Podcasts about Hito Steyerl

Künstliche Intelligenz verändert die Produktion und Wahrnehmung von Kunst und Kultur. Daher ist es wichtig, Orte des kulturellen Austauschs zu erhalten und zu fördern, sagt Filmemacherin, Autorin und Künstlerin Hito Steyerl. Koldehoff, Stefan www.deutschlandfunk.de, Kulturfragen

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

“Le monde selon l'IA”au Jeu de Paume, Parisdu 11 avril au 21 septembre 2025Entretien avec Antonio Somaini, professeur de théorie du cinéma, des médias et de la culture visuelle à l'Université Sorbonne Nouvelle et commissaire général de l'exposition,par Anne-Frédérique Fer, à Paris, le 28 avril 2025, durée 16'50,© FranceFineArt.https://francefineart.com/2025/05/10/3616_le-monde-selon-l-ia_jeu-de-paume/Communiqué de presse Commissaire général : Antonio SomainiCommissaires associés : Ada Ackerman, Alexandre Gefen, Pia ViewingLe Jeu de Paume présente, du 11 avril au 21 septembre 2025, une exposition explorant les liens entre intelligence artificielle et l'art contemporain, qui sera la première au monde de cette ampleur.Développées à vitesse accélérée dans tous les champs de la société, les intelligences artificielles suscitent aujourd'hui étonnement, frayeur, enthousiasme ou scepticisme.Le monde selon l'IA présente une sélection d'oeuvres d'artistes qui, au cours de ces dix dernières années, se sont emparés de ces questions en art, photographie, cinéma, sculpture, littérature… Elle d.voile des oeuvres – en grande parties inédites – d'artistes de la scène française et internationale tels Julian Charrière, Grégory Chatonsky, Agnieszka Kurant, Christian Marclay, Trevor Paglen, Hito Steyerl, Sasha Stiles,…De l' “IA analytique”, sur laquelle se fondent les systèmes de vision artificielle et de reconnaissance faciale, . l' “IA générative”, capable de produire de nouvelles images, sons et textes, l'exposition traite de la manière dont ces technologies bouleversent les processus créatifs, redéfinissent les frontières de l'art, sans oublier d'en interroger les enjeux sociaux, politiques et environnementaux. Des capsules temporelles jalonnent par ailleurs le parcours, sous forme de vitrines suggérant des liens historiques et généalogiques entre ces phénomènes contemporains et différents objets issus du passé. Au-delà de toute fascination technophile ou de rejet technophobe, le Jeu de Paume propose, à travers cette exposition, une réflexion sur la manière dont l'IA transforme notre rapport visuel et sensible au monde, comme nos sociétés.L'intelligence artificielle, notion introduite en 1955, désigne de nos jours l'apprentissage automatique qui transforme tous les domaines de la société, avec des applications remplaçant l'action humaine sur la détection, la prise de décision ou la création de contenus textuels et visuels. Ces avancées soul.vent des enjeux éthiques, économiques, politiques et sociaux, entre autres en matière de vie privée et de discrimination, tout en bouleversant notre rapport aux images et aux textes. Dans le domaine artistique, l'IA redéfinit les processus de création, de production et de réception, mettant en crise les notions de créativité, d'originalité et de droits d'auteur. Les artistes de l'exposition mobilisent ces technologies aussi bien pour interroger leurs conséquences sur l'art et la société que pour expérimenter de nouvelles formes possibles d'expression.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Was bedeutet Normalität, wenn rechtsradikales Denken salonfähig wird? Und eine rechte Partei mit dem Slogan „Deutschland, aber normal“ wirbt? Normalität – zeigt Hito Steyerl bereits in ihrer gleichnamigen Serie von Video-Arbeiten aus den 1990er Jahren – wird dann zum Bedrohungsszenario für alle, die nicht unter die Norm fallen. Bekannt ist sie heute vor allem für ihre Video-Essays, zum Beispiel für die Arbeit „Is the Museum a Battlefield?“ über Kunst-Sponsoring von Rüstungskonzernen. Vom Magazin „Art Review“ wurde Hito Steyerl als einflussreichste Persönlichkeit in der Kunstwelt bezeichnet.

Anfang 2023 lehnte die Künstlerin Hito Steyerl den Hugo-Ball-Preis der Stadt Pirmasens ab, da in einigen Schriften Hugo Balls antisemitische Inhalte zu erkennen seien. Die Stadt und das Cabaret Voltaire in Zürich, wo Hugo Ball 1916 den Grundstein für den Dadaismus legte, veranstalteten daraufhin zahlreiche Vorträge und Workshops. Jetzt ging der Prozess mit einer abschließenden Podiumsdiskussion zu Ende.

