Literaturliste zu Konjunktur und Krise?

Konjunktur und Krise?, No 2.

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:

Tom Finkelpearl
What We Made. Conversations on Art and Social Cooperation
Duke, 2013, 978-0-8223-5289-1
In What We Made, Tom Finkelpearl examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art. He suggests social cooperation as a meaningful way to think about this work and provides a framework for understanding its emergence and acceptance. In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media. Issues discussed include the experiences of working in public and of working with museums and libraries, opportunities for social change, the lines between education and art, spirituality, collaborative opportunities made available by new media, and the elusive criteria for evaluating cooperative art. Finkelpearl engages the art historians Grant Kester and Claire Bishop in conversation on the challenges of writing critically about this work and the aesthetic status of the dialogical encounter. He also interviews the often overlooked co-creators of cooperative art, „expert participants“ who have worked with artists. In his conclusion, Finkelpearl argues that pragmatism offers a useful critical platform for understanding the experiential nature of social cooperation, and he brings pragmatism to bear in a discussion of Houston’s Project Row Houses.

Interviewees. Naomi Beckwith, Claire Bishop, Tania Bruguera, Brett Cook, Teddy Cruz, Jay Dykeman, Wendy Ewald, Sondra Farganis, Harrell Fletcher, David Henry, Gregg Horowitz, Grant Kester, Mierle Laderman Ukeles, Pedro Lasch, Rick Lowe, Daniel Martinez, Lee Mingwei, Jonah Peretti, Ernesto Pujol, Evan Roth, Ethan Seltzer, and Mark Stern

David Harvey
Rebellische Städte
Suhrkamp, 2013, 978-3-518-12657-8

Dass Städte politische Räume sind, verrät bereits die Herkunft des Wortes Politik vom griechischen polis. In Städten wird regiert und demonstriert, zuletzt in Kairo oder New York. In Städte wird aber auch investiert, Geld verwandelt sich in Häuser, in Wolkenkratzer und Vorortsiedlungen. Und schließlich ist Stadtplanung spätestens seit dem Umbau von Paris durch Georges-Eugènes Haussmann immer zugleich ein Instrument der politischen Kontrolle. All diesen Themen geht David Harvey in Rebellische Städte nach. Er befasst sich mit dem Zusammenhang zwischen Hochhausboom und Wirtschaftskrise, mit dem rasanten Wachstum chinesischer Städte und erkundet das emanzipatorische Potenzial urbaner Protestbewegungen wie »Occupy Wall Street« und »Recht auf Stadt«.

Gregory Sholette, Oliver Ressler (Hrsg.)
It’s the Political Economy, Stupid
The Global Financial Crisis in Art and Theory
Pluto, 2013, 9780745333694

It’s the Political Economy, Stupid brings together internationally acclaimed artists and thinkers, including Slavoj Žižek, David Graeber, Judith Butler and Brian Holmes, to focus on the current economic crisis in a sustained and critical manner.
In sympathy with the subject matter, the book features powerful original artwork for the cover, and an internal design theme based on the movements of Goldman Sachs stock market values by activist designer Noel Douglas. What emerges is a powerful critique of the current capitalist crisis through an analytical and theoretical response and an aesthetic-cultural rejoinder. By combining artistic responses with the analysis of leading radical theorists, the book expands the boundaries of critique beyond the usual discourse.
It’s the Political Economy, Stupid argues that it is time to push back against the dictates of the capitalist logic and, by use of both theoretical and artistic means, launch a rescue of the very notion of the social.

Nikolaus Hirsch, Markus Miessen (Hrsg.)
Critical Spatial Practice. What Is Critical Spatial Practice?
Sternberg Press, 2012, 978-3-943365-27-6

In September 2011, Nikolaus Hirsch and Markus Miessen invited protagonists from the fields of architecture, art, philosophy, and literature to reflect on the single question of what, today, can be understood as a critical modality of spatial practice. Most of the sixty-four contribu­tions presented in this volume were composed concurrently with the evictions of many of the Occupy movements, sustained turmoil in countries of the Arab Spring, and continued spasms in the global financial system, which, interestingly, all pointed at the question and problematic of whether archi­tecture and our physical environment can still be understood as a res publica. A response by the editors takes the form of a conversation.
This book is first in a series on critical spatial practice developed alongside the Städelschule program of the same name. Each edition includes work by invited artists—the first includes newly commissioned work by the photographer Armin Linke, who documented the Occupy camp around the European Central Bank in Frankfurt.

