On Curating - Issue 31

ONCURATING.
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Issue 31 / July 2016 Notes on Curating, freely distributed, non-commercial
Spheres of
Estrangement:
Art, Politics,
Curating
With contributions
Joesphine Baker-Heaslip, Jonas Becker,
Franco ‘Bifo’ Beradi, Benjamin T. Busch,
Dan Bustillo, Lilian Cameron, Joey Cannizzaro,
Carson Chan, Jeni Fulton, Ken Gonzales-Day,
Matthew Hanson, Anke Hennig, Alistair Hudson,
Alison Hugill, Suzana Milevska, Jared Pappas Kelley,
Penny Rafferty, PUNK IS DADA, Claire Ruud,
Jack Schneider, Adrian Shaw, Paul Stewart,
Sam Thorne
Interviews conducted by
Alison Hugill, Penny Rafferty, Claire Ruud
Contents
02
Editorial 37
Matthew Hanson Ken Gonzales-Day
05 39
Estrangement. A Retro-Vision for 2016 Propositions: Applying Estrangement
Anke Hennig through Art, Learning and Curatorial
Frameworks
16 Lilian Cameron, Suzana Milevska,
Society’s Richer Yet She’s Thin As a Rake Jared Pappas-Kelley, Adrian Shaw, Paul Stewart
A conversation between Franco ‘Bifo’ Beradi
and Penny Rafferty 47
Estranging Architecture
20 Alison Hugill in conversation with Carson Chan
Halfway
Josephine Baker-Heaslip 52
Call of Cthulhu
22 Jack Schneider
Like when the Teacher leaves the Classroom:
A Conversation about Artist-run 54
Programming within Exhibitions Vampires from Aesthetics
Jonas Becker, Dan Bustillo, Joey Cannizzaro, to Ethics 1922–to present
Claire Ruud Penny Rafferty and PUNK IS DADA
27 60
Recuperation of Art and Activism. Imprint
An email conversation.
Alistair Hudson, Jeni Fulton, Paul Stewart,
Sam Thorne
Editorial Spheres of Estrangement: Art, Politics, Curating
Editorial
Matthew Hanson
We often have in mind the example that Brecht uses to describe the interval,
the suspended time where in the middle of a play on stage the actors aren’t
playing – so they are no longer actors – and the spectators don’t have
anything to watch – so they are no longer spectators, it is a very beautiful
picture of a moment of de-subjectivization, a small human strike.1
Originating in Viktor Shklovsky’s analysis of Russian formalism, ostranenie

describes the strategy of estrangement - the moment in an artwork that briefly
overturns the sense that things have always been as they seem. The interval and it
analogous terms - estrangement, alienation, defamiliarisation - became central
tenants of Walter Benjamin and Bertolt Brecht’s literary partnership in their
development of shock theory and epic theatre.
In the excerpt from ‘Ready-Made Artist and Human Strike’ Claire Fontaine
contextualise Brecht’s interval with an emancipatory potential. As it adjusts our
perception of social relations, it makes possible a brief acknowledgment that ‘the
boss is not the boss’2. The implication is that such negation might inspire our
resistance to, or withdrawal from given relations.
However beautiful the picture, the device has proven inadequate to the
capital’s indiscriminate power of recuperation. Today’s estrangement is a fully
incorporated component of the modern experience, a stimulant for ‘surplus
alienation’, Anke Hennig concludes3. Therefore, this issue asks what artistic,
architectural and curatorial approaches to estrangement offer current discourse in
organisation, aesthetics and activism. The articles unpack estrangement for the
political, social and cultural sprint of our time.
The publication is interspersed with artistic projects by Ken Gonzales-Day,

Jack Schneider, and Josephine Baker-Heaslip. It was conceived during the Saas-Fee
Summer Institute of Art, 2015, a programme developed by Warren Neidich and
Barry Schwabsky. The 20 day intensive comprised lectures seminars and workshops
with artists, curators and theoreticians developed around the theme of ‘art and
politics of estrangement in contemporary discourses from cognitive capitalism to
ostranenie’. (http://saasfeesummerinstituteofart.com/.) The editors of this issue
have aimed to elaborate and analyze contemporary understandings of estrange-
ment in collaboration with select academics, artists, curators and architects.
Benjamin T. Busch, a graduate student in spatial strategies (Raumstrategien)

at the Weissensee School of Art, has invited the contribution of Anke Hennig and
organised an interview between Alison Hugill and Carson Chan. Hennig unpacks
the etymology and mythology of estrangement, from the birth of Shklovsky’s
ostranenie, through to a proposed ‘retro-vision’ for 2016. Hugill and Chan discuss
how curated architecture integrates, occupies, and transforms public infrastructure
to re-examine the space of perception in our lived and built environment.
2 Issue 31 / July 2016

Paul Stewart, an artist, writer and curator and PhD candidate at the Univer-
sity of Teesside, presents an email exchange with Alistair Hudson, Jeni Fulton
and Sam Thorne, addressing the recuperation of activism into art history and
the gentrification of (art)-activist practices. Stewart has also organised ‘Five
Propositions’ on the production of learning, pedagogical norms and participation
strategies, offered by Suzana Milevska, Lilian Cameron, Adrian Shaw, and Jared
Pappas-Kelley.
With Claire Ruud, Director of Convergent Programming at the MCA

Chicago, and members of conceptual collectives Los Angeles College and
The Best Friends Learning Gang, artist Jonas Becker discusses recent experiments
in artist-initiated education and public engagement programming
In her essay Vampires: From Aesthetics to Ethics, 1922-Present, artist and

writer Penny Rafferty maps the trend of horror genre films as an allegory for
socio-political malaise. In discussion with Franco ‘Bifo’ Berardi, the two examine the
movements and motivations of contemporary artists that operate between
designer-entrepreneurs and potential insurgents.
Notes
1 Realism Working Group, Historical Fiction as Realism – Interview with
Claire Fontaine https://realismworkinggroup.org/interview-with-claire-fontaine/
2 Claire Fontaine Ready-Made Artist and Human Strike: A few Clarifications,
2005; p13
3 Anke Henning, “Estrangement. A Retro-Vision for 2016” On Curating 31,
2016 p. 6
Editorial by
Matthew Hanson is an independent curator based in Zürich. Recent exhibitions
include The Buttocks of a Steelmill, Hohlstrasse 541, Zürich, i) duplex cling mob,
Michael Lett, Auckland; Home is Where One Starts From, Yuill Crowley, Sydney and Heirs,
55 Sydenham Rd, Sydney. Matthew graduated with from the University of Auckland 2007
with a Bachelor of Arts majoring in political science and philosophy and is currently studying
(MAS Curating) at Zürcher Hochschule der Künste.
co editors
Jonas Becker is an interdisciplinary visual artist whose photography and video
installations explore how desire and belief are formed around specific sites and geography.
Recent projects focus on the relationship between humans, technology, and the environment,
questioning the concept of what is “natural”. He is based in Los Angeles and has recently
exhibited in solo shows at the Lancaster Museum of Art & History, the Craft & Folk Art
Museum, and Shulamit Nazarian Gallery. His work has been featured in Art Ltd., Artillery,
the Los Angeles Times and the Los Angeles Weekly.
Benjamin T. Busch was internationally trained as an architect at the University of

Kansas, Potsdam University of Applied Sciences and the University of Stuttgart. He has
lived and worked in Berlin since 2011, where he leads Studio Busch, a platform for spatial
practice operating between the disciplines of photography and design. As a graduate student
of Raumstrategien (spatial strategies) at Weissensee School of Art, he is currently research-
ing critical modes of architectural production within the field of spatial practice. Treating

architecture as a symptom of abstract processes, his artwork and writing investigate

complex fields of relations within the built environment.
Penny Rafferty is a writer and visual theorist based in Berlin. She is heavily
involved with theartist collective group Omsk Social Club featuring PUNK IS DADA and
pioneered the spectacle Ying Colosseum. She is working heavily with the concept of Cosmic
Depression–The theory of depression caused by digital utopia (Paradise without Ecology).
Paul Stewart is an artist, curator and writer based in the UK, currently a PhD by
practice researcher at the University of Teesside, focusing on the role of the gallery as a site
for learning. His work has been shown recently as part of the Edinburgh Artist Moving
Image Festival 2015, and at Bank Street Arts Gallery. Stewart was the curator of the
‘Situation Unit’ commission series at mima (Middlesbrough Institute of Modern Art), 2015.
His next book chapter, Art and Commitment: Galleries Without Walls, will be published this
year in a book collection on Adult Education by Sense Publishing.
This Issue is dedicated to the memory of

our friend and colleague, Chandra Pok.
A dreaded sunny day

So I meet you at the cemetery gates
Keats and Yeats are on your side
While Wilde is on mine.
(The Smiths, Cemetery Gates)

Estrangement. A Retro-Vision for 2016 Spheres of Estrangement: Art, Politics, Curating
Estrangement
A Retro-Vision for 2016
Anke Hennig
Estrangement, also known as defamiliarization, is a well-known concept first
used in Russian Formalism1. After the revolution, Russian formalist theory flour-
ished in close dialogue with Russian avant-garde art. There is a lot that could be said
about the historical circumstances in which the term ‘estrangement’ was coined. I
rely on the research of others who have described the contemporary social and
political situation in great detail. Focusing here on a more abstract aspect, I would
like to explore the temporality of estrangement and the temporality of theories in
general; especially, what does temporality mean to art theory today, taking Russian
Formalism as an example? In the 1920s, Russian Formalism was an innovative factor
in art theory. Now imagine that we wish to say something today about Russian
Formalist theory. How would we start? Would we say “Russian Formalism was a
literary theory”? There is good reason to do so, since the avant-garde and revolu-
tionary 1920s are long gone. However, I think we would rather be tempted to say,
“Russian Formalism is a literary theory”. If we decide on this expression, it also
obliges us to think about the timeliness of theoretical work. Unless we intend to
claim that theory has a metaphysical substance, we are forced to think about
working on concepts today and also further developing the historical concept of
estrangement that we inherited from the 1920s.
To make a temporal difference between the 1920s and today also implies
that Russian Formalism was not always what it is now. This means that we cannot
look back in a historical way and hope to find the meaning of estrangement in
documents that were being circulated in the 1920s, or that it would help us to visit
the archives to find repressed or censored positions. Furthermore, it implies that
development took place after the actual work of the Formalists—via Czech and
French structuralism, via neo-formalist readings in the U.S. in the 1950s. Finally, this
temporal difference implies that ‘estrangement’ has changed due to the history
and development of the concept itself. I have to mention that a changing concept
gives shape to an irregular idea because a concept is supposed to provide a certain
basis for naming objects that fall there under. A concept basically is this relation to
objects that fall under it. As we will see by going through readings of estrangement
during the last century, estrangement appears as a concept but does not behave
exactly as a concept is expected to. In other words, although the readings tried to
fix its content, it turned out to be difficult to pin down procedures and devices that
fall under the concept of estrangement. Estrangement behaves more like temporal
statements do. They are expressed in the form: A was/is S. What estrangement was
differs from what it is. It is debatable if this difference can be brought back to
metaphysical certainty by declaring that such statements, instead of stating a
relation of concept and its objects, express a relation of a substance and its states.
Estrangement, from this perspective, has more in common with Derrida’s différance
in that it infects metaphysics at its origins2. It seems difficult to bring it back to a
stable difference; instead, it involves the reader in a process of differing.

But let us first have a look at estrangement in its historical context before
returning to its temporal misbehaviour. The founding document of Russian
Formalism most often cited is a text by Viktor Shklovsky from 1913, The Resurrec-
tion of the Word. It claims words had lost their impact on our experience. A certain
perception of the world has ceased. Our perception of the world needs to be
resurrected by a new form of art. As of about 1913, Russian Formalism was very
close to avant-garde art, namely to Russian Futurism, and the art form favoured by
Russian Formalism is the so-called Zaum, a trans-rational or supra-conscious
language. What this means is mysterious, and Russian studies have been concerned
with revealing the meaning to this very day. Zaum is a neologism. One can divide
the word in the middle. ZA means ‘beyond or behind’ and UM means ‘mind’.
‘Trans-rational language’ sometimes hints at Futurist poetry having no meaning or
having a meaning beyond the rational. Another translation by the Formalist and
later Structuralist Roman Jakobson—who translated Zaum as supra-conscious
language—hints at something more. He points out the capacity of Zaum to change
our world-view. Zaum is meant to change our state of mind, to make us think
differently. When it puts into action language’s influence on how we think and how
we perceive the world, Zaum is in line with the Formalist idea that words have an
impact on our experience.
I would like to name but two Futurists: Velimir Khlebnikov and Aleksei
Kruchenykh, who were the authors of the script for Victory over the Sun, a drama
that you may know or have heard of. Kasimir Malevich did the set design for Victory
over the Sun, released in late 1913. It marks the first appearance of so-called
“suprematist” art, the preform of his famous black square. And Aleksei Kruchenykh
was the author of the so-called Sdvigologia russkogo sticha, that is, the Shifting Logics
of Russian Poetry. The Futurist poet was taking part in the theoretical work of
Russian Formalism.
The next—I would say main—contribution or development in Russian

Formalism took place from 1917, when the revolution began, until the early 1920s,
when an actual discussion about Marxism occurred. In 1917 we find an anthology
titled Poetica and a second one in 1919. In this context Viktor Shklovsky’s most
famous text, Art as Device, was published. This article describes what is most
common and best known about Russian Formalism: that it is a theory that concen-
trates on the devices of art, seeing art as a device. I have a motto from this volume
on my retro-formalist t-shirt: “Art is a means of experiencing the process of
creativity. The artifact in itself is quite unimportant.” Formalism focuses on the
process of making art, and Formalism analyses the devices of making art. In this
early period, Formalism was not so much interested in the product or in the artifact
that results, but in the process of creation. In post-revolutionary times we find
perhaps a context for this—where creating a new world and creating a new society
was more important than producing objects.
When the revolution settles, Russian Formalism engages more and more
with post-revolutionary politics, especially with left-wing politics, and joins up with
so-called Productivism, a movement of the Russian avant-garde that denied any
difference between art objects and other objects. Like Formalism, Productivism is
more concerned with the ways of production; these were meant to be creative
ways of production. The products and objects of the new socialist society were not
meant to be different from art objects. Concerning Productivism, the socialist
object is in its essence an art object, the result of a creative form of production. In
sharing the Productivist platform, Formalism cares about the devices of creative
production. One could illustrate this with a text by Osip Brik, which shares Produc-

tivist Formalist views and was written during the debates between Marxism and
Formalism. Leon Trotsky took part in this debate with his book Literature and
Revolution; Nikolai Bukharin also took part in this debate; and somehow Lenin is also
involved in this debate in absentia. In 1924, the Formalists wrote a book about Lenin
titled The Rhetoric and Style of Lenin’s Speech. Here one also can see that Formalism
deliberately denies a difference between objects and art objects. Lenin’s speech is
revolutionary speech and therefore both a process of creation and a product of
creation.
What had already become important at that time, and more so in later
Formalism, was a strict neglect of any content of art, especially of literature. This
gesture came from Formalism’s focus on literature, later also on film, in relation to
Constructivist and Productivist art, for instance Rodchenko’s art. Most of these
texts were published in the context of LEF, the Left Front of the Arts, where a shift
took place from the idea that art is to be thought of in terms of representation—
and therefore has content or meaning—to the idea that what is important in art is
the material formed. A piece of Constructivist art explores materials, whereas a
Productivist object is located within material culture itself. The debate between
Marxists and Formalists revolves mainly around this point. Marxism criticises
Formalism for denying content in art. What is most often forgotten by the Marx-
ists, or by the discussion in the 1920s, is that instead of concentrating on the
content, Formalism concentrates on the material of art. So it becomes a theory
not of understanding, but rather a theory of perception and consequently a theory
of experience. Estrangement is meant to bring perception back to our experience.
As you will remember, from Viktor Shklovsky’s first text, the resurrection of the
word is meant to reconnect us to the world.
The idea of ‘estrangement’ is present in Formalist texts from the early

statements onwards, although it must be admitted that it is widely ignored in the
1920s— few quotes are to be found by authors other than Shklovsky himself. Even
in the texts of the other Formalists will you rarely find ‘estrangement’ mentioned.
Think of Yury Tynyanov, who wrote on prose and poetry and is the author of two
major Formalist texts, The Literary Fact and The Literary Evolution. You will find no
mention of estrangement in them. The same is true for Roman Jakobson, the
linguist and later Structuralist, who does not really take up the concept of estrange-
ment. Also Boris Eichenbaum, most famous for his 1927 text on the Literary
Everyday, does not speak of estrangement. So although the concept is present in the
1920s, it is not explicitly developed but only implied.
Estrangement becomes much more important when it goes global. We find

the first taking-up of this notion by Brecht in the late 1920s, in 1928 to be exact.
And historically we can reconstruct that it came to Berlin via Sergei Tretyakov. With
Tretyakov we touch upon the third connection between Formalism and the
avant-garde that I would like to mention. After Futurism and Constructivism/
Productivism within the Left Front of the Arts, Sergei Tretyakov’s concept of
‘factography’ became a major touchstone. Tretyakov is the author of The Biography
of the Object from 1927, founder of Factography, and co-editor of a book that was
published in 1927, titled Literature of Fact. He was propagating a documentary,
‘factographic’ practice of literature that took the form of sketches, of industrial
literature like film scripts, or of the press, as in writing for newspapers. Tretyakov
travelled to Berlin in 1928, and a dialogue with Brecht is documented in a ‘facto-
graphic’ book he made, titled Liudi Odnogo Kostra, which means ‘the people at one
fire’, which takes up all authors whose books were destroyed by the Nazis in the
1933 book burning in Berlin.

