[1] 1808-1930 -- [2] Período contemporâneo, 1931-1980 -- [3] Período contemporâneo, 1981-1985.

O texto investiga a condição e o status da obra de arte, nos termos contemporâneos da complexidade de sua articulação com a história recente, especialmente no que concerne aos ataques terroristas a New York em 11/9/2001 e suas decorrências, à luz da exposição Documenta 11, de 2002.

Angesichts der erhitzten Debatten vor allem in den deutschen Feuilletons, aber auch eines gewissen Trends zum Kollektiven in den ‚westlichen‘ Künsten, fragt der Beitrag danach, welche Formen des Kollektiven in der documenta fifteen praktiziert wurden und inwiefern sich diese von ‚westlichen‘ Vorstellungen unterscheiden. Ausgehend von der Annahme, dass es auf der documenta fifteen vor allem um die Formierung, nicht um die bloße Voraussetzung von Kollektivität ging, setzt sich der Text kritisch mit dem Abschlussbericht des von den Gesellschaftern der (...) Documenta gGmbH beauftragten fachwissenschaftlichen Gremiums auseinander. Dabei werden drei Modalitäten aus der ‚westlichen‘ Kunst zum Vergleich herangezogen, in denen es ebenfalls um die künstlerische Formierung von Kollektiven geht: die Ausrichtung konvivialer Situationen, die Instituierung eines gegen-hegemonialen Wir und die Markierung der Unmöglichkeit von Kollektivität aufgrund bestehender gewaltsamer Marginalisierungen. Mit allen drei Modalitäten, so zeigt der Vergleich, hat die Documenta von 2022 etwas gemeinsam, setzt aber auch deutlich eigene Akzente. Daher argumentiert der Beitrag dafür, dass die documenta fifteen tatsächlich eine neue Formierungsweise (künstlerischer) Kollektivität erprobt hat. Aufgrund der heftigen deutschen Kritik an der Ausstellung fragt der Text abschließend, ob diese Form der Kollektivierung gescheitert ist. Der Schluss erinnert an die doppelte Einladung, die der documenta fifteen vorausgegangen ist, und plädiert dafür, den durch sie angestoßenen Prozess, mit Fehlern und Entwicklungen, weiterhin offen zu halten. (shrink)

We normally suppose that any artwork “is about” something. The aim of this paper is to show that, even if we can often successfully treat artworks like (historical, sociological, biographical, economical, psychological…) documents, such a circumstance isn’t essential in order to make of an object (a building, a photo…) an artwork (nor it is, parenthetically, the fact that the object in question can be judged as a “beautiful” object, in any sense of this word). The only important circumstance is that (...) an object is adequately documented to be an artwork. (shrink)

We normally suppose that any artwork “is about” something. The aim of this paper is to show that, even if we can often successfully treat artworks like (historical, sociological, biographical, economical, psychological…) documents, such a circumstance isn’t essential in order to make of an object (a building, a photo…) an artwork (nor it is, parenthetically, the fact that the object in question can be judged as a “beautiful” object, in any sense of this word). The only important circumstance is that (...) an object is adequately documented to be an artwork. (shrink)

"Documenta fifteen in 2022 was par excellence the space for participatory art, so this edition can be seen as a touchstone for it. The research of the phenomenon of participatory art is based in this text on the one hand on the curatorial texts of ruangrupa, the collective that ensured the artistic direction of this edition of the documenta, and on the personal experience of the author as a visitor of the exhibition. Among the many issues raised by (...) participatory art, the present text focuses on the aspect of reception of art in the case of the projects presented at documenta fifteen, and by extension, reflects on the experience of the receiver and the artistic value of participatory art projects. Keywords: participatory art, documenta fifteen, lumbung, reception of art, evaluation of participatory art ". (shrink)