Markus Miessen, Chantal Mouffe
The Space of Agonism. Critical Spatial Practice 2
Sternberg Press, 2012, 978-3-943365-41-2

The second volume in the Critical Spatial Practice series presents a selection of conversations between Markus Miessen and political philosopher Chantal Mouffe. Taking place intermittently between December 2006 and October 2011, the dialogues attempt to unpack current dilemmas and popular mobilizations in terms of consensus-driven formats of political decision making. The conversations were alternately driven by Miessen’s specific concerns regarding his ongoing investigation into conflict-based forms of participation as an alternative (spatial) practice in democratic systems, and Mouffe’s understanding and theory of a “conflictual consensus.” Thinking in terms of agonism and “demoicracy”—a union that acknowledges the plurality and permanence of its different populations—the book proposes new approaches to countering and responding to the globalizing thrust of neoliberalism.

Anneka Esch-van Kan, Stephan Packard, Philipp Schulte (Hrsg.)
Thinking – Resisting – Reading the Political
Diaphanes, 2013, 978-3-03734-217-6

This volume contrasts a number of recently suggested concepts of the political – each of which connects to certain instances of art and literature in its discourse – with questions concerning the rigidity of those connections: How strongly do such claims to politics depend on their specific examples, what is the scope of their validity to understand art with regard to politics, and how can they help us grasp the political within other pieces of art? In each case, manners of thinking concepts of the political, the mutual resistance of such concepts and their academic treatment, and the turn towards specific readings informed by those concepts converge.
The essays collected in “Thinking Resistances. Current Perspectives on Politics, Community, and Art“ engage with political phenomena in their interrelations with arts as well as with recent theoretical and philosophical perspectives on the very meaning of politics, the political, and community.

Stefan Hölscher, Gerald Siegmund (Hrsg.)
Dance, Politics & Co-Immunity
Diaphanes, 2013, 978-3-03734-218-3

This Volume is dedicated to the question of how dance, both in its historical and in its contemporary manifestations, is intricately linked to conceptualisations of the political. Whereas in this context the term „policy“ means the reproduction of hegemonic power relations within already existing institutional structures, politics refers to those practices which question the space of policy as such by inscribing that into its surface which has had no place before. The art of choreography consists in distributing bodies and their relations in space. It is a distribution of parts that within the field of the visible and the sayable allocates positions to specific bodies. Yet in the confrontation between bodies and their relations, a deframing and dislocating of positions may take place. The essays included in this book are aimed at the multiple connections between politics, community, dance, and globalisation from the perspective of e.g. Dance and Theatre Studies, History, Philosophy, and Sociology.

With contributions by Saša Asentić, Ulas Aktas, Gabriele Brandstetter, Ramsay Burt, Bojana Cvejić, Mark Franko, Gabriele Klein, Bojana Kunst, André Lepecki, Isabell Lorey, Oliver Marchart, Brian Massumi/Erin Manning, Randy Martin, Gerald Raunig, Petra Sabisch, and Ana Vujanović.

Peter Osborne, Eric Alliez (Ed.)
Spheres of Action. Art and Politics
MIT Press, 2013, 9781854379757

Contemporary art is increasingly part of a wider network of cultural practices, related through a common set of references in cultural theory. Within Europe, relations between national theoretical traditions have become more fluid and dynamic, generating an increasingly transnational space of European cultural and art theory. This book offers a snapshot of recent influential work in contemporary art and political theory in France, Italy and Germany, in the form of original writings by major representatives of each of the three overlapping national traditions. In France, debates centre on the status and possibilities of the image. Eric Alliez, Georges Didi-Huberman, Elisabeth Lebovici and Jacques Ranciere, each adopt a competing approach to the making, undoing and remaking of aesthetic images in contemporary art and their political significance. From Italy, Antonio Negri, Maurrizio Lazzarato, Judith Revel and Franco Berardi each address the ‚immaterial‘ situation of contemporary art in a distinctive way. From Germany, Peter Sloterdijk, Peter Weibel and Boris Groys reassess the contemporary legacy of post-war art, demonstrating distinctive appropriations of vitalism, structuralism and deconstruction, respectively.

