Going beyond the notion of the rhizome, they seem to share the objective of existing not so much as an expanding and mutating organism but as an ongoing form of conversation. Such aspect of the collective materialises through their written work, films and public debates, and is pivotal to one of the five videos on monitor occupying the central space of the gallery: The Builders The painting is of an epic and lyrical realism, and yet the people portrayed are common individuals, dressed in their working cloths, visibly tired and pensive.
Moreover, their frontal and static poses and their intense gaze suggest that they are consciously awaiting to step into a new era, which they understand and can master. The video shows static images of members of Chto Delat? Differently from the individuals portrayed in the painting, the members of Chto Delat? They talk about friendship, multidisciplinarity and the importance of meeting again after a conflict, in order to seek a space for reconciliation while continuing to express different and often contrasting opinions.
At the end of the gallery, overlooking it, a life-sized two-dimensional reproduction of a monument embodies the epic stance of the collective being. Partisan Monument —10 , is a collage of two images of existing works from the early s and brings together a statue.
This is a reconstruction of the original piece, which was realised as a prop for the video Partisan Songspel: A Belgrade Story The video, playing on a monitor, can be viewed on the top of the mezzanine, overlooking the rest of the exhibition, while gazing through the back of the silhouetted heads populating Partisan Monument. More than just watching, as the audio guide recommends, visitors are invited to join in the chorus singing in the video: eight people dressed in what look like white anti-contamination suits, raising from the back of the Partisan Monument.
The sculptures springing to life act as the guardians of communism: they sing a call to historical awareness of the war they endured and ideas they fought for. Re-descending from the top of the mezzanine to exit the gallery, one encounters one last video. Belleville , is a documentary narrating the vicissitudes of a group of Roma refugees who, having fled Kosovo, had attempted to settle near Belleville, a residential complex developed on the occasion of the international sports event Universiade Belgrade In the early morning of 3 April , diggers tore down the barracks where 45 Roma families had attempted to settle, in close proximity to the residential area.
Such systematic destruction was undertaken without warning and without giving individuals the time. Traducere de Anca Bumb. The video documents the protests of the homeless families, the responses of the local government and UN officers and the further displacement of most families into containers located in a town 15 km from Belgrade, where the locals will set fire to one of the dwellings.
As in all of Chto Delat? The events that took place in Belleville certainly remind of the critical situation of constant displacement afflicting a growing number of people in different region of the world. One cannot but think of the similar episodes that have been recently taking place in Italy and France, where the systematic expulsion and displacement of Roma people have been used as political tools to foment racial hatred in the most conservative citizens ahead of elections.
Such dialogical models can appear to share many similarities with the conversational models adopted by Chto Delat?. Yet, the implicit stance of most of those permanent or temporary schools and projects is that dialogues are a matter of form rather than content, mostly focusing their attention on the quality of the devices or structures that frame or allow conversations.
What is particularly intriguing and inspiring about Chto Delat? And yet, this is not done through a unilateral manifesto, in the style of the historical avant-gardes, but through a constantly growing and shifting constellation of different artefacts, documentaries, texts, recording and live debates.
Their work seem to be defined by the belief, on which it may be worth pondering, that artists and intellectual can only reclaim a role in society if guided by the desire to discuss and share issues of content as well as form, by building a platform of shared knowledge. Notes: 1. See Chto Delat? What Is to Be Done? Also see their website: www. In Dialogue [reader], pp. Nancy, The Inoperative Community, p. Vezi Chto Delat?
Vezi, de asemenea, site-ul www. Dar despre Berlusconi? He is a curator and art critic based in Cluj and Turin. He is the co-founder of Sabot Gallery and the special correspondent of Archive Journal, a magazine based in Berlin.
Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. Claire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation.
You are borrowing your name from a famous French school supplies brand, why? Is it a marketing choice? Guerrilla branding? The first obviously comes from Duchamp. You carry his legacy in your family name — specifically referring to the Fountain that Duchamp submitted to the show organized by the Society of Independent Artists where he was a board member under the pseudonym of R.
