Editor, The report by Kalichman et al. is interesting. Kalichman et al. mentioned an “awareness of the diversity of those standards.” Standards should be applicable and usable in all settings. If there are different standards, there might be a problem in the implementation of standards. The case of “double standards” can lead to several practical problems. The conduct of research in an institute might be different from another institute. In addition, within an institute, the use of alternative standards might be (...) selectively applied for some specific persons. The senior or administrative persons might be excluded from standards. A double-standard is a common problem in many developing countries and is an indicator for the low quality of scientific and academic societies in those countries. For sure, this is considered a double-standard. If those situations occur repeatedly, it will result in “no standards”. (shrink)

Das heftig diskutierte Werk Joseph Beuys? ist eines der einflussreichsten des 20. Jahrhunderts. Sein schöpferischer Reichtum umfasst bildnerische, philosophische und politische Aspekte. Die Aufzeichnungen, Gespräche und Vorträge von Joseph Beuys gehören zu seinem Werk wie seine Zeichnungen, Installationen und Aktionen. Sein bildnerisches Werk konfrontiert mit Rätseln, die nach dem Menschen fragen. Durch deren Aufschlüsseln sucht er ein Denken zu provozieren, das in Intuition umschlägt. Sie setzt kreative Kräfte frei, eine innere Freiheit, durch die der Einzelne auf eine Transformation der Gesellschaft (...) einwirken kann: 'Die einzig revolutionäre Kraft ist die Kraft der menschlichen Kreativität.' Diese Transformation ist die Aufgabe, die Beuys mit dem erweiterten Kunstbegriff gestellt hat.0Mit Aufzeichnungen von 1961, als Beuys Professor an der Kunstakademie wird, beginnt die Chronologie dieser Sammlung. Sie setzt sich fort mit Gesprächen, die durch die politischen Auseinandersetzungen der sechziger und siebziger Jahre führen und Antworten auf seine Arbeiten geben. Mit Beuys' Spürsinn, sich auf sein Gegenüber einzulassen, werden die Gespräche Aktion und bewahren durch ihre Lebendigkeit und Provokation ihre Gegenwart. Der Band erscheint anlässlich des 100. Geburtstags von Joseph Beuys am 12. Mai 2021. (shrink)

Joseph Beuys was one of the most significant artists of the 20th century. He was a gunner and radio operator in the German Air Force during World War II, and was severely injured several times. In March 1943 he had a life-changing experience after the dive bomber he was assigned to crashed in the Crimean peninsula. This trauma influenced Beuys' entire artistic career, and is known in art history as the ’Tartar Legend’ or ’Tartar Myth’. Profoundly affected by the crash, (...) the severe trauma, the near-death experience and his rescue, which he perceived as a “rebirth”, Beuys no longer saw himself, other people or society as a whole in the same way as previously. With his new consciousness, he ignored boundaries and created visions whereby all mankind could experience the healing he had undergone. Beuys did not bring society far enough for the turning point towards “the healing of the world” to be visible, yet today it is important to keep his work alive as a record of his extraordinary strength, which arose from trauma and severe injury, and was carried by a passionate commitment to mankind and to life itself. (shrink)

Joseph Beuys, Andy Warhol, Yves Klein, and Marcel Duchamp form an unlikely quartet, but they each played a singular role in shaping a new avant-garde for the 1960s and beyond. Each of them staged brash, even shocking, events and produced works that challenged the way the mainstream art world operated and thought about itself. Distinguished philosopher Thierry de Duve binds these artists through another connection: the mapping of the aesthetic field onto political economy. Karl Marx provides the red thread tying (...) together these four beautifully written essays in which de Duve treats each artist as a distinct, characteristic figure in that mapping. He sees in Beuys, who imagined a new economic system where creativity, not money, was the true capital, the incarnation of the last of the proletarians; he carries forward Warhol’s desire to be a machine of mass production and draws the consequences for aesthetic theory; he calls Klein, who staked a claim on pictorial space as if it were a commodity, “The dead dealer”; and he reads Duchamp as the witty financier who holds the secret of artistic exchange value. Throughout, de Duve expresses his view that the mapping of the aesthetic field onto political economy is a phenomenon that should be seen as central to modernity in art. Even more, de Duve shows that Marx—though perhaps no longer the “Marxist” Marx of yore—can still help us resist the current disenchantment with modernity’s many unmet promises. An intriguing look at these four influential artists, _Sewn in the Sweatshops of Marx_ is an absorbing investigation into the many intertwined relationships between the economic and artistic realms. (shrink)

Die in diesem Band versammelten Aufsätze ist eine Auswahl von Kommentaren, Betrachtungen, Interviews und programmatischen Aufrufen von Horst von Gizycki, bezogen auf jeweils aktuelle Zeitfragen in mehr als vier Jahrzehnten.

