The article presents three models of radical cultural practice: Adorno’s dissonant modernism, Brecht’s “functional transformation” or “re-functioning” of institutions through estrangement and dialectical realism, and Debord’s Situationist détournement of art, aiming to rupture and decolonize naturalized everyday life. The three models all begin with a critical appropriation of the traditions of art and aims at resisting the social power that passes through art, as an institutionalized field of production and activity. Each of the three modes establishes a set of productive (...) strategies. (shrink)

Bertolt Brecht and Theodor W. Adorno stand for opposing modes and stances within an artistic modernism oriented toward radical social transformation. In his 1962 essay ‘Commitment’, Adorno advanced a biting critique of Brecht’s work and artistic position. Adorno’s arguments have often been dismissed but, surprisingly, are seldom closely engaged with. This paper assesses these two approaches that have been so central to twentieth-century debates in aesthetics: Brecht’s dialectical realism and Adorno’s sublime or dissonant modernism. It provides what still has been (...) missing: a close reading and immanent critique of Adorno’s case against Brecht. And it clarifies one methodological blind spot of Adorno’s formalist conceptualisation of autonomy: he fails to provide the detailed analysis of context that his own dialectical method immanently calls for. The paper shows how and why Brecht’s dialectical realism holds up under Adorno’s attack, and draws conclusions for contemporary artistic practice. (shrink)

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)