Mutt in What do you think of conflict of interest? What about Berlusconi? So, is he an artist as well? He was very smart at conciliating family life his brothers and sisters, his father and his dealer life with his relationships to other art dealers and friends and his own position of artist. The conflict is the one of the Italians that keep voting for him because they.
Untitled Sculptures Suspendues , artificial plants, suspended wicker baskets, foam-core, sand, chains and disco ball motors, dimensions variable, , courtesy the artist, Metro Pictures, New York and Reena Spaulings Fine Art, New York. E asta o delocalizare? This is an American idea, as you might know Italy always dreams about America. Berlusconi is not an artist, he is the furthest person in the world from anything related to art.
Yet, unlike the aforementioned colleagues, your work seems to work much better outside the white cube. Going into politics? Are you thinking about a party, an imaginary party perhaps, like Joseph Beuys? Are you going on TV? We are not thinking of any of these things. We are more interested in political movements. Do they come before or after your work? Is there any hierarchy in your practice? Speaking of hierarchies, how does it work with your former NY dealer Reena Spaulings, who is also an artist and also a collective?
Do you inspire each other? Which came first the chicken or the egg? The texts come together with the visual work, there is no hierarchy between written, filmed, painted, sculpted work for us. All the media have their own dignity and they are equally respectable. Reena Spaulings is a dear friend. Who is the chicken and who is the egg? Will dad Francis eventually come help us to edit this horror movie called life? Is the fish slave to the water?
Are we slaves of the air? Lost in Translation is a shitty movie and no one of us has a rich and famous father: we are really lucky in that sense. I know you are following very keenly the production of your art works, which are often made by technicians. Is it outsourcing? Concerning the production, the work of contemporary artists includes several types of skills, the main one being the capacity of cooperating with other people. The romanticized idea of the genius working alone in the magical place that the studio is supposed to be, creating masterpieces with no need for help or discussion is an inconsequent fantasy.
Artists in the Renaissance already worked in a context comparable to a small factory, monumental sculptures have never been realized by an artist working on his own. What changes is the distribution of the labor. In case of the artworks they go through collecting which belong to capitalism whereas your texts are free to everyone, which is a socialist position. How do you balance these two paradoxical acts?
Does one need to be physically around an artwork in order to be intimate with it? But we still feel that we are intimate with them, maybe more intimate than some collectors can be, it is the same for the texts, that are written and distributed, but they stay with us as much as they stay with any reader.
This is the power of art and theory: they have a use value, it is up to people to make room inside their lives to make use of these special things whose essence is immaterial and that in reality belong to everyone and that is their very strength. Besides these superficial similarities there is a fact that Dan Graham had pointed out a long time ago, which is the deep knowledge that all the actors of the art scene have of the whole food chain — and this is a precious condition that exists in very few professions.
Dealers have often trained as artists, artists end up collecting and curating often out of passion or friendship for other artists. It seems logical that artists are also curators — as Deleuze wrote that good philosophers are always and above all excellent writers, but not all excellent writers can be philosophers. My last question is: what do you think of all these painters coming from Romania, Poland, Czech Republic, Moldova and Hungary, using the alphabet of social realism to get rich and famous?
And what about the conceptual fellows, who are using the ghost of communism to get into the next trendy biennial? Do you feel any sympathy for them? Mixed feeling? Please advise. Sentimente confuze? Back then, the Tate was heralded as the museum of the 21st century for its decision to forgo the traditional art historical chronological exhibition plan and instead to present artworks, whether modern or contemporary, pre or post-war, within gallery rooms that were thematically organized.
For example, the second part of Play Van. Tagging panel featuring keywords attributed by curators and visitors to art works in the museum collection, photo: Peter Cox. Esche presented his new acquisitions to show a spectrum of artists whose practices are related to the history of the period after , the year of the collapse of the Berlin Wall, the protests at Tiananmen Square in China and the beginning of the end of apartheid in South Africa.