So, we know that the concept of estrangement is first taken up by Brecht

and, remarkably, in this first translation of estrangement, in English it would sound
like ‘alienation’, ‘Entfremdung’. The German term is peculiar because not only does it
mean ‘alienation,’ it also means ‘to get rid of alienation.’ Simultaneously, it is
translated in a second way as ‘Verfremdung’, which then becomes the well-known
Brechtian device in his theatrical practice. People familiar with Brecht’s dramas may
have heard of the directions he gave his actors. They were advised not to embody
the dramatic role nor to stage fiction, but to break it, to take in the social material
and the actual historical context, which for Brecht was class struggle. We should be
careful not to misunderstand the aim of estrangement as being yet another form of
representation. To take in the actual social and historical context was not to
represent it. But why take in the contemporary if not for its content? The aim is to
shift the relation of the audience towards their engagement in the contemporary
world. The procedures of shifting are concrete, historically laden; they can be major
or minor, singular or complex.
However the actual device appears, what seems to be clear is that it is a sort
of negational device, negating something or removing something. It either takes
something away (as in Brecht’s fiction) or it negates something (embodiment of the
role). It also associates negatively to norms or to canons. It functions as a de-canon-
isation, that is, a de-automatisation of perception. In the context of the post-revo-
lutionary industrialisation of Russia, the dialectics of alienation through machinery
seems most important. We can remember Marx’s fragment on machines, where he
states that, “The science which compels the inanimate limbs of the machinery, by
their construction, to act purposefully, as an automaton, does not exist in the work-
er’s consciousness, but rather acts upon him through the machine as an alien
power, as the power of the machine itself”3. And further, “In machinery, knowledge
appears as alien”4. The coalition of Formalism and Productivism most likely rested
on this sudden appearance of the machine as alienating consciousness and as being
alien itself. In the German context of the accelerating financial crisis accompanied
by the massive spectacle of the ‘roaring twenties’, the relation of the negative
attachment to a background makes it difficult to state of what the device actually
consists.
Another reason for the difficulty in finding out what estrangement actually
means is the fact that the Russian word initially was a typo, and then there was also
a second typo.
O _ stran _ enie
This is how you find the word in Russian today. By the time the Formalists
used it, it did not exist in that form. There was a Russian word that had a ‘T’ in
between the ‘O’ and the ‘S’…
O t stran _ enie
The etymology of otstranenie then arises in the French reception of it: it
means ‘making something strange’, which hints at the translation that we know as
‘de-familiarization’. It comes from strannyj, ‘strange,’ however this word would
require another ‘N’…
O t stran n enie
The material body of the word does not allow for an unambiguous reading.
The omission of two letters necessarily gives rise to interpretations. If we take a
closer look at these interpretations, they reveal the strange temporal behaviour of
‘estrangement’ that I mentioned before. Our contemporary understanding of
estrangement, or ostranenie, originates of course from the 1910s to the mid-1920s.
But it also turns out to be a 1960s interpretation in connection with the French
student movement, inspired by the Russian Revolution via Left theory in France. In

this context—often titled Freudo-Marxism—the idea of estrangement as de-familiar-

isation is rooted.
It is worth mentioning that only in the 1960s does a difference become

perceptible between what is called German Formalism (late 19th-century university
philosophy) and what is sometimes called American Formalism, in particular
associated with Clement Greenberg. My answer to the question of why estrange-
ment becomes so important in the 1960s is rooted here. Estrangement distin-
guishes Russian Formalism from the type of formalism that Clement Greenberg
propagated. Where they share a concentration on artistic materials, Greenbergian
Formalism thinks of an autopoiesis of art’s material and a sort of teleological
history of the arts toward a logic of their material. Meanwhile, Russian Formalism
claims there is an estrangement involved on any level of the production of art, on
the level of art’s meaning, on the level of its form, and in the material production of
art.
However, beside the appealing historical complexity, we have to ask our-

selves, what are we doing with estrangement today? Is it still possible to use it as
this critical device of negation, or is it maybe more interesting to follow up with the
particular line of thought that connects estrangement to alienation? The fascina-
tion with this line of thought is its inherent ambiguity. Estrangement is both an
attempt to get rid of alienation and a strategy to profit from alienation. It expresses
this very tension.
I would suggest that maybe it is a good time to find a new translation for
ostranenie, which would not be estrangement, then, but would sound like ‘surplus
alienation’. It could also take up the discussions of Formalism and Marxism in the
1920s in an imaginary post-capitalist situation that is not present today, now that
the socialist experiments have failed. We live in the present moment; the socialist
idea of a ‘post-capitalist’ future is past.
It seems we are returning to our initial question of whether it is proper to say

‘Russian Formalism is a literary theory’ instead of being obliged to say ‘Russian
Formalism was a literary theory’. In the same way, one could ask whether the
utopian future of the avant-garde revolutionaries was abandoned, as Frankfurt
School critical theory has it, or was realised, as their postmodern and contempo-
rary adversaries have it. The question as to the past and the future having presence
in the present is both epistemological and ontological. It is based on our under-
standing of time.
This is the point I have reached with the Working Group on Retro-Formalism:
to express these movements, it is impossible to claim that the present-ness of
Russian Formalism is only connected with Russian revolutionary art. Somehow it
seems also to be past. And how we relate to this past—not only in terms of historical
theory but more so in relation to the revolutionary avant-garde and to all following
vanguardisms in the art of the 20th century—today in the 21st century, where we
seem to repeat these gestures. What are we actually doing with this repetition,
since we know from Deleuze5 that repetition produces difference? Ostranenie today
could be understood as a device to approach alienation, to work on an alienated
experience and to find out its possibilities and opportunities concerning a possible
transformation of the contemporary world.
Since this is very much an ongoing project, I would like to conclude with a
‘false end’ in the manner of Viktor Shklovsky and his analyses of the estrangement

of a text’s end in order to avoid illusionary closures. Last summer, in London, the
group staged a re-enactment of the Marxism and Formalism debates of the 1920s
at the Marxism in Culture seminar at UCL, in collaboration with the Institute for
Modern and Contemporary Culture at the University of Westminster. Originally,
the M&F confrontation had a political focus, whereas we focused on the historical
and contemporary economics thereof. Furthermore, in lending symbolic capital to
the Formalist theory by developing a Retro-Formalist position we simultaneously
wanted to elaborate on how the use of time shaped the symbolic capital of
Formalist theory. To include here a close reading of Leon Trotsky’s chapter “The
Formalist School of Poetry and Marxism” from his book Literature and Revolution
brings us back to the context of a historical moment that I mentioned before. To
elaborate on an alternative reading of that moment is to employ estrangement.
First I had the traditional picture in mind. Leon Trotsky had equated Formal-
ism mostly to an idealist Formalism of Kantian type and had reduced it to two
theses which said: 1) Formalism claims literature is pure form (without content);
and 2) Formalism claims literature is independent as relates to the process of
production and social historical development. Trotsky argues against both of these,
saying firstly that form is not pure but expresses a social content and therefore it is,
secondly, dependent. As I have briefly mentioned before, the Formalist defence
went along the lines of saying that Trotsky had overlooked the fact that Formalism
replaced the concept of form related to content by a concept of form related to
material and therefore really was materialistic (whilst Trotsky’s defence of “con-
tent” fell short by being not materialist but idealist). The second Formalist argu-
ment points towards Trotsky’s ignorance concerning the concept of estrangement,
which is why I include it here. It is central to the Formalist understanding of form,
the environment in which art is perceived, and the involvement of art in the social
process, which happens precisely via estrangement. Poetic language estranges
social codes. It is not autonomous but self-conscious in the use of poetic devices
and their power in shifting perceptual, experiential, and behavioural automatisms.
It creates a poetonomous existence.
When re-reading Trotsky’s chapter for the first time in fifteen years, I
surprisingly ended up with a defence of Trotsky’s view instead of preaching the
historical victory of Formalism. As I have said, this late victory is obvious to me.
And maybe this is the reason why I am more interested in the hidden agreement
between Formalism and Marxism that has become visible only today, now that the
socialist experiments have historically failed and the capitalist economy has become
global. I want to base my interpretation on a thesis by Ève Chiapello and Luc
Boltanski from their book The Spirit of Capitalism. They argue that since the second
half of the last century, capital has followed an economy based on desire, which is
first and foremost modelled by the arts. Trotsky’s intuition as to the bourgeois
character of the futurist avant-garde becomes relevant. Putting it in the terms of
Chiapello and Boltanski one would say, “The modernist avant-garde had discovered
an economy of desire that was translated into a post-modern aesthetics of capital”.
The starting point in reading Trotsky, then, is his rendering of the “poetic” to
a sublimation of an essentially capitalist desire:
A new artistic form, taken in a large historic way, is born in reply to new
needs. To take an example from intimate lyric poetry, one may say that
between the physiology of sex and a poem about love there lies a complex
system of psychological transmitting mechanisms in which there are
individual, racial and social elements. The racial foundation, that is, the sexual
basis of man, changes slowly. The social forms of love change more rapidly.
10 Issue 31 / July 2016

They affect the psychological superstructure of love, they produce new

shadings and intonations, new spiritual demands, a need of a new vocabu-
lary, and so they present new demands on poetry. The poet can find material
for his art only in his social environment and transmits the new impulses of
life through his own artistic consciousness. Language, changed and compli-
cated by urban conditions, gives the poet a new verbal material, and suggests
or facilitates new word combinations for the poetic formulation of new
thoughts or of new feelings, which strive to break through the dark shell of
the subconscious.6
Although Trotsky repeatedly addresses literature as constantly writing down

subconscious desire by sublimating sex, I would now like to jump right to his
conclusion. The “economy of forces” that Trotsky ascribes to the arts is not the
economy of production or labour but the Freudian economy of the libido that
gravitates to an equilibrium of libidinal forces, steadying the contradiction of sexual
desire and repression, balancing pleasurable and destructive tendencies, and finally
mediating between consciousness and subconsciousness.
Furthermore, the reference to Freud suggests itself because, as concerns

Trotsky, there is a tendency towards the imaginary in modern fiction. He writes:
Artistic creation, of course, is not a raving, though it is also a deflection, a

changing and a transformation of reality, in accordance with the peculiar
laws of art. However fantastic art may be, it cannot have at its disposal any
other material except that which is given to it by the world of three dimen-
sions and by the narrower world of class society. Even when the artist creates
heaven and hell, in his phantasmagorias he merely transforms the experience
of his own life, almost to the point of his landlady’s unpaid bill.7
This is a reference to August Strindberg’s Inferno. Trotsky here hides and

reveals an experience of literature that is troubled by one of the first present tense
novels in literary history. What is at stake here is the fact that the present-tense
novel is a literary phenomenon that has revealed more innovative potential for
21st-century literature than the futuristic avant-garde, which in comparison to
Strindberg’s prose look archaic today. So we are confronted with a situation where
the constellation of “Innovators and Archaists” described by Yury Tynyanov has
been turned upon its head.
I would like to use some observations on the history of the present-tense

novel I made together with Armen Avanessian in our book8 on the subject.
With Strindberg’s Inferno, written in 1894-1897, we see the first case of a

fictional pathography almost entirely written in the present tense. Only intermit-
tently can a thin classical narrative framework be surmised. Strindberg knits a
paranoid narrative that hints at an intrigue or a threat beyond the present of the
instant.
It is no mere accident, for on certain days the cushion takes the shape of
terrible monsters, such as Gothic dragons and serpents…9
So here we have the raving that Trotsky talks about. Strindberg produces a
delirium in the style of an autobiography. I hope that you will follow me through a
close reading before I return to Trotsky’s idea that artistic creation, even when it
seems to be raving, shifts our relation to reality and transforms it. Being exposed to
11 Issue 31 / July 2016

unsettling events implies a narrative double bind. Strindberg, the narrator, cannot
narrate the conspiracy as (hi)story. He does not narrate the story; he is incessantly
haunted by it.
I am condemned to death! That is my firm conviction. By whom? By the

Russians, the Pietists, Catholics, Jesuits, Theosophists? [...] At the moment
that I write this, I do not know what was the real nature of the events of that
July night when death threatened me, but I will not forget that lesson as long
as I live. If the initiated believe that I was then exposed to a plot woven by
human hands, let me tell them that I feel anger against no one, for I know
now that another stronger hand, unknown to them, guided those hands
against their will. On the other hand, if there was no plot, I must suppose
that my own imagination conjured up these chastising spirits for my own
punishment. We shall see in the sequel how far this supposition is probable.10
Strindberg is an adept autobiographer, highly skilled in meta-fictional

deceptive manoeuvres. The alternative interpretations offered up to the reader in
the short term cannot really be considered but are only introduced so that in the
finale of the Inferno they can turn out to be undecidable. “I part from my friend—my
executioner—without bitterness. He has only been the scourge in the hand of
Providence”11, as the last paragraph has it. Is it an intrigue or is it not an intrigue?
Such a literary device, operating with all permissible and impermissible

deceptive manoeuvres, shows us how one can pay homage to the power of
delusion without being committed to the clinic. In a counter attack, Strindberg’s
alter ego manages to denounce his doctor—who judges his fiction to be delusion—as
a murderer.
When my friend enters after a minute, it is I who am seized with compassion.