Bojana Cvejic & Ana Vujanovic (Ed.)
Public Sphere by Performance
b_books, 2013, 978-3-942214-10-0

The book Public Sphere by Performance results from a two-year research project Performance and the Public that Ana Vujanović, Bojana Cvejić and Marta Popivoda carried out in 2011 and 2012, during the residency of TkH (Walking Theory) platform (Belgrade) at Les Laboratoires d’Aubervillier. The part of the research of Marta Popivoda gave rise to the documentary film Yugoslavia: How Ideology Moved Our Collective Body.
The point of departure for this research is the recurrent problem of the public: the eclipse of the public sphere throughout the twentieth century as a marker of the crisis of representative democracy. The theoretical and political perspectives of this transdisciplinary research stem from the discontinuous experiences of participation in the public sphere in former socialist Yugoslavia and contemporary Western neoliberalism. The authors propose an analysis of and discussion about the public – and its discontents – through several models of mass, collective, and self-performances, such as social drama and social choreography. In numerous collaborations with artists, theoreticians, and activists in 2011, they have closely observed transversal social, artistic, and cultural artifacts and practices: movements, images,laws, habits, and discourses.

Maria Miranda
Unsitely Aesthetics. Uncertain Practices in Contemporary Art
Errant Bodies Press, 2013, 9780982743980

Unsitely Aesthetics seeks to address the unconventional ways in which contemporary art is made and engaged with across the vastly expanded networks of new media culture, arguing–counterintuitively–that network culture not only embodies its own version of „situatedness“ but can also lead to the creation of a more democratic art, with the Internet acting as a far broader public space than the traditional site-specificity of old, a space in which artists can encounter and perhaps even engender new publics for their work. The book aims to theorize current dynamics in media and sound art practice, and includes interviews and conversations with Barbara Campbell, Linda Carroli, Hugh Davies, Bec Dean, Renate Ferro, John Craig Freeman, Jo-Anne Green, Teri Hoskin, Lucas Ihlein, Yao Jui-Chung, kanarinka (a.k.a. Catherine D’Ignazio), Scott Kildall, Deborah Kelly, Natalie Loveless, Michael Takeo Magruder, Timothy Conway Murray, Norie Neumark, Victoria Scott, Brooke Singer, Igor Tromajer, Helen Thorington and Darren Tofts.

Christoph Menke
Die Kraft der Kunst
Suhrkamp, 2013, 9783518296448

Noch nie war die Kunst sichtbarer, präsenter und prägender als heute und noch nie war sie zugleich so sehr ein bloßer Teil der gesellschaftlichen Prozesse: eine Ware, eine Unterhaltung, eine Meinung, eine Erkenntnis, eine Handlung. Die gesellschaftliche Allgegenwart der Kunst geht einher mit dem zunehmenden Verlust dessen, was wir ihre ästhetische »Kraft« nennen können. »Kraft« – im Unterschied zu unseren »vernünftigen Vermögen« – meint hier den unbewussten, spielerischen, enthusiastischen Zustand, ohne den es keine Kunst geben kann. Die philosophische Reflexion auf diesen Zustand führt Christoph Menke zur Bestimmung ästhetischer Kategorien – Kunstwerk, Schönheit, Urteil – und zum Aufriss einer ästhetischen Politik, das heißt einer Politik der Freiheit vom Sozialen und der Gleichheit ohne Bestimmung.

Ariane Lourie Harrison (Hrsg.)
Architectural Theories of the Environment. Posthuman Territory
Routledge, 2013, 978-0-415-50619-9

As architects and designers, we struggle to reconcile ever increasing environmental, humanitarian, and technological demands placed on our projects. Our new geological era, the Anthropocene, marks humans as the largest environmental force on the planet and suggests that conventional anthropocentric approaches to design must accommodate a more complex understanding of the interrelationship between architecture and environment.
Here, for the first time, editor Ariane Lourie Harrison collects the essays of architects, theorists, and sustainable designers that together provide a framework for a posthuman understanding of the design environment. An introductory essay defines the key terms, concepts, and precedents for a posthuman approach to architecture, and nine fully illustrated case studies of buildings from around the globe demonstrate how issues raised in posthuman theory provide rich terrain for contemporary architecture, making theory concrete. By assembling a range of voices across different fields, from urban geography to critical theory to design practitioners, this anthology offers a resource for design professionals, educators, and students seeking to grapple the ecological mandate of our current period.