Recently, from September until February , the third part of Play Van Abbe took place, adopting the praxis of collecting itself as its subject. What does it mean to collect and keep works of art? What kind of world is perceived when viewing a collection? Who decides and why? So asks the press release. With a curatorial team composed of Galit Eliat, Christiane Berndes and Diana Franssen, Play Van Abbe Part 3 embarked upon different pathways in order to tackle the described premise, while continuing to trace the issues that arise from the discursive implications of a collection policy considered in the context of the time in which it was established.
This was intended not merely as a kind of documentary testimonial, but also to see how such artistic practices can become critical apparatus to interrogate the forms in which remembrance of a place in political turmoil is dealt with. In an attempt to focus on an immediate issue that would define a Today, a great majority, or at least the introductory portion of the show which is the main interest of this review , was centered around the means of collecting, producing or imagining memory within the context of conflict in the Middle East.
This was implied by having the first four gallery rooms of the exhibition devoted to the work of Akram Zaatari and Sean Snyder both. This raw material became the source of many of his other works, in which he negotiates the politics behind the construction of certain imagery of identity and of heritage for the region. For example, in the video also titled This Day — shown in the exhibition, Zaatari scanned and later animated a number of the aforementioned archival photographs from his bank, which portray scenes such as veiled women holding clay water jars, and camels riding along with cars in the middle of the dessert.
In this case the artist drew certain line figures on the faces of people appearing in the image, some of which actually have the minimum indexical feature of representing a target sign. The second segment of This Day consisted of another video and photographic series in which Zaatari also re-used existing images.
This time they were his own snapshots, taken when he was 6 years old during the first Israeli bomb attack. The 35 mm home images were also scanned by the artist, and together with a battle field score, they constitute a video piece whose aesthetic aspect lies somewhere between amateur photography and photojournalism.
Precisely because of such orchestration, one could not help but think of its possible fictionality; as an attempt of the artist to produce an immediate archeology of a historical event which had indeed personally marked him. Note: 1. Samir Kuntar este un libanez druz, fost membru al Frontului de Eliberare a Palestinei. Denmark, Archive 3: rolling archive of archives of completed archives, —, installation view, Van Abbemuseum, , photo: Peter Cox.
Awada joined the Lebanese resistance as a member of the Communist Party in and took part in several military operations against the Israeli army in Southern Lebanon before he was captured and taken to Askalan prison where he spent most of his sentence from to Dealing with the same threat of the limitations to social mobility of an individual during forced isolation was the work Letter to Samir , 32 minutes , which records Nabih Awada himself writing a letter to Samir al-Qintar2 right after his release by the Israelis in July In his letter, Awada tells al-Qintar all that he cannot tell him in real-life, and carefully wraps the letter and seals it inside a plastic capsule, which was the form through which prison inmates could communicate.
Such capsule-letters would be passed between inmates, in some cases literally from mouth to mouth. In a radical shift of working with readymade images, stand the works presented in the exhibition by Sean Snyder, whose practice also deals with image production in the context of war, focusing mostly on the on-going war in Iraq. Such production of images has paradoxically reproduced its own iconoclasm, as it seems as if by having an overload of representation, there is a self-overexposure of the subject of war.
They are images that do not de-moralize or mobilize real massive anti-war politics nor activism. On the contrary, because of such number of war images, war became domesticated in 21st century by global media. In the exhibition at Van Abbe, after having passed the previous rooms of Zaatari, who, as described above treats archivereadymade images with a great amount of care and presents their vulnerability, the visitor then encountered a video by Snyder where he compiled in a zapping sequence, diverse types of TV footage ranging from talent contests, programs about animals and erotica, weather forecast, etc.
Due to the zapping the visitor does not fully get acquainted with the complexity or does not even acquire complete information on the issue. Within the framework of institutional collections that comprise the segments of the exhibition, two inclusions are interesting to acknowledge.