He, the surgeon, who is accustomed to witness suffering without emotion,
he, the advocate of deliberate murder, is an object of pity indeed. He is pale
as death, trembles, stammers, and at the sight of the doctor standing behind
me seems on the point of collapse, so that I feel more panic-struck than
ever.12
All of a sudden, “Strindberg” has a second doctor, whose diagnosis counters

that of the cold-blooded murderer. Although the way that the doctor looks at him
over the shoulder might lead us to suspect that he originates in the imagination of
someone writing, it is only the mention of the doctor’s library and of “Strindberg’s”
scientific discovery that make it clear that he is “Strindberg’s” invention. The fact
that “Strindberg” again and again swaps the address between his friend the
“physician” and his friend the “doctor” shows the two medical professionals to be
doubles. Shortly before the entry of August 12, which marks the beginning of
“Strindberg’s” recovery, we read:
If I take a book at haphazard out of the doctor’s library, it always gives the
explanation I was looking for. Thus I find in an old chemical treatise the
secret of my process for making gold [...] An essay on matter which I have
written and sent to a French review is immediately published. I show the
article to the doctor, who betrays his annoyance, since he cannot deny the
fact. Then I say to myself, “How can that man be my friend, who is vexed at
my success?13
12 Issue 31 / July 2016

In terms of spitefulness, “Strindberg’s” attack leaves nothing to be desired.

He leaves the disavowed, broken-down physician, condemned to remain powerless
against the literary fame of his patient, as a healthy man. As this competition
between the (literary and medical) readings continues, he even manages to ensnare
phenomenological psychoanalysis, namely in the person of Karl Jaspers. Strind-
berg’s delusional manoeuvring deceives Jaspers by distracting him from the
fictionality of the Inferno. In his manifesto of phenomenological psychoanalysis,
entitled Strindberg and Van Gogh, Jaspers unfolds the (narrative) procedurality of
madness/raving by showing how disturbances that successively settle in the world
of perception fulfil an essential function in making it possible to recognise the
processes of madness as such14. He pays special attention to a scene in Strindberg’s
Inferno in which the first-person narrator complains to the landlady of his hotel
about three pianos that can be heard in the surrounding rooms.
To suspect a disturbance in perception here, as Karl Jaspers did, is certainly

not entirely wrong. The overhasty assumption of an autobiographical reference,
however, overlooks Strindberg’s, or rather “Strindberg’s” fictional calculus. It may
be that Jaspers, against the background of classical narrated fiction, took it to be a
symptom of a madman and as a factographic document. We, however, understand
the fictional calculus in which the protagonist invents a story of three pianos for his
landlady in order to prevent her from delivering a letter that he suspects contains a
bill. Destitute, the hero seeks to dodge the economic realities of his existence.
Delusion at this point lies less in the disturbance of perception than in the hubris of
the calculation of reality15 with which the first-person narrator computes the
probability of the fiction: How many pianos do I have to set up so that no one will
read the bill?
At this point I want to remind you of Trotsky’s reading, who clearly refers to
this point: “Even when the artist creates heaven and hell, in his phantasmagorias he
merely transforms the experience of his own life, almost to the point of his
landlady’s unpaid bill”16.
I would argue that in this point there is no disagreement between Formalism

and Marxism. Poetic creation is not delirious but transforms the experience of
one’s own life. While there is no ontological difference between the materiality on
which sensual experience is based and the materiality of language, the symbolic
economies of poetic language and aesthetic experience are different. Poetic
language shifts the reality of aesthetic experience. Although Trotsky is obviously
wrong in assuming that poetic language expresses experience, he clearly has a
grasp of the symbolic capital in Strindberg’s work. The text is not only a flight into
fantastic imagination, a phantasmagoria as Trotsky suggests; Strindberg’s Inferno is
meant not to be a document of insanity and hallucination, as the philosopher and
psychoanalyst Karl Jaspers claimed, but a literary discovery of symbolic value and
an economic speculation.
What we have here is a meta-fictional play, as Wolfgang Iser put it17, that is, a
forming of the imaginary in a literary fiction. Within literary history, Strindberg’s
text comes only slightly before the first interior monologues, Virginia Woolf, and
the stream of consciousness prose of James Joyce, which absolve their authors—and
the present tense of their texts—from the testimonial function of a medical report.
Furthermore, in Inferno it is difficult to decide whether the text is less fictional than
are the incredible perceptions that it (allegedly only) records. The manoeuvres with
which Strindberg tasks his reader integrate him and expose him to the (hidden)
hallucinations of the text. Hallucinations are originary images of the power of
13 Issue 31 / July 2016

imagination, and they become literary fictions as soon as it is possible to share

them with others in linguistic communication. Viktor Shklovsky stated something
similar when he was rating the prose of Andrej Bely over the Constructivist
factography of Sergei Tretyakov. Bely was the most elaborate Russian writer of
Russian modernist novels, which form—as in “Kotik Letaev”—an entire level of
imaginary sensibility. And again, Formalist and Marxist arguments are based in the
same intuition: that literature is not reportage—as Trotsky says—but transforms the
reality of experience.
To come back to the present…
The type of novel to which Strindberg, Bely, Woolf, Joyce, Weiß, Beckett,
Robbe-Grillet, Pynchon, Fichte, Brinkmann, and many others have contributed, is
nothing other than the common form of the Contemporary Novel. Their devices
are employed by China Mieville, David Peace, and David Cronenberg alike. Armen
Avanessian and I have called it the Alter-modern Novel. However, what was called
estrangement in modernism and the revolutionary avant-garde is no longer
defamiliarisation. Ostranenie today reveals an economy based on imagination and
desire that is replete with symbolic value and the forms of value that capital
assumes. Estrangement results not in less alienation but in ever more alienation, in
surplus alienation. Estrangement in 2016 describes the strangeness of this form of
economics.
In a different context, I analysed the opportunities that criticism could offer

and the traps it risks falling into. By taking a historical detour through the critiques
of alienation that accompany the modern experience, something specific appeared:
modern experience is alienated inasmuch as it has fully incorporated criticism. To
be critical implies to be alienated to such an extent that alienation becomes
acknowledged as a precondition for criticism. Perhaps one difference between the
modern and the alter-modern experience consists in recognising that the modern
nostalgia for the restoration of authentic experience as a result of critique, as for
example György Lukács constantly argued, has lost its persuasiveness. This is not to
say that the alter-modern experience celebrates a status quo of inauthenticity. It
poses its own radical questions of inauthenticity by analysing alienation as an
artificial experience to which critique is immanent. Estrangement makes use of
alienation as an inherently critical experience. As an artistic strategy it suggests a
politics of alienation.
Notes
1 Many thanks to Warren Neidich, who organised the Saas-Fee Summer
Institute of Art in June 2015 around the concept of estrangement, which gave me
the opportunity to develop this approach in a talk and a workshop together with
students of the summer school.
2 Jacques Derrida, Of Grammatology, John Hopkins University Press, Balti-
more, 1998.
3 Karl Marx, “The Fragment on Machines from The Grundrisse (pp. 690-
712),” p. 693. Accessed 13.12.2015. http://thenewobjectivity.com/pdf/marx.pdf.
4 Ibid., p. 695.
5 Gilles Deleuze, Difference and Repetition, trans. Paul Patton, Columbia
University Press, New York, 1994, pp. 70-91.
6 Leon Trotsky, Literature and Revolution, pp. 314-15. Translated by Rose
Strunsky in 1925. Transcribed for the Leon Trotsky Internet Archive by N. Vaklo-
visky in June 2000 from an uncopyrighted 1957 Russell & Russell, New York
14 Issue 31 / July 2016

edition of “Literature and Revolution”. HTML markup by David Walters in August

2000. Proofread and completed by Einde O’Callaghan in January 2007 using the
1991 RedWords (London) edition of “Literature and Revolution.”
https://itunes.apple.com/WebObjects/MZStore.woa/wa/view-
Book?id=8214053C3FCE8A0E82EEA8778DCEC024
7 Leon Trotsky, Literature and Revolution, p. 243.
8 Armen Avanessian and Anke Hennig, Present Tense. A Poetics., Bloomsbury,
New York and London, 2015, p. 180ff.
9 August Strindberg, Inferno, trans. Claud Field, Putnam, New York, 1913,
p. 62. The composition and publication history of the Inferno is a complicated one.
Originally written in French, it was first published in a Swedish translation (not
checked by Strindberg), followed by a heavily edited French version. The second,
corrected Swedish version is generally used as the basis for the translation cited
here.
10 Ibid., 105.
11 Ibid., 134.
12 Ibid., 130.
13 Ibid., 132.
14 Karl Jaspers, Strindberg and Van Gogh, trans. Oskar Grunow and David
Woloshin, University of Arizona Press, Tucson, 1982.
15 Simon Stuhler, Phänomenologie des Lesens,:Edition Kirchoff&Francke,
Berlin, 2010, p. 35.
16 Leon Trotsky, Literature and Revolution, p. 243.
17 Strindberg is playing here with all the elements of agon/battle, aleia/
chance, mimicry/deception and reversal, as well as ilinx/intoxication. Cf. Wolfgang
Iser, The Fictive and the Imaginary, Johns Hopkins University Press, Baltimore, 1993.
Anke Hennig is a theorist of literature and visual culture. Currently she teaches
at Central Saint Martins, University of the Arts, London. She is chairing the international
research group Retro-Formalism (www.retroformalism.net) and is co-founder of the
transnational research platform Speculative Poetics (www.Spekulative-Poetik.de). She
holds a PhD from the Peter Szondi Institute of Comparative Literature at Free University
Berlin and has been a Fulbright Fellow at New York University. She is the author of Soviet
Cinematic Dramaturgy (in German, 2010) and, in cooperation with Armen Avanessian,
co-author of Present Tense. A Poetics (2015, in Russian 2014, in German 2012) and
of Metanoia. Speculative Ontology of Language.
15 Issue 31 / July 2016

Society’s Richer Yet She’s Thin as a Rake Spheres of Estrangement: Art, Politics, Curating
Society’s Richer
Yet She’s Thin as a Rake.
A Discussion between Franco ‘Bifo’
Berardi and Penny Rafferty
The estimated end of resources on planet earth PR: Taking the latter idea that art is the “divine
is set at 20501. We walk or scan/flick through the purity of excess production”—how does the institution
devastation everyday—soaring rent prices, dilapidated and the network fit in?
buildings, underfunded schools, higher taxed resources,
crippling debt, police violence, and privatised health- FB: I would say they are not so easily aligned. I
care. We have become alienated from the planet on have difficulty with the market and its relation to art.
which we live and set the task of martyrdom via a I don’t refuse it as a writer. I publish; I could not live
society from which we are estranged. Yet through the without selling books. My difficulty doesn’t lie in the
abrasive scars of capitalism we have entered into our refusal of the market, but I’m tired of the market’s
most creative point of human history and “the artist” impotence. Why only yesterday, Berlusconi’s daugh-
is everywhere. Throughout 2014, we saw the crown- ter (who is even worse than him) bought the second
ing ceremony of Anthropocene and the knighthood largest publishing house in Italy. Mondadori is the
of Apple as the most profitable business on planet first. So now the book market in Italy is totally in the
earth and the most sought after tool for the creative hands of Berlusconi.
class2. It then comes as no ironic surprise that some of
the most dynamic mass struggles today—such as Well, this means nothing day-to-day, but as a
anti-racism, climate change and intersectional femi- writer I have always thought of myself as a salaried
nism—are unfolding inside the sphere of art and coerc- worker. When I was twenty years old, I wrote porno-
ing everyone into becoming an artist. Life seems at its graphic novels. It was my first job, and I earned my
most harrowing, or is it just inspiration? Speaking to living for years writing porn. It was in the period of
Franco “Bifo” Berardi, we dissect “the artist” as a rising feminism, and many of my closest friends were
profession or insurgent. very active feminists. I wasn’t embarrassed, per se, of
the act, but it was a problem and, funnily enough, I
was proud of it. I would say, when the metalworker
Penny Rafferty: Why do you think people works in the car factory nobody judges him for his
assume the position or title of an artist today? ecological politics—he is paid for what he does. So I
don’t care about the porn industry—it’s my job.
Franco ‘Bifo’ Berardi: I have been obsessed
and haunted by this question over the years. I have So you see being an artist means so many
always been torn between two ideas of why people things; you can say it’s salaried work or an attempt to
produce and create. One possibility is that they cre- become a rich capitalist. It can be either, or it’s a way
ate for usefulness in a moral, historical, and social to do something that refuses the market and useful-
sense. The other is that art is totally useless and this ness, and you can also say it’s a way to take part in
is the richness of art. It’s a superfluous activity and the social rejection of capitalism.
product by its very nature, which should not be seen
as a luxury product, nor be handed to the lazy or the Also the word art is almost embarrassing—
rich on a whim. Art itself is the divine purity of what does it really mean?
excess production.
PR: I think the word art has never meant so
much. People are identifying more with art as it
becomes blurred and skewed, resulting in the art world
16 Issue 31 / July 2016

itself expanding into the field of technology, science, in this neoliberal economy doesn’t offer freedom
and philosophy like never before. But perhaps this is from each other.
exactly art, an ever-expanding field with no limits or
horizons in a world where we are constantly given FB: Yes, day-to-day we are moving against one
parameters—why not find solace in the life of an art- another; we are taught to think of one another as
ist? competitors, not as friends. But this is a new strategy
in the workplace. Originally, workers worked in the
FB: Well, exactly, why do people choose not to factory, they lived in the same streets, and socialized
be an engineer but to be an artist—when they spent together after the workday—living all their lives
the last years studying engineering? I studied aes- together with the same possibilities and naturally the
thetic theory at university in 1968 with an Italian same impossibilities. Now this is over; workers never
philosopher, Luciano Anceschi. He was the first meet in the same place twice, they are like crazy
person who introduced me to this question, what is atoms going in different directions. They are part of
art? I was a young activist, I wanted to study poetry the machine, and the precarious worker now sees the
and art, but the first thing I remember him saying is, other as a danger to his or her own livelihood. This
“I will never tell you about art. As art is nothing, art has deeply hindered the progress of the worker and
is only what you decide is art. Nobody can doubt has an increased effect on the worker’s alienation
whatever is created with artistic intention.” So there from his peers, environment, and desires.
is a possibility of art in everything. For me it was the
‘60s, and it had a direct reference to the death of art, PR: So, actually the ego is the biggest survival
but I wanted to look at the essentiality of art in rela- strategy of the worker, and society pumps this “super-
tion to social activism. In a sense, this has been my ego” out to us daily through our own media, culture,
goal since the very beginning. and fear. Take, for example, the re-appropriation of
Charles Darwin’s theory of “the survival of the fit-
PR: And now? test”—it is now a cocky catchphrase on Wall Street.
The larger the ego, the more chance you will survive
FB: Well, in the last five years I have started to and conquer your peers, giving you freedom, wealth,
have the idea that the essential meaning of art is the and security.
reactivation of the erotic social body. The body is a
crucial tool in art, dance, and politics. FB: You are forced to. It’s not moral, it’s social,
it’s materialistic. You will be more successful the
When I took part in the movements of more you take on “culturally” the identity of the
Occupy, I personally never understood it as a politi- “ego”. I don’t think the people of today are more
cal movement. In politics the goal is power, and in stupid than my generation. I think the cognitive
Occupy there was no question of power, nobody worker knows more and is sharper than ever, and I
craved it. Yes, it was against the global economic don’t think they are any more egotistical—they are in
power, but something that size was never going to be a position of war. When you are on the battlefield,
conquered by this action. What was happening in you cannot choose to kill or not to kill, because if
Zuccotti Park and on the streets and the plazas was you choose not to kill you are killed. This is their
not politics as such, but a need to reactivate the reality.
erotic body of society away from stagnant financial
abstraction. It’s a new way to think about art. The PR: But then if you assert yourself into the
physical presence of being with others, it’s something position of the artist, you put yourself into the utmost
we have lost. position of precariousness.
PR: I can see the natural ability of art and activ- FB: Yes, the condition of the artist is the most
ism acting as fission between people, space, and ideol- extreme manifestation of the precarious worker, and
ogy, but this has a limited time frame for audience it’s competiveness, but it’s also freedom from slavery,
captivation. It only occurs in these moments of rup- from salaried work.
ture when we give up work or deny our economic
obligations for the greater good. Yet day-to-day, we PR: I see the romanticization of the artist and
are constantly moving against each other fighting for yes, I think some people become artists to avoid
resources, space, capital; our consistent participation capitalist slavery, but how does this fit into the idea of
the erotic?
17 Issue 31 / July 2016