Joseph Beuys’ installation Plight forcefully avows of the Nazi genocide by means of negative presentation. The work culminates a collective artistic investigation of negative sculptural strategies for representing traumatic history, opened by the Nouveaux Réalistes under the impact of Alain Resnais’ documentary film Nuit et Brouillard. This article outlines this history and analyzes Plight in the context of the ‘after Auschwitz’ crisis of representation and traditional culture theorized by Theodor W. Adorno. For Adorno, Auschwitz demonstrated threats to autonomous subjectivity posed (...) by tendencies unfolding within the global social process of modernity itself. Reflecting on the fate of music, poetry and literature under these conditions, Adorno advocated a hermetic art of silence and dissonance, as exemplified by Paul Celan and above all Samuel Beckett. This article shows that in the visual arts, too, the genocidal violence of World War II was confronted with analogous strategies of indirection. In Plight, Beuys would successfully synthesize John Cage’s symbolic demolitions of traditional music and the investigations of negative presentation carried out in sculpture by Arman and Daniel Spoerri. (shrink)

Beginning with the meeting between Joseph Beuys and representatives of the American Women’s Liberation Movement, the article compares their respective political and aesthetic practices. Against the backdrop of an increased appeal to the politicity of art and the celebration of Joseph Beuys as one of its great pioneers, the text argues that Beuys’s notion of democracy and his attempts to form a social movement were far less radical and plastic (in his own sense) than those of the feminists and highlights (...) various areas in which the feminist movement was politically and aesthetically effective and innovative. Beuys’s social sculpture, the thesis goes, unfolds its stronger political effect where it does not act politically, but artistically. (shrink)

Dissent has its own special place in art education. It has two stereotypical, polarized faces. The first is a classical institution modelled on Italian and French academies. As official places, they aimed at elevating art to the rank of science and making it an expression and instrument of power. The opposite image of the school is an oasis of intellectual freedom, a space for inventiveness, a place for applying unusual teaching methods and organizing the academic community. The most famous examples (...) are avant-garde acctivities. This historical division is unreliable in fact. Dissent or even rebellion can be an instrument of morality and principles that could be followed. Quite unexpectedly, a peculiar anarchism can be found in the first art academy run by the Carracci. The name ‘academy’ popularized among the Italian humanists and Marsilio Ficinno, drew attention to the informal nature of scientific associations, opposing the fossilized formula of the university existing since the Middle Ages. It is surprising then that Joseph Beuys just created the Free International University. The very name of school and its understanding indicate a significant dichotomy not only in art education, but also in art theory. The point is not that the model of education has simply loosened over time. The above-mentioned facts reflect great disputes about the essence of art, about its relationship with science, everyday life, and practical application. An analysis of specific programs will allow us to see the sense of the mutual connections between rebellion and principles in modernizing artistic education. (shrink)

Abstract The artwork of Joseph Beuys was provocative in his time. Although he was very successful on the international art scene and on the art market, the larger The public is still bewildered by his Fat Chair or his installations and his performances. The article shows the evolution of his artwork from classical materials (stone, steel) to soft materials (animals, products of animals) and further to his concept of “social sculpture” and to programmatic diagrams (with words and graphics). A special (...) point of interest is the transition towards language (phonic and conceptual), the philosophy of art exposed in his drawings, and diagrams and the relation between art and science in his artwork. (shrink)

« La forme est sans doute quelque chose de la réalité, mais quelque chose qui se transmet à la faveur d’une relation causale qui met en rapport l’intelligible et le sensible : le premier est la cause du second, qu’il déter­mine comme tel, au moyen de la forme. ». Jean-François Pradeau : « Platon : les formes intelligibles ». Presses Universitaires de France, 2001. P. 53. Transmission, relation causale et mise en rapport qu'il faudrait compléter par dialogue et participation pour (...) planter le dé... (shrink)

Volker Harlan, Rainer Rappman, Peter Schata – Plastica sociala. Materiale despre Joseph Beuys Editura IDEA, Cluj-Napoca, 2002, 159 p.