CAMP has already an existing collection of visual art which has been kept over the past ten years by the Al-Ma-mal foundation in Jerusalem. However its nature is of being a nomadic institution that will keep seeking other museums that in the meantime can serve as hosts. The Van Abbe Museum is currently a longstanding partner of CAMP and within this exhibition it has created an installment of some works from the CAMP collection along with video interviews of its founders.
But no state of affairs is, as a cause, already a historical one. It becomes this, posthumously, through eventualities which may be separated from it by millennia. The historian who starts from this, ceases to permit the consequences of eventualities to run through the fingers like the beads of a rosary. In Kuntar was sentenced to four life sentences by Israel and was released in after a Prisoner exchange deal. XII, nr. Her main interests are the transition of the ex-Eastern block, critical theories applied onto the region, socially engaged art practices, gender issues and public art.
Her main interests are Holocaust and contemporary art, gender issues in modern and contemporary art. The exhibition concepts were questioning what is still left of the great utopias and which have been the sacrifices required by them, respectively what was the price to pay for the ambitious visions upon the future.
From the reviewing of the artistic production, the accent therefore shifted to the presentation of the curatorial innovations and the role played by them in the creative process. Along with Manifesta 8, the alternative practice which existed before as well, but had been somewhat marginalized has changed its scale and stepped into mainstream. Therefore, when the exhibitions bring to the fore the virtues and sequelae of the new curatorial practice born out of collective collaboration and experiments, the art critic cannot avoid testing its viability either.
Manifesta 8 has been first of all about the changes in the practice of art production and presentation in our unsettled and increasingly globalized world. In contrast with the previous attitude, authoritarian and patronal without fail, the new one announces the proximity between scattered artistic manifestations, born out of the close collaboration between artist and curator; in other words: the curator sides with the ideas, the plans, the project outlines, and not with the finished works.
How will the new form of exhibition influence the artistic production? As we know it from our experiences, these two capacities — to create and to be your own curator — do not always coincide. The above-mentioned situation is illustrated by the experimental form proposed by tranzit. By way of creating an intermediate space and as a result of the ideas proposed by the invited artists in collaboration with the curators, a Constitution of Temporary Display was created. Each element of this denomination carefully avoids the old terminology, now superannuated, as well as the associations of ideas that it could have occasioned.
At the end of the press days, this constitution was symbolically destroyed, so that it cannot canonize itself unwillingly either. In other words, the initiative died in a bud. While one can support the basic thought and attitude, the way how it was carried out bears the symptoms of disorientation, and signs of a crisis. Regarding the political, we can sense an ambivalent phenomenon as well. The basic curatorial position, that has either grown out directly from or embraced an activist practice unquestionably on the level of rethoric is dominant, nevertheless, it is expressed more restrainedly, with more careful accents than it is accustomed in real situations of marginalization.
The declared critical tone is softened as well, so that it comes to make place more often than not for a melancholy, for a cult of the ruins. Of course, this is valid for the three curatorial groups in diffrent degrees. The critic coming form our region might regret that, in the case of the tranzit. Nevertheless, the selection offered by the East-European team seems to strengthen this parallel understanding the least.
As for the extending the boundaries and their redefinition, we can only subscribe that the time of licking our wounds is over in the region. We should be aware that our story is interesting precisely. This project has been commissioned and produced by Manifesta 8, courtesy of Manifesta 8. David Rych Encounter, , commissioned and produced by Manifesta 8 with the support of Tirol Unser Land Tyorlean government and bm:ukk, courtesy of Manifesta 8, photo: Ilya Rabinovich.
The heralded dialogue with Africa has been interpreted so lightly, that Thierry Geoffroy alias Colonel had the urge to offer the African artists his own exhibition space, without any presetting. Originally Manifesta was the product of the end of the Cold War and the fall of the Iron Curtain to set up a bridge in the divided Europe, its mission was to diminish the dividedness by the agency of a Pan-European biennial.
