Pro qm, die thematische Buchhandlung zu Stadt, Politik, Pop, Ökonomiekritik, Architektur, Design, Kunst und Theorie aus Berlin, hat für Common – Journal für Kunst & Öffentlichkeit aktuelle Literatur zum Thema zusammengestellt:
Markus Metz, Georg Seeßlen
Geld frisst Kunst, Kunst frisst Geld. Ein Pamphlet
Suhrkamp 2014
Dass die bürgerliche Emanzipation der Kunst von Kirche und Adel keineswegs nur Autonomie, sondern auch einen paradoxen Markt des Unmarktförmigen mit eigenen Herr/Knecht-Verhältnissen hervorgebracht hat, ist nichts Neues. Doch mit der Herausbildung einer globalisierten Kunstbörse erhält diese Dialektik eine neue, durch immer krudere Kurzschlüsse von Kunstgeld und Geldkunst geprägte Qualität. Markus Metz und Georg Seeßlen kartographieren, analysieren und kommentieren diese Entwicklung in den Werken, Institutionen, Diskursen und Akteuren der Gegenwartskunst – und kontern mit der Gegenfrage: Wie und wo kann Kunst trotz allem mehr sein als die schickste Form der Steuerhinterziehung?
Rachel Mader (Hg)
Radikal Ambivalent. Engagement und Verantwortung in den Künsten heute
Diaphanes 2014
Wie ist das Verhältnis zwischen Kunst und Politik heute? Erzielt engagierte Kunstproduktion Wirkungen im öffentlichen, politischen Raum? Wie ist es um die Lesbarkeit von visuellen Botschaften in Kunst und Kultur bestellt? In jüngster Zeit treten zunehmend mehrdeutige und unentschiedene Codes und Zeichen an die Stelle einer klaren und deutlichen Bildsprache. Während die einen dafür die Komplexität der Inhalte und Vielfalt der Formen verantwortlich machen, interpretieren andere dies als politische Strategie der Verweigerung gegenüber einer Instrumentalisierung. Der Tenor der Kunstkritik ging in den letzten Jahren sogar so weit, die Uneindeutigkeit zum Qualitätsmerkmal gehaltvoller Kunst schlechthin zu erheben. Die in dieser Publikation versammelten Aufsätze hinterfragen das Phänomen »Ambivalenz« aus kritischer Perspektive und untersuchen seine Mechanismen und gesellschaftlichen Funktionen.
Jonathan Harris
Art, Money, Parties. New Institutions in the Political Economy of Contemporary Art
Liverpool University Press 2004
„Art, Money, Parties“ is a collection of essays based on papers given at a conference of the same name held at Tate Liverpool in November 2002. It sets out to describe and evaluate the development of new forms of art patronage and display evident in such recurrent events as biennials, cultural quarter‘ projects for urban regeneration, novel galleries of contemporary art, and production sponsors (such as the Saatchi Gallery and the Baltic). The scope of the collection is international and its aim is to map and examine the globalisation of art’s political-economy. The contributors include: Jeremy Valentine (Queen Elizabeth College, Edinburgh), Andrew Brighton (Tate Modern), Sadie Coles (Gallery owner), Rory Francis (Manchester Metropolitan University), Paul Usherwood (University of Northumbria), Stewart Home (artist and writer), Lewis Biggs (ex-Director, Tate Liverpool), and Jonathan Harris (University of Liverpool).
Maria Lind, Olav Velthuis (Eds.)
Contemporary Art and Its Commercial Markets. A Report on Current Conditions and Future Scenarios
Sternberg Press 2012
How will artists and galleries produce and distribute their work? How much money will everyone make? This pocket sized reader provides a provocative look into the future by mapping the complex entanglements of contemporary art and its commercial markets. In cheeky, controversial essays, critics, academics and artists offer insights into the artwork as an asset category and celebrity accessory, the rise of the art fair and the increased competition of auction houses.