Les dessins laissés par Mark Lombardi le jour de son suicide en 2000, laissent apparaître des schémas graphiques qui mettent en lien les instances du pouvoir et de l’industrie et se donnent comme une cartographie de la trame du pouvoir. En utilisant le graphe Lombardi s’inscrit dans la suite des avant-gardes européennes qui de Steiner à Beuys, de Debord à Estivals avaient tentées de telles restitutions, en cela il semble être un aboutissement. Dans ce travail il y aurait comme une (...) sauvegarde de l’art qui retrouverait une fonction de vérité. Celle-ci est celle qui révèle la porte du pouvoir devant laquelle l’art nous conduit. (shrink)

Les réflexions de Heidegger autour de ce qu’est une œuvre d’art, articulée notamment autour de Van Gogh, peuvent-elles servir de matériau de compréhension pour l’art contemporain? La question heideggérienne du ce qu’est-ce qui fait l’être-œuvre de l’œuvre d’art? est centrale chez bon nombre d’artistes comme Duchamp, Kosuth ou Warhol et les éléments de réponse qu’ils apportent entrent dans les catégories ouvertes par Heidegger. Il en est de même pour cette singularité artistique du contemporain qu’est l’art d’installation.

My text adopts Joseph Beuys’ reflections on the revolution that we are, on anti-art, and on the plastic process, highlights parallels in Hannah Arendt and Cornelius Castoriadis and attempts to develop guidelines for the plastic democracy of the future from them.

In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that his (...) overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. In this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account (a) the constructive and plastic moment, (b) the social dimension and (c) the genetic dimension of what it means to see something in something (Wollheim). (shrink)

In The Postmodern Animal, Steve Baker explores how animal imagery has been used in modern and contemporary art and performance, and in postmodern philosophy and literature, to suggest and shape ideas about identity and creativity. Baker cogently analyses the work of such European and American artists as Olly and Suzi, Mark Dion, Paula Rego and Sue Coe, at the same time looking critically at the constructions, performances and installations of Robert Rauschenberg, Louise Bourgeois, Joseph Beuys and other significant late twentieth-century (...) artists. Baker's book draws parallels between the animal's place in postmodern art and poststructuralist theory, drawing on works as diverse as Jacques Derrida's recent analysis of the role of animals in philosophical thought and Julian Barnes's best-selling Flaubert's Parrot. (shrink)

Crise de l'art ou consensus culturel? Aujourd'hui, l'important n'est plus, semble-t-il, que la critique esthetique ait encore a dire sur Josef Beuys mais que le Centre Pompidou puisse faire croire qu'il dit tout de lui. Le culturel, dans son mecanisme institutionnel et mediatique bien huile, apparait comme l'ultime parade que l'ordre social ait su trouver pour conjurer sa peur - ou sa haine - de l'art. Cependant la critique n'a pas a se laisser abuser ni intimider par l'artifice du consensus (...) culturel qui regne actuellement. Il lui revient de continuer a evaluer les oeuvres, pour autant que le jugement sur l'art engage aussi la societe et l'epoque dans lesquelles cet art se deploie. La reflexion esthetique ne se reduit pas au jugement de gout, elle commence avec lui et se poursuit apres lui. (shrink)

In this publication, the author attempts to develop an aesthetic theory from Heidegger's phenomenological concepts. She analyzes Heidegger`s concepts of truth, world, space, and related concepts and establishes a formal, contextual and material method of analysis for the purpose of examining works of art. This new method of analysis is applied to three pieces by the artist Joseph Beuys as a case study.

Hans Peter Riegel zählt zu den wenigen Künstlern, die gleichzeitig als Autor tätig sind. Aus dieser Position schreibt er kenntnisreich und kritisch über den Kunstmarkt sowie Künstlerinnen und Künstler. Während der Recherchen zu seinen erfolgreichen Biographien über Joseph Beuys und Jörg Immendorff hat er viele Gespräche geführt, die bislang nur in Auszügen veröffentlicht wurden. Immer wieder hat er auch für namhafte Medien geschrieben, Künstler und Kreative interviewt. Jetzt hat Hans Peter Riegel eine Auswahl dieser Texte in diesem Buch zusammengefasst. Unter (...) anderem mit Beiträgen zu Marina Abramovic, Helge Achenbach, Joseph Beuys, Tina Brown, Jörg Immendorff und Eva Presenhuber sowie Interviews mit Jörg Immendorff, Diane Keaton, Marc Spiegler und Klaus Staeck. (shrink)

