MaHKUscript: Journal of Fine Art Research最新文献

{"title":"Negotiating the Subtle Encounters","authors":"Annie Anawana Haloba Hobøl","doi":"10.5334/mjfar.81","DOIUrl":"https://doi.org/10.5334/mjfar.81","url":null,"abstract":"When I started writing this article, the coronavirus disease (COVID-19) pandemic had not yet hit the world as it has now. However, even if there is evidence that by November of 2019, China had already registered cases of the carnivorous virus, the world was barely prepared to tackle the situation. Now nearly every part of the world is affected, without a cure, the only way to prevent the pandemic is by avoiding contact with other people “social distancing” or home quarantine and isolation. Countries have had to lock down, but in the most impoverished environments, how does one social distance or practice a self-imposed quarantine, when 12 people live in a two-roomed house. How does a community social distance when they are hungry, and there are scarce food products. Social distancing or isolation becomes an illusion in these environments with volatile economies. How do we reflect on this magnitude of an apocalyptic nature? How do we respond, what does Art do?","PeriodicalId":345481,"journal":{"name":"MaHKUscript: Journal of Fine Art Research","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125492500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Art as a Catalyst","authors":"Eva Bubla","doi":"10.5334/mjfar.71","DOIUrl":"https://doi.org/10.5334/mjfar.71","url":null,"abstract":"The socio-ecological challenges of recent times questioned the roles and responsibilities of artists and cultural practitioners. Several artists approached current issues by imagining new ways of living for a more sustainable form of future, attempting to trigger social transformation, a shift in values, changes in environmental issues, or a crucial system change. Is art truly capable of making a difference? The case studies examine the work of individual artists, artist collectives and cross-sectoral collaborations operating in Indonesia, India and Hungary, and through their work explore the potential of art as a catalyst.","PeriodicalId":345481,"journal":{"name":"MaHKUscript: Journal of Fine Art Research","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131530355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A History of Violence","authors":"K. Ziegner","doi":"10.5334/mjfar.72","DOIUrl":"https://doi.org/10.5334/mjfar.72","url":null,"abstract":"The focus of this narrative-analytical text-photo-montage is the so-called Wendezeit in East Germany, the years after the reunification and the individual and collective outbreaks of violence that accompanied thisradical change. Based on personal experiences and trained on literary and theoretical works such as Alexander Kluge’s \"Lebensläufe\", Klaus Theweleit’s \"Männerphantasien\" or W.G. Sebald’s novel \"Austerlitz\", Kai Ziegner reflects on remembrance and testimony in a way that is as critical as it is experimental. Where and how do authoritarian regimes and structures persist across generations? What scars can be read on the fault lines of disruptive processes and how to deal with—not only historical—situations in which the protagonists are victims and perpetrators at the same time? Ziegner’s artistic research shows how the unpresentable can become visible, how the ambiguous can be told and how a differentiated processing can be made possible.","PeriodicalId":345481,"journal":{"name":"MaHKUscript: Journal of Fine Art Research","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134361811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Re-Imagining Futures: 18 Notes","authors":"H. Slager","doi":"10.5334/mjfar.66","DOIUrl":"https://doi.org/10.5334/mjfar.66","url":null,"abstract":"1. In our current decade, we suffer from a loss of common orientation, a common world, a common planet so you will. We have to think again about the world, since we desperately need another system of coordinates, another distribution of metaphors and sensitivities, as well as novel fictions and imaginaries to address constituencies and configurations of the present and to restate speculations about directions in the future.","PeriodicalId":345481,"journal":{"name":"MaHKUscript: Journal of Fine Art Research","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117221097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Edit Your Future","authors":"R. Ion","doi":"10.5334/mjfar.62","DOIUrl":"https://doi.org/10.5334/mjfar.62","url":null,"abstract":"","PeriodicalId":345481,"journal":{"name":"MaHKUscript: Journal of Fine Art Research","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123864780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Hard Labour of Speculation: Shaping a Reflection on Methods","authors":"M. Vishmidt","doi":"10.5334/MJFAR.58","DOIUrl":"https://doi.org/10.5334/MJFAR.58","url":null,"abstract":"Over