It's Donna Tartt appreciation week! Michelle joins us for our deep dive into The Goldfinch, Donna Tartt's brilliant, award-winning novel about art, drugs, loss, and not always getting what you want. Also this week Joseph read Death Valley by Melissa Broder and Duty Free Art by Hito Steyerl, Michelle read A Curious History of Sex by Kate Lister and Fire and Blood by George R R Martin, and Saph read Son of Rosemary by Ira Levin and Taaqtumi: An Anthology of Arctic Horror Stories. This week's listener recommendation request comes from Edward who is looking for a great (auto)biography. Joseph recommends Girl In A Band by Kim Gordon. Saph recommends Crying in H Mart by Michelle Zauner and Take Away by Angela Hui. Michelle recommends Clothes Clothes Clothes, Music Music Music, Boys Boys Boys by Viv Albertine, Seabiscuit: The True Story of Three Men and a Racehorse by Laura Hillenbrand, and Educated by Tara Westover. Also mentioned in this episode:The Secret History and The Little Friend by Donna TarttMilk Fed by Melissa BroderGreat Expectations by Charles DickensWhores of Yore Twitter accounte-fluxSee the Novel Thoughts bookshop page for all books mentioned in this episode. Hosted on Acast. See acast.com/privacy for more information.

Luciana Parisi has produced some of the 21st century's most daring and bold work in the theories of cybernetics, information, and computation. Her work has had a major impact on both Marek and Roberto's artistic practices, specifically her early work in the inorganic components of human reproduction. Just a brief content note — we mention some complex topics including consent and suicide at the top of the pod, specifically in the context of David Marriott's concept of “Revolutionary Suicide”. These concepts are not extensively discussed throughout, but are nonetheless heavy topics. We strongly recommend three texts in parallel with this conversation:Probably Marek's favorite piece of theory: Abstract Sex: Philosophy, Biotechnology and the Mutations of DesireA book more specifically scoped to the subject of this conversation, which attacks the biophysicalist metaphors at the ground of how AI research markets itself: Contagious Architecture: Computation, Aesthetics, and SpaceThe essay: The Alien Subject of AI.Some references from the conversation that are likely interesting to any listener:If you haven't read Octavia Butler's Xenogenesis (renamed Lilith's Brood), we strongly recommend these amazing pieces of science fiction.If you're unfamiliar with the CCRU, play around on the CCRU website and buy this unhinged compendium from our friends at Urbanomic (they have a super sexy new edition just out now). If you haven't read Sadie Plant's Zeroes + Ones: Digital Women and the New Technoculture, it's seriously an essential read if you're interested in computation.We briefly make fun of the feature film “The Creator”, which it looks like you can stream on major platforms. We mention this in the context of Delueze and Guattari's “War Machine” — we recommend their “Nomadology: The War Machine” (if you follow Marek on Instagram, you'll note that he's obsessed with the exteriority of war machines from the state).When we start to talk about information theory, Luciana mentions Claude Shannon (one of the fathers of modern information theory), Cecile Malaspina (“An Epistemology of Noise”), and Karen Barad (“What is the Measure of Nothingness?”).Francois Laruelle is a major influence to Luciana here, in her chapter in Choreomata, and elsewhere. His corpus of work is famously intractable, but her chapter in Choreomata is a good way in.Luciana mentions Holly Herndon's work (we strongly recommend Holly+ and https://haveibeentrained.com/, alongside her and Mat Dryhurst's podcast, which was a huge inspiration to us when starting Disintegrator).Everyone should read Hito Steyerl's work “Mean Images” on NLR as they should Sylvia Wynter's “Towards the Autopoetic Turn/Overturn, its Autonomy of Human Agency and Extraterritoriality of (Self-)Cognition”.

Nach dem Rücktritt der Findungskommission fordert die Künstlerin Hito Steyerl eine vollständige Neuorientierung der Documenta. Sie müsse alte Paradigmen über Bord werfen und endlich im „Zeitalter der Multikrisen“ ankommen.Steyerl, Hitowww.deutschlandfunkkultur.de, InterviewDirekter Link zur Audiodatei

EPISODE 1827: In this KEEN ON show, Andrew talks to the filmmaker, artist and writer Hito Steyerl about what she calls the "pyramid schemes", "on-boarding" tools and the "mean" creativity of our AI ageHito Steyerl (born 1 January 1966) is a German filmmaker, moving image artist, writer, and innovator of the essay documentary. Her principal topics of interest are media, technology, and the global circulation of images. Steyerl holds a PhD in philosophy from the Academy of Fine Arts Vienna. She is currently a professor of New Media Art at the Berlin University of the Arts, where she co-founded the Research Center for Proxy Politics, together with Vera Tollmann and Boaz Levin.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.

Ein offener Brief durchbricht die dröhnende Stille im Literaturbetrieb. Jüdinnen und Juden haben das Sicherheitsgefühl in Deutschland verloren. Und eine junge Liberale will sich wohl unbeliebt machen. Das ist die Lage am Samstagmorgen. Hier die Artikel zum Nachlesen: Antisemitismus in Berlin: »Zum ersten Mal verstehe ich, was es bedeutet, Jüdin zu sein« Starkünstlerin Hito Steyerl über Antisemitismus in der Kulturszene: »Einige halten die Hamas für eine Befreiungsbewegung« FDP-Bildungspolitikerin Ria Schröder im Interview: »Warum gehen manche Leute nicht neben dem Studium arbeiten?«   +++ Alle Rabattcodes und Infos zu unseren Werbepartnern finden Sie hier: https://linktr.ee/spiegellage +++ Die SPIEGEL-Gruppe ist nicht für den Inhalt dieser Webseite verantwortlich.Alle SPIEGEL Podcasts finden Sie hier. Mehr Hintergründe zum Thema erhalten Sie bei SPIEGEL+. Jetzt für nur € 1,- für die ersten vier Wochen testen unter spiegel.de/abonnieren Informationen zu unserer Datenschutzerklärung.