continent. 2.3 (2012): 224–228 Introduction Jamie Allen Thierry Geoffroy’s conceptual, event- and environment-based art practice has generated over two-decades of definitional activity around what he terms “format art.” The works re-galvanize the energies of a syndicatable, open and atmospheric arrangement, of varying specifics dependent on context, participants and environment. With formats like the Emergency Room, Biennalist, and the Critical Run, Geoffroy endeavors to imbricate art and artist in the most exigent and current of social, political and mediatised spectacles. The result (...) seems to plant us at a triangulation of the configurations proposed by Alan Kaprow, Andrea Fraser and Alan Abel. Geoffroy plays up a guileless innocence (at times sporting the “Naive Blue Helmet”) as he interviews spectactors at the 2012 dOCUMENTA13 exhibitions in Kassel, Germany. What he evokes is a declamation of the appropriative, unenthusiastic, cool inclinations of the mainstream art festival, the profligate biennial (triennial, quadrennial, etc.) circuit and national and global ideological cultural-engines. In propositional artifacts, definitional articles and direct transmissions from Geoffroy’s Emergency Room field office at dOCUMENTA13, the masking of an emergency is here questioned: Can an art show like dOCUMENTA be dangerous? —JA Is dOCUMENTA designed to make people cry about something and not make them see something else? Is the contemporary a distraction from the present? Can art in delay have any impact with today? Do we learn anything by seeing art shows reflecting on history? Could 860,000 visitors have been intoxicated by an apathic gaze than keep them away from reacting? Why is dOCUMENTA proud of having recieve no critic? Why is proximity less important? Why was dOCUMENTA in Kabul? Can weapons designed to kill protesters sold to a repressing regime be contradictory to the support of the Arab Spring? Is the contemporary like a flea market to avoid to debating the important topics of today? Can art be in advance of the broken arm, and avoid accident? Is the goal of dOCUMENTA to create a revolution or to entertain? Is dOCUMENTA betterly done than Disney Land? Is it better to watch Fox News for two years or to go to dOCUMENTA for two days? If a curator, curating a contemporary art show about war, forgets to debate about the weapons factories next door, should it be considered as a professional mistake? Is it OK to employ philosophers to promote vodka? Is navigation a threat? Can an art show like dOCUMENTA be dangerous? Thierry Geoffroy / Colonel author of the month Global Art and the Museum @ZKM: " THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK " Link to Emergency Room Dictionary < /a> "COOLNESS" from the EMERGENCY ROOM DICTIONARY by COLONEL MUSIC Biennalist at dOCUMENTA 13 "TIRED" from the EMERGENCY ROOM DICTIONARY by COLONEL MUSIC Link to " APATHY " (from the Emergency Room Dictionary ) AWARENESS MUSCLE [fr. muscle de la conscience ] In the same sense memory can be trained, an awareness muscle can be developed by an effort. To develop the awareness muscle, the artist has to reduce his gesticulations. When an artist is busy the artist is not very aware the artist is occupied. A daily training is necessary But how to train? Scanning the news in a critical way could be one exercise. Daily debating politics with others could be another. Looking at other point of views usually produces significant improvements. Fighting prejudice is an excellent exercise. Many other forms of training could also produce beneficial effects for the awareness muscle. Continuous and daily training is important. For instance rewinding and slow motioning what has been absorbed getting away the sugar from the propaganda machines talking to everyone excercise comparatif critical run. If not daily trained the awareness muscle can degrade into atrophy To develop the awareness muscle requires will-power Thierry Geoffroy / Colonel. (shrink)

Documenta 13, la mega-mostra curata da Carolyn Christov Bakargiev che ha da poco chiuso i battenti a Kassel e che riaprirà al pubblico tra cinque anni, costituisce un punto di partenza particolarmente adatto per una riflessione sullo stato dell’arte della attuale ricerca artistica e del suo impatto sulla società, con i suoi cento giorni di apertura e gli 860 000 visitatori, ai quali vanno sommati i 27 000 che hanno affollato il polo distaccato di Kabul. La mostra ha esplorato (...) il lavoro di num... (shrink)

Documenta 13, la mega-mostra curata da Carolyn Christov Bakargiev che ha da poco chiuso i battenti a Kassel e che riaprirà al pubblico tra cinque anni, costituisce un punto di partenza particolarmente adatto per una riflessione sullo stato dell’arte della attuale ricerca artistica e del suo impatto sulla società, con i suoi cento giorni di apertura e gli 860 000 visitatori, ai quali vanno sommati i 27 000 che hanno affollato il polo distaccato di Kabul. La mostra ha esplorato (...) il lavoro di num... (shrink)

Der Beitrag beschäftigt sich aus philosophischer Perspektive mit der kontroversen öffentlichen Diskussion zur documenta fifteen. Einigen Stellungnahmen in dieser Debatte liegen implizit Prämissen einer kantisch geprägten ästhetischen Theorie zugrunde; ihnen stehen anders situierte Diskussionsstrategien aus außereuropäischen Kontexten gegenüber. Im Text wird der kantische universalistische Gedanke eines ästhetischen Gemeinsinns kritisch im Sinne einer postkolonialen Kritik gelesen. Gibt es andere universale Annäherungen an künstlerisches Arbeiten, die stärker von einer Haltung des Zuhörens geprägt sind? Entsprechend den in diesem Feld möglichen Differenzen variiert (...) auch das Verständnis, was es bedeutet, in einem Künstler:innenkollektiv zu arbeiten. (shrink)