FB: Ahh, yes, well this is another problem. Occupy movement into the museum; well, I find this
When I was here before (Berlin, Germany), in May art action hypocritical. I don’t care for political pro-
2011, I was speaking to someone who told me that gressive values in the museum. I prefer very much to
24% of young Germans wanted to be artists accord- dance in the streets. The place of the museum is a
ing to some newspaper. Naturally, they didn’t know preconceived place where you know what you will
what being an artist is like; they may think it’s like find, but the streets can change your life.
being Michael Jackson and being very rich, etc. But
this statistic came true, the art academies are boom- PR: I have strong reservations about art and
ing, and becoming an artist is sort of possible for all the political gesture in general. From community arts
in the generation of the precarious worker. Essen- to rehashing “the protest” in the museum—but for
tially, this choice to become an artist is the choice to me, I ask the question, why is this art? Why are we
escape the boredom of work. This sentiment is strong shying away from the term activism?
in the self-perception of the artist. It has always been
this way. It’s the bohemian attitude. FB: Well, if your artwork is able to create a
possibility of people being together, that is an art-
PR: In my eyes, becoming an artist is to change work. Where you are physically means nothing; you
the rules, to slow down or eradicate the goals set to could be on the Gaza Strip or just writing on the
us by society; when we should go to school, when we wall—it means nothing really. But if it has the chance
give birth, when to die, etc.—It’s an act of rebellion. to move people, then it could be art.
FB: Yes, which is why being an artist is saying I PR: This is true, but it is an active gesture. Why
don’t want to be a slave, a slave of life, a slave of sala- must we call it art? Surely, activism is a much purer
ried work, but previously when I asked your opinion, form than art—take your Engaged Art as a case study.
you said you thought people wanted to be artists
because they needed a new form of language? FB: Because people aren’t confident they need
more than politics to identify themselves with, they
PR: Yes, I did and I still believe that. The next need emotional discourse. If the intentions are to
generation has resigned themselves to a world that is make people happy, then why not? Of course, it
centred entirely around lack: a lack of work, economy, doesn’t make them an artist but they are producing
and resources. You will constantly need or want art. I think you are saying it’s not enough for an artist
something. People are resigned to this “indebted” life. to just have good intentions to produce good art, and
So they escape and rewrite it with an online persona, I agree, but we must all try to reactivate the erotic
a digital life, or a personally curated digital profile, body. What we must do in art now is to emancipate
freeing themselves from their physical bodies that are ourselves from the dictatorship of abstraction.
enslaved to the system. A virtual reincarnation of the
so-called freed aesthetic self can take place online. I PR: I found Banksy’s latest action interesting
say aesthetic because we cannot do anything online for this notion of emancipation in art, with his Disma-
without aesthetics, be it a moniker or a choice of land theme park being dismantled and sent to “The
emoji or profile picture. The masses are the creators Calais Jungle” with only this statement presented
once more, yet everyone creates their own singular online as documentation: “All the timber and fixtures
systems of visual communication as an artist would. from Dismaland are being sent to the Jungle refugee
camp near Calais to build shelters. No online tickets
FB: Which brings me back to art and action. In will be available.”3 This seems a purer act. He doesn’t
the 1960s, being an engaged artist had a special assume the position of the angelic artist on a theatri-
meaning. You could be whatever you wanted—rich, cal stage.
egotistical, power hungry, or elitist. You just had to
say the working class will win, and Stalin is good, FB: So this is Dada extremism at its finest.
and capitalism is bad. I don’t like engaged art, it can Only the gesture is important, not the documenta-
be fake. I don’t like art that preaches. In my opinion, tion or grandeur.
the task of the artist is now to revive the body as I
saw in the action of Occupy. When I say body, I Do you remember when we first started talk-
mean the social, political body and persons who are ing about this, why people wanted to be artists? I
bodily. Do you remember the 2012 Biennale in Ber- said, I thought that people were artists because they
lin, curated by Arthur Żmijewski? He brought the didn’t want to be slaves, yes? You said, people wanted
18 Issue 31 / July 2016

to be artists because they needed to create their own Franco ‘Bifo’ Berardi is a contemporary writer,
language, which at the present moment has some- media theorist and media activist. He founded the
thing to do with the digital language that is domi- magazine A/traverso (1975-1981) and was part of the
nant in society. I think both of these are interesting staff of Radio Alice, the first free pirate radio station in
points, but they are both talking about intentions of Italy (1976-1978). Like other intellectuals involved in the
what can be implemented into a gesture. The trace of political movement of Autonomia in Italy during the 1970s,
art is not problematic; art can be a spectacle but it he fled to Paris, where he worked with Félix Guattari in the
can also be the re-activator of the social erotic body field of schizoanalysis. He has been a contributor to the
that can create a chain of reactions through society, magazines Semiotexte (New York), Chimères (Paris),
and this latter idea is exactly what I expect from art. Metropoli (Rome) and Musica 80 (Milan) and Archipielago
Art is the act of creation outside salaried work, and (Barcelona). Currently he is writing for the monthly LINUS
art creates singularities in space. But these are things (Milano).
that determine what an artist does, not what is art. He has published Le ciel est enfin tombé sur la terre
(Paris, 1978) Mutazione e Ciberpunk (Genoa, 1993), Ciber-
nauti (Rome, 1994), Felix (Rome, 2001, London 2009),
Notes Generacion Postalfa (Buenos Aires 2007), Skizomedia
1 Mark Townsend and Jason Burke. 2002. (Roma, 2005), La fabrica de la infelicidad (Roma, 200,
“Earth will expire by 2050.” The Guardian, July 7. Madrid, 2004), and El sabio el guerrero el mercader
Accessed online. (Aquarela, Madrid, 2006). In 2009, he published The Soul
http://www.theguardian.com/uk/2002/ at Work (Semiotext(e), Los Angeles), After the Future (AK
jul/07/research.waste Press, Oakland, 2012), and The Uprising (Semiotexte, Los
2 Douglas A. McIntyre and Thomas C. Angeles, 2012). He is teaching Media Theory at the
Frohlich. 2015. 24/7 Wall St., October 27. Academy of Fine Arts in Milan, and has lectured in many
“The 10 Most Profitable Companies in the World universities around the globe.
2015.” Accessed online. In 2015 he published the book HEROES (Verso
http://247wallst.com/special-report/2015/ Futures, London) and AND – Phenomenology of the End
10/27/the-most-profitable-companies-in-the-world/ (Semiotexte, Los Angeles).
3 Notification from Dismaland:
http://dismaland.co.uk/.
Penny Rafferty is a writer and visual theorist
based in Berlin. She is heavily involved with the artist
collective group Omsk Social Club featuring PUNK IS
DADA (2012) and pioneered the spectacle Ying Colosseum
(2014). She is working intensively with the concept of
Cosmic Depression—the theory of depression caused by
digital utopia (Paradise without Ecology).
www.punkisdada.com
19 Issue 31 / July 2016

Halfway Spheres of Estrangement: Art, Politics, Curating
Halfway
Josephine Baker-Heaslip
WEATHER OBSERVATION
IT WAS THE CONSISTENCY BETWEEN US THAT CAUSED IT

IT WAS OUR NEGLIGENCE THAT SAW IT COMING
IT WAS OUR UNAWARENESS THAT WAS HELD ACCOUNTABLE
IT WAS OUR ADMISSIONS TO EACH OTHER THAT WERE RESPONSIBLE FOR
THE FIRST FLOOR FLOOD
I WAS SURE THAT YOU WERE NOT AT RISK

I WAS SURE THAT YOU WERE SAFE FROM HARM
WHEN I THOUGHT THAT MY PREDICTIONS COULD PREPARE YOU
WHEN I THOUGHT THAT MY SUPPOSITIONS COULD SHELTER YOU
FROM THE HEAT OF THE SUN
WE WERE PLANNING TO MEET HALFWAY

SO NEITHER OF US WOULD BE TO BLAME
THAT WE COULD ONLY GET THERE SEPARATELY
AND WE WOULD NEVER BE THERE EQUALLY
WHEN THE LIGHTNING STRUCK US DOWN
Josephine Baker-Heaslip is an artist and a writer.

Born in London in 1990, she is currently undertaking
a Postgraduate Diploma at the Royal Academy Schools, London.
next page:
International landscape, 2016,
Pencil on paper, ceramic tiles with
permanent marker, 85 x 61 cm
20 Issue 31 / July 2016

Halfway Spheres of Estrangement: Art, Politics, Curating
21 Issue 31 / July 2016

Like when the teacher leaves the classroom Spheres of Estrangement: Art, Politics, Curating
Like when the teacher

leaves the classroom:
A conversation about
artist-run programming
within exhibitions
Jonas Becker, Dan Bustillo,
Joey Cannizzaro, Claire Ruud
Museum programming is often explanatory— Claire works at the MCA Chicago as Director of
the goal is to impart a sense of knowing and under- Convergent Programming. From our various posi-
standing. Breaking this mold, institutions are increas- tions, we discussed the relationship between social
ingly experimenting with programs that create engagement projects and art objects in exhibitions,
different kinds of access to the artwork on the walls. especially the ability each has to shift meaning in the
The goal of estrangement provides one interesting other. When our ongoing conversation materialized in
alternative—to reframe the act of perception, the form of collaborative programming around
changing the experience from one of already knowing Jonas’s recent exhibition Westward Bound at Lancaster
to one of perceiving anew. Rather than creating MOAH, we got together at his East L.A. studio to
closure through explanation, programs that operate discuss the result.
through estrangement open up new possibilities for
radical meanings in artworks.
Claire Ruud (CR): The three of you worked
This conversation takes a collaboration together to produce two programs. Can you begin by
between three artists—Jonas Becker, Dan Bustillo, and describing the collaboration?
Joey Cannizzaro—as a starting place to consider the
potential role of estrangement in museum program- Jonas Becker (JB): The collaboration came out
ming. Their collaboration highlights critical questions: of a solo exhibition I had at the Lancaster Museum of
What kinds of relationships—other than interpretive— Art and History (MOAH), where I was showing two
can we create between an artist program and an video installations. I was interested in working with
exhibition? What techniques can create a sense of Los Angeles College (LAC) and The Best Friends
critical distance from our own tendencies and Learning Gang (BFLG) to experiment with intersect-
assumptions in looking at an artwork? ing our very different modes of creating work. LAC
serves as a para-institutional shell for a variety of
The four of us first met just after sunrise in L.A . pedagogical-learning projects, and BFLG uses the idea
during a meeting of the Brutally Early Club, bonding of the “amateur” to organize workshops. I asked them
over the challenges and possibilities of radical interdis- to collaborate with me to create programming based
ciplinarity and collaboration. Jonas works in photog- loosely around my show, but with the intention that
raphy and video installation and often uses collec- the collaboration would be its own piece. To get
tively sourced content in his work. Joey and Dan started, we identified aspiration and immortality as
co-founded two para-institutional projects, Los two central themes from my installations to explore
Angeles College and The Best Friends Learning Gang. in the programmatic components.
22 Issue 31 / July 2016

but completely different frameworks of meaning and

value.
JB: The programs were set up to get partici-

pants to question their structure. There is a little bit
of this that comes from framing the programming as
“artist-” or “institution-” led. For the most part, audi-
ences walk into institutional programs expecting to
take them at face value. Introducing the figure of the
artist already primes at least some audiences to dis-
tance themselves from the program.
1
DB: In this instance, since we were doing the

Dan Bustillo (DB): So we organized these two programming, we were in a sense the institution.
events, a workshop with BFLG and a panel discussion
hosted through LAC. They were very different, but CR: LAC is not an institution in the sense that
both prompted an engagement with some of the we normally experience institutions. It prioritizes
themes teased out in Jonas’s work. BFLG’s “Amateur promiscuity and fragmentation, but museums are
Hour: Immortality” took on an array of ways of think- more likely to prioritize focus and synchronization.
ing about immortality through embodied learning, LAC is able to reject the institutional responsibility to
from the process of mummification to rejuvenating reach certain audiences, build long-term relationships,
homeopathic creams. We are always both hosts and and define and measure impacts.
participants in BFLG’s “Amateur Hour” workshops.
We don’t actually teach anything; we announce the JC: Yes, LAC and BFLG address a troubling
topic of the workshop (like Hypnosis! Immortality! pattern: the obsessive desire to measure and control
Jailhouse Tattoos! or Becoming Famous!), and then everything through standardization on all levels of
learn along with everyone else. society.
Joey Cannizzaro (JC): BFLG workshops always DB: In some way, I feel like when artists do the
feel like a cross between a class and a party. Like that programming, there is an amount of luxury that
moment in school when the teacher leaves the room comes with not having to think about the metrics. We
and everyone goes crazy. can afford to be myopic in a good way because we
don’t have to think about measuring success. There’s
DB: Afterwards, LAC organized the panel a certain amount of charm that the effectiveness of
“Tangents on Aspiration”, in which we tried to arrive our tangential discourse relies on. In a sense, that’s
at some kind of tangential meaning-making by bring- how we were approaching a lot of this, in a very sober
ing in different folks who would address aspiration but wild way. That’s not always appealing to someone
from vantage points that were both diverse and spe- who’s thinking of things in terms of responsibilities
cific. One panelist gave an earnest motivational and metrics.
speech about applying aspirational thinking within
our own lives, another talked about her personal
experience with Jainism and some of its theological
premises, questioning what aspiration even means in
a context where withdrawal and absence are the
primary values. The other panelists spoke to aspira-
tion in sitcom set design, community organizing, and
gold digging in early American Christianity.
JC: LAC itself is imaginary, but the things we

do—and most of the people involved—are real. “Tan-
gents on Aspiration” used a very familiar institutional
form, the academic panel discussion, but defamiliar-
ized the meaning of this form by filling it with unex-
2
pected content, not just from different disciplines,
23 Issue 31 / July 2016

JB: Not only that, the goal of museum pro- JB: We designed the panel and workshop to be
gramming is often to elucidate the artwork. It is about myopic in subject—in terms of aspiration or immortal-
the artist or artwork. It’s interpretive. The programs we ity—but promiscuous across modalities and language.
ran weren’t interpretive at all. We created new work The audience was constantly being interpolated
together at the intersection of our practices. through these different modes of address, so they
had to continually renegotiate their position in rela-
CR: So if the relationship was not interpretive, tionship to both the programming and the installa-
what was it? Can you be more specific about the tion.
interaction you wanted to create between the art-
works and the programs?
DB: I think our intention was to arrive at a way

of engaging ultimately with Jonas’s work via estrange-
ment. Both programs offered oblique yet relevant
entry points to thinking about the work. So if our
programming seemed to be off in connection to
Jonas’s show, or strenuously related at best, then that
kind of enacts the first part of the estrangement
process.
JC: Historically, estrangement was defined by