In der Ausstellung "Dear Earth - Art and Hope in a Time of Crisis" in der Londoner Hayward Gallery zeigen 15 Künstler*innen und Kollektive aus unterschiedlichen Ländern ihre Auseinandersetzung mit der Umwelt und der Klimakrise. Elke Buhr, Chefredakteurion vom Monopol-Magazin hat sich die Ausstellung angeschaut und berichtet von ihren Eindrücken, besonders von "Green Screen", dem neuen Werk von Hito Steyerl. Moderation: Anja Bolle detektor.fm/was-wichtig-wird Podcast: detektor.fm/feeds/was-wichtig-wird Apple Podcasts: itun.es/de/9cztbb.c Google Podcasts: goo.gl/cmJioL Spotify: open.spotify.com/show/0UnRK019ItaDoWBQdCaLOt

Podiumsdiskussion zum digitalen Kunstbegriff, künstlicher Intelligenz, aktueller kuratorischer Praxis und der politischen Dimension des Digitalen mit Künstlerin Hito Steyerl, Medienkünstler Francis Hunger und Kunstwissenschaftler Wolfgang Ullrich, moderiert von Museumsdirektor Stefan Weppelmann.

Given the manifold political, climate, and technological crises unfolding just two months into 2023, one wonders if that ominous future our species so fears is much closer than we anticipated. It is a tense and dramatic time, but it does further underscore the importance of the cultural figure Hito Steyerl. The German filmmaker's bold artworks investigate emerging technologies and media, and she often sites these inquiries within society and politics, globalization, and capitalism. Yet despite the complexity of the subject matter and her research-intensive process, Steyerl's works are readily enthralling, often manifesting as highly ambitious, immersive architectural environments. It is no small wonder that her work has reached a global stage. Last year, her largest-ever retrospective, called “I Will Survive,” wrapped its European tour at the Stedelijk Museum in Amsterdam. And just last month, her exhibition called “This is the Future” opened at the Portland Art Museum, where it is on view until mid-June. On this week's episode, European editor Kate Brown spoke to Steyerl to tackle some of the questions about what artificial intelligence, the metaverse, crypto, and an increasingly imperiled natural world might mean for us.

Given the manifold political, climate, and technological crises unfolding just two months into 2023, one wonders if that ominous future our species so fears is much closer than we anticipated. It is a tense and dramatic time, but it does further underscore the importance of the cultural figure Hito Steyerl. The German filmmaker's bold artworks investigate emerging technologies and media, and she often sites these inquiries within society and politics, globalization, and capitalism. Yet despite the complexity of the subject matter and her research-intensive process, Steyerl's works are readily enthralling, often manifesting as highly ambitious, immersive architectural environments. It is no small wonder that her work has reached a global stage. Last year, her largest-ever retrospective, called “I Will Survive,” wrapped its European tour at the Stedelijk Museum in Amsterdam. And just last month, her exhibition called “This is the Future” opened at the Portland Art Museum, where it is on view until mid-June. On this week's episode, European editor Kate Brown spoke to Steyerl to tackle some of the questions about what artificial intelligence, the metaverse, crypto, and an increasingly imperiled natural world might mean for us.