El artículo documenta y analiza las vicisitudes en torno a la incorporación de Hilbert de su famoso axioma de completitud, en el sistema axiomático para la geometría euclídea. Esta tarea es emprendida sobre la base del material que aportan sus notas manuscritas para clases, correspondientes al período 1894–1905. Se argumenta que este análisis histórico y conceptual no sólo permite ganar claridad respecto de cómo Hilbert concibió originalmentela naturaleza y función del axioma de completitud en su versión geométrica, sino que (...) además permite disipar equívocos en cuanto a la relación de este axioma con la propiedad metalógica de completitud de un sistema axiomático, tal como fue concebida por Hilbert en esta etapa inicial.The paper reports and analyzes the vicissitudes around Hilbert’s inclusion of his famous axiom of completeness, into his axiomatic system for Euclidean geometry. This task is undertaken on the basis of his unpublished notes for lecture courses, corresponding to the period 1894–1905. It is argued that this historical and conceptual analysis not only sheds new light on how Hilbert conceived originally the nature of his geometrical axiom of completeness, but also it allows to clarify some misunderstandings regarding this axiom and the metalogical property of completeness of an axiomatic system, as it was understoodby Hilbert in this initial stage. (shrink)

Premessa Questo lavoro documenta una significativa convergenza tra la dottrina fenomenologica dell’empatia sviluppata da Edmund Husserl e la teoria della simulazione incarnata, suggerita dal funzionamento dei neuroni specchio nei primati (si farà riferimento ai lavori più recenti di Vittorio gallese). Posticipiamo, riservandola ad altra sede, la discussione fondazionale che risulterebbe indispensabile per giustificare un’analisi comparativa di questo tipo, limitandoci a constatare per il mome...

This article analyzes Drucilla Cornell’s critical theory as a practice of engaging with radical thinking and radical politics in the interest of revolutionary transformation. Arguing that Walter Benjamin’s imperative to wrest tradition away from conformism is at the heart of Cornell’s work, the article shows how Cornell applies this imperative both to the tradition of resistance against oppression and to critical theory itself. The article follows Cornell’s call to decolonize the critical theoretical project by bringing Surinamese anticolonial activist and writer (...) Anton de Kom, various collectives that participated in the 2022 German art festival documenta 15, and the disobedience of six young Palestinian “Freedom Riders” into conversation with Cornell’s writings on the South African Revolution and on Afro-Caribbean liberatory thought. (shrink)

As the Global South is increasingly interpenetrated by neo-liberal and authoritarian regimes the idea of the South as a site of emancipatory resistance and exotic cultural difference has ended. This article offers an alternative route into the cultures of the South. It focuses on the shifting forms of the South in contemporary visual art and outlines the possibilities of non-coercive forms of cultural exchange and the cartographies of a cosmopolitanism from below. This perspective on the South is most evident in (...) the stories of embodied solidarity that stand in contrast to top down visions of socio-economic development and cultural homogenization. (shrink)

Der Band präsentiert die 21 wichtigsten Enzyklopädie- und Lexikonartikel des 16. bis 19. Jahrhunderts zum Themenfeld "Gedächtnis, Gedächtnislehre, Gedächtniskunst" mit Kommentaren, Übersetzungen (aus dem Lateinischen, Italienischen und Spanischen), ausführlicher Bibliographie und einem Nachwort, das das Verhältnis von frühneuzeitlicher Mnemonik und Enzyklopädik erörtert. Eröffnet wird hiermit eine mehrbändige Reihe »Documenta Mnemonica« (ca. 6 Bände), die die wichtigsten einschlägigen Zeugnisse seit der Antike bis zum Ende der Frühen Neuzeit in mehrsprachigen, kommentierten Quelleneditionen, Quellenverzeichnissen und Forschungsbibliographien dem internationalen Wissenschaftsdiskurs bequem und verläßlich (...) zugänglich macht. (shrink)