Victor Shklovsky as a technique, and an aesthetic to a
3
lesser extent. His estrangement was about the writer,
the artist, making the experience of the thing less
natural, and specifically more labored, as a way to DB: In terms of the panel, we talked a lot about
allow the audience access to new ways of seeing and crossbench praxis as a technique.
thinking. So everything we were ranting about in In The Nightmare of Participation, Markus Mies-
regard to the kaleidoscopic day that we had at the sen proposes that in stepping outside of your field
museum fits within the bounds of this technique. and putting one foot in someone else’s field, you
establish a place for this kind of crossbench practice
JB: I think the potential for mutual estrange- to occur. It means that I am allowed to be the non-
ment between the installation and the programs expert in someone else’s field, and that becomes a
arises out of their differences in production and point of convergence.
reception. Temporally, we developed the works over
different time spans. Also, the installations have an JC: As we experienced during “Tangents on
indefinite half-life, and the programs are ephemeral. Aspiration”, this can be a useful approach to an
Besides that, their systems of creating meaning are abstract concept, estranging it by putting it through
different—the videos create meaning in direct rela- disciplinary transmutations.
tionship to a singular viewer, while the programs
create meaning collectively and contingently. These Crossbench praxis also has a relationship to
temporal and discursive differences become particu- the “undisciplinary”, another strategy that is part of
larly interesting when the works are created in a the theoretical framework for BFLG’s amateur hours.
closed circuit with each other, reframing each other as We always choose a topic we hardly know anything
if in a mirror room, which in the end estranges us about and pretend to be taking a “how to” approach—
from the structure and content of both works. which is partly what we do—but really we’ll approach
the topic from as many different angles as possible,
CR: I experienced that when I saw the work at encouraging everyone to grasp it in whatever way
the opening, and then again as part of the program- interests them rather than insisting that only one
ming. The layering distanced me from the content approach is “scholarly”, is producing knowledge, and
and form of both, creating space for new meanings. therefore valid.
Can we talk about the specific strategies you guys
used, or discovered, to create this defamiliarization DB: In this case, the fact that we are all collec-
within the programs? tively trying to learn how to do something we don’t
know how to do means that we all have to be ama-
24 Issue 31 / July 2016

teurs. So that initial distance of estrangement is

already a prerequisite to our formula.
JB: I think the kind of estrangement we are

talking about is specific to para-institutional artist
projects whose medium is public engagement.
Because these projects oscillate both inside and out-
side of institutional tropes, there is an inherent
estrangement with both process and content—in this
case, from both the process of interpreting the art-
work, and its principal themes of aspiration and
immortality.
4
CR: I think we should also address the fact that
not everyone was estranged from the idea of aspira-
tion or their approach to the work. At least one audi- DB: Yeah, if you look at the Hammer’s Made in
ence member was completely taken with the motiva- L.A. in 2012, you will see a number of collectives for
tional speaker. She did not see the conflicting layers whom programming was their practice. For example
you set up, right? She saw a panel organized earnestly KCHUNG Radio, a decentralized, non-hierarchical
by an earnest institution. So, in terms of this goal of radio network, was given a space in the museum
estrangement we’ve set up, it was variously success- lobby where they sub-programmed a number of
ful. It may depend on the preparedness of the audi- shows during Made in L.A., acting as a kind of Trojan
ence to be estranged. Maybe some of us are walking horse to bring in so many other artists into the bien-
around with a massive sense of irony about our lives nial, and change the context of the work in the exhibi-
that not everyone shares? tion.
JB: Right, I appreciate the critique of irony as a JC: Or look at Machine Project’s “field guides”
privileged position. But we can’t make gross assump- to various institutional spaces, in which they more or
tions. There were other uninitiated audience mem- less take over the campus of a place like LACMA and
bers who it was clear came away totally seeing all the create a program that might otherwise not happen in
layers. We created this perpetual oscillation between those spaces, that intervenes in your experience of
the earnest and the ironic, the institution and para- the artworks. Giving up a level of control to an out-
institution, between different modalities and rubrics, sider can be a way of creating space for the unpredict-
which prevented a fixed position from the audience. able within a system that demands consistency.
JC: Well yeah, and the rate at which we moved DB: Having an artist project that engages other
between topics amplifies the absurdity. artists through programming acts as a buffer
between the institution and the artist, and conse-
DB: Juxtaposing all these different modes of quently opens up many possibilities for estrangement
address allows a participant to be pretty suspicious of to occur.
the currency of the institution, and understand the
programming itself as a piece. CR: I think we’ve hit upon a few of the things—
the figure of the artist, the para-institution, the tan-
CR: I keep pushing on what was doing the work gent, the rapid oscillation of mode of address, free-
of estrangement, because I’m wondering whether dom from the goals of interpretation and impact—that
institutions can (or do) create programs that do simi- really produced the estrangement, so that most of us
lar work. Museums use artists as their programmers, walked away with a distance from our own aspira-
too, for example Pablo Helguera or Marc Bamuthi tions, an awareness of the operations of aspiration
Joseph, who have robust artistic practices before they within capitalism. I can think of other artist-run peda-
have institutional positions. Educators, too, think gogical projects that use similar strategies, but the call
about creating space for criticality and different per- and response between Westward Bound, “Tangents on
spectives on the work. Aspiration,” and “Amateur Hour: Immortality”
offered particularly interesting possibilities for
expanding the ways we look at art objects in institu-
25 Issue 31 / July 2016

tions. Working inside a museum, it made me want to other places. He holds an MFA from California Institute of
bring social artworks into conversation with art the Arts and is a professor at Los Angeles City College.
objects more often.
Claire Ruud is Director of Convergent Programming at

Captions the Museum of Contemporary Art Chicago. She has
1 Jonas Becker, Almost Always, 2013. Photo- previously held positions as deputy director of the Santa
graph by: Jeff Mclain. Courtesy of the artist. Monica Museum of Art and associate director of
2 Best Friends Learning Gang, Digital poster Fluent~Collaborative in Austin, Texas. She holds an MA in
for “Amateur Hour: Hypnosis,” 2014. Courtesy of the contemporary art history from the University of Texas at
artists. Austin and an MBA from the Yale School of Management.
3 “Tangents on Aspiration” at MOAH Lancas-
ter, 2015. Courtesy of the artists.
4 “Amateur Hour: Immortality” at MOAH
Lancaster, 2015. Courtesy of the artists.
Jonas Becker is an interdisciplinary visual artist

whose photography and video installations explore
how desire and belief are formed around specific sites and
geography. Recent projects focus on the relationship
between humans, technology, and the environment,
questioning the concept of what is “natural”. He is based
in Los Angeles and has recently exhibited in solo shows at
the Lancaster Museum of Art & History, the Craft & Folk
Art Museum, and Shulamit Nazarian Gallery. His work
has been featured in Art Ltd., Artillery, the Los Angeles
Times and the Los Angeles Weekly.
Dan Bustillo is an organizer in neverhitsend, a

host and member of The Best Friends Learning Gang, a
facilitator of L.A.-based Crypto parties, and an advisor on
the Financial Aid Department of the parafactual institu-
tion, Los Angeles College. Their practice is at once a collabo-
rative, collective, and individual investigation of power
dynamics. They are currently writing a letter and a book.
Dan holds an A.A. from Miami Dade College, a B.A.
from Hunter College, and an M.F.A. from the Art and
Technology program at California Institute of the Arts.
Joey Cannizzaro is an undisciplinary artist,

curator, and critic. Cannizzaro, along with Dan Bustillo,
started The Best Friends Learning Gang, an experiment in
disorderly, amateur education, as well as Los Angeles
College, an imaginary college that supports areas of
knowledge that are neglected by the academy. He is also a
member of neverhitsend, a collective that performatively
researches communications ideology, surveillance, and
privacy. Cannizzaro’s work has been seen at 356 Mission,
Machine Project, Centre Pompidou, Flux Factory, Lancaster
Museum of Art, 221a, ForYourArt, some times, and a lot of
26 Issue 31 / July 2016

Recuperation of Art and Activism Spheres of Estrangement: Art, Politics, Curating
Recuperation of Art
and Activism.
An e-mail correspondence
Alistair Hudson, Jeni Fulton,
Paul Stewart, Sam Thorne
The following is an email correspondence and biennials to make space for this form of practice,
facilitated by Paul Stewart, artist and writer, in since it is presenting their own critiques. Maybe it is a
conversation with Alistair Hudson, Director at mima, gentrification of art and activism. Perhaps we could
and Sam Thorne, Director at Nottingham Contempo- see this as the Institution becoming ‘transparent’, but
rary. The contributors were chosen specifically based I feel that would be too generous ... Or maybe they
on both of their shifts from running art projects have just institutionalised their own critique, and
situated outside the institutional system in the possibly this is the paradox of institutional critique, or
UK—Griezdale Art Projects and Open School East the gentrification of art and activism. What are your
respectively—and their transition to becoming thoughts? I always felt that art activism, as a form of
directors at very mainstream institutions, specifically estrangement, is the fact of no longer being on
how this affects their politics and the work they do. friendly terms with a group, in this case the neoliberal
Jeni Fulton, writer and editor based in Berlin, also capitalism purporting the art world, but if it is
shares with us her perspective on the limits of recuperated, does this nullify the attempt to
activism. Does this shift from outside to inside the estrange?
institution suppress the intent of outside projects
and their attempt at estranging from the institution?
-----------------------------------------------------------------
From: Alistair Hudson <____________________>
Beginning of correspondence: Date: Wednesday, 11 November 2015, 17:31
Monday, 2 November 2015, 18:03 To: Paul Stewart <____________________>
Cc: Sam Thorne <____________________>
----------------------------------------------------------------- -----------------------------------------------------------------
From: Paul Stewart <____________________>
To: Sam Thorne <____________________> My first statement begins with this in mind:
Cc: Alistair Hudson <____________________> Could we distinguish (but not separate) Radical
----------------------------------------------------------------- Performance and Radical Competence or Performa-
tive Activism and Competent Activism?
This correspondence will map our thoughts on the
canonization or recuperation of art activism into art It’s maybe worth trying to get away from an anxiety
history and how this is translated in our biennials and of being in or out, which I attribute to some kind of
exhibition programming. Is this recuperation an avant-garde hangover—something we cling onto like a
attempt to take ownership to avoid estranging forms piece of broken wreckage after the storm.
of dissent emerging in the institutional structure?
In a similar vein I often find activism, like radicalism,
My opening thoughts are: to be something we more often tend to act out,
rather than apply, within the framework of art—being
I see a dilemma with the art and activism we radical is one of the most conservative things in the
are discussing due to the willingness of institutions socio-cultural sphere we art animals inhabit.
27 Issue 31 / July 2016

----------------------------------------------------------------- the ‘90s coming to be historicized, in museum shows

From: Paul Stewart <____________________> like This Will Have Been (2012) at the MCA Chicago or
To: Sam Thorne <____________________> NYC 1993 (2013) at the New Museum. I think there’s
Cc: Alistair Hudson <____________________> some danger that strong graphics become too
----------------------------------------------------------------- primary when they’re exhibited, while some impor-
tant conversations get sidelined.
Wreckage is a nice analogy, but I agree and
disagree. I feel uncomfortable about competence,
because I feel that becomes complacent and sits
similar to a liberal agenda.
I would like to introduce The Silent University

by the artist Ahmet Ögüt into the discussion, which
could be described as an autonomous knowledge
exchange platform by refugees, asylum seekers, and
migrants held in galleries, such as Tate in 2012. This is
an art project, a political action that gives identifica-
tion to individuals who otherwise are ignored by
2
liberal agendas inside the institution. I see The Silent
University’s format as resisting but possibly becoming
blurred with the host institution’s own mission. Sam,
do you have any further thoughts on this?
-----------------------------------------------------------------
From: Sam Thorne <____________________>
To: Paul Stewart <____________________>
Cc: Alistair Hudson <____________________> 3
-----------------------------------------------------------------
Alistair—your suggestion that activism is
I do feel conflicted about what Paul describes something that we (the art world, the institutions of
as “the recuperation of art activism into art history”. art etc.) ‘act out’ feels convincing to me, and very
(I’m not so sure if it’s recuperative—more like a first familiar. This kind of performance of radical politics,
attempt at broadening the constrictive terms of the lip-synched by tenured professors, October Marxists...
more conventional art-historical accounts of the 20th
century.) Certainly, it’s become increasingly familiar to I’m less sure about ‘competent’ activism though.
see the work of collectives like, say, Group Material or Paul worries that it’s too complacent, but to me it
Gran Fury shown alongside contemporaries from the feels a bit self-effacing or self-deprecating. You know,
other side of the tracks, such as Haim Steinbach or the anger of activism gets pulled into line by good
Jeff Koons. That’s a function of the 1980s and even behaviour, common decency, ‘mere’ competence...
28 Issue 31 / July 2016

aspects of what would have once been thought of as

community or activist art. I spoke to Pablo Helguera
about this recently, and he argued that:
Education and social work are deeply unsexy
activities. They can be very cumbersome, annoying
and thankless. You do these things because you are
committed to ideals and projects that might super-
sede your own life span. The reward is in doing it, not
receiving media attention or financial rewards. That’s
one of the realities of many artists’ incursions into
activism. If what motivates you is the art world being
4
impressed with the adventures you were able to
develop with your work, that’s very different from
inserting yourself into a social reality and trying to
transform it. If you look at the history of activism, or
artists who came to prominence in the ‘70s, it’s a
never-ending task.1
Paul—you also mentioned that you see The

Silent University’s format as resisting becoming
blurred with the host institution’s own mission. I’d
agree, but I think that it managed to do this precisely
because from the very beginning it sat ‘between’
institutions. That is, founded in 2012, it was like a
collaboration between Tate and the Delfina Founda-
tion. In the first year, Delfina hosted Ahmet, but then
6
began to play more of an active role, hosting The
Silent University’s library, etc. Tate was only involved
Paul—you mentioned the ‘gentrification’ of art for the first year, and after that other organisations
and activism. Rick Lowe has said he worries that became involved, like The Showroom in London or
community art is being gentrified by social practice. the Refugee Studies Centre at the University of
It’s telling that the term is used, because it suggests Oxford. Since then, it’s moved on to very different
the anxiety that notionally politicized practices are institutions in Hamburg, Mülheim, Stockholm and
not only pale imitations of the work of previous Amman.
generations, but actually gentrifying actions. Probably
not a coincidence that the title of The New Yorker’s
profile of Theaster Gates was “The Real-Estate
Artist”. I can’t help but think that artists like Gates—
whose prominence is so important in terms of
mobilizing funds, city support, etc.—are really
removed from the more on-the-ground, long-term
29 Issue 31 / July 2016