Bruno BerteroDirettore Generale Ente Turismo Langhe Monferrato Roero"Prospettive / Perspectives"L'Ente Turismo Langhe Monferrato Roero insieme a Villa Arson, istituzione amministrativa pubblica del Ministero della Cultura francese dedicata alla creazione contemporanea, e alla Fondazione Sandretto Re Rebaudengo, istituzione con sede a Torino e a Guarene (CN) che da oltre venticinque anni opera a favore dell'arte e della cultura contemporanea, lo scorso ottobre ha presentato il progetto “Prospettive / Perspectives” che si realizzerà con il sostegno del Programma Europeo Interreg Alcotra Italia/Francia 2014-2020. “Prospettive / Perspectives” intende stimolare consapevolezza e responsabilità rispetto al tema del climate change attraverso l'arte. Per raggiungere questo obiettivo la Fondazione Sandretto Re Rebaudengo - portando avanti il suo ruolo di indagine e sostegno tra le tendenze artistiche e i linguaggi culturali del presente - ha individuato un curatore internazionale, Tom Eccles, che in accordo con gli altri partner ha selezionato due luoghi e due artisti che interverranno con opere site-specific nel territorio delle Langhe nella primavera prossima.Neviglie, in un punto panoramico dalla vista mozzafiato, ospiterà l'opera dello scultore francese Jean-Marie Appriou mentre a Roddino interverranno gli artisti Liam Gillick e Hito Steyerl. In preparazione al momento inaugurale Prospettive continua a perseguire il principale obiettivo del progetto ovvero costruire e trasferire attenzione e conoscenza sui temi del cambiamento climatico attraverso incontri fra cittadini, studenti, esperti e artisti.Il primo appuntamento del 2023 sarà giovedì 9 febbraio a Alba negli spazi di Sala Beppe Fenoglio (Cortile della Maddalena, Via Vittorio Emanuele 19) dove alle ore 18.30 il climatologo Luca Mercalli e il musicista Luca Morinoterranno un incontro approfondendo il tema del cambiamento climatico e del mutamento delle nostre colline sottolineando quanto sia fondamentale cambiare prospettiva e costruire un futuro capace di limitare gli effetti del cambiamento climatico di origine antropica. La serata, a tema conviviale con un aperitivo finale, sarà aperta al pubblico con ingresso gratuito fino ad esaurimento posti.Gli appuntamenti successivi saranno giovedì 2 marzo alle ore 18.30 presso la Fondazione Cesare Pavese (Piazza Ciriotti 1, Santo Stefano Belbo, CN) nuovamente con Luca Mercalli e Luca Morino mentre lunedì 27 marzo alle 21 a Roddino nel salone parrocchiale di Via Marconi 3 e martedì 28 marzo sempre alle 21 presso la sala polivalente del Comune di Neviglie in Via Umberto I 19 il dialogo sarà tra Luca Morino e il curatore della Fondazione Sandretto Re Rebaudengo Bernardo Follini.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Luca Morinomusicista"Prospettive / Perspectives"L'Ente Turismo Langhe Monferrato Roero insieme a Villa Arson, istituzione amministrativa pubblica del Ministero della Cultura francese dedicata alla creazione contemporanea, e alla Fondazione Sandretto Re Rebaudengo, istituzione con sede a Torino e a Guarene (CN) che da oltre venticinque anni opera a favore dell'arte e della cultura contemporanea, lo scorso ottobre ha presentato il progetto “Prospettive / Perspectives” che si realizzerà con il sostegno del Programma Europeo Interreg Alcotra Italia/Francia 2014-2020.“Prospettive / Perspectives” intende stimolare consapevolezza e responsabilità rispetto al tema del climate change attraverso l'arte. Per raggiungere questo obiettivo la Fondazione Sandretto Re Rebaudengo - portando avanti il suo ruolo di indagine e sostegno tra le tendenze artistiche e i linguaggi culturali del presente - ha individuato un curatore internazionale, Tom Eccles, che in accordo con gli altri partner ha selezionato due luoghi e due artisti che interverranno con opere site-specific nel territorio delle Langhe nella primavera prossima.Neviglie, in un punto panoramico dalla vista mozzafiato, ospiterà l'opera dello scultore francese Jean-Marie Appriou mentre a Roddino interverranno gli artisti Liam Gillick e Hito Steyerl.In preparazione al momento inaugurale Prospettive continua a perseguire il principale obiettivo del progetto ovvero costruire e trasferire attenzione e conoscenza sui temi del cambiamento climatico attraverso incontri fra cittadini, studenti, esperti e artisti.Il primo appuntamento del 2023 sarà giovedì 9 febbraio a Alba negli spazi di Sala Beppe Fenoglio (Cortile della Maddalena, Via Vittorio Emanuele 19) dove alle ore 18.30 il climatologo Luca Mercalli e il musicista Luca Morinoterranno un incontro approfondendo il tema del cambiamento climatico e del mutamento delle nostre colline sottolineando quanto sia fondamentale cambiare prospettiva e costruire un futuro capace di limitare gli effetti del cambiamento climatico di origine antropica. La serata, a tema conviviale con un aperitivo finale, sarà aperta al pubblico con ingresso gratuito fino ad esaurimento posti.Gli appuntamenti successivi saranno giovedì 2 marzo alle ore 18.30 presso la Fondazione Cesare Pavese (Piazza Ciriotti 1, Santo Stefano Belbo, CN) nuovamente con Luca Mercalli e Luca Morino mentre lunedì 27 marzo alle 21 a Roddino nel salone parrocchiale di Via Marconi 3 e martedì 28 marzo sempre alle 21 presso la sala polivalente del Comune di Neviglie in Via Umberto I 19 il dialogo sarà tra Luca Morino e il curatore della Fondazione Sandretto Re Rebaudengo Bernardo Follini.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Hito Steyerl's Defense of the Poor ImageHito Steyerl was born in 1966 and quickly became prominent in Germany's filmmaking circles. She's interested in how images and motifs are spread worldwide due to globalization, militarization, and surveillance migration. Steyerl's work defies convention by layering metaphors on top of metaphors and painting satire over serious subjects. One clear thing throughout Steyerl's work is that she wants the audience to think about the topic as much as she did.In this episode, I share Steyerl's concept of a poor image. According to Steyerl, a poor image symbolizes this democratization and is a way to resist image commodification. A bad image is an image that has been degraded through technological reproduction. The degradation is a loss of quality and integrity in the image.Listen to this episode and learn Steyerl's definitions of a poor image, how it can be used to exploit vulnerable communities, market cheap products, the significance of poor image in media, and the value of a poor image.Key Talking Points of the Episode:[02:14] How to transform an image[04:03] High versus low resolution images[08:07] Valid arguments against the poor image [10:12] How poor image can be used to exploit vulnerable communities[12:06] The significance of a poor image[14:01] The value of a poor imageMagical Quotes from the Episode:"A poor image is any image that has been distributed or viewed through digital technology, posted on the Internet or shared on social media.""A high-resolution image is more immersive, visually appealing and of higher quality than a low-resolution image.""A bad image is only created as a result of being viewed, distributed, modified, and circulated in a digital landscape." Visual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

