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The Bijlmer Spinoza-Festival is an artwork, a sculpture, created by
Swiss artist Thomas Hirschhorn in a peripheral borough of
Amsterdam's south-east known as the Bijlmer in 2009. This book
recounts the event through the eyes of its "Ambassador", art
historian Vittoria Martini, who was invited by the artist to be an
eyewitness to the existence of this "precarious" work. A term
Hirschhorn sees as positive and creative: a means of asserting the
importance of the moment and of the place, of asserting the Here
and Now to touch eternity and universality. Appreciating the art
historian's presence as a central element of his sculpture,
Hirschhorn consciously challenged the certainties of the profession
by empowering and activating the role, thus leading Martini to find
a new working methodology that she calls "precarious art history".
Accompanying the readers through her experience of the physical
existence of The Bijlmer Spinoza-Festival, Martini's commentary
leads to the profound understanding of how a work that no longer
exists physically, can live on in the mind- elsewhere, at some
other time-because in the meantime it has become universal.
For three months Biel, Switzerland, hosted a special kind of
sculpture. It was special not simply because it was by one of
Switzerland's most famous contemporary artists-Thomas
Hirschhorn-and dedicated to one of the most prominent authors in
the history of Swiss literature, Robert Walser. Beyond that, this
sculpture was a redefinition of sculpture itself, because what
takes on a plastic form here is not made of stone, steel, or
bronze. It is society itself that helped to develop this work of
art. In 2016 Thomas Hirschhorn and the curator Kathleen Buhler
began doing field research in Biel, the city of Robert Walser's
birth, connecting with residents, clubs, artists, literati, and
experts. This resulted in a multifaceted agenda. Every day the two
offered events such as readings, walking tours, lectures, and
children's activities. All of this ultimately comprised the Robert
Walser-Sculpture. Never before has an entire city been integrated
into a temporary work of art in this way.
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Camille Henrot: Mother Tongue
Julika Bosch, Hélène Cixous, Seamus Kealy, Emily LaBarge, Legacy Russell, …
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R1,275
Discovery Miles 12 750
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Ships in 12 - 17 working days
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“IN MANY LANGUAGES, ‘UNDERSTANDING’ ALSO COMES FROM THE IDEA
OF PUTTING SOMETHING INSIDE YOUR BODY” – CAMILLE HENROT Over
the past twenty years, Camille Henrot has developed a critically
acclaimed practice that moves seamlessly between drawing, painting,
sculpture, installation, and film. Mother Tongue is Henrot’s
first publication focused solely on painting and drawing, bringing
together over 200 works from the series System of Attachment, Wet
Job, and Soon, created between 2018 and 2022. This recent body of
work addresses the ambivalent nature of care and the tension
between the simultaneous developmental need for attachment and
independence, beginning at infancy and continuing throughout life.
Her deeply personal and intimate interrogations ultimately relate
to broader questions such as the expectations placed on mothers and
the representation of the female body. This richly illustrated
catalogue is accompanied by texts from Emily LaBarge, Legacy
Russell, Marcus Steinweg, Hélene Cixous, Seamus Kealy, and a
conversation with Camille Henrot and curator Julika Bosch.
Meditations, aphorisms, maxims, notes, and comments construct a
philosophy of thought congruent with the inconsistency of our
reality. Those who continue to think never return to their point of
departure. -Inconsistencies These 130 short texts-aphoristic,
interlacing, and sometimes perplexing-target a perennial
philosophical problem: Our consciousness and our experience of
reality are inconsistent, fragmentary, and unstable; God is dead,
and our identity as subjects discordant. How can we establish a new
mode of thought that does not cling to new gods or the false
security of rationality? Marcus Steinweg, as he did in his earlier
book The Terror of Evidence, constructs a philosophical position
from fragments, maxims, meditations, and notes, formulating a
philosophy of thought that expresses and enacts the inconsistency
of our reality. Steinweg considers, among other topics, life as a
game ("To think is to play because no thought is firmly grounded");
sexuality ("wasteful, contradictory, and contingent"); desire
("Desire has a thousand names; It's earned none of them"); reality
("overdetermined and excessively complex"); and world ("a
nonconcept"). He disposes of philosophy in one sentence
("Philosophy is a continual process of its own redefinition.") but
spends multiple pages on "A Tear in Immanence," invoking Nietzsche,
Heidegger, Sartre, and others. He describes "Wandering with
Foucault" ("Thought entails wandering as well as straying into
madness") and brings together Derrida and Debord. He poses a
question: "Why should a cat be more mysterious than a dog?" and
later answers one: "Beauty is truth because truth is beauty." By
the end, we have accompanied Steinweg on converging trains of
thought. "Thinking means continuing to think," he writes, adding
"But thinking can only pose questions by answering others." The
question of inconsistency? Asked and answered, and asked.
Meditations, maxims, aphorisms, notes, and comments address topics
that range from pathos and genius to careerism and club sandwiches.
Marcus Steinweg's capacity to implicate the other is beautiful,
bright, precise, and logical, grounded in everyday questions, which
to him are always big questions. -from the foreword by Thomas
Hirschhorn The houses of philosophy need not be palaces. -Marcus
Steinweg, "House," The Terror of Evidence This is the first book by
the prolific German philosopher Marcus Steinweg to be available in
English translation. The Terror of Evidence offers meditations,
maxims, aphorisms, notes, and comments-191 texts ranging in length
from three words to three pages-the deceptive simplicity of which
challenges the reader to think. "Thinking means getting lost again
and again," Steinweg observes. Reality is the ever-broken promise
of consistency; "the terror of evidence" arises from the
inconsistency before our eyes. Thinking is a means of coping with
that inconsistency. Steinweg is known for his collaborations with
Thomas Hirschhorn and the lectures and texts he has provided for
many of Hirschhorn's projects. This translation of The Terror of
Evidence includes a foreword by Hirschhorn written especially for
the MIT Press edition. The subjects of these short texts vary
widely. ("The table of contents is in itself excessive and
ambitious," writes Hirschhorn.) They include pathos, passivity,
genius, resentment, love, horror, catastrophe, and racism. And club
sandwiches (specifically, Foucault's love for this American
specialty), blow jobs, and dance. Also: "Two Kinds of
Obscurantism," "Putting Words in Spinoza's Mouth," "Note on Rorty,"
and "Doubting Doubt." The Terror of Evidence can be considered a
guidebook to thinking: the daily journey of exploration, the
incessant questioning of reality that Steinweg sees as the task of
philosophy.
The vibrantly chromatic paintings and sculptures of Peter Stauss
(born 1950) combine philosophical concerns with lively narrative
play as seemingly collaged figures interact across shifting planes.
This first monograph surveys his works of the past ten years.
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