Andrea Hausmann
Handbuch Kunstmarkt: Akteure, Management und Vermittlung
Transcript 2014
Der Kunstmarkt ist eine wichtige und besonders dynamische Teilbranche der Kultur- und Kreativwirtschaft. Mit diesem Band liegt ein aktuelles und umfassendes Kompendium vor, das die Rahmenbedingungen und Funktionsweisen des Kunstmarktes systematisch aufbereitet. Namhafte Experten analysieren kenntnisreich das Handeln und die vielfältigen Interessen der Akteure, die diesen Markt prägen: von den Künstlern über die Galerien, Auktionshäuser, Kunstmessen und Museen bis hin zu den Sammlern und Ausstellungsbesuchern. Ein Wegweiser für Kunstvermittler, Kulturmanager und Kulturpolitiker, sonstige Berufstätige im Kunstmarkt sowie für Studierende und Lehrende themennaher Studiengänge. Mit Beiträgen von Barbara Alder, Nils Büttner, Dirk Boll, Friederike van Delden, Behrend Finke, Linda Frenzel, Felix Ganteführer, Patrick Glogner-Pilz, Gérard A. Goodrow, Monika Grütters, Stefan Haupt, Andrea Hausmann, Marlies Hummel, Andrea von Hülsen-Esch, Hubertus Kohle, Thomas Köhler, Stefan Lüddemann, Peter M. Lynen, Jörg Rössel, Thomas Rusche, Ulli Seegers, Nora Wegner, Maren Ziese und Olaf Zimmermann.
Robert Fleck
Das Kunstsystem im 21. Jahrhundert. Museen, Künstler, Sammler, Galerien
Passagen Verlag 2013
Auch in der Kunst und im Kunstbetrieb bringt die Globalisierung starke Umbrüche mit sich. Das Spannungsfeld zwischen Kunst, Künstlern, Händlern, Sammlern und Museen ist somit völlig neu zu denken. Kunst und Kunstbetrieb befinden sich gegenwärtig in einem epochalen Umbruch: Da durch die Globalisierung Künstlerinnen und Künstler aus allen Kontinenten und den unterschiedlichsten Kulturen beachtet werden, sind westliche Künstlerinnen und Künstler in zahlreichen Großausstellungen nunmehr in der Minderheit. Die großen Museen des neuen Jahrhunderts werden in den sogenannten Schwellenländern errichtet und der Kunsthandel mutiert zu einer weltumspannenden Aktivität. Im Wandel befinden sich damit auch: die Position der Künstlerinnen und Künstler, der europäische Museumsbegriff, die Kräfteverhältnisse zwischen Sammlern, Händlern und Museen, die Erfahrungsräume von Künstlerinnen und Künstlern auf der einen Seite und von Betrachterinnen und Betrachtern auf der anderen Seite sowie die Formen der Öffentlichkeit von Kunst. Robert Fleck untersucht diese Veränderungen sowohl an konkreten Beispielen als auch im kunstsoziologischen und historischen Vergleich und schlägt die Entwicklung von adäquaten Instrumenten zur Kritik des transformierten Kunstsystems vor.
Claire Bishop
Radical Museology. Or what’s „Contemporary“ in Museums of Contemporary Art
Koenig Books 201
Die Zukunft des öffentlichen Museums als einer Institution, die sich an den Interessen der Mehrheit orientiert, statt die Privilegien Einzelner noch zu festigen, erschien nie trüber. Oder doch nicht?Angesichts der Kürzung öffentlicher Mittel sah eine Handvoll zeitgenössischer Kunstmuseen sich dazu veranlasst, Alternativen zur Finanzausstattung aufzuzeigen. Das Van Abbemuseum in Eindhoven, das Museo Nacional de Reina Sofía in Madrid und das MSUM in Ljubljana entwerfen exemplarisch ein neues Verständnis des Zeitgenössischen in der Gegenwartskunst. Die Publikation wird durch zahlreiche Illustrationen des Künstlers Dan Perjovschi ergänzt.
Cristina Bechtler (Ed.)
Museum of the Future
JRP Editions 2014
Museums of contemporary art are expanding and in crisis. They attract ever-larger audiences, architects constantly redesign them, and the growing number of artists is producing more massively than ever; at the same time museum funds are dwindling in the economic crisis and an overheated art market. The question of which art is to be collected is also becoming a more openly discussed topic in a globalized art world. How do curators meet these challenges? What opinion do the artists have of their relationship to the museum? How do practitioners navigate between ideas, ideals, and realities?
This publication gathers together interviews with international artists, architects, and curators of the contemporary art world, such as John Baldessari, Ute Meta Bauer, Suzanne Cotter, Bice Curiger, Chris Dercon, Charles Esche, Liam Gillick, Michael Govan, Katharina Grosse, Yuko Hasegawa, Jacques Herzog, Thomas Hirschhorn, Philipp Kaiser, Rem Koolhaas, Lars Nittve, Hans Ulrich Obrist, Thierry Raspail, Tobias Rehberger, Beatrix Ruf, among others. Their different answers bring visibility to the complexity of the topic, but also to the deep pleasure and intellectual stimulation museums provide, as well as to their relevance to culture today.