Spivak gilt als Mitbegründerin der postkolonialen Theorie. Mit ihrem Text will Spivak in die symbolische Ordnung der globalen kapitalistischen Herrschaft intervenieren. Der klassische territoriale und der neuere postkoloniale Imperialismus schaffen eine internationale Arbeitsteilung. Es entstehen Zonen der Subalternität, in denen Menschen von jeder Mobilitätslinie abgeschnitten sind: analphabetisch, obdachlos, überausgebeutet. Bekommen solche Menschen eine Stimme? Sind sie präsent oder werden sie repräsentiert in den globalen Herrschaftsverhältnissen? Spivak kritisiert Foucault und Deleuze dafür, dass sie nur an Frankreich, nur an Gruppen wie Gefängnisinsassen, Schüler*innen oder Soldaten denken, und dass sie suggerieren, die Macht sei nicht so mächtig, den Subalternen die Stimme zu nehmen. Subalterne können sprechen, so die Überzeugung von Spivak, aber ihre Stimme wird zum Verstummen gebracht oder sie werden nicht gehört. Sie demonstriert diesen Zusammenhang, indem sie den Suizid einer indischen Freiheitskämpferin der 1920er Jahre wie einen Text dechiffriert. Vor dem Hintergrund Bildungsarbeit mit Illiteraten und ihren politischen Erfahrungen als Wahlbeobachterin in afrikanischen Ländern argumentiert Spivak, dass Repräsentation notwendig ist. Dies ist eine Aufgabe, die diasporische Intellektuelle wie sie selbst eine ist, wahrnehmen sollten. Sie arbeiten in den Zentren des Kapitalismus und sollen sich dafür einsetzen, die Verhältnisse in den Gesellschaften, aus denen sie kommen, zu verändern. Zu Gast ist Encarnación Gutiérrez Rodríguez, Professorin für Soziologie an der Goethe-Universität Frankfurt/Main. Sie forscht in einer dekolonialen und antirassistischen Perspektive und gab 2003 gemeinsam mit Hito Steyerl das Buch „Spricht die Subalterne deutsch? Migration und postkoloniale Kritik“ heraus.

To hear our take on Andrew Callaghan and This Places Rules please support us on Patreon. 2022 was hard on your Art and Labor crew- so we wanted to start the new year with the most “le fantastique” thing we could think of, a world of endless possibilities, a place where magic could exist, a … Continue reading "182 – I See You"

We are closing out 2022 with highlights from eight incredible artists that graced the show this year. Tune in to hear the voices of Gary Hill, American Artist, WangShui, Meriem Bennani, Alan Michelson, Tourmaline, Arthur Jafa, and Hito Steyerl discussing how they think about the preservation and documentation of their work, as well as intimate inside glimpses into their practice and studios. Sending a huge heartfelt thanks to everyone all of the listeners that made 2022 such a memorable year for the show – wishing you all the best and see you in the new year! xoGet access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