Case studies include work by Arakawa and Gins, Arons en Gelauff, Casagrande, The Living, Minifie van Schaik, R & Sie (n), SCAPE, Studio Gang, and xDesign.
Essayists include Gilles Clément, Matthew Gandy, Francesco Gonzáles de Canales, Elizabeth Grosz, Simon Guy, Seth Harrison, N. Katherine Hayles, Ursula Heise, Catherine Ingraham, Bruno Latour, William J. Mitchell, Matteo Pasquinelli, Erik Swyngedouw, Sarah Whatmore, Jennifer Wolch, Cary Wolfe, and Albena Yaneva

Kate Khatib, Margaret Killjoy, Mike McGuire (Hrsg.)
We Are Many. Reflections on Movement Strategy from Occupation to Liberation
AK Press, 2012, 9781849351164

We have all been swept up by the momentum of the Occupy movement. We have seen the results of years of organizing in different communities come together in ways that few could have imagined, bolstered by the scores of people who have left the comfort of their daily routine behind and taken to the streets. Yet as a movement so overflowing with new social and political actors, we lack the framework we need to help us all to understand what a social movement is, to understand how change has happened in the past, to understand what this moment means and what this movement makes possible.
We Are Many is a reflection on Occupy from within the heart of the movement itself. Examining key questions—what worked? what didn’t? why? how? is it reproducible?—the authors and activists in this collection point toward a movement-based framework for future organizing. Heavily illustrated and annotated, We Are Many is a celebration of what worked, and a thoughtful analysis of what didn’t.

Michael Andrews, Michael Belt, Nadine Bloch, Rose Bookbinder, Mark Bray, Emily Brissette, George Caffentzis, George Ciccariello-Maher, Annie Cockrell, Joshua Clover, Andy Cornell, Molly Crabapple, CrimethInc., Croatoan, Paul Dalton, Chris Dixon, John Duda, Brendan M. Dunn, Lisa Fithian, Gabriella, David Graeber, Ryan Harvey, Gabriel Hetland, Marisa Holmes, Mike King, Koala Largess, Yvonne Yen Liu, Josh MacPhee, Manissa M. Maharawal, Yotam Marom, Cindy Milstein, Occupy Research, Joel Olson, Isaac Ontiveros, Morrigan Phillips, Frances Fox Piven, Vijay Prashad, Michael Premo, Max Rameau, RANT, Research & Destroy, Nathan Schneider, Jonathan Matthew Smucker, Some Oakland Antagonists, Lester Spence, Janaina Stronzake, Mattilda Bernstein Sycamore, Team Colors Collective, Janelle Treibitz, Unwoman, Immanuel Wallerstein, Sophie Whittemore, Kristian Williams, and Jaime Omar Yassin.

Maurizio Lazzarato
Die Fabrik des verschuldeten Menschen
Ein Essay über das neoliberale Leben
b_books, 2012, 978-3- 942214-02-5

Maurizio Lazzaratos »Die Fabrik des verschuldeten Menschen« ist eine knappe und treffende Analyse der gegenwärtigen Krise – aber auch eine Gegenanalyse, denn Lazzarato widerspricht dem allgegenwärtigen Expertengerede: Für ihn sind Schulden nicht das Ergebnis irgendwelcher Exzesse, weder der Börsen noch von Bevölk­­erungen, die zuwenig arbeiten und zu viel ausgeben würden. Das Prinzip der Schulden liegt im Kern der kapitalistischen Organisation und, wie Lazzarato mit Rückgriff auf Nietzsche zeigt, als introjizierte, einverleibte ‚Schuld‘ sind sie im Neoliberalismus zum Organisationsprinzip aller sozialen Beziehungen geworden. Die Schulden helfen dabei, den neoliberalen Traum vollständig zu erfüllen: radikaler Abbau des Sozialstaates und Auslagern aller Kosten auf die Individuen, die Selbstunternehmer, die arbeitenden Armen.
Ökonomie ist nicht – und war nie – neutraler Tauschplatz gleichberechtigter Partner, sie setzt immer asymmetrische Machtbeziehungen voraus.