Jean-Paul Martinon (Ed.)
The Curatorial. A Philosophy of Curating
Bloomsbury Academic 2015
Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between ‚curating‘ and ‚the curatorial‘. If ‚curating‘ is a gamut of professional practices for setting up exhibitions, then ‚the curatorial‘ explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.
Claire Bishop (Hg)
Participation (Documents of Contemporary Art Series)
Whitechapel Gallery 2006
The desire to move viewers out of the role of passive observers and into the role of producers is one of the hallmarks of 20th century art. Published in the „Documents of Contemporary Art“ series, this title collects texts that place this artistic development in historical and theoretical context including essays by Umberto Eco, Roland Barthes, Peter Burger, Jean-Luc Nancy, Edouard Glissant, Felix Guattari and Jacques Ranciere. The book also includes central writings by such artists as Lygia Clark and Helio Oiticica, Joseph Beuys, Adrian Piper, Thomas Hirschhorn and Rirkrit Tiravanija, and features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster and Hans-Ulrich Obrist. This work includes essays by Roland Barthes, Joseph Beuys, Nicolas Bourriaud, Peter Burger, Graciela Carnevale, Lygia Clark, Collective Actions, Eda Cufer, Guy Debord, Jeremy Deller, Umberto Eco, Hal Foster, Edouard Glissant, Group Material, Felix Guattari, Thomas Hirschhorn, Carsten Holler, Allan Kaprow, Lars Bang Larsen, Jean-Luc Nancy, Molly Nesbit, Hans Ulrich Obrist, Helio Oiticica, Adrian Piper, Jacques Ranciere, Dirk Schwarze, and Rirkrit Tiravanija.
Jeni Walwin
Searching for Art’s New Publics
Intellect Books 2010
Drawing on contributions from practicing artists, writers, curators, and academics, Searching for Art’s New Publics explores the ways in which artists seek to involve, create and engage with new and diverse audiences—from passers-by encountering and participating in the work unexpectedly, to professionals from other disciplines and members of particular communities who bring their own agendas to the work. Bridging the gap between practice and theory, this exciting book touches on issues of relational aesthetics, but also offers an illustrated artist-based approach. Searching for Art’s New Publics will appeal to students studying fine art (especially those with an interest in cross-disciplinary work and public art) and those studying curating.
Stine, Hebert, Anne Szefer Karlsen (Hg)
Self-Organised (Open Editions)
Open Editions 2013
The current economic situation and society’s low confidence in is institutions has suddenly demanded that artists become more imaginative in the way that they organise themselves.If labels such as ‘alternative’, ‘non-profit’ and ‘artist-run’ dominated the self-organised art scene that emerged in the late 1990s, the separatist position implied by the use of these terms has been moderated during the intervening years. This new anthology of accounts from the front line includes contributions by artists, as well as their institutional counterparts, that provide a fascinating observation of the art world as matrix of interconnected positions where the balance of power and productivity constantly shifts.
Gabriele Detterer (Hg)
Artist-Run Spaces. Non Profit Collective Oraganizations in the 1960s & 1970s
JRP Editions 2011
In the 1960s and 70s, as the parameters of art expanded to incorporate architecture and performance and increasingly drew on urban theory and the politics of everyday life, the model of the artist-run gallery space gained enormous relevance. Developed in collaboration with the founders of the leading artist-run spaces of the 1960s and 1970s, this volume compiles the first extensive research on the history of this phenomenon. It introduces spaces such as Art Metropole in Toronto, Artpool in Budapest, Ecart in Geneva, Franklin Furnace in New York, La Mamelle in San Francisco, Printed Matter in New York, Western Front in Vancouver and Zona in Florence, along with their founders, including Carl Andre, John Armleder, AA Bronson, Sol LeWitt, Lucy Lippard, Tom Marioni and Maurizio Nannucci.
Paul O’Neill, Mick Wilson (Hg)
Curating Research
Open Editons 2014
This anthology presents a series of detailed examples of the different kinds of knowledge production that have recently emerged within the field of curatorial practice. The first volume of its kind to provide an overview of the theme of research within contemporary curating, Curating Research marks a new phase in developments of the profession globally. Consisting of case studies and contextual analyses by curators, artists, critics and academics, including Hyunjoo Byeon, Carson Chan and Joanna Warsza, Chris Fite-Wassilak, Olga Fernandez Lopez, Kate Fowle, Maja and Reuben Fowkes, Liam Gillick, Georgina Jackson, Sidsel Nelund, Simon Sheikh, Henk Slager, tranzit.hu, Jelena Vestic, Marion von Osten and Vivian Ziherl, and edited by curators Paul O’Neill and Mick Wilson, the book is an indispensible resource for all those interested in the current state of art and in the intersection between research and curating that underlies exhibition-making today.