For our 60th episode, we are visiting with artist, writer, filmmaker, and educator, Hito Steyerl. In addition to being able to find Hito's work in museums, biennales, collections, and bookshelves all over the world, a good deal of her single-channel moving image work can be watched freely online, which of course is a good thing, but Hito's work has also explored the darker side of what the global dispersion of images can entail – starting with her deeply personal pre-internet short film Lovely Andrea. Hito's work is often deeply socially and politically engaged – taking on issues of war, labor, surveillance, climate change, and more – and this social engagement and critique extends of course to her writing. Hito is not shy about turning her lens onto corruption that exists within the art world itself, as she did in her 2017 book, Duty Free Art: Art in the Age of Planetary Civil War – a book whose initial seed of inspiration was realizing that an artwork of her own had been purchased merely as an investment and shipped directly to a tax-haven Freeport art storage facility. Hito's installations are often ambitious in scale and immersion, and are incredibly spatially away of your presence – it is quite common to find a place for yourself as a viewer to sit, rest, and enjoy the work – in a way that is very integrated with the installation itself. In our chat we cover so much ground from Hito's origins in film-making, to going inside how she conceives of and creates her immersive installations, as well as some pretty real feelings about long-term preservation of contemporary art in the age of anthropogenic climate change and global energy crisis. This episode was made possible thanks to generous support from lovely folks at the Kramlich Art Foundation. Tune in to hear Hito's story! Links from the conversation with Hito> How Not to be Seen: A Fucking Didactic Educational .MOV File, 2013: https://www.artforum.com/video/hito-steyerl-how-not-to-be-seen-a-fucking-didactic-educational-mov-file-2013-51651> Lovely Andrea, 2007: https://vimeo.com/533265768> Duty Free Art, Art in the Age of Planetary Civil War: https://www.versobooks.com/books/2992-duty-free-art> Radical Friends: https://www.furtherfield.org/radical-friends-book/ Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Welcome to the Film Comment Podcast! I'm Devika Girish, the Co-Deputy Editor of Film Comment. Recently, I was at the Locarno Film Festival in Switzerland, where I participated in a fascinating experimental event called The Future of Attention, curated by Rafael Dernbach, a researcher at the Universita della Svizzera Italiana. It was a continuous 24-hour live talk, moderated by 3 hosts—including yours truly—and involving a new guest each hour. The event began at noon on August 10, and went on all the way to noon on August 11, with attendees invited to sit, lounge, or even sleep in the audience when they wished. The idea was not just to discuss the workings of attention in contemporary film and media culture but also to actively experience and challenge the various ways in which we pay attention over a sustained period of time. We hope you've been following along the last two weeks as we've shared excerpts from Devika's hosting shift at the event, featuring conversations with filmmaker Helena Wittman, curator Giovanni Carmine, this year's Golden Leopard–winner Julia Murat, and others. Next up is a very exciting guest: artist, filmmaker, and critic, Hito Steyerl, who talks about teaching on Minecraft during the pandemic, maintaining techno-optimisim in very pessimistic times, and the distinction between attention and voyeurism.

At this year's Locarno Film Festival, Film Comment Co-Deputy Editor Devika Girish participated in a fascinating experimental event called “The Future of Attention”, curated by Rafael Dernbach, a researcher at the Universita della Svizzera italiana. A continuous 24-hour live talk moderated by three hosts—including Devika—and involving a new guest each hour, the event began at noon on August 10 and went on all the way to noon on August 11. Attendees were invited to sit, lounge, or even sleep in the audience as and when they wished. The idea was to not just discuss the workings of attention in contemporary film and media culture, but also to actively experience and challenge the various forms our attention may take over a sustained period of time. Over the next two weeks, we'll be sharing excerpts from Devika's hosting shift at the event, which featured some exciting guests: filmmakers Helena Wittmann and Kamal Aljafari; curator Giovanni Carmine; this year's Golden Leopard–winner, Julia Murat; artist Hito Steyerl; and scholars Kevin B. Lee and Noa Levin, among others. Today's episode features the Brazilian filmmaker Julia Murat, whose film, Rule 34, won this year's Golden Leopard. Check back here for our next episode from “The Future of Attention” at the Locarno Film Festival, featuring filmmaker and writer Hito Steyerl.

At this year's Locarno Film Festival, Film Comment Co-Deputy Editor Devika Girish participated in a fascinating experimental event called “The Future of Attention”, curated by Rafael Dernbach, a researcher at the Universita della Svizzera italiana. A continuous 24-hour live talk moderated by three hosts—including Devika—and involving a new guest each hour, the event began at noon on August 10 and went on all the way to noon on August 11. Attendees were invited to sit, lounge, or even sleep in the audience as and when they wished. The idea was to not just discuss the workings of attention in contemporary film and media culture, but also to actively experience and challenge the various forms our attention may take over a sustained period of time. Over the next two weeks, we'll be sharing excerpts from Devika's hosting shift at the event, which featured some exciting guests: filmmakers Helena Wittmann and Kamal Aljafari; curator Giovanni Carmine; this year's Golden Leopard–winner, Julia Murat; artist Hito Steyerl; and scholars Kevin B. Lee and Noa Levin, among others. Today's conversation explores the spaces and infrastructures of attention with Levin and Carmine, the director of Kunsthalle St. Gallen and the curator of Art Basel's Unlimited Section.

At this year's Locarno Film Festival, Film Comment Co-Deputy Editor Devika Girish participated in a fascinating experimental event called “The Future of Attention”, curated by Rafael Dernbach, a researcher at the Universita della Svizzera italiana. A continuous 24-hour live talk moderated by three hosts—including Devika—and involving a new guest each hour, the event began at noon on August 10 and went on all the way to noon on August 11. Attendees were invited to sit, lounge, or even sleep in the audience as and when they wished. The idea was to not just discuss the workings of attention in contemporary film and media culture, but also to actively experience and challenge the various forms our attention may take over a sustained period of time.  Over the next two weeks, we'll be sharing excerpts from Devika's hosting shift at the event, which featured some exciting guests: filmmakers Helena Wittmann and Kamal Aljafari; curator Giovanni Carmine; this year's Golden Leopard–winner, Julia Murat; artist Hito Steyerl; and scholars Kevin B. Lee and Noa Levin, among others. Today's episode features Aljafari, who discusses his new short, Paradiso XXXI, 108, and the ways in which his filmmaking draws attention to what he calls the “camera of the dispossessed.”