The issues touched on in my work range between individual creation and social consciousness. We have entered an age of alienation brought on by specialization, a by-product of the Information Age. This is an age of complexity, when knowledge and ideas are coming in faster than can be assimilated, while disciplines become progressively alienated from each other through specialization. The hard-won knowledge that accumulates undigested, blocking meaningful communication. Clearly defined direction for mankind is lacking. The turn of the century and (...) the next millennium will usher in a troubled environment and a troubled psyche.Making art today is synonymous with assuming responsibility for our fellow man. I am concerned with the fact that we have taken evolution into our own hands. We are the first species that has the ability to consciously alter its evolution, modify itself at will, even put an end to its existence. We have gotten hold of our destiny and our impact on earth is astounding. Because of our tremendous success we are overrunning the planet, squandering its resources. We are young as a species, even younger as a civilization, and like reckless children initiate processes we cannot control. We tend to overproduce, overuse, and quickly tire of things. We also overreact, panic, and self-correct in hindsight. The pluralistic nature of things creates too many variables, confusing the goals to be achieved. Sustained interest and effective action are diminished with the alienation of the individual who feels little potential to interact or identify effectively with society as a whole. Overview for mankind is lacking and as the momentum increases human values tend to decline. Agnes Denes has had over 250 solo and group exhibitions on four continents since 1965. She has participated in such major international exhibitions as Project ’74, Cologne; the 1976 Biennale of Sydney, Australia; Documenta 6 in Kassel, Germany; and the Venice Biennales of 1978 and 1980. In 1989, she received her fourth National Endowment Individual Artist Fellowship. She has published four books, including The Book of Dust—The Beginning and the End of Time and Thereafter. (shrink)

El presente trabajo examina la crítica de Heidegger a la concepción kantiana de la libertad como un tipo peculiar de causa. Con ella Kant consuma tendencias operantes en una larga tradición, cuyos orígenes remontan a la ontología griega, que documenta la comprensión del ser como presencia. Pero el enfoque causal de la libertad no permite hacer justicia a sus raíces más profundas en la propia trascendencia del Dasein.

On the basis of certain tensions between Jacques Rancière’s aesthetics and his political philosophy, the article tries to trace new modes of subjectivation in contemporary activism and art. It explores how the actors of the overlapping terrains of aesthetic and political practices organize ‘different forms, different spaces of expression and distribution of ideas’ in Rancière’s sense. Yet, analysing the practices of the Occupy movement, the Spanish M15 movement, and the dOCUMENTA ‘agents’ AND AND AND as radically inclusive, polyvocal and (...) transversal, it proposes a position that differs from Rancière’s rejection of activist art, a non-totalizing political aesthetics as a component of molecular revolution. (shrink)

A noção mítica de justiça esbarra em dificuldades e equívocos, mas pode ser resgatada pelo exame das características e dos elementos próprios ao pensamento mítico e de sua coerência interna tal como se documenta na Teogonia de Hesíodo. No teatro de Eurípides, a noção de justiça permanece pensada e determinada no interior do repertório tradicional de imagens e de noções, documentado na Teogonia de Hesíodo. Nos Diálogos de Platão, a noção filosófica de justiça exibe traços comuns da paradigmática noção (...) mítica de justiça e esses traços comuns configuram a homologia estrutural entre as noções mítica e a filosófica de justiça. (shrink)

The large-scale painting ›People’s Justice‹, a work by the artist collective Taring Padi, originally intended as an agit-prop artwork in Indonesia two decades ago, was publicly exhibited in Kassel in 2022 at the international art exhibition ›documenta fifteen‹. Public criticism declared the large-scale image to be an anti-Semitic machination and scandalized the art exhibition as a whole as marked by anti-Semitic activism. Taring Padi’s large-scale painting was first covered, then completely removed. – In our paper, we analyze the political (...) problematic that set the matrix for the scandal and the organizational ethical aporia of a diffusion of responsibility: the organization of the art exhibition sought to maximize the curatorial freedom of the artist collectives, but in doing so increased the risk of dramatic reputational damage. Then we develop the specifically aesthetic problematic that the novel genre of ›post-autonomous art‹, so characteristic of ›documenta fifteen‹, makes particularly high demands on the ability to reflect on the difference between art and politics, as well as on cultural identities and differences, when post-autonomous art operates in multicultural contexts. These high demands affect not only the artists and curators, but also the real and virtual audiences of an open multicultural art exhibition. We identify some reasons why the high demands were not well met in the staging of ›documenta fifteen‹. Then we develop some suggestions within the normative framework of discourse ethics that reveal the deep normative aporias of such exhibitions and their difficult discourse culture and can be prospectively helpful. Finally, we briefly summarize the characteristic difficulties and aporias we have elaborated and end with an outlook on Aline Caillet’s art-philosophical concept of a specifically aesthetic responsibility. (shrink)