This text discusses the impact of immersive technologies on our identity and relationship to digital and analogue modalities in a non-normative way. It references the work of Joseph Beuys, specifically his iconic performance of being confined with a coyote in a gallery space for three days, to construct connections between borders, edges, limits and identity, face presentation, representation and projection towards ourselves and our audiences. We reference the works of Marcel Duchamp and George Orwell and compare the immersive devices of (...) the nineteenth century to current technology. Various works of art and literature are used to illustrate the impact of technology on society and the individual’s relationship to the collective imagination. The text raises questions about the limits or nonlimits of exposure of identity through machinic and technological devices or processes in the context of privacy of expression in a contemporary networked world. (shrink)

Mimmo Paladino’s artistic research is characterized by an interest in the language and the relationship between “individual” and “community”. The idea of “individual” Paladino focuses in his work on is placed in the Mediterranean culture, and carries with itself the request of social emancipation — that can be ascribable to some Marxist topics — and the faith in the magical power. Along this route Paladino meets Ernesto De Martino’s South and Magic, Marcel Mauss and Claude Lévi-Strauss’s works. With the same (...) naturalness he makes coincide his sign with those of Matisse and Beuys, overlaps conceptually Spinoza to Jarry, Giordano Bruno to Beuys by getting the common trait in the transgressive dimension. It would be misleading trying to get a unitary route at all costs because only in the idea of the “encounter” apparently causal, that recalls the impracticable and audacious routes of Hegel’s Phenomenology of Spirit, we can get the meaning of the Paladino’s contaminations with philosophy. (shrink)

Baselitz is one of the most important artists of today. His works can be found in major museums around the world. For over 30 years, photographer Benjamin Katz has been documenting Baselitz at work in different studios. This volume now captures Baselitz's exceptional life at work and at home. Benjamin Katz is famous for his photographic portraits of artists. Among his previous subjects are Gerhard Richter, Joseph Beuys, Sigmar Polke, Rosemarie Trockel, and Martin Kippenberger. Because Katz is friends with most (...) of the artists, he is able to capture them when they are completely at ease. But, as he explains in this book, he prefers to photograph people while they are in the process of doing something. Katz shows Baselitz with paintbrush and hammer, and dog and cigar - the close relationship between the two artists is almost palpable. The photographs are the result of a friendship in an artistic world that they have been sharing for many decades. Cornelia Gockel's essay discusses Katz's unique, new window on the world of Georg Baselitz. (shrink)

In this, his latest book, Wolfram Hogrebe continues to unfold his project of an informal epistemology with an analysis of ties ("ligatures") to be found below the level of theoretically discussed norms, laws, and institutional regulations and nevertheless indispensable for a humane coexistence. Risks associated with such often hidden constellations of knowledge are also discussed. Master thinkers such as Schelling, Hegel, Heidegger, but also more marginal figures such as Felix Hausdorff alias Paul Mongré or artists such as Beuys are discussed. (...) In his inimitable style of concise yet succinct sketches, Hogrebe thus causes thinking to confront the often subtle nuances of being in a state of wonderment"--Publisher's website. (shrink)

This essay examines how Joseph Beuys uses the social plastic concept (›soziale Plastik‹) to think about the relationship between art and democracy. To this end, the first part analyzes the oppositions that define this concept in order to read them as the basic determinations of a dialectical concept of democracy. Against this background, the second part of the essay deals with how Beuys understands the contribution of art to democracy. In doing so, Beuys’ statement ›Every man is an artist‹ is (...) subjected to a new reading. (shrink)

This essay investigates the correlation between theological investigations of culture and those of the natural world. A fruitful question emerges when reflecting on how theological thinking resides between these subjects: how does our theological reflection on art meaningfully inform our consideration of nature? The path to exploring this question takes the form of questioning three different works of art: Willem Moreelse’s A Portrait of a Scholar, Francis Bacon’s Landscape,and Joseph Beuys’ Lightning with Stag in Its Glare. Exploring the interconnection between (...) these works, a hermeneutical mediation between art, place, and the spiritual is suggested. (shrink)

Walter Benjamin fully captures the radical transformation of the aesthetic experience of some of the avant-garde artists from the beginning of the 1900s – the cornerstones of the aura disappear with the Dadaists. However, Benjamin does not understand that while the aura disappears from the artist’s work, it will later reappear in the artist himself… sliding from the work to the artist. In fact Duchamp, after abandoning painting and the realization of ready made works, dedicates himself to behavioral actions which (...) accentuate the authorship or the artist, and not the work of art. This creates a mysterious and almost sacred atmosphere around the author, similar to the concept of aura. The sliding of the aura from the work to the artist is found in other artists of the 1900s… (from Yves Klein to Piero Manzoni, from Jackson Pollock to Joseph Beuys). (shrink)