Doubtless, today, in the age of mass migrations and the net of mutual cultural influences, we can no longer speak about Europe in a narrow cultural or geographical sense. However, inspite of the popular slogan of the dialogue, it is still the concept and presence of Western art that dominate this, in its rethoric, much more promising exhibition.
The question puts art on the map of culture and leisure activities. The final question is preceded by the surprisingly well informed debate between the three posers. They are talking about how engaged art is today, about the way it gives voice to the oppressed and, at a given moment, they even fantasize that this exhibition play is just the newest form of colonialism. In the context of commercial telenovelas, of the colored and meretricious shirts and wigs, the words of the locals sound empty.
Eventually, we come at the fact that they are not at home in such a place. With a redeeming naivety, she explains to some invisible interlocutors what contemporary art is, undeceiving its phenomena, and observes in wonder that, it is interesting that she scarcely sees herself at a biennial. It can also designate the way Manifesta deals with itself, with its situation and its history.
Although the self-reflection is present in the work of each of the three curatorial groups, ACAF was the one to pay the utmost attention to this aspect, not only through the works it has selected to display, but also through the elaboration of a. The exposure conditions and the length of the film have seriously put to test those who wished to watch it thoroughly. In the churn of art professionals raised by Manifesta, the work is not quite effective. At the other extreme is Prayer for Art Kenny Muhammad and Adam Carrigan , where the artists have asked a number of curators to give voice to their hopes, and desires which have then been interpreted by an African-American beat-boxer who used his own body as percussion.
The curatorial longings and positions become a musical experience crystallized in rhythms, vibrations, and fragments of melody. Between these two points there are also numerous witty works. The small drawings, evoking earlier works by Yael Bartana, Adrian Paci or Antal Lakner among many others, are as if we were given only the punchlines of jokes that we know or do not know.
Afore the prognosticated strings of future Manifestas, we have to apprehend the disoriented feelings about: what is art after all? Art looks at itself from the outside, it contemplates itself as if an unknown anthropologic object, through the eyes of others. Ramadan one of the members of the Chamber of Public Secrets has recorded the presentation of Arab artist Walid Raad on how his luggage had been inspected when he entered the United States, and how the artist was criminalized in an extra-artistic context.
His series of photo self-portraits, where he reflects on his own identity, wearing different outfits and haircuts, as well as his interest in buildings have become shady and were suspiciously inspected by the officers. One can feel that the often used terms like, critical attitude, social sensibility, narration have become wearied order words, and are threatened by the monster of meaning exhaustion. The film reflects not on reality as such, but on the means of communicating it, and hereby makes a much more effective political statement than classic documentarism.
It fictionalizes the reality so that in the freshet of information it can take an efficient political stand. As the curatorial collective ACAF raises the issue, what art is, is always established by the art world, by those who are in the position to do so. Exhibition is one of the many works on display by fifty-two artists and filmmakers in the main exhibition of the 1st Ural Industrial Biennial of Contemporary Art which has been entitled Shockworkers of.
By shifting the concept of the shockworker, the show pulled off a clever gambit, connecting the art on view with a historical and concrete local context even as it facilitated a critical reflection on contemporary and not only artistic image production as well as the idea of labour. Also spot-on was the venue, the Constructivist building of the former Ural Worker Printing Press, where in Soviet times all the newspapers east of Moscow were printed — i.
The assertiveness of capitalist economy, it seems, depends more than ever before on the images it creates and distributes — an observation which Lin Yilin The Result of a lot of Pieces, , courtesy: Ural Biennial. Part 1 [Note despre subdezvoltare. We have to keep in step with the times.
The Tower: A Songspiel is an intriguing and highly stylized mise-en-scene of social-political debates about power, urban planning, the right to the city, violence, and, last but not least, the role of art and culture as fields specifically devoted to image production in these discussions. While many of the artworks in the exhibition has been produced in reproducible media like video, film, photographs, prints, etc.