At this year's Locarno Film Festival, Film Comment Co-Deputy Editor Devika Girish participated in a fascinating experimental event called “The Future of Attention”, curated by Rafael Dernbach, a researcher at the Universita della Svizzera Italiana. A continuous 24-hour live talk moderated by three hosts—including Devika—and involving a new guest each hour, the event began at noon on August 10 and went on all the way to noon on August 11. Attendees were invited to sit, lounge, or even sleep in the audience as and when they wished. The idea was to not just discuss the workings of attention in contemporary film and media culture, but also to actively experience and challenge the various forms our attention may take over a sustained period of time.  Over the next two weeks, we'll be sharing excerpts from Devika's hosting shift at the event, which featured some exciting guests: filmmakers Helena Wittman and Kamal Aljafari; curator Giovanni Carmine; this year's Golden Leopard–winner, Julia Murat; artist Hito Steyerl; and scholars Kevin B. Lee and Noa Levin, among others.  First up is Wittman, who talks about her new film, Human Flowers of Flesh, and the ways in which her practice is rooted in embodied and communal experiences of time and space.  Check back here for our next episode from “The Future of Attention” at the Locarno Film Festival, featuring Kamal Aljafari.

Panchi Perez Lence, nuestra genial columnista literata de Leyendo Pancha, nos invitó a leer 'Los condenados de la pantalla' de Hito Steyerl para reflexionar un poco sobre cine.

Fatima Al Qadiri, Hito Steyerl & Juliana Huxtable - Nothing Forever; Eartheater - Inhale Baby; Yaka - all i think about it you; DRANG - When They Cry; Mapalma - Moonlight Sex Talk (Megan Thee Stallion x Moonlight Densetsu); Vallmo - Swept; Ange Halliwell - Le Sorcière et la Vagabond; Bendik Giske - Adjust (Total... Read more »

We discussed: artistic discipline in the 21st century, curating photography, contemporary photography, interdisciplinary art, subjectivity, the evolution on photography, beauty in art, the importance of text with your artwork, artist statements, the responsibilities of artists   https://archipelagoprojects.com     People + Places mentioned: Trevor Paglen - https://www.pacegallery.com/artists/trevor-paglen/ Hito Steyerl - https://www.moma.org/artists/43752 Gerhard Richter - https://www.gerhard-richter.com     Audio engineering by Mickey at CushAudio Services Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no  

We discussed: artistic discipline in the 21st century, curating photography, contemporary photography, interdisciplinary art, subjectivity, the evolution on photography, beauty in art, the importance of text with your artwork, artist statements, the responsibilities of artists   https://archipelagoprojects.com     People + Places mentioned: Trevor Paglen - https://www.pacegallery.com/artists/trevor-paglen/ Hito Steyerl - https://www.moma.org/artists/43752 Gerhard Richter - https://www.gerhard-richter.com     Audio engineering by Mickey at CushAudio Services Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no  

We speak to Dr Dylan Mulvin, Assistant Professor in LSE Department of Media and Communications, about his book Proxies: The Cultural Work of Standing In, which examines the ways in which proxies shape our lives, the histories of their production and how we delegate power to represent our world. You can download a free copy of Proxies: The Cultural Work of Standing In at https://dylanmulvin.com/ In the intro David and I talk about Strange Days (1995) The interview with Dylan starts at 26:58 Visuals referenced: 29:01 -- NTSC color television test slides (Fink and NTSC 1955) 34:09 -- Vancouver as a non place (X-Files) 35:14 -- Indian-head test pattern 36:29 -- UK Test Signal 38:58 -- Cleaning the Kilogram 45:43 -- The Lena image 51:53 -- Yodaville 53:28 -- Middletown 1:08:44 Hito Steyerl, How Not to be Seen: A Fucking Didactic Educational .MOV File, 2013 Theme music by Joseph E. Martinez of Junius Follow us on social at: Twitter: @WakeIslandPod Instagram: @wakeislandpod David's Twitter: @raviddice Dylan's Twitter: @dwmulvin --- Send in a voice message: https://anchor.fm/wake-island/message Support this podcast: https://anchor.fm/wake-island/support

Kunstenaar Remy Jungerman beweegt zich in zijn sculpturen, installaties, panelen, collages en zeefdrukken tussen de Marron-cultuur in Suriname, de Afrikaanse diaspora en het 20ste)eeuws modernisme. De ontregelende video-installaties van Hito Steyerl nemen de verbanden tussen kunst, samenleving, geavanceerde technologie en het neoliberale kapitalisme kritisch onder de loep.