Walter Benjamin fully captures the radical transformation of the aesthetic experience of some of the avant-garde artists from the beginning of the 1900s – the cornerstones of the aura disappear with the Dadaists. However, Benjamin does not understand that while the aura disappears from the artist’s work, it will later reappear in the artist himself… sliding from the work to the artist. In fact Duchamp, after abandoning painting and the realization of ready made works, dedicates himself to behavioral actions which (...) accentuate the authorship or the artist, and not the work of art. This creates a mysterious and almost sacred atmosphere around the author, similar to the concept of aura. The sliding of the aura from the work to the artist is found in other artists of the 1900s… (from Yves Klein to Piero Manzoni, from Jackson Pollock to Joseph Beuys). (shrink)

This essay focuses on the Portraits Not Made (1970) by Robert Filliou, a French artist of the postwar neo-avant-garde and a founding member of the international transdisciplinary art movement Fluxus. Interrogating originality and authorship, these ‘Intermedia’ works ‘depict’ artists: George Brecht, Dieter Rot, Dorothy Iannone, Irmeline Lebeer, Josef Beuys, Andy Warhol, John Cage, Arman, and Toi (you). Though virtually blank, they translate between binaries: visual/textual, material/immaterial, made/not made, artist/viewer. Inherently performative, Filliou’s portraits draw the viewer into a ‘poetic economy’ based (...) on three systems: Permanent Creation, the Eternal Network, and the Principle of Equivalence (well made, badly made, not made). Drawing on economic theory shaped by Fluxian absurdity and a Zen-like understanding of reality as at once empty and full, Filliou’s works undermine hierarchies – artistic and political – that privilege individual genius and art as capital exchange. His works propose alternative systems of value by acknowledging the viewer as co-creator. (shrink)

Tracer un parcours entre le début du XXe siècle et l'aube du XXIe siècle en compagnie de plusieurs artistes enseignants et de Rudolf Steiner en particulier, tel est l'objectif de cette étude. En mettant en connivence les grandes aventures que représentèrent la construction du Goethéanum près de Bâle à Dornach (1913-1918) et celle du Bauhaus à Weimar, Dessau, Berlin (1919-1933), l'auteur a voulu faire découvrir des territoires nouveaux d'où émergeait une Utopie de mission civilisatrice. Rudolf Steiner, tout comme Kandinsky, Klee (...) ou encore Beuys furent tout à la fois artistes et enseignants. Les témoignages de leurs contemporains permettent de les saisir dans cet instant fugace de la transmission, impalpable et magique à la fois, qui révèle la richesse de leurs êtres. Leur manière de vivre la transmission est imprégnée d'art : c'est un moment créateur dans l'échange. Alors que certains de ces idéaux perdurent d'un point de vue artistique, mais également pédagogique à travers l'existence des écoles Steiner-Waldorf, par exemple, qu'en est-il aujourd'hui de la question de la transmission par l'art? Cette immense liberté conquise par les artistes du XXe siècle ne devrait-elle pas faire valeur d'exemple lorsqu'il s'agit d'interroger son point de vue sur le monde? (shrink)

Tant que l’art fera partie du luxe, c’est-à-dire tant qu’il organisera sa rareté par l’effet de sa spéculation intellectuelle, il vivra une croissance infinie. Pour cela, il ne faut pas qu’il y ait d’inflation, c’est-à-dire qu’il faut respecter un certain numerus clausus d’artistes et d’œuvres. Le Wall Street de nos désirs et nos désillusions, c’est justement l’organisation de cette inflation, c’est – dans la continuité de Beuys – affirmer que chacun d’entre nous est capable d’être un artiste. Nous allons bombarder (...) le réel qui nous est fait de tous les réels qui vivent logés en nous pour en faire Le Wall Street de nos désirs et de nos désillusions, une bourse de nos valeurs inscrites dans une symbolique, jouée à la hausse et à la baisse dans un jeu qui va faire monter votre désir et donc armer une révolution dans le sens des saisons. (shrink)