the past years of critically engaged participation in the sphere of activity that has until recently been neutrally known as ‘contemporary art’1 from the perspective of a theorist, writer and teacher, I have been developing a constellation of ideas which both speak about (as an observer) and ‘speak nearby’ (as a participant) the imbrication of art with political and economic forces in the disaster capitalism of our era from the standpoint of the production of subjectivity and labour. I’ve come to call this constellation speculation as a mode of production. This research essay will provide an introduction to what is intended with this designation, and hopefully be able to frame some tangents of inquiry not yet pursued under this imprimatur but which are nonetheless relevant.","PeriodicalId":345481,"journal":{"name":"MaHKUscript: Journal of Fine Art Research","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128357376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Speculation as Surplus-Value","authors":"Andrea Eckersley, T. Bird","doi":"10.5334/MJFAR.43","DOIUrl":"https://doi.org/10.5334/MJFAR.43","url":null,"abstract":"Speculation is an artist’s capital, enabling the emergence of the new. This is art’s capacity to bring about new frames of reference—new kinds of questions, experiences, events or encounters— to leverage difference in order to open onto an indeterminate future. As Elizabeth Grosz (2014: 123) notes, ‘(i)f art reads as other than an artistic expression, it is always about the summoning up of a new future, and as such it’s always a kind of political gesture’. Brian Massumi (2018: 25) regards this gesture as a means of reclaiming value from its reduction to the economic logic of the market, in order to emphasise the intensities of experiences that have value in and of themselves, such as the singular vivacity of an experience of colour. Excess is at the core of this theory of value, the unselected that forms the virtual background, a world of surplus. However, Massumi argues that capitalism produces an impoverished version of surplus value, dependent on a continual accumulation of increasing quantity to the detriment of the singular quality appearing as such. Artists’ social, affective and material speculations, their attempts to create something new, produce a processual surplus value as an affective excess that differs in kind from the surpluses of capital accumulation. We will argue that these speculative practices ought to be understood primarily in terms of an ethos actualised in an artist’s practice and not, as is so often the case, only in terms of the speculative financial returns the products of such practices may yield in the global art markets. The paper will explore the affective aspects of speculation through an investigation of the practice of Belgian artist Joelle Tuerlinckx. Her associative mode of working produces a web of processual thinking that forms connections as well as leaving loose ends open, often reactivating forgotten or abandoned objects, in a manner that produces a different order of value. Grosz, Elizabeth and Esther Wolfe (2014). ‘Bodies of Philosophy: An Interview with Elizabeth Grosz’, Stance 7, April, pp 115–126 Massumi, Brian (2017). ‘Virtual Ecology and the Question of Value’, in General Ecology: The New Ecological Paradigm, Erich Horl with James Burton (eds.), London: Bloomsbury, pp 345–373.","PeriodicalId":345481,"journal":{"name":"MaHKUscript: Journal of Fine Art Research","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116972637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Between the Visible and the Invisible","authors":"A. Fatehrad","doi":"10.5334/MJFAR.53","DOIUrl":"https://doi.org/10.5334/MJFAR.53","url":null,"abstract":"‘Between the Visible and the Invisible’ is based on a constellation of some of the most thought-provoking contemporary works developed through artistic research, inquiring into collective notions of memory, time and space – a moment when nothing is certain, concrete or stable; and how artistic practice could capture this sense of being ‘in-between’. The paper refers to Fatehrad’s recent curatorial project (Sharjah, UAE 2018) with the same title organised around three themes: disappearance, suspension and becoming. ‘Disappearance’ focuses on the ephemerality of recorded memory via sound or image; ‘suspension’ expresses a presence that is invisible yet substantive, thinkable through feelings; and ‘becoming’ concerns the mediation between bodily drawings and the cohabitation in holding a certain space through limited time. The concepts of diaspora and politics of location together offer a conceptual framework for a historicised analysis of contemporary (trans)national movements of people, information, culture, artistic practices, commodities and capital. ‘Between the Visible and the Invisible’ reflects on a rupture in time that is the exposure to a new mode of temporality based upon the continual mutability of all form. Referencing the context of ‘plasticity’ by Catherine Malabou (2010), this paper explores new modes of temporality through a series of multimedia installations, in particular, (i) the Psychoreographies – a performative inquiry for inner and outer spaces (15’, 2015) by Nikolaus Gansterer and (ii) Anubumin (18’, 2017) by Oliver Ressler, to expand on the notion of speculation within contemporary art and spatial politics.","PeriodicalId":345481,"journal":{"name":"MaHKUscript: Journal of Fine Art Research","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115049988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"No More and Less: The Withdrawal of Speculation","authors":"J. Charlton","doi":"10.5334/MJFAR.41","DOIUrl":"https://doi.org/10.5334/MJFAR.41","url":null,"abstract":"In the ten years since the seminal workshop on Speculative Realism at Goldsmiths College (Bassier), speculation has become the new noumenon of the art world: Promising the final fulfilment of the avant-garde dream that would finally emancipate the art object from indexicality, the speculative has held an irresistible appeal for artists (Beech, 1–2). As leader of the pack, Graham Harman’s Object Oriented Ontology (OOO) has become the champion of the cause. Yet, after all this speculation around realism, we seem to have got no closer to the real object of art than we ever where: OOO and its speculative variants, have left artists standing in the studio with nothing but a handful of sensual qualities that, as a symptom of transcendental withdrawal, are of little practical use. Speculation it seems has failed the facticity of practice and threatens to reduce art to little more than an indirect aesthetics. Anticipating the release of Harman’s Art and Object in mid 2019, this paper attempts to head off any speculative Greenbergian revitalisation by considering the implications of Tristan Garcia’s intensity with regard to the facticity of practice (Garcia, 2018). Central to Garcia’s ontology, intensity – the difference between what a thing is and what it is not – is seen to resists speculative naivety while informing practice’s need for certitude. Thus, unlike the speculative withdrawal of indirect aesthetic, aesthetics of intensity withhold nothing, and emerge in art practice as the tension between thought and action. Bassier, Ray, et al. “Speculative Realism.” Collapse, III, 2007, pp. 306–433. Beech, Amanda, et al. Speculative Aesthetics. Urbanomic, 2014. Garcia, Tristan. Life Intense: A Modern Obsession. Edinburgh University Press, 2018. Harman, Graham. “Aesthetics and the Tension in Objects.” [Met]Afourism, Midsea Books Ltd, 2018, pp. 11–19. Harman, Graham. The Quadruple Object. Zero Books, 2011a. Harman, Graham. “The Road to Objects.” Continent, vol. 1.3, 2011b,171–179. Harman, Graham. Art and Object. Polity Press, 2019.","PeriodicalId":345481,"journal":{"name":"MaHKUscript: Journal of Fine Art Research","volume":"99 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134401828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Speculation and Counter-Speculation","authors":"Joshua D. Simon","doi":"10.5334/MJFAR.52","DOIUrl":"https://doi.org/10.5334/MJFAR.52","url":null,"abstract":"This paper explores the ways in which financial speculation and disruption have become common traits defining our artistic and political imagination. In this discussion a variety of notions emerge – namely, the move from value to price, from labor to debt, from revolution to disruption, and from avant garde to speculation. Finance is speculation on debt. Speculation is commonly used in recent years in philosophy, literature, politics, the arts and the sciences. As varied as the usages of the term may be, the current emergence of speculation in these different fields stems from the world of finance capital and its premise of managing risk. Speculation proves to be a form of pragmatism that generates more and more extreme models within the current system of control and accumulation by dispossession. Whatever the extreme scenarios it generates might be, they always depend on a stable variant – the continuation of finance capital. This paper wishes to offer in addition, the notion of counter-speculation by using the work of contemporary thinkers and artists. Counter-speculation invites potentials for actualization. While exploring new forms for being in uncertainties against financialization, counter-speculation assigns scenarios and narration that actualize onto the present its own potentials. By that it opens a new horizon for our political imagination beyond finance.","PeriodicalId":345481,"journal":{"name":"MaHKUscript: Journal of Fine Art Research","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130991702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}