Gerald Raunig

PublisherMayFly Books2009
‘Institutional critique’ is best known through the critical practice that developed in the late 1960s and early 1970s by artists who presented radical challenges to the museum and gallery system. Since then it has been pushed in new directions by new generations of artists registering and responding to the global transformations of contemporary life. The essays collected in this volume explore this legacy and develop the models of institutional critique in ways that go well beyond the fi eld of art. Interrogating the shifting relations between ‘institutions’ and ‘critique’, the contributors to this volume analyze the past and present of ...
Based on Walter Benjamin’s seminal essay “The Author as Producer”, an array of theorists have developed approaches towards an aesthetics of production. The texts of this issue investigate how Benjamin’s arguments may serve as a ground for reflecting and theorizing current art practices. What are the consequences of political art’s function of “supplying the capitalist production apparatus, not changing it”? How can artistic methods subvert cooptation following Brecht and Tretyakov? Where are there new models of artists/intellectuals as producers and “specialists” rather than experts for the universal?
PublisherMayFly Books2011
Creativity is astir: reborn, re-conjured, re-branded, resurgent. The old myths of creation and creators – the hallowed labors and privileged agencies of demiurges and prime movers, of Biblical world-makers and self-fashioning artist-geniuses – are back underway, producing effects, circulating appeals. Much as the Catholic Church dresses the old creationism in the new gowns of ‘intelligent design’, the Creative Industries sound the clarion call to the Cultural Entrepreneurs. In the hype of the ‘creative class’ and the high flights of the digital bohemians, the renaissance of ‘the creatives’ is visibly enacted. The essays collected in this book analyze this complex resurgence ...
Progressive Art Institutions in the Age of Dissolving Welfare States The final word of power is that resistance is primary.” (Gilles Deleuze) The indissoluble link between power and resistance, as described byFoucault and Deleuze, is especially evident in the institutions of theart field. Progressive art institutions play a particularly exposed role here as buffers against the influence of state and capital on critical art practices and as machines of a soft instrumentalization of resistance at the same time. The essays in this edition discuss strategies and alliances between activist art practices and progressive art institutions that are capable of providing artistic criticism ...
Precariousness increasingly defines the conditions, under which people in all different fields pursue their work. Yet it is not only work, but also living conditions that have become precarious for more and more extensive portions of the European population. The present edition of the republicart web journal deals with more recent attempts to counter non-self-determined precariousness with the means of art and activism, bringing a self-determined turn to the term. In the practices of the Precarias a la Deriva in Madrid, the Glücklichen Arbeitslosen in Berlin, the French Intermittents, the May Day Parades in Barcelona and Milan, or the Italian ...
rePublicart was a transnational research project from 2002 to 2005, produced by the EIPCP (European Institute for Progressive Cultural Policies), which promoted the development of interventionist and activist practices of public art. In addition to twelve exemplary art projects and twelve discursive events, this project resulted in a European network, which was primarily reflected in the issues of this online journal. The rePublicart project was succeeded by the EIPCP project Transform (2005-2008). http://www.republicart.net/index.htm http://transform.eipcp.net

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