The Potosi Principle, , courtesy: Ural Biennial. Traducere de Alex Moldovan. To be sure, a fuller phenomenology of scandal would have to take into account the current tendency for the managerially planned selfscandalization of things as integral part of their promotional campaigns — scandal here may even preexist the emergence of that which it is a scandal of.
The protagonists were Nuno Ramos and Gil Vicente, artists with quite different styles and artistic perspectives, who presented highly dissimilar works, but who ultimately evinced the same logic of a failed achievement in their compositions. It is this logic that we will try to explain below in connection with the scandal it is the both the result of and challenge to.
But before dwelling on the works, it is important to note that the 29th Biennial was haunted by the ghost of failure and crisis, which had been hovering since the end of the exposition. In this previous occasion, curators left a whole floor empty as protest against the scarcity of funding, which prevented the occupation of all spaces available. Due to the disastrous attendance, the Biennial was running the risk of simply not happening.
But even the best expectations were surpassed. Without vacant spaces, the exhibition. They extended themselves over the three floors of the building and were made of highly compressed burned sand; it was only the manually-generated pressure which kept them standing and the contrast between their size and the appearance of fragility and instability was sharp.
These are all pieces loaded with meaning and it would be difficult to convey the affective appeal they have for Brazilians. But the most important element — at least as far as scandal goes — has not been mentioned yet, for a net enclosed the whole of this enormous work so that the three vultures that inhabited the installation would not escape.
This eventually happened, as they were finally evicted, but not before much public controversy. Even before it was shown at the Biennial, White Flag generated protest from ecologists, who gathered thousands of signatures on the internet demanding that the birds be returned to their original habitat. Two main features of the installation deserve to be.
In the first place, even though White Flag is an enormous three dimensional artifact full of empty spaces, it cannot be penetrated; it must rather be viewed and listened to, but still only imperfectly so. The installation can only partially be seen, because of the way it was fused with or melted into the architecture of the Ibirapuera building. There is no vantage point from which it may be apprehended as a whole.
If it cannot be walked into, it does not let itself be contemplated from the outside either. At the same time, White Flag resists listening as well. The repetition of the songs spatializes sound and the endlessness of the cycle prevents the spectator from either really starting or putting a closure to the sound material.
The second important characteristic of the work is its negativity, which can here be envisioned on at least two different levels. As far as the material is concerned, as has already been mentioned, the work is precarious and seems constantly to be on the verge of crumbling, in spite or perhaps because of its colossal size.
The conflict here is one of matter versus volume. But this instability in the realm of the signifier is paralleled in that of the signified, for it is simply impossible to extract an overall meaning from the accumulation of negative parts. The relationship with space, the geometric forms and their massive character, the songs, the colors, the title, the vultures: all of them point to something black and dreary, but they do not let themselves be articulated into a message; worse still, they seriously threaten to ruin the work as such, which then would be not much more than an accumulation of disjoined parts.
Ramos himself is aware of this formal trait, this instability of his art, which is always on the brink of becoming something else; he even theorizes about it commenting that it is typical of Brazilian culture, which mixes both exhilaration, because everything remains to be done, and mourning, because everything seems always about to disappear, because it is so difficult for things acquire the state of being, to become existent.
Those who faced White Flag from a moral perspective, and not through the ethics of the artwork, which is to follow to the limit its own compositional freedom, actually ended up mobilizing an internal sense of the installation they could not enter.
To put it in other words, once the work is rejected as such and treated as a non-thing, it can answer its destruction so infinitely different from its dematerialization with its own immanent content, which otherwise would be hard to discern. These were naturalistic portrayals of world leaders about to be killed by the artist himself: George W.
The drawings were charcoal on paper in natural size 1. Many saw in these drawings not only a gratuitous act of violence, but also a lack of respect for world leaders. In fact, Vicente was careful enough to represent national and regional politicians as well, thus effectively mediating the global and the local; he also included secular and reli-. The very opposite of White Flag, Enemies shuns any idea of dissolution or splintering. The viewer sees himself before figurative representations of remarkable similarity to their originals.