In this article I discuss Larry Sultan and Mike Mandel’s Evidence, 1977 contextualized by Graham Harman’s text, produced for ‘dOCUMENTA’, The Third Table, 2012. It is my contention that, although Evidence may have been produced to subvert the modernist tropes of authorship and narrative, or to draw our attention to visual material, which is ‘ready-to-hand’, the photographs can also be explored as a visual metaphor for Graham Harman’s approach to Object-Orientated Ontology. I seek to demonstrate that there is significance (...) in analysing the work in the context of Harman’s description of relations, his concepts of ‘overmining’ and ‘undermining’ and debates surrounding ‘OOO’. The article is a reading of the photographs, where the caption-less, unreferenced images, selected by Sultan and Mandel from various institutions and recontextualized in relation to art, are explored through ideas contained in Harman’s short text. (shrink)

Sullo scorcio del XIII secolo il patriarca Gregorio di Cipro inviò a Tessalonica un prezioso esemplare di Platone, su cui era riuscito a mettere le mani, perché fosse trascritto. Gregorio commissionò il lavoro a Giovanni Stauracio – figura di letterato anche altrimenti nota – e ad un certo Cabasila, chiamato a collaborare con Stauracio, «come Iolao con Eracle», per la realizzazione di un βιβλίον οὔ τοι ϕαυλον, un «libro non da nulla». Questo passo, scelto tra i molti che si potrebbero (...) addurre, documenta una realtà assai frequente nel mondo bizantino, vale a dire la collaborazione tra più copisti nell'allestimento di un codice. Nel caso in questione l'attività di trascrizione, come testimonia del resto la presenza di una committenza esterna di alto rango, assume la fisionomia di un lavoro vero e proprio, vincolato al pagamento di un compenso. Nonostante ne sia risultato un prodotto αἴσχιστον, «turpissimo» – sappiamo che il libro al suo solo apparire disgustò a tal punto il patriarca che questi avrebbe voluto gettarlo nell'acqua o nel fuoco perché non sopravvivesse a disonorare la propria biblioteca – Cabasila e, almeno in una certa misura, Stauracio dovevano essere scribi di mestiere e le loro, conseguentemente, mani professionali. Ma v'è un dato sul quale occorre riflettere: Stauracio e Cabasila erano solamente in due così come in due, ad esempio, erano gli scribi sicuramente di professione che, alla fine del secolo IX, avevano collaborato alla trascrizione del Vat. gr. 1594 e del Laur. 28.27, splendidi esemplari, specie il primo, della cosiddetta “collezione filosofica”. Di contro, alla trascrizione del codice che meglio di altri testimonia il lavoro e l'attività di studio di Gregorio di Cipro, giacché ne conserva, fra altri scritti, una silloge di testi classici da lui stesso messa insieme – l'Escor. X.I.13 + Φ.I.18 –, hanno preso parte insieme al patriarca almeno altri tre copisti, mentre in sei hanno collaborato con lui all'allestimento del corpus di logica aristotelica tradito dal codice Ambr. M 71 sup. Sembra lecito parlare, dunque, nei casi in cui molteplici siano le mani impegnate a trascrivere un codice, dell'attività più o meno organizzata di un gruppo di copisti, dietro i quali talvolta è possibile individuare “leading figures of scholarship”. Dal momento che gli esemplari usciti da questi ambienti non presentano un carattere univoco – si va da libri di pregio forse scritti su commissione a libri di studio, fino agli “Hausbücher” di cui parla Herbert Hunger – e che i modi stessi della collaborazione tra copisti si rivelano assai variegati, diverse e spesso contrastanti sono state le interpretazioni date del fenomeno. (shrink)

Risposte alle censure dell' "Ateismo triunfato" (1631).--Documenta ad Gallorum nationem.--Consultationes aphoristicae gerendae rei praesentis temporis cum Austriacis ac Italis ad hispanismi delectionem perficiendam (1635).--Compendium veritatis catholicae et falsitatis sectariorum de praedestinatione.--Censure al "De praedestinationes" (1636).