WATCH IT HERE: https://www.youtube.com/watch?v=iYO_uyLqPu4&t=3137s Are AMVs proletarian or free fandom labor for multinational media companies? Where do Anime Music Videos sit in Hito Steyerl’s “an alternative economy of images” and can someone be the Dziga Vertov of AMVs? Are AMVs subjected to a particular nation state? This is the second session of Constructing the Real’s … Continue reading "Constructing the Real’s Art Worlds – Anime Music Videos: an Artform and Culture"

WATCH IT HERE: https://www.youtube.com/watch?v=iYO_uyLqPu4&t=3137s Are AMVs proletarian or free fandom labor for multinational media companies? Where do Anime Music Videos sit in Hito Steyerl’s “an alternative economy of images” and can someone be the Dziga Vertov of AMVs? Are AMVs subjected to a particular nation state? This is the second session of Constructing the Real’s … Continue reading "Constructing the Real’s Art Worlds – Anime Music Videos: an Artform and Culture"

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics: Art, Crisis and Neoliberalism (Bloomsbury, 2021) traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76 Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics: Art, Crisis and Neoliberalism (Bloomsbury, 2021) traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76 Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics: Art, Crisis and Neoliberalism (Bloomsbury, 2021) traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76 Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics: Art, Crisis and Neoliberalism (Bloomsbury, 2021) traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76 Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics: Art, Crisis and Neoliberalism (Bloomsbury, 2021) traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76 Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

Sociopolitical Aesthetics Art, Crisis and Neoliberalism Kim Charnley Published by Bloomsbury, 2021 ISBN 9781350008748 Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76

We're up to episode 99! Join James, Steve and Carolina as we talk through another week in the Media & Film Department. We have our usual features of Department News, Tracks of the Week and What Have We Been Watching - alongisde Carolina's new feature shining a spotlight on the world of video artists. This week Carolina has chosen the German artist Hito Steyerl. The Tracks of the Week this week are: Foxes - Sky Love: https://youtu.be/4HJDKg5DjD4 Avril Lavigne - Bite Me: https://youtu.be/ciqUEV9F0OY Want to listen to all our Tunes of the Week? Of course you do! Follow this playlist to hear everything we've featured: https://open.spotify.com/playlist/7y5jrG4aldcXuyrSNhdJZT

heute u.a. Künstlerin Hito Steyerl lehnt Bundesverdienstkreuz ab; Debütalbum "Montero" von Lil Nas X; Jakob Augstein spricht über "Die deutsche Identitätssuche"; Serien-Tipp: "Sex Education"; Netzkultur: Digitale Online-Wahlhilfen. Moderation: Sebastian Wellendorf.

En este capítulo analizamos el papel de la imagen y la fotografía en el conflicto que, nuevamente, agita la geopolítica mundial: el regreso de los Talibanes al poder en Afganistán. Relacionamos la Toma de Kabul y la imagen que representa el momento de la toma del palacio presidencial que se viralizó por las redes, con la idea de la imagen pobre planteada por Hito Steyerl

L'arte ha sempre subito il fascino della ricchezza e della sua unità di misura per eccellenza: il denaro. Passando dalla finanza quantistica di Hito Steyerl all'economia digitale del Bitcoin, e dal flusso di capitali legati al petrolio alle banconote tarocche di un falsario d'eccezione come JSG Boggs, Costantino e Francesco tracciano il percorso dell'arte contemporanea nel magnifico mondo dei soldi. E se il cesso d'oro di Maurizio Cattelan e il teschio di diamanti di Damien Hirst non entusiasmano i due conduttori, per fortuna c'è l'arte orrenda (ma estremamente redditizia) di negati di successo come Thomas Kinkade e Andrew Vicari a tirargli su il morale.In questa puntata si parla di Hito Steyerl, Superflex (Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen), Ronald McDonald, David Cronenberg, Andrej Tarkovskij, William Burroughs, Nonna Cleofe, Maya Ying Lin, Hassan Sharif, Amanda Boetzkes, Hans Peter Feldmann, JSG Boggs, Zia Elvira, Zia Giuseppina, Zia Maria, Rick Owens, KLF (Bill Drummond e Jimmy Cauty), Pablo Picasso, Rachel Whiteread, Thomas Kinkade, Joan Didion, Frederic Edwin Church, Albert Bierstadt, David Koresh, Jim Jones, John Lennon, Donald Trump, Andrew Vicari, Damien Hirst e Maurizio Cattelan.

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.

What is the lasting legacy of anti-war depictions? Is there revolutionary potential? OK does a presentation for the Constructing the Real class on Revolutionary Art. Picasso’s Guernica connects the brutal massacre from the Spanish Civil War to My Lai in Vietnam and torture in Iraq. Taking the commission from the Spanish republicans also changed the … Continue reading "BONUS – Picasso’s Guernica: Revolutionary Art Class Session"

We revisit Hito Steyerl’s “In Defense of Poor Image” to make a point about naiveté of the American left during the Obama administration. The web was a frontier, meaning conditions have always been ripe for dissemination of far right disinformation as well as highly polished neoliberalism. It’s a positive development that left popular discourse is … Continue reading "Episode 103 – Indefensible Poor Image and Prestige TV"