Meg McLagan, Yates McKee (Hrsg.)
Sensible Politics. The Visual Culture of Nongovernmental Activism
Zone Books, 2012, 978-1-935-40824-6

Political acts are encoded in medial forms—feet marching on a street, punch holes on a card, images on live stream, tweets—that have force, shaping people as subjects and constituting the contours of what is sensible, legible, visible. Thus, these events define the terms of political possibility and create terrain for political actions.
Sensible Politics: The Visual Culture of Nongovernmental Activism considers the constitutive role played by aesthetic and performative techniques in the staging of claims by nongovernmental activists. Attending to political aesthetics means focusing not on a disembodied image that travels under the concept of art or visual culture, nor on a preformed domain of the political that seeks subsequent expression in media form. Instead, it requires bringing the two realms together into the same analytic frame. Drawing on the work of a diverse group of contributors, from art historians, anthropologists, and political theorists to artists, filmmakers, and architects, Sensible Politics situates aesthetic forms within broader activist contexts and networks of circulation and in so doing offers critical insight into the practices of mediation whereby the political becomes manifest.

Contributors include: Barbara Abrash, Negar Azimi, Ariella Azoulay, Amahl Bishara, Judith Butler, Eduardo Cadava, Jonathan Crary, Ann Cvetkovich, Faye Ginsburg, Sam Gregory, Zeynep Devrim Gürsel, Roger Hallas, Andrew Herscher, Sandi Hilal, Kirsten Johnson, Liza Johnson, Thomas Keenan, Carrie Lambert-Beatty, Jaleh Mansoor, Yates McKee, Meg McLagan, Alessandro Petti, Hugh Raffles, Felicity D. Scott, Kendall Thomas, Leshu Torchin, Eyal Weizman, Benjamin J. Young, Huma Yusuf, and Charles Zerner.

David Joselit
After Art
Princeton University Press, 2012, 9780691150444

Art as we know it is dramatically changing, but popular and critical responses lag behind. In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house. Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, „After Art“ provides a compelling and original theory of art and architecture in the age of global networks.


Und hier die Literaturauswahl zum Thema, zusammengestellt von Common:

  • Bishop, Claire, Artificial Hells. Participatory Art and the Politics of Spectatorship. London/New York: Verso, 2012.
  • Cauter de, L., de Roo, R. & Vanhaesebrouck (Hrsg.), Art and Activism in the Age of Globalisation. Rotterdam: NAi Publishers, 2011.
  • Certeau de, M., The Practice of Everyday Life. Berkeley, CA: University of California Press, 1984.
  • Tsypylma Darieva and Melanie Krebs (Hrsg.), Urban Spaces after Socialism. Ethnographies of Public Spaces in Eurasian Cities. Frankfurt/New York 2011.
  • Deutsche, R., Evictions. Art and Spatial Politics. Massachussetts: MIT Press, 1996.
  • Dikeç, M., Space as a mode of political thinking, in: Space, Contestation and the Political, vol. 43, 2012, no. 4, pp. 669 – 676.
  • Duncombe, Stephen (Hrsg.), Cultural Resistance Reader. London/New York, Verso, 2002.
  • Evans, G., Hard branding the cultural city – from Prado to Prada, in: International Journal for Urban and Regional Research, vol. 27, no. 2, 2003, pp. 417 – 440.
  • Griffiths, R., Bassett, K. & Smith, I., Capitalising on culture: cities and the changing landscape of cultural policy, Policy and Politics, vol. 31, no. 2, 2003, p. 153 – 169.
  • Boris Groys, Going Public, Sternberg Press, 2010.
  • Jürgen Habermas, Strukturwandel der Öffentlichkeit. Untersuchungen zu einer Kategorie der bürgerlichen Gesellschaft, 5. Auflage, Neuwied/Berlin, 1971 [1962].
  • Jürgen Habermas, On Social Identity, in: TELOS 19 (Spring 1974). New York: Telos Press.
  • Hall T. & Hubbard P., The entrepreneurial city: new urban politics, new urban geographies, in: Progress in Human Geography, vol. 20, no. 2, 1996, pp. 153 – 174.
  • Hawkins, H., Geography and art. An expanding field: Site, the body and practice in Progress, in: Human Geography. 2012, Available at: [Accessed January 3, 2013]
  • Harvie, J., Theatre and the City, 1st ed. NY: Palgrave Macmillan, 2009.
  • Wolfgang Hofmann,  Bürgerschaftliche Repräsentanz und kommunale Daseinsvorsorge, Studien zur neueren Stadtgeschichte, Franz Steiner Verlag Stuttgart, 2012.
  • Wolfgang Kaschuba, Offene Städte!, in: Grosch, Nils/ Zinn-Thomas, Sabine (Hg.): Fremdheit – Migration – Musik. Kulturwissenschaftliche Essays für Max Matter, Münster 2010, S. 23-35.
  • Wolfgang Kaschuba, Städte: Kulturelle Welt-Räume?, in: Bundesministerium für Verkehr, Bau und Stadtentwicklung: 3. Bundeskongress Nationale Stadtentwicklungspolitik, am 25.06.2009 in Essen, Zeche Zollverein XII, Dokumentation, S. 22-24.
  • Wolfgang Kaschuba, Urbane Lebenswelten als kulturelle und politische Zukunftslabore, in: Bundeszentrale für politische Bildung: Dokumentation: Klausurtagung 2020: Perspektiven der politischen Bildung Cadenabbia, Villa la Collina 5. – 8. November 2009, Bonn 2010, S. 38-42.
  • Kaye, N., Site-Specific Art: Performance, Place and Documentation. London: Routledge, 2000.
  • Melanie Krebs und Madlen Pilz (Hrsg.), Die postsowjetische Stadt. Urbane Aushandlungsprozesse im Südkaukasus. Berliner Blätter Sonderheft 59/2012.
  • Kwon, M., One Place After Another: Site-specific Art and Locational Identity. Massachussetts: MIT Press, 2002.
  • Lakoff, G. & Johnson, M., Metaphors We Live By. Chicago: University of Chicago Press, 1980.
  • Massey, D., World city. Polity: Cambridge, 2007.
  • Massey, D., For Space: SAGE, London, 2005.
  • Metz, T., The Event City, in: G. Marling & M. Zerlang (Hrsg.) Fun City, Copenhagen: Arkitektens Forlag, 2007.
  • Miles, M., Art, Space and the City. London: Routledge, 1997.
  • Mörtenböck, Peter/Mooshammer, Helge (Hrsg.), Space (Re)Solutions. Interventions and Research in Visual Culture. Bielefeld, Transcript, 2011.
  • Mouffe, C., On the political. London/NY: Routledge, 2005.
  • MUSEION, Bolzano/Bozen, The New Public, Von einer neuen Öffentlichkeit und einem neuen Publikum, Walter König, Köln, 2012.
  • Naik, Deepa/Oldfield, Trenton (Hrsg.), Critical Cities. Ideas, Knowledge and Agitation from Emerging Urbanists. 1. Bd., London: Myrdle Court Press, 2009.
  • Pinder, D., Urban interventions: Art, politics and pedagogy, in: International Journal of Urban and Regional Research, vol. 32, 2008, pp. 730–736.
  • Rendell, J., Art and Architecture. A Place Between. London/NY: I.B. Tauris, 2006.
  • Sunderberg E., Space, Site, Intervention: Situating Installation Art. Minneapolis: University of Minnesota Press, 2000.
  • Swyngedouw, E., Where is the political?, 2008: [Accessed February 28, 2012]
  • Woodward K, Jones JP III, and Marston SA, Of eagles and flies: Orientations toward the site, in: Area, no.42, 2009, pp. 271–280.
  • Ignaz Wrobel (Kurt Tucholsky), Wege der Liebe. Die Weltbühne. Jahrgang 22, Nummer 32, Seite 230-231.
  • Zobl, Elke/Drüeke, Ricarda (Hrsg.), Feminist Media. Participatory Spaces, Networks and Cultural Citizenship. Bielefeld, Transcript, 2012.






Verschlagwortet mitKonjunktur und Krise?, No 2.

Über Michèle Novak

In unterschiedlichen Bereichen widmet sich Michèle Novak dem theoretischen und praktischen Feld der »Kunst im öffentlichen Raum«. In der Theorie der Gestaltung und Kunst steht die Auseinandersetzung mit Raumtheorien, zeitgenössischen Konzepten von Landschaft und deren Verbindung zu künstlerischen Verfahren im Vordergrund. Im Kunstbetrieb einer Galerie beschäftigte sie sich mit dem Betreuen und Ausstellen von Kunstprojekten wie auch mit der Konzeption und Redaktion von Publikationen. Die Vermittlung von theoretischen und praktischen Aspekten zeitgenössischer künstlerischer Ansätze und Verfahren steht in der Lehre im Zentrum der Aufmerksamkeit.

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