ist noch immer ein zentrales Medium und wegen ihrer Abhängigkeit von der Schrift, von der Bibel zum Koran, ist Religion selbst ein Medium (s. Boris Groys, Peter Weibel, Das Medium Religion, 2011). Die symbolische Ordnung aller Schrift- und Bildzeichen ist offensichtlich deswegen so wichtig, weil sie die soziale Ordnung nicht nur spiegelt, sondern auch mitkonstruiert. Daher war ich sofort fasziniert, als mir Kittler in Gesprächen andeutete, er hätte eine neue Theorie, wieso Jesus von Nazareth ermordet wurde. Als Ergebnis neuer Reflexionen zur Entstehung der Schriftkultur als Beginn aller Medientheorie hat Kittler mir seine Theorie über die Rolle Jesus’ von Nazareth als Medienrebell skizziert. Peter Weibel, 1944 in Odessa geboren, studierte Literatur, Medizin, Logik, Philosophie und Film in Paris und Wien. Durch seine vielfältigen Aktivitäten wurde er eine zentrale Figur in der europäischen Medienkunst. Seit 1984 ist er Professor an der Universität für Angewandte Kunst in Wien, 1984-1989 war er Professor für Video und Digitale Kunst am Center for Media Study an der State University of New York in Buffalo. 1989 gründete er das Institut für Neue Medien an der Städelschule in Frankfurt, das er bis 1995 leitete. Von 1986 bis 1995 war er künstlerischer Leiter der Ars Electronica in Linz und von 1993 bis 1999 Österreichs Kommissär der Biennale von Venedig. Von 1993 bis 2011 Chefkurator der Neuen Galerie in Graz, seit 1999 ist er Vorstand des ZKM | Karlsruhe. 2008 leitete er die Biennale von Sevilla (Biacs3). 2007 wurde ihm die Ehrendoktorwürde der University of Art and Design Helsinki verliehen, 2008 das französische Ehrenzeichen „Officier dans l'Ordre des Arts et des Lettres“. 2011 war er künstlerischer Direktor der 4. Moskau Biennale für zeitgenössische Kunst. In seinem Lebenswerk hat Medientheoretiker Friedrich Kittler (1943−2011), die Geschichte der Dichtung, der Philosophie, ja der Kultur als solche vom Kopf auf die Füße ihrer technischen und vortechnischen Medien gestellt. Was Aufschreibesysteme für die Literatur, was Befehlssätze für programmierbare Maschinen, das ist den Göttern das elementarste Medium im lateinischen Wortsinn von elementa: Buchstaben. Das Symposion »Götter und Schriften rund ums Mittelmeer«, noch zu Lebzeiten von dem deutschen Medientheoretiker Friedrich Kittler selbst vorbereitet, widmet sich dieser Hypothese. Wie bestimmen die Kontakte, Konkurrenzen, Innovationen der verschiedenen Schriften und Alphabete seit der frühesten Antike rund ums Mittelmeer die zukünftigen Geschicke des Abendlands? Seit dem Neolithikum gibt es im Mittelmeerraum Kulturen, deren Alphabete eng an Verwaltung und Handel, Befehlsflüsse und Gesetze gebunden sind, aber auch eine Kultur, die ihr Alphabet aus dem Schreiben von Musik und Gesangsvortrag, Vers und Götteranrufung schöpft. Einige Schriften des Mittelmeers − in Keilen, Bildschriftzeichen, Silbenschriften dargestellt − sind graphisch orientiert. Sie schreiben von den Worten der Sprache meist Konsonanten oder Konsonantengruppen. Andere, wie das griechische Alphabet, das als erstes der Welt auch Vokale schreibt, sind phonetisch orientiert und damit prinzipiell auf jede Sprache übertragbar. Mächtige Gesetzesgötter einerseits strafen und befehlen. Der Verkehr mit ihnen wird gesetzlich geregelt. Andererseits gibt es Götter, die an- und abwesend sind. Der Verkehr mit ihnen wird nicht verwaltet, sondern begangen. Wie sind diese verschiedenen Ausgestaltungen der Götterwelten in den Schriftsystemen widergespiegelt?

Is design the new religion?

Marco Wilms. "Peter Weibel - Mein Leben" | Filmpreview Peter Weibel im Gespräch mit dem Regisseur Marco Wilms anlässlich der Filmpremiere von "Peter Weibel - Mein Leben" [ARTE/ZDF 2010]. Der Filmemacher Marco Wilms hat den Künstler, Kurator und Wissenschaftler Peter Weibel, einer der berühmtesten und anerkanntesten Medienkünstler und Theoretiker, an die Orte seiner Kindheit in Österreich begleitet, folgte ihm nach Paris, nach Rom, Wien und an seine jetzige Wirkungsstätte, das ZKM Karlsruhe. Zu Wort kommen auch Weibels Weggefährten, darunter Boris Groys und Bruno Latour. Das Gespräch mit Regisseur Marco Wilms, Michael Hübl (BNN) und Peter Weibel erfolgte im Anschluss an eine Preview im ZKM am 03.09.2010.

In this special lecture, Boris Groys, responds to the Francis Alÿs exhibition at Tate Modern with the provocative and counter-intuitive insight that has made him one of the most important thinkers and art critics today.

"Unsere Identitäten funktionieren schon immer als Geschichten, die wir über uns selbst erzählen." Statements von Boris Groys (Philosoph und Medientheoretiker), aufgezeichnet auf dem Festival intermedium 2, das vom 22.-28.03.2002 am ZKM (Zentrum für Kunst und Medientechnologie) in Karlsruhe veranstaltet wurde.