Luis Camnitzer
The bilingual Conversaciones/Conversations series, launched by the Fundación Cisneros/Colección Patricia Phelps de Cisneros in 2010, is dedicated to preserving firsthand accounts from leading Latin American artists and intellectuals.
Responding to the urgent need to compile primary-sourced information on the historical and contemporary conditions in Latin American art, this illustrated series of reading books features dynamic, in-depth dialogue between artists and their interlocutors.
The Conversaciones/Conversations e-book series—a joint collaboration between CPPC and MAPP Editions, UK—disseminates these important publications in a digital format. These e-book versions contain exciting features such as video and audio recordings that bring the artist’s voice to life; previously unpublished ...
What does the democratization of image production really accomplish beyond opening channels of communication? Ironically, the liberation of the voice as a means of announcing oneself and one’s views can be seen as a way of absorbing the brunt of more pressing questions concerning the distribution of actual material resources, as an escape from the pursuit of more equitable relationships with regard not just to representation, but also to the distribution of property and knowledge—the power to determine one’s own circumstances. At stake is really a way of liberating the means to decide one’s own way of living, of being ...
Koichiro Osaka’s text for this issue begins at the Sunshine 60 skyscraper in Tokyo. According to myth and a historical reading, the skyscraper is named for the sixty Japanese war criminals executed in 1948 in what was then Sugamo Prison. In 1978, the former prison became the tallest skyscraper in Asia. As Osaka explains, Sunshine 60 may be the largest war monument ever built. The building serves at once as a haunted gravesite and reassurance of the ongoing sunshine of fascism and capitalism.
Also in this issue, Françoise Vergès describes a daily ritual in multiple urban centers where thousands of black ...
As the novel coronavirus pandemic spreads, we—the people of planet earth—are faced with a dizzying variety of responses: quarantine, containment, vigilant self-quarantine, paranoid self-isolation, and in some cases escape from the above. Suddenly, it is as if circulation itself has turned against us, making healthy freedom of movement in the world a dealer of death. So your flight is cancelled. Your trip is over. We are staying in place for the foreseeable future. Exhibitions, symposia, gatherings of all kinds are postponed. But not sporting events. Those will go on, but without any supporters in the stands. The players will play ...
“But these, dear Indians, dear Hindus, are your leaders and your holy men. They are your mirrors and your death wish. Take a good look at them. Because they are not looking out for you.” These scathing words by Shuddhabrata Sengupta, from a piece published recently in India and reprinted in this issue of e-flux journal, condemn the country’s leaders for their role in fostering the conditions that led to the catastrophic number of coronavirus deaths the country is now suffering. It is not just India’s political leaders that are at fault, but also the holy men who advise them—spiritual ...
In the February 2009 issue of e-flux journal, Luis Camnitzer suggested in his essay “Art and Literacy” that a core problem in education (particularly for artists) can be traced back to an early stage when one is taught to read and write, in that order. On one level, it is simple common sense to suppose that one can only begin to write after learning how to read. But, at the same time, this ordering also takes for granted that consumption must necessarily come before production—only after you consume knowledge will you then be capable of producing it. It is a fundamental ...
These days, it is fairly clear that we consider art to be a trans-disciplinary field in a position to nurture other disciplines, and to be nurtured by these other disciplines in turn. As promising as this might sound, the terms for this exchange become significant, because it remains unclear what exactly we presume art to offer to the world. When hard pressed, we usually prefer not to prequalify the nature of artistic contribution at all, because in fact artists reserve the right to offer nothing other than doing work on their own terms. This requires a delicate balance, and it ...
We are increasingly faced with premodern foundation myths coming from right-wing propaganda and grassroots movements alike. They tell us that some things don’t change and they ask us to think about how original communities are constituted. And we start to wonder whether these original communities are new synthetic fabrications concocted by the limits of communication and exchange, by the failed promises of a liberal democracy or a thriving economy that does not reach people who thought they were entitled to it, and who thus start to look elsewhere. Or do these communities actually contain some real claim to a historical ...
Increasingly it seems like no large exhibition opens without an artist boycott. And the reasons to withdraw are legitimate—a gulf museum employs migrant labor under terms approaching slavery, a biennial sponsor corporation operates an offshore detention center, works are censored for petty moral reasons, a municipality passes a homophobic law, or funding is traced to an occupying state with a staggering record of ongoing human rights abuses…
Editorial
Julieta Aranda, Brian Kuan Wood, Anton Vidokle
The Detweeting of Academia
Luis Camnitzer
Circulation and Withdrawal, Part I: Circulation
Simon Sheikh
CCC: Currency of Collective Consciousness
Ahmet Öğüt
Déjà Vu and the End of History
Paolo Virno
Media Archaeology Out of Nature: ...
In Djibril Diop Mambéty’s 1992 dark comedy Hyènes, an extravagantly wealthy woman returns to her poor village seeking revenge. Her target is the man who humiliated her in her youth by getting her pregnant and abandoning her. It is not only death that she wants, but also justice. She will not murder the man by her own hand, as Charles Tonderai Mudede explains in this issue, but instead asks the village to mete out capital punishment, to murder him for his wrongdoing. In exchange, she will make the town wealthy. As the village reflects upon its principles, the people of ...
The freeport method of art storage presents its critics with a problem. Is it something new? Or something old? What could be less surprising than an international aristocracy hiding treasures in a cave someplace? The CEO of the Geneva Freeport might have overcharged his Russian Oligarch, Dmitry Rybolovlev, by one billion dollars for thirty-five paintings, according to Sam Knight’s recent, riveting account. Rybolovlev had himself acquired a large slice of the collective ownership of the means of production in 1992, when he was twenty-nine, in the form of Uralkali, a mining company developed by the State Planning Committee of the USSR ...
The aesthetics of political engagement has become common currency within artistic production and discourse, and the abundance of works and exhibitions now announcing themselves as politically charged are often criticized for their distance from actual social forces outside art. While institutional critique successfully identified certain parallels between these forces and the workings of art institutions, it seems that this has simply given way to a more nuanced (and however richer) discourse for understanding the way power operates within the micro-economy of art itself. Through this, a collective desire for some form of rupture within art has come to constitute an ...