La identificación de Granada con el icono del fruto del granado en los atlas náuticos de al-Šarafī alimenta una imagen evocadora del reino nazarí, a la vez que solidaria con los exiliados moriscos en el contexto de la defensa turco-otomana del Islam en el Mediterráneo. Tanto la imagen de Granada como de la Sierra de Segura en la cartografía náutica mediterránea plantea interesantes cuestiones de tipo conceptual y estilístico pero, sobre todo, documenta la interacción entre las tradiciones magrebí-andalusí y (...) mallorquina. La carta de al-Mursī se presenta aquí como testimonio de ello. (shrink)

Questa raccolta di saggi, inserita nella collana sui classici della filosofia politica, conferma la ricchezza e la complessità della riflessione di Machiavelli e documenta anche la piena legittimità della sua collocazione nell’ambito della tradizione filo.

La colección Theoria cum Praxi abre la nueva serie Documenta con la tercera edición de esta obra que constituyó un hito dentro del panorama filosófico español. La razón sin esperanza se encuadraba en un programa de autocrítica de la razón analítica, dentro de la cual le correspondía cuestionar el tratamiento analítico de la razón práctica por parte de sus más insignes representantes. Lejos de centrar exclusivamente su atención en la problemática del análisis filosófico del lenguaje moral, el libro se (...) esforzaba por ampliar sus horizontes, lo que llevó a J. Muguerza a interpretar las vicisitudes de la ética analítica como un síntoma de la crisis de la Razón Ilustrada, a deplorar su supeditación al pensamiento positivista y a confrontar, en suma, sus planteamientos con el enfoque marxista de las relaciones entre la Teoría y la Praxis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesAntoni Muntadas (bio)The seven images in this issue are from Gestes, a book by Antoni Muntadas and published by Bookstorming (2003). The complete set of fifty-two portraits were collected from media images of various political figures during the Iraq War. Muntadas emphasizes the gestural movement of the hands, creating a strange and hypnotic choreography.Antoni Muntadas — born in Barcelona, Spain, in 1942 — has lived and worked in New (...) York since 1971.His work addresses social, political, and communications issues, the relationship between public and private space within social frameworks, and investigations of channels of information and the ways they may be used to censor central information or promulgate ideas. He works in various media: photography, video, publications, internet, and multi-media installations.He studied at the Escuela Tecnica Superior de Ingenieros Industriales in Barcelona and the Pratt Graphic Center in New York. He has taught and directed seminars at the University of California in San Diego, the École des Beaux Arts in Bordeaux and Grenoble, the CAVS at the Massachusetts Institute of Technology, the San Francisco Art Institute, the École Nationale des Beaux Arts in Paris, the University of São Paulo in Brazil, Cooper Union in New York, and many other institutions.Muntadas has received several prizes and grants including those of the Guggenheim Foundation, the Rockefeller foundation, the National Endowment for the Arts, the New York State Council on the Arts, Arts Electronica in Linz/Austria, Laser d'Or in Locarno, Switzerland, and the Premi Nacional d'Arts Plastiques de la Generalitat de Catalunya.He created works commissioned by the Centre Nacionale des Arts Plastiques in Paris, the Fonds d'Arts Publiques in Marseille, the Public Art Fund in New York, and has been resident artist and consulting advisor in several research and education centers, including the Visual Studies Workshop in Rochester, the Banff Center in Canada, Arteleku in San Sebastian, Spain, and the University of Western Sydney in Australia.His works have been exhibited throughout the world, including the Venice Biennale, Documenta Vl and X in Kassel, the São Paulo Biennal, la Biennale de Lyon et La Havana and The Museum of Modern Art in New York, the Berkeley Art Museum in California, the Wexner Arts Center in Columbus, Ohio, le Musée d'Art Contemporain de Montreal, le CAPC de Bordeaux, France, the Museu de Arte Moderna de Rio de Janeiro in Brazil, the Ludwig Museum in Budapest, Hungary, and the Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain. Click for larger view View full resolutionFigure 1.(Cover) Click for larger view View full resolutionFigure 2.(Page 2) Click for larger view View full resolutionFigure 3.(Page 10) Click for larger view View full resolutionFigure 4.(Page 31) Click for larger view View full resolutionFigure 5.(Page 52) Click for larger view View full resolutionFigure 6.(Page 74) Click for larger view View full resolutionFigure 7.(Page 95)Antoni Muntadas Antoni Muntadas —born in Barcelona, Spain, in 1942 —has lived and worked in New York since 1971.Copyright © 2003 The Johns Hopkins University Press... (shrink)

The Ethical Thesis: Practical Reason in Islamic Legal Hermeneutics. By Abdessamad BelhaJ. Documenta et Monographiae, vol. 8. Piliscsaba, Hungary: Avicenna institute of Middle Eastern Studies, 2015. Pp. 199. €38.80.