-----------------------------------------------------------------
Date: Monday, 23 November 2015, 14:22
To: Sam Thorne <____________________>
Cc: Alistair Hudson <____________________>,
Jeni Fulton <____________________>
-----------------------------------------------------------------
Sam—with regard to The Silent University, you

give great thought especially to how they actually
don’t seem to overlap with the overall museum
8
agenda but are instead learning or sidelined activities.
I think there is something in parasitizing, and maybe
The platform was shaped by Ahmet’s visits to a that is what a learning project offers, rather than an
number of community organisations around South exhibition as you have stated, and I would agree that
London. He regarded this as his context, rather than, there needs to be a complete overlap of programming
say, the learning spaces of Tate Modern. Education across learning and curating for such endeavours to
departments often pursue projects with a relatively even have the chance to shift agendas from within. I
short lifespan. Ahmet wanted to do something have cc’d Jeni Fulton, a writer and editor, as I think
long-term that wasn’t just a project or series of she has also a great perspective on this around ideas
workshops, which is important. That’s gestured to by of symbolic gestures.
his choice of title, ‘university’ rather than ‘project’. He
later found out that it’s actually illegal to call some- I think, though, that the performativity of such
thing a ‘university’ without authorisation. This is an activity could be a representation, or more, the
telling, because I know Ahmet is very interested in simulation of change. Maybe it is through the
how an initiative can be unauthorised but legitimate. simulation that it is possible to demonstrate how
Rather than imitating mainstream education, he counter or opposing narratives can be formed. I agree
wanted to transform it on a small scale, using the in your point, Sam, about the scepticism of the
facilities of existing institutions as progressive tools. project’s longevity, as it is maybe something institu-
tions need to consider about the embodiment of the
When I spoke to Ahmet about this earlier in aims of the project further than, say, hosting for a
the year, he asked, “How can we bring something like short-term commission. Furthermore, I think you hit
this inside the institution?”2 I suppose I’m sceptical the nail on the head with Malik, which is my exact
about what kind of longer-lasting impact or imprint scepticism of the current issues with the representa-
the Silent University has on the institutions that have tion of these practices at present—‘creativity for public
hosted it. Certainly I don’t see it as having made any good’.
changes or transformations within Tate. I wonder if
this was because it was commissioned by the Learning
Research team, rather than by the exhibitions team? -----------------------------------------------------------------
From: Jeni Fulton <____________________>
There’s an essay by Suhail Malik, titled “Educa- To: Paul Stewart <____________________>
tions Sentimental and Unsentimental: Repositioning Cc: Sam Thorne <____________________>,
the Politics of Art and Education”, where he talks Alistair Hudson <____________________>
about the potential of these kinds of projects to Subject: Re: On the Limits of Activism
change institutions from within. He argues that the -----------------------------------------------------------------
most visible artist-led education initiatives are more
involved with “parasitizing other kinds of art institu- Hi all,
tions as expanded educational initiatives”3. Malick The recent political upheavals in Turkey have thrown
notes that biennials and publicly funded institutions the limits of artistic activism into sharp relief. The
“provide willing host sites for such educational 2013 Gezi Park protest was driven in no small part by
endeavours, their ambitions chiming well with their artists—a reminder that the most effective activist art
aim to provide a public good through ‘creative’ takes place in public, where the bodies on the
activity, or the affirmation of creativity as public streets serve as physical disruption and symbols of
good”4. protest. Confining activist art to the gallery or
30 Issue 31 / July 2016

museum renders it as a symbolic gesture, as

other commentators in this essay have observed.
9 10
Recently, Ahmet Ögüt argued that “architects are the

better activists”. They are “aware of their own rights,
and the collective rights to the cities we live in”. The
right to freedom of assembly is, after all, a universal
human right, and by circumscribing public space, one
automatically infringes on this. In Turkey, architects
had a say in whether urban development projects
would be approved—a strong indicator of their political
influence, and, thus, power. This was removed follow-
ing the 2013 protests—a typical reaction to ensure
that dissident voices are silenced. Nevertheless,
Ögüt’s claim deserves further examination.
11
The debate over public space in Istanbul carried over

to last year’s biennial, Saltwater, which was curated by
Carolyn Christov-Bakargiev. She included Armenian -----------------------------------------------------------------
art and made numerous references to the Arme- From: Paul Stewart <____________________>
nian genocide, but this was neither remarked upon To: Jeni Fulton <____________________>,
nor censored. It was, after all, not ‘public’, but took Alistair Hudson <____________________>
place in privately owned spaces. “How can we then Cc: Sam Thorne <____________________>
talk about the biennial as a public event where free- -----------------------------------------------------------------
dom of expression exists that is truly public?”, Ögüt
asked. Freedom of expression, of course, is a precur- Thank you Jeni,
sor to making political art, but in order for this art to
have an impact, it needs to be visible in public, and You are right, we need to consider the implica-
perceived as political act. Else we risk ‘activist’ or tions of what is public and what is private, and how a
‘political’ art being reduced to Ai Weiwei’s recent gesture towards activism in private space does seem
portrait of himself posed as the drowned Syrian to only make those champagne-sipping patrons you
toddler Alan Kurdi on a Greek beach, and a group mention feel better about themselves, rather than
of champagne-sipping patrons ignoring the real world what this reaction has to the real world.
implications entirely.
Alistair—I want to pick up on the ‘performative
radicalism’ you mentioned at the beginning. I cannot
help but think about Griselda Pollock, who stated:
“[Performance] is more open, without an overwhelm-
ing history, without prescribed materials, or matters
of content”5. Pollock is arguing against the ideas of a
structure of sexism that perpetuated a gender
31 Issue 31 / July 2016

hierarchy, through omission and forgetfulness by I think we should be mindful of our position
institutions and the art world as a whole. I am trying and acknowledge the initial representation of
to get at the importance of performance as a practice performing radicalism and maybe its role to demon-
of radicalism, as a critique of a patriarchal canon, strate what is often excluded. I know we are not
whether that is the practice of Marina Abramović, specifically talking about this, but Jeni really highlights
Andrea Fraser, Carolee Schneemann, the Gorilla Girls, my issue with activism being canonized into art
or others. As well: David Wojnarowicz’s text work practice. The idea of art world elites watching a
Untitled (One day this kid…) from 1990, in relation to re-enactment of a real world horror to only then
ACT-UP (the AIDS Coalition To Unleash Power), discuss its relationship as an artwork just gives me
about the persecution of homosexuality. visions of using another’s suffering for some need to
make the work or institution feel worldly or, worse,
wholesome.
I do not wish to go to far off-topics, but my

issue with the idea of saying we ‘perform radically’ in
the way you have described is that it is bound up in
rhetoric and positions that need to be really interro-
gated. If we want to successfully offer this idea of
‘competence activism,’ which I would rather see as
just activism...Maybe we should be discussing how the
‘act’ or ‘object’ is situated in terms of public/private
that Jeni has brought to the fold?
-----------------------------------------------------------------
From: Alistair Hudson <____________________>
To: Sam Thorne <____________________>
Cc: Paul Stewart <____________________>
-----------------------------------------------------------------
I think Pablo puts it rather well in the quote

Sam has given, and it illustrates what I mean regard-
ing the distinction between performance and
competence—if we take competence to be the ability
to do something successfully or efficiently—which, in
the context of the traditions of community activity,
actions or activism with specific groups, translates as
doing something primarily for the benefit and effect
12
of the user groups involved. The ambition here would
be ‘to get the job done’ rather than create ‘a project’
to be viewed in a historical context or to do it with a
high degree of aesthetic surplus (i.e. making a song
and dance of it). Of course, there is not always a clear
distinction between these polarities, and different
projects sit at different points in a graded field
between intrinsic and extrinsic, local and international
narratives.
Many projects or actions only have the

ambition to work within the tight parameters of a
particular constituency, but often as part of that there
is a need to act up to increase resources, maximise
effect, or to fulfil a need to share the story with a
13 wider community of interests. Here, we might
32 Issue 31 / July 2016

consider the need to raise awareness, to mobilise a drive this home and break away from the mindset of
population, and this often involves a degree of an art world operating in a closed system. To my
performativity, you could even say, to operate in the mind, there is no reason why the Institution cannot
performative frame of the art world itself. also operate in this way, but it will surely take a bold
step for those in charge to test out these possibilities.
In this light, I am always hesitant to fall into the
trap of saying whether something is art or not and
more inclined to consider to what degree is something
‘art’, or what is its ‘co-efficient of art’.
As we discuss the capture/recapture of

activism into the art world, there is an equal and
opposite force of capture of art by the world of
activism. Here, for example, we might look at the
Granby Four Streets CLT bringing in Assemble to
assist in their campaign for ground-up regeneration in
Toxteth. The point I’m trying to get across here is the
highly complex ecology of interdependent relations 15
that are in play when we analyse this—and the danger

is that our art-historical bias has a habit of seeing all One of the dangers here is the continuing need
the world ultimately serving a universal art-historical for artists and art galleries to operate in an attention
narrative, which still privileges the idea of autono- economy—to continue a need to produce art, make
mous art and, to one degree or another, objecthood. things visible, produce exhibitions, to generate
knowledge within the conventions of museum and
expert culture. In these conditions, there is an
inevitable pull to perform radicalism, to simulate
activism that comes primarily from a need to make
art, to play the role of the radical institution, rather
than allowing specific and timely demand for a project
to initiate an activity.
This is something I’ve been wrestling with a

lot—how to resist the impulse to create and maintain a
planned ‘artistic programme’ and rather to operate in
response to urgencies on the ground. It should also be
said that, whether we like it or not, there are conven-
tions in art activism that expect a particular kind of
aesthetic and behaviour—actions that fall outside
these parameters are often harder to assimilate into
the canon. This does change over time, and we have
14 seen an assimilation recently of projects once
dismissed as too uncool to be part of a grand
How endeavours such as the Silent University narrative being brought back ‘into the fold’—for
operate in relation to the ‘Institution’ as we know it example, the recent discourse in Liverpool around
depends greatly on whether we see our museums and The Blackie in the context of the Visible Art Award.
galleries as autonomous zones or active players in However, is there still an expectation for community
society. The habit, of course, is the former, and in this projects to perform a degree of art-world know-how
scenario as Sam points out, these projects will always before they can be accepted beyond their immediate
have a supplementary relationship to the main conditions?
business of the day.
With Arte Útil and other related work around

Usership culture, we have tried to be quite clear what
the terms are—particularly through the Criteria—to
33 Issue 31 / July 2016

-----------------------------------------------------------------
To: Sam Thorne <____________________>
Cc: Alistair Hudson <____________________>
-----------------------------------------------------------------
I feel the term competence could be seen as

slightly exclusionary, as I don’t feel it acknowledges
perspectives I mentioned earlier with Grizelda Pollock
or the issues of representation. Picking up on the two
definitions of the institution as either autonomous or
active players as you position earlier, I think maybe it
is more important for the institution to acknowledge
its privilege to even choose between these two
positions in the first instance.
I feel that art as an action is so important to

social change. Maybe it’s something that can facilitate
a space to open up outside of the dominant liberal
politics for different conversations and political
ideologies of representation to emerge?
-----------------------------------------------------------------
From: Sam Thorne <____________________>
To: Paul Stewart <____________________>
Cc: Alistair Hudson <____________________>
-----------------------------------------------------------------
16
Recently I’ve been going back over some of the

conversations of just over a decade ago that emerged -----------------------------------------------------------------
around what became known—somewhat uneasily—as From: Alistair Hudson <____________________>
new institutionalism. The question that was posed by To: Sam Thorne <____________________>
these experiments with (mostly) mid-sized public art Cc: Paul Stewart <____________________>
institutions was what might happen when curatorial -----------------------------------------------------------------
thinking was directed to every aspect of an institu-
tion. Charles Esche, for example, defined his vision of It is possible to see institutional critique as just
Malmö’s Rooseum in 2001 as part community centre, another manifestation of the ‘showroom function,’
part laboratory, and part academy, with less need for and I must ultimately contest the conviction that art
the established showroom function. But funding cuts, must be purely representational, a mirror of reality,
governmental pressures, and closures meant that and cannot ultimately operate beyond this. We must
many of these ‘new institutions’ did indeed end up be really careful not to think that the neoliberal
re-embracing their showroom function. agenda has a monopoly on effecting change and
equally that ‘art practice’ has a monopoly on high-
Over the last five or so years, it seems to me lighting social issues. Many of the case studies ‘Arte
that all of us are saying that certain art institutions are Útil’ archives cannot be reduced to simply delivering a
trying to recalibrate again. Many institutions today service but offer hybridisations and relationships in
are thinking about how—as Alistair suggests—activism, opposition to a dominant system. Art can only
education, or civic action could be their principal produce collective realisation when, through use,
function rather than some peripheral or short-term re-use, misuse and repurposing, it operates outside of
programme. But how does this get integrated with confines of the consensus of an art world. Yet again, I
that ‘showroom function’? What can we learn from would assert this is not the ‘with us or without us’
what Paul calls the paradox of institutional critique, question that this debate has unfortunately been
whereby critical practices become (in both senses) drawn into of late, and we should allow for a more
institutionalised?
34 Issue 31 / July 2016

complex paradigm that accommodates the ecology 2 Lorraine O’Grady, Art Is... , “This Will Have
within which we all operate. As such, the reflective Been: This Will Have Been: Art, Love & Politics in the
role of art is not lost with the introduction of having a 1980s” Installation view; Museum of Contemporary
useful function, but rather it is embedded in a Art Chicago, 2012.
broader socio-cultural matrix. 3 Gran Fury: Read My Lips “Welcome to
America,” left, a billboard sponsored by the Whitney
Museum of American Art in 1989, waspart of the
----------------------------------------------------------------- show about the art collective Gran Fury, at New York
From: Paul Stewart <____________________> University’s 80WSE gallery, 2012.
To: Sam Thorne <____________________> 4 Jeff Koons, Play-Doh, Polychromed alu-
Cc: Alistair Hudson <____________________> minum; 120 × 108 × 108 in. (304.8 × 274.3 × 274.3
----------------------------------------------------------------- cm). Bill Bell Collection, 1994–2014. © Jeff Koons
5 Haim Steinbach, Untitled (locks, friar, sister)
Alistair, I do feel you are right about institu- sculpture, Wood, metal, plastic and lacquer, dis-
tional critique 101, but isn’t that what we are trying to played: 860 x 840 x 410 mm 1987. © Haim Steinbach
locate is a space to reclaim some level of agency to 6 “NYC 1993: Experimental Jet Set, Trash and
critique the dominant structures around us? Maybe No Star,” Exhibition view: New Museum. Photo:
we are trying to find how to critique the institution of Benoit Pailley, 2013.
institutional critique without getting lost in hyperbole 7 Theaster Gates surrounded by some of the
and rhetoric? Also I feel this conversation has so far reclaimed raw material of his trade. The Guardian,
avoided the ‘with us or without us’ issue you pose, Photograph: Sara Pooley, 2014.
but focused around ideas of recuperation, voice, 8 Silent University Identification Cards “For-
ownership and the ability to critique. Maybe we mer West: Document, Constellations Prospects at
should be listening to the questions, ‘What about us?’ Haus der Kulturen der Welt, Berlin, 2013.
or ‘What about something else?’ Might those be 9 A Turkish art group preforms in support of
excluded from the broader socio-cultural matrix you protesters at Taksim Square Uriel Sinai/Getty Images,
mention? These aspects relate, I think, to what Sam is 2013.
talking about with a new Institutionalism, but correct 10 Ai Wei Wei Recreating the image of the
me if I am wrong. Is the ambition of some aspects of drowned toddler Alan Kurdi, 2015 Image shared via
art practice to open up a space for consideration in Twitter by David Beard, Screenshot, 2016.
which these things might take place? 11 The original image that Ai Weiwei refer-
enced of Alan Kurdi, 2015.
In reflection, I would say the role of the 12 Carolee Schneemann, “‘Interior Scroll”
institution is to be critiqued continuously as to make Photo by Anthony McCall, 1975.
sure that what might have become invisible to 13 David Wojnarowicz (1954 — 1992), Untitled
our already predefined subjectivities is not excluded (One Day This Kid…), 1990.
or sidelined, as we have seen throughout art history. 14 A Showroom for Granby Workshop by
What is haunting from this conversation is Jeni’s Assemble, Tate Britain, Turner Prize Image by Keith
imagery of ‘activist’ art being reduced to Ai Weiwei’s Hunter, 2015.
work posing as Alan Kurdi, and a group of cham- 15 Museum of Arte Útil, 2013–2014 Installa-
pagne-sipping patrons watching on. tion view: Van Abbemuseum, Photo: Peter Cox, 2013,
That is what concerns me about the institu- © Tania Bruguera.
tion’s/art world’s current take on art and activism as a 16 Exhibition poster of “There is gonna be
genre of art. Maybe we just need to estrange from some trouble, a whole house will need rebuilding” at
this and look for something else? Rooseum, Malmö, 10.3-1.4.2001. Design by Andreas
Nordström, 2001.
-----------------------------------------------------------------
End of correspondence:
Tuesday, 9 February 2016, 12:32 Notes
1 Sam Thorne in conversation with Pablo
Helguera, 2015.
Captions 2 Sam Thorne in conversation with Ahmet
1 Image of “The Silent University Archive” at Ögüt, 2015.
Tate Modern, 21.11.2012. Tate Gallery, 2012. 3 Suhail Malik, 2011. “Educations Sentimental
35 Issue 31 / July 2016

and Unsentimental: Repositioning the Politics of Art Alistair Hudson is the Director of Middlesbrough
and Education.” http://www.bard.edu/ccs/redhook/ Institute of Modern Art. Hudson’s mission for mima is
educations-sentimental-and-unsentimental-reposi- to be a Useful Museum, as an institution dedicated to the
tioning-the-politics-of-art-and-education/. Red Hook promotion of art as a tool for education and social change.
Journal. Accessed: 11.01.2015. Former Deputy Director of Grizedale Arts in the Lake
4 Ibid. District, which gained critical acclaim for its radical
5 Griselda Pollock, Framing Feminism: Art and the approaches to working with artists and communities
Women’s Movement 1970-85, Pandora, London, 1987, that were based on the idea that art should be useful and
p. 45. not just an object of contemplation. He is co-director
of the Asociación de Arte Útil with Tania Bruguera and a
jury member for the 2015 Turner Prize.
Jeni Fulton is a writer and editor based in Berlin.

She will receive her PhD from Humboldt University,
Berlin, in 2016, and is art/commissioning editor for Sleek
Magazine. She contributes to Spike Art Quarterly and
frieze.com, among others.
Paul Stewart is an artist, curator, and writer

based in the UK, currently a PhD-by-practice researcher
funded by IDCA (Institute for Design Culture and Arts),
focusing on the role of the gallery as a site for learning. His
work has been shown recently as part of the Edinburgh
Artist Moving Image Festival 2015, and at Bank Street
Arts Gallery. Stewart was the curator of the ‘Situation
Unit’ commission series at mima (Middlesbrough Institute
of Modern Art) in 2015. His next book chapter, “Art and
Commitment: Galleries Without Walls”, will be published
this year in a book collection on Adult Education by Sense
Publishing.
Sam Thorne is director of Nottingham Contempo-

rary, a contributing editor and columnist at Frieze
magazine, and a co-founder of Open School East. His book,
School: Conversations on Art and Self-Organised
Education, will be published this year by Sternberg Press.
36 Issue 31 / July 2016

Ken Gonzalez-Day Spheres of Estrangement: Art, Politics, Curating
Ken Gonzalez-Day
Three Graces, Los Angeles, CA, 2015.

Lightjet print, 22 x 38 in.
Courtesy the artist and Luis De Jesus Los Angeles.
Past Present, 2015.

Lightjet print, 22 x 30 in.
37 Issue 31 / July 2016

Ken Gonzalez-Day Spheres of Estrangement: Art, Politics, Curating
Untitled (Henry Weekes, Bust of an African Woman [based on a photographic image of

Mary Seacole]; and Jean-Baptiste Pigalle, Bust of Mme. Adélaïde Julie Mirleau de
Neuville, née Garnier d’Isle, The J. Paul Getty Museum, Los Angeles, CA), 2011.
Ken Gonzales-Day is a Los Angeles-based artist whose interdisciplinary practice

considers the historical construction of race and the limits of representational systems
ranging from the lynching photograph to the museum display. “The Searching for California
Hang Trees” series offered a critical look at the lack of documentation of lynching sites, while
the “Erased Lynching” series sought to address the larger erasure of Asians, blacks, Latinos,
and Native Americans from the history of lynching. The “Profiled” series looked even further
back into history to consider how the sculptural depiction of race, and its display, contrib-
uted to racial formation today.
38 Issue 31 / July 2016

Estrangement through Art, Learning and Curatorial Frameworks Spheres of Estrangement: Art, Politics, Curating
Propositions: Estrangement
through Art, Learning
and Curatorial Frameworks
Lilian Cameron, Suzana Milevska,
Jared Pappas-Kelley, Adrian Shaw,
Paul Stewart
fig. 1: Paul Stewart, Scream to Shift, 2015.
The rationale of these propositions is to explore the role of the artist in relation to
applying estrangement to different practices and environments in an arts context. Some of
the propositions focus on the production of learning environments as artistic practices
relative to curatorial programming; others look to the position of cause and effect and to
ideas of over-identification.
The responses are anecdotal and in a variety of formats: theoretical, poetic, and
reflective. Practitioners, artists, and curators were asked to create short propositions to the
loose idea of applying estrangement into their own work context after being presented with
the diagram above (fig. 1). Each takes a different stance or starting position to question if
estrangement is able to work in his or her own practice or how it might work in practice
towards a larger idea.
39 Issue 31 / July 2016

Creation of work as an instrument of change.

Paul Stewart
Talking of Aesthetics
Aesthetics is “a hamster in its wheel.”
It is the constant repetition and reproduction of the same act, never learning
from the same mistake until replete. Over and over and over and over and over and
over again, repeating the same actions until the wheel breaks. Making the intellec-
tualised unintelligible.
But broken wheels can be sexy.
Talking of doing
How do we speak of thinking politically about how we respond to criticism
and to praise? We talk about the process of doing in terms of the precarious artist,
and, looking towards a commitment of practice to disfigure the status quo, we
produce our own negativity as we entrap ourselves in our own doing.
Design creates depoliticised design.
Does that even matter?
If the answers is “no,” move on.
Talking of collective
Rethink how we work collectively: Are we supposed to work? We usually
think about collaboration as a process of compromise and negotiation. But what
does it really mean?
No compromise, no middle ground.
Aesthetics is sexy.
Aesthetics is a cage without borders.
Long Live Aesthetics.
Uta Barth’s Distrust of Narrative Cause /

Effect and Agnes Martin’s Surrendered Perfection
Jared Pappas-Kelley
Lately I have been enamoured with artist writings, and the notion of the
artist as thinker and theorist amid a sort of intimate estrangement or derailment
that takes place. In some cases these types of writings only obscure an artist’s work,
but at their best, they give voice to individuals occupying and making sense of their
world.
***
Writing is most alive when directly engaged in the experience—as a cartogra-
phy of an encounter or inner space. In an interview, photographer Uta Barth was
asked why narrative annoyed her. Barth’s response captures a lot of what I have
been thinking:
Narrative holds out for a certain inevitability, it places deep faith in cause
and effect. Narrative is about reconstructing a chain of meaningful events
based on a known outcome. I’m curious about visual art that’s about the
visual. Seeing is Forgetting the Name of the Thing One Sees is the title of Robert
Irwin’s biography. Originally, it was a line in a Zen text. Narrative in art makes
40 Issue 31 / July 2016

us think about all sorts of interesting things, but it derails the engagement
with a visual experience.1
However, how does this translate over to writing, which is essentially

narrative? I am interested in this engagement as an enlivening experience that
allows the text to break down this ordering of cause and effect. As a writer I have
been obsessing about narrative, and how it can often feel stagy and forced. It cuts
away appendages for the sake of logic and stacking a synthetic sense of cause and
effect. Plotting. Without meaning to, writing tends to become more linear/
narrative than necessary. This might give the work a thrust, but I am also interested
in going back and re-developing the more non-linear feel of writing centred in
engagement—like now that I ate my vegetables, it’s time for pudding.
***
Agnes Martin’s Writings read like art-torah, striving towards an inner
perfection and finding a place of honesty in one’s efforts. Through these collected
texts, Martin parallels her painting—lines in grids with subtle colour—attempting to
illuminate her process while offering advice for young artists. Her ideas are
profound; yet they resonate with the daily-ness of life as she seeks an underlying
awareness of perfection. I find myself wishing I had some sort of Agnes Martin
microchip installed in my head (keeping these ways of thinking at the forefront of
my thoughts about art and writing)—with her foregrounding of the engagement
with perception and a falling away of false expectations. She is wise in exactly the
way I am not.
At the centre of her ideas are notions of Truth and Perfection. Both concepts
were historically at the centre of art, but nowadays seem sidelined as old-fashioned
or outdated, or maybe just too big. Art has become mired in a network of contin-
gency, but Martin’s ideas elucidate a path of engagement—hinting at universal
guiding truths that acknowledge the uniqueness of experience and individual
consciousness. She warns that other “people’s lives will look better to us than our
own, more interesting and more rewarding”2, but that this leads away from the
truth of our own work. “To correct this state of mind you must say to yourself: I
want to live a true life”3. I often get caught in a process of disappearance where
experiencing gets lost in the concept of how things ought to be, and it is here that
Martin reminds that one must always return to a singular engagement with what is
at hand.
At work in Martin’s writings on art is a notion that our world is an approxi-
mation of an idealized perfection. At its heart is the idea that creating art is a
process of translating ideas from our minds into an imperfect world that mirrors
this model. Here the task is to break the mirror in order to remove the gap
between the idea and what we experience. Martin states that happiness is found in
the brief instances when one becomes aware of this perfection, moments of
insight. It comes through courting inspiration in our work, but our vocation is in the
striving to perceive.
We must surrender the idea that this perfection that we see in the mind or
before our eyes is obtainable or attainable. It is really far from us. We are no more
capable of having it than the infant who tries to eat it. But our happiness lies in our
moments of awareness of it4.
Perceiving for Martin is of the utmost importance, and in this perceiving one
must be vigilant in the truthfulness of how one sees. Engaged in the moment and
open to inspiration, this is not an intellectual pursuit, but one of seeing.
Thinking; we consider that which we perceived. It is a secondary experience.

Thinking compares everything that we have perceived with everything that
we are perceiving at the moment5.
41 Issue 31 / July 2016

As someone who is frequently accused of thinking too much and over-think-

ing, Martin’s ideas are a useful balm. I need more engagement in the process of
perceiving the clarity in the work I create, while cutting loose intellectual prattle
and constant second-guessing. I am enamoured with her assertion that all true art
needs to fail in order to succeed, because through this collapse, honest work
emerges. Illustrating the tug of fear and pride on the validity of creating, Martin
leaves us with this image:
For those who are visual minded I will say: there seems to be a fine ship at
anchor. Fear is the anchor, convention is the chain, ghosts stalk the decks, the
sails are filled with Pride and the ship does now move.6
Turner’s corpse lies on a chaise-longue green

Adrian Shaw
Turner’s corpse lies on a chaise-longue green. His death mask face hangs
open in front of his last painting. His hands can no longer draw or paint. His fingers
are soft and limp. Are we there? Present? Who is present? Who was present at the
moment of death? The paint dries. Curating is silly. Every little girl loves a story. And
I mentioned to him that “Curating is so over!” Be yet more modern! More mobile!
More fluid! Etc, yep!7 How do you consume this moment? Let us wrap it up a series
of infinitely thin moments. Thin delicate memories. Let’s draw the fire, draw the
memories up and in a flash, devour and consume! Turner’s death mask is hiding in
the Tate archive. A copy of John Keats’ face hides at Keats House, at 10 Keats
Grove. Sit with the corpse for a while. Sit in the archive with the death mask, mouth
open for the world, for history. What are you learning? Between the body and
Turner’s last painting, moisture lightly evaporating in the September sun. Learning
with art is at certain times also quite silly. Go and learn with a lamppost. A rock. A
corpse. Climb into a bucket full of pungent bile. Swim around. Swim around.
Around and around, like a good little frog until it solidifies and forms a little
mountain of red crystal. Jump onto the bile island and leap out into the world and
go tell the world. Go tell it on a mountain. Between the damp white paint drying on
the front step, between the t-shirt hanging on the washing line drying in the last
gasp of summer wind. Between the drying slither of bird shit and next door’s cat.
Between the apple tree and the gently pulsating breeze-soaked net curtain.
Between all these and the corpse. Turner’s canvas flapping in the Margate wind.
What are you learning? Curating supposedly incarnating modernity. In a series of
little anecdotes. Oh, I am so honoured to have your knowledge bestowed upon me,
into me, washing all over me soft and gentle like a Timotei waterfall. I’ve never felt
so alive! A static camera frames and streams this tableau live. I lean in to be in shot.
I wave. Then I walk away and fall into the abyss.
42 Issue 31 / July 2016

Please rate your quality of estrangement

Lilian Cameron
Estrangement happens regularly in the gallery and museum, and it is a key

part of many a visitor’s experience, yet it is curiously absent from the lexicons at
hand in these places, particularly in learning and public programmes.
Commonly, the aim is to offer enjoyment, to welcome in, and for the
visitor to leave with a sense of positivity or fulfilment that compels them to
return and, above all, to participate again. Visitors are asked not only, “Did you
enjoy your visit today?” but also “Will you wish to take part again?” and “Are you
satisfied with what it offered you?”
In such contexts, estrangement feels remote and far removed, but it is an

experience we would do well to listen better to audiences, and not only because
it is everyday and commonplace. In estrangement, we experience ourselves as
separate, and there is a possibility for independence and critique in such experi-
ence—for the knowledge of a perspective outside a framework. A perceived
negativity about the word might be the hinge-point to something positive: an
experience of difference or otherness in an environment, the realisation of a
personal, subjective critique.
There are different kinds of estrangement in the museum and gallery:

gut-instinct dislike, physical discomfort, offence or outrage, and a speculative sense
of outsiderness or disregard. Each has a varied impetus and comes from a distinct
place, with the potential to open onto forms of differentiation, some of which may
be more familiar than others.
How might recognising or allowing space for estrangement look in practice,

in a context of learning or curatorial programming? Recently, learning has occupied
a certain edge in listening closely to audiences and reflecting critically on this
practice, but is increasingly beholden to temporary or external funding that
seeks—practitioners fear—particular outcomes and evaluations, as well as benefac-
tors who don’t necessarily see virtue in estrangement.
Curating has at times remained free of this responsibility, particularly in

the more elitist contexts, and this a freedom [that] populist sites might wrestle
back for themselves and make a part of their lexicons, but on their own terms.
What if galleries and museums were to create space for estrangement by

listening to it when asked, or by recognising its value, from a distance? What if we
were to advocate for a radical unknowing of participant experience, allowing it
room to breathe in the gallery and museum?
43 Issue 31 / July 2016

“Infelicitous” Participatory Art Speech Acts and the Educational Turn:

The failed promises and hopes of participatory arts for democratisation
of society on the neoliberal stage
Suzana Milevska
I want to point to certain paradoxes within the so-called “participatory

shift” in the arts and its promises for democratisation of society. The promise of
“enhanced participation” often creates new hierarchies and differentiations of
audiences, and political correctness—as one of the promised principles of such
practices—can result in de-motivating effects among artists who belong neither to
the activist circles nor to the underprivileged or minority groups8. This ironically
induces a vicious circle that recuperates and perpetuates the elitist and commercial
art system that is initially the main target of participatory art.
The fulfilment of a promise was dubbed a “felicitous act” by J. L. Austin.

According to Austin, the difference between what one says and what one does
depends on the context and circumstances, and subsequently the context can
substantially affect the fulfilment of the promise9. Participatory art practices
cannot fulfil the promises for democracy and emancipation, since from the outset
they are linked to the contemporary neoliberal social contexts in which they
operate. Therefore, I’d rather locate the main reason behind the failure of such a
systemic “mission impossible” in the inner contradiction of contemporary demo-
cratic societies than in the structure of such art projects.
Participatory art projects appear to establish a new and more productive

context for such estrangements and open up new potentialities for a bigger societal
impact of contemporary art practices in general. On the other hand, it became
obvious that by organizing participatory art projects, art institutions often com-
pensate for the lack of establishing and developing a profound and long-term
relation with their audiences (only turned into numbers and statistics for further
grant applications for funding). Through such a subtle transfer of their program-
ming and societal responsibilities to the artists they instrumentalise, participatory
art acts as a kind of “liability reserve” in relation to their societal role.
Participatory art practices often bring the artists to civil society-related

activism and collaboration in solidarity with existing and newly established
activist organisations in order to overcome the paradox of democracy in
neoliberal times10.
However, authors such as Jodi Dean and Slavoj Žižek have already pointed
out the fundamental contradictions between democracy and stamping neoliberal
societal developments. For example, Dean argued that while the left attempts to
develop and defend a collective vision of equality and solidarity, the ascendance of
“communicative capitalism”, the consumerism-driven gridlocks, the privileging of
the self over group interests, and the embrace of the language of victimization
constantly undermine such attempts11. Slavoj Žižek went so far as to announce the
split between the two: “The eternal marriage between capitalism and democracy
has ended”12.
Participatory art projects aiming towards democratization could be linked to

the older philosophical progressivist assumptions proposed by John Dewey, mainly
in the realm of the critique of education as a social change instrument13. The
“participatory turn” and the “educational turn” are often interlinked through
44 Issue 31 / July 2016

artistic and curatorial contemporary art projects that engage with critical education
and pedagogy, mostly based on the ideas of the alternative and critical pedagogy of
Ivan Ilich, Paulo Freire, Peter McLaren, and Jacques Rancière, but yet they happen
within established institutional “walls.”
Most of these projects are welcomed by society as a preferred mild social critique,
which eventually recuperates the critiqued institutions, since most likely it perpetuates the
status quo rather than focusing on delivering a more direct political critique of social inequal-
ity and injustice.
To conclude, the paradigm shift from objects to subjects in participatory art

cannot be discussed apart from the general societal context and without taking
into consideration its pedagogical effect on all involved parties (governmental
policies, economic changes, institutional interdependence of cultural policy,
decision-makers of real politics, local governance deliberation, etc.). Nevertheless
the wider socio-political and economical context in which art is produced and
practiced inevitably over-writes the ambitious goals of participatory art. This calls
for further critical distinctions between participatory art projects depending on the
different concrete historical, cultural, and socio-political contexts where they
promise the change towards democratization and induce a certain hope, and for a
discussion how different participatory artists have positioned themselves in societal
and political contexts.
Notes
1 Lee, P.M., Higgs, M., and Gilbert-Rolfe, J., Uta Barth, Phaidon, London;
New York, 2004.
2 Martin, A. & Schwarz, D., Agnes Martin: Writings, Hatje Cantz; Art Books
International [distributor], Ostfildern-Ruit; Portchester, 2005. p. 113.
3 Ibid., p. 113.
4 Ibid., p. 69.
5 Ibid., p.74.
6 Ibid., p. 89.
7 Châtelet, Gilles, To Live and Think Like Pigs: The Incitement of Envy and
Boredom in Market Democracies, Trans. by Robin Mackay, Urbanomics, 2014.
8 Thomas Nagel, The Mortal Questions, Cambridge University Press,
Cambridge, UK, 1979, pp. 91-105.
9 John L. Austin, How to Do Things with Words, Ed. by J. O. Urmson
and Marina Sbisà. 2nd Ed.,
Harvard University Press, Cambridge, MA, 1975, p. 100.
10 Paul Clements, “The Recuperation of Participatory Art Practices,”
International Journal of Art and Design Education, No. 30.1, 2011, pp.18-30.
11 See: Jodi Dean, Democracy and Other Neoliberal Fantasies: Communicative
Capitalism and Left Politics, Duke University Press, Durham, N.C., 2009.
12 Nicolas Dutent, 2013. “The eternal marriage between capitalism and
democracy has ended,” Interview with Slavoj Žižek, Trans. by Harry Cross,
L’Humanité (English edition), 2 September. Accessed 02.04.15. http://www.human-
iteinenglish.com/spip.php?article2332.
13 John Dewey, “Education and Social Change,” in F. Schultz, SOURCES,
Notable Selections in Education, 3rd ed.), McGraw-Hill Dushkin, New York, 2001,
pp. 333–341.
45 Issue 31 / July 2016

Lilian Cameron is a writer and researcher in the arts who is currently based in the UK.
Suzana Milevska is an art historian and theorist of visual art and culture. Her
research and curatorial projects focus on postcolonial critique of hegemonic power regimes of
representation and various institutional policies and representations of marginalized
communities in postsocialist transitional societies, feminist, participatory art practices, and
artists with a Roma background. In 2004 Milevska was a Fulbright Senior Research Scholar
at Library of Congress. She holds a Ph.D. in Visual Cultures from Goldsmiths College
London. She was the first Endowed Professor for History of Central and South European Art
Histories at the Academy of Fine Arts in Vienna and a visiting professor at the Visual
Culture Unit of the Technical University Vienna (2013-2015). In 2015, she curated the
symposium and edited the reader On Productive Shame, Reconciliation and Agency
(Sternberg Press, in print) that offers a postcolonial analysis of the intersectionality of
ethnicity, gender, sexuality, and race. In 2012, Milevska was awarded the Igor Zabel Award
for Culture and Theory.
Jared Pappas-Kelley is a curator, researcher, and visual artist based in the UK.
Much of his current work focuses on ideas of an instability in the art object and the
intersection between practice and theory—examining art as a method for understanding an
object’s coming together through its undoing. His forthcoming book, Solvent Form, examines
art in relation to destruction and looks at the warehouse fire at Momart in 2004 and works
indirectly destroyed by art thief Stéphane Breitwieser.
Adrian Shaw is an artist, curator, and producer based in London.
Paul Stewart is an artist, curator and writer based in the UK, currently a PhD
by practice researcher funded by IDCA (Institute for Design Culture and Arts), focusing on
the role of the gallery as a site for learning. His work has been shown recently as part of
the Edinburgh Artist Moving Image Festival 2015, and at Bank Street Arts Gallery. Stewart
was the curator of the ‘Situation Unit’ commission series at mima (Middlesbrough Institute
of Modern Art), 2015. His next book chapter, Art and Commitment: Galleries Without
Walls, will be published this year in a book collection on Adult Education by Sense Publishing.
46 Issue 31 / July 2016

Curating Architecture: The Architecture of Estrangement Spheres of Estrangement: Art, Politics, Curating
Curating Architecture:
The Architecture
of Estrangement
Alison Hugill in conversation
with Carson Chan
The term ‘architecture’ has become ambigu- Alison Hugill: The issue at hand is ‘defamiliari-
ous, producing a defamiliarizing effect when strategi- zation’ and the potential poetics of exhibiting archi-
cally used out of context. While generally referring to tecture, a staple of the ‘everyday’ taken out of con-
any complex structure, the term ‘architecture’ has text. How does the exhibition of architecture, both as
come to represent, among other things, the concep- the form and the content, provoke estrangement?
tual framework and logical organization of systems. With reference to your curatorial experience, is that
Thus the phrase “curating architecture” gains effect better achieved in public space or in a tradi-
nuance—it signifies the act of curating architecture tional gallery or exhibition space?
(buildings) as subject matter and, simultaneously, the
structural process of curating itself. Carson Chan: Well, as you said, the act of
removing architecture from the everyday world and
Is a synthesis between these two interpreta- placing it on display produces a new set of demands
tions possible, or does the phrase “curating architec- and aesthetics for the architectural object. Factual
ture” depend on its defamiliarizing effect? Originating communicability is privileged over the immersive
from the term ostranenie, coined by Viktor Shklovsky experience, and architecture is presented as a set of
in his essay “Art as Device”, defamiliarization refers to instances—shown through models, drawings, photo-
the artistic production of information that imparts graphs—rather than a process. Exhibited through
the sensation of things as they are perceived and not representation, the architectural work more easily
as they are known. If applied successfully, defamiliari- assumes the mantle of single authorship, where in
zation prolongs the active process of perception, situ, the same thought is almost impossible. In this
enabling critical thought. The link between defamil- sense, estrangement is built into the exhibition of
iarization and architecture is precisely the temporality architecture. Exhibitions make the places, structures,
of perception, whether in built space or in the virtual and durations we generally ignore into objects of
forms of infrastructure space. scrutiny. To flip your question on its side, I see curat-
ing architecture or architecture exhibition-making
In this conversation, Alison Hugill discusses becoming ‘familiarized’, insofar that it is now com-
curating architecture with Carson Chan, an architec- monly seen as something that anyone with knowl-
ture writer and curator who co-curated the 4th Mar- edge or interest in architecture can do. This is not the
rakech Biennale 2012, acted as Executive Curator of case. Curating is a separate discipline. Within the
the Biennial of the Americas 2013, and co-organised architecture world, to curate an exhibition is unfor-
the conference “Exhibiting Architecture. A Paradox?” tunately not seen as a specialized skill the same way
at Yale School of Architecture in 2013. Hugill’s line of that making a building is.
questioning draws from her research on Marxist-fem-
inist politics and aesthetic theories of community, AH: When did these questions begin for you?
communication, and communism. She has also
curated several architecture exhibitions in Norway CC: At PROGRAM, the interdisciplinary
and Germany. exhibition space I opened in 2006 in Berlin with
Benjamin T. Busch Fotini Lazaridou-Hatzigoga, we wanted to question
47 Issue 31 / July 2016

the conventions of architecture exhibitions by bor- CC: Well, to clarify, though the persistent myth
rowing the display techniques of other fields. We of the single author in architecture has over-privi-
asked artists, musicians, dancers, and writers to leged the architect’s biography in architectural dis-
make architecture exhibitions in their own way. In course, the identity of the architect or the firm is still
doing this we were trying to bypass both the impulse important as it lends a measure of accountability to
to simply put small buildings inside a gallery space, the designs. No matter the profession, authorial
and the convention of exhibiting architecture by ownership of work does ensure a level of quality. In
proxy, through representation. Could other disci- any case, I see myself as an author of exhibitions, but
plines show us new, direct ways to access architec- like architecture, exhibitions are always co-produced
tural ideas? by the visitor or user.
For the Biennial of the Americas in Denver, I AH: A recent proliferation of architecture
had the opportunity to engage the physical city as an collectives and non-hierarchical or bottom-up work-
exhibition. I have always been impressed by architec- ing configurations has put emphasis on the commu-
ture exhibitions like the Weissenhof Siedlungen in nity (loosely defined) as agents in a given project’s
Stuttgart (1927), or Hansa Viertel in Berlin (1957)— design. I often wonder about the emancipatory
entire neighbourhoods of fully functioning build- potential of these kinds of socially engaged works or,
ings. The 2013 edition of the biennial was called more importantly, the politics they aim to articulate
Draft Urbanism, referring both to the idea that cities and what their effects might be beyond the installa-
are never complete—that they are always a draft tion of the work. For example, how those relation-
version of a changing ideal—as well as to Denver’s ships are maintained outside of the budget of the
historically rooted beer culture. Like the German work and the presence of the artist/architect/collec-
examples, I too wanted to turn downtown Denver tive who initiates it.
into a giant exhibition. We exhibited art on all the
downtown billboards, and videos on public LED CC: Elín Hansdóttir’s Mud Brick Spiral (2012),
screens, and we exhibited museum labels on several commissioned for the Marrakech Biennale, exempli-
buildings that were pertinent to the exhibition’s fies for me the co-constitutive nature of both exhibi-
theme. We saw that just by putting a label on a build- tions and architecture. At the time, Elín was an art-
ing, we were able to transform something that people ist-in-resident at Dar Al-Ma’mûn, an art foundation
generally walk past into an object on display. founded by and located within a luxury resort on the
Estrangement, paradoxically, allows us to become outskirts of Marrakech. Elín made a large-scale
familiarized with the already familiar. sculpture—or architectural folly, depending on how
you to see it—the plan of which was a spiral. The
whole thing was made by hand out of mud bricks.
She formed a small team of helpers from the village
named Tassoultante next to her residency. It was
located on an empty plot of land in Tassoultante next
to the boundary walls of the resort. Before long, the
villagers began to develop a sense of ownership for it.
Children would come every day to watch the con-
struction. Others would make food for the team. To
allow Elín quick access to the construction site, the
directors of Dar Al-Ma’mûn made a door between
the resort and the village, which has introduced a
1
new spatial relationship between the two communi-
ties. In this way, the installation contributed to the
AH: You mention the idea of single authorship, spatial configuration of both the residency and the
which gets built into exhibitions of architecture that village beyond the bounds of its physical form. Dar
are conveyed through representation (models/photo- Al-Ma’mûn subsequently allowed villagers to access
graphs/renders). Is this kind of estrangement, or alien- their collection of books. The villagers also began to
ation, of the various forms of labour that go into the hold town meetings next to Elín’s installation. Appar-
making of architectural works an issue that informs ently, they never had these meetings before, as if one
your approach to exhibition-making? unusual form of communication (the installation)
justified another (the town meeting). Clearly, any
48 Issue 31 / July 2016

new structure introduced to Tassoultante would have

produced some kind of social change, no matter how
slight that change may be. This change is neverthe-
less the result of a discursive system including the
biennial institution, its funding, the history of the
location, the various audience groups, the artists, as
well as the curators. I think it’s much more interest-
ing to think of the artwork, the architectural object,
or the exhibited object as a discourse network rather
than as a discrete thing.
3
AH: In your 2010 Domus article, ”Exhibiting

Architecture: show, don’t tell”, you write that one of
the aims of architectural curators is “to cultivate an
audience with the spatial sensitivity to engage with
the built environment in a conscious and potentially
more responsible way”. What are some of the chal-
lenges and solutions to society’s overall obliviousness
towards architecture as an art form? What do you
mean by ‘responsible’?
2
CC: I think this question is particularly poign-

AH: As you mentioned, we often see architec- ant as we continue to degrade our environment. That
tural exhibitions presented through photography, we don’t regard our buildings and cities with particu-
video, sculpture, and quantitative research. What lar care is connected to the difficulty of getting peo-
contemporary possibilities do you see for exhibiting ple to care about the unnecessary degradation of our
architecture in its own medium, beyond commercial resources, not to mention the non-human natural
instances? world in general. Part of the problem is that the scale
and complexity of a biome, a city, or even a building
CC: So many of these conventions of exhibit- is too vast to communicate in a succinct way. These
ing architecture come from academic and commer- things are also not discrete objects, but part of larger
cial practices. The Beaux Arts system mandated that networks of influence. We’re good at thinking about
plans, sections, and elevations be exhibited for a sculpture, a song, or a book. For me, there’s some-
review. The presentation board was developed thing accommodating with projects that imagine a
through corporate demands. Not to discount these city as an object, even just as a heuristic method.
traditions, but I don’t think we have really investi- O.M. Unger’s “Green Archipelago” project (1977),
gated the possibilities of how architecture can be which basically imagined West Berlin as an exhibi-
exhibited. Part of the way forward includes a redefi- tion—buildings became artworks, and the encircling
nition of what architecture is, and that perhaps it Berlin Wall became gallery walls—is one such exam-
should be understood more as an umbrella term that ple. The photograph of the Earth from the moon
includes buildings, rather than its synonym. I see similarly forced us to see the world as a discrete
architecture as a spatial practice of many intersecting object. Spaceship Earth is a capsule, and this forces
considerations. It makes social, political, economic, us to reconsider the way we use what we have.
environmental, technical, and informational forces Through analogy, something complex, immense, and
manifest. How these things become singularly mani- unwieldy is able to enter more easily into discourse.
fest does not necessarily take the form of a building. Being sensitive to our built environment could make
However this takes shape will suggest different us more acute to the effects we have on the greater
modes of presentation. world.
AH: You say that you find the idea of using a

neighbourhood or section of a city as an exhibition
space, with 1:1 buildings as the objects of exhibition,
49 Issue 31 / July 2016

accommodating. There seems to have been a strong or geographical context, compete with art forms that
tradition of this kind of exhibition in Germany, par- adapt easily to the ephemerality of online networks?