The experimental art and poetry of the last half of the twentieth century offers a glimpse of the emerging networked culture that electronic devices will make omnipresent. Craig J. Saper demarcates this new genre of networked art, which uses the trappings of bureaucratic systems - money, logos, corporate names, stamps - to create intimate situations among the participants. Saper explains how this genre developed from post-World War II conceptual art, including periodicals as artworks in themselves; lettrist, concrete, and process poetry; (...) Bauhaus versus COBRA; Fluxus publications, kits, and machines; mail art and on-sendings. The encyclopedic scope of the book includes discussions of artists from J. Beuys to J. S. G. Boggs, and Bauhaus's Max Bill to Anna Freud Banana. -- Publisher. (shrink)

Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey, with D’Annunzio also touching upon them with his State of Fiume, for (...) which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research. (shrink)

Résumé La méthode de Michel Aubry dérive d’une pratique musicale sarde. Les launeddas, faits en roseau, ont des mesures précises correspondant aux notes. L’artiste en tire une géométrie contagieuse pour les normes de l’art moderne (de Rodtchenko à Beuys). Traduit par une instrumentation archaïque, le moderne survit, devient contemporain.

Presenting fifty projects from French-born, New York-based contemporary artist Pierre Huyghe's twenty-year career, this richly illustrated book provides an overview of his work across film, installation art, and live event. Since the 1990s, Huyghe's work has challenged the status of the exhibition format. With projects like the One Year Celebration and the foundation in 1995 of the collaborative Association of Freed Time, Huyghe developed a particular interest in the relationship between time and memory--an interest that has carried through to his (...) works, Untilled and the three-part The Host and the Cloud. Most recently, his projects include an untitled piece for the Documenta 13 in Kassel, Germany; Amidst Karlsaue Park's compost heap--an area detached from museums and cultural institutions and not intended to be seen--Huyghe installed common park objects from different moments in art history, as well as the Documenta in years past, from one of Joseph Beuys's uprooted oaks to Dominique Gonzalez-Foerster's pink bench. Published to accompany a major exhibition of Huyghe's work opening at the Los Angeles County Museum of Art in November 2014, this book offers the first comprehensive overview of the artist's career. The structure of the book brings to light Huyghe's creative process, with each step in the creation of featured projects amply illustrated with photographs, drawings, and preparatory sketches. (shrink)

This book introduces a new way for thinking about, creating, and viewing art. Rudolf Steiner saw his task as the renewal of the lost unity of science, the arts, and religion; thus, he created a new, cognitive scientific and religious art in anthroposophy. The implications of his act --recognized by such diverse artists as Wassily Kandinsky and Joseph Beuys --are only now coming fully to light. In his thorough introduction of more than a hundred pages, Michael Howard takes readers through (...) these thought-provoking chapters: Is Art Dead? To Muse or Amuse Artistic Activity As Spiritual Activity The Representative of Humanity Beauty, Creativity, and Metamorphosis New Directions in Art Lectures include: The Aesthetics of Goethe's Worldview The Spiritual Being of Art Buildings Will Speak The Sense Organs and Aesthetic Experience The Two Sources of Art The Building at Dornach The Supersensible Origin of the Arts Truth, Beauty, and Goodness Christ, Ahriman, and Lucifer Plus a bibliography and index. (shrink)

The article examines work by contemporary American artist Kiki Smith, who proposes a future in which human and nonhuman bodily borders merge. The artist’s contribution to the more-than-human artistic entanglements is juxtaposed with Joseph Beuys’s artistic manifesto from 1974 which proposes, among other things, an attempt to get outside of the represented human towards the asignified ahuman. In Kiki’s sculpture, both human and nonhuman animals undergo constant morphogenesis, becoming hybrid forms far beyond the human-social paradigm, implying that the human and (...) nonhuman binary, due to the exchange of affective entanglements, is no longer valid in the heyday of techno-scientific development. The analyzed work shows that both human and nonhuman bodies are raw materials not separated from one another but always interconnected with the world and its ongoing material processes. Thus, the article emphasizes that it is only through the transgression of the human and nonhuman border that one can acknowledge the more ethical and political ways of cooperation needed for the appreciation of the multispecies dimension of our world and its survival. (shrink)

The text brings a reflection on pain and memory relationship from Colombian sculptor Doris Salcedos’s work Shibboleth, whose background is the current Colombian armed conflict. More precisely, it emphasizes on the relevance of memory in a community’s authentic historical configuration. Or, in Beuys’ words, showing the wounds is highly important when trying to find cure and healing for a serious ill society, bathed in a bloody conflict between those born there, a land that, like it or not, it’s found to (...) be common for all of us. (shrink)