Marysia Lewandowska, Laurel Ptak (Eds.)
Undoing Property?
Sternberg Press 2013
Undoing Property? Examines complex relationships inside art, culture, political economy, immaterial production, and the public realm today. In ist pages artists and theorists address aspects of computing, curating, economy, ecology, gentrification, music, publishing, piracy, and much more.
Property shapes all social relations. Ist invisible lines force separations and create power relations felt through the unequal distribution of what is otherwise collectively produced value. Over the last few years the precise question of what should be privately owned and publicly shared in society has animated intense political struggles and social movements around the world. In this shadow the publication’s critical texts, interviews and artistic interventions offer models of practice and interrogate diverse sites, from the body, to the courtroom, to the server, to the museum. The book asks why propertization itself has changed so fundamentally over the last few decades and what might be done to challenge it. The „undoing“ of Undoing Property? Begins with the recognition that something else is possible.
Michael Warner
Publics and counterpublics
Zone Books 2005
Most of the people around us belong to our world not directly, as kin or comrades, but as strangers. How do we recognize them as members of our world? We are related to them as transient participants in common publics. Indeed, most of us would find it nearly impossible to imagine a social world without publics. In the eight essays in this book, Michael Warner addresses the question: What is a public?According to Warner, the idea of a public is one of the central fictions of modern life. Publics have powerful implications for how our social world takes shape, and much of modern life involves struggles over the nature of publics and their interrelations. The idea of a public contains ambiguities, even contradictions. As it is extended to new contexts, politics, and media, its meaning changes in ways that can be difficult to uncover.Combining historical analysis, theoretical reflection, and extensive case studies, Warner shows how the idea of a public can reframe our understanding of contemporary literary works and politics and of our social world in general. In particular, he applies the idea of a public to the junction of two intellectual traditions: public-sphere theory and queer theory.
Sarah Schultz, Sarah Peters, Walker Art Center
Open Field. Conversations on the Commons
Walker Art Center 2012
George Bernard Shaw once wrote: „If you have an apple and I have an apple and we exchange these apples then you and I will still each have one apple. But if you have an idea and I have an idea and we exchange these ideas, then each of us will have two ideas.“ Open Field is the Walker Art Center’s ongoing experiment in participation and public space. Taking place outdoors in the summer months, the project invites artists and visitors to imagine and inhabit the museum’s campus as a cultural commons–a shared space for idea exchange, creative gatherings and unexpected interactions. In 2010, the Walker’s backyard was home to numerous activities from conversations to performances and temporary sculptures. This volume discusses Open Field’s genesis, exploring the meaning and impact of public practice for institutions.
Sibylle Peters (Hg)
Das Forschen aller. Artistic Research als Wissensproduktion zwischen Kunst, Wissenschaft und Gesellschaft
Transcript 2013
Wie muss sich Forschung verändern, wenn sie nicht länger als ein Privileg der Wissenschaften verstanden wird? Und was können künstlerische Verfahren dazu beitragen? Mit wissenspolitischen Analysen und detaillierten Fallstudien zwischen Performance, Ethnographie, Aktivismus und Materialwissenschaft porträtieren die Beiträge dieses Bandes „Artistic Research“ als Versuch, Forschungsprozesse so zu gestalten, dass alle Mitglieder der Gesellschaft daran mitwirken können. Der Band stellt die Debatte um „Artistic Research“ vom Kopf auf die Füße: Es geht keineswegs nur um die Frage, ob und wann Kunst Forschung ist – sondern vielmehr darum, wie die Teilhabe aller an den Prozessen der Wissensproduktion zwischen Kunst, Wissenschaft und Gesellschaft in Zukunft organisiert werden soll.
Spyros Papapetros, Julian Rose (Eds.)
Retracing the Expanded Field
The MIT Press 2014
Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible „synthesis of the arts,“ their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art’s transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, „Sculpture in the Expanded Field,“ that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss’s hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of „Sculpture in the Expanded Field.“
alle Bücher erhältlich bei Pro qm www.pro-qm.de