Indeed, the series of drawings is so easily approached that it may even invoke the universe of mass culture with its comic strips and graffiti on walls, something that Vicente repeatedly rejected. Since there was no time to follow all the legal proceedings, and perhaps because it felt it could lose, the OAB did not bring the case to court. In Enemies one can find the same logic at work pointed above. But after they had their status as works legally questioned, they suddenly became extremely revealing.
From this perspective, several formal characteristics, which would otherwise pass unnoticed, suddenly acquire significance. The Vicente on paper cannot be found guilty of murder, because murder, on paper, has not taken place. This actually points to an important social truth covertly revealed by scandal: once the protection from the aesthetic sphere was withdrawn, or, perhaps better, since the aesthetic sphere was not strong enough to offer protection, the drawings fell into a social void that actually goes deep in a Brazilian structure of feeling.
More than the actual figures, the drawings would then represent the anger against established politics and its exclusive and excluding nature; it is the wrathful frustration for that which may not be politically represented that the attorneys feared. Perhaps one has to visit Brazil to witness how pervasive this feeling is, how relentlessly it is repeated by so many peo-. A curious reversal then takes place, for it is only as the representations are subjected to the extra-artistic, the real law of society — from which, as artworks, they are exempt — that it becomes visible that it was this law that they were dramatizing9 as on the verge of withdrawing themselves, while in the popular imagination it has been long gone.
To conclude, and to summarize what has been already shown, both in White Flag and Enemies a paradoxical logic occurs, for it was only because of the failure of their being received as art that enhanced or maybe even established their status as strong artworks. Their stepping away from the sphere of art was incorporated to the material of the works as such.
It was not only the case that their failures were necessary steps in their achievements: the failures ultimately contributed to their strong objectivity as such. Had they succeeded as instances of unquestioned art, had they been detachedly commented upon according to the rules of aesthetic appreciation, even or especially with their messages whatever they might be fully apprehended, they would have failed as events.
Perhaps there is something that can be theoretically extrapolated from this. In the first place, there may be something to be said here concerning the otherwise barren debate between formalism and reception theory about where the meaning of art would be. Form in this case, and as a result objectivity as such, is a function of a reception that denies it.
With one more step, one could argue that this dialectics of achievement through failure would correspond to the frail state of art in Brazil, or maybe even Latin America as a whole. But one could interrogate it from still another, broader, the point of view concerning the problematic status of objectification today. In a world so aggressively permeated by language the everywhere of the imperative of advertisement , where all of us are daily bombarded by signs and fluxes of messages, one may very well claim that objects disappear, that without silence, ruptures or interruptions form cannot emerge as such and objects melt away in semiotic flows.
Herein lies the truth of these two incisive scandals. Indeed it is remarkable how theories of the event managed to acquire currency precisely at a time that seems to be absolutely impervious to events in their emphatic sense, as that which breaks through and annuls existing structures.
A clear of proof of this is the fact that the ecological crisis, perhaps the greatest in the history of civilization, has not been yet socially recognized as such. The song is available in several versions at youtube. This feeling is exactly what the recent movie Tropa de Elite 2 — the single most profitable and the one with the largest audience in the history of Brazilian film — relies on and fosters. The claim that all political institutions are rotten was typical of fascism.
It is irresistible at this point to observe that Gil Vicente ? Blue Sky is the name of a Israeli-Romanian military exercise, which took place in Bucegi Mountains in July and was ended by the accident of a CH helicopter, with all the seven militaries on board six Israeli and one Romanian having lost their lives.
Departing from this event, I tried to show a partial trajectory, albeit with concrete data, from the recent military history of the State of Israel, with a special focus on the evolution of the helicopter type as the one crashed in Romania. The project is part of a series of investigations in which I follow political relations in a larger historical context, often starting from specific situations, events or places. Berlin, Unless you adjust your browser settings, our system will issue cookies when you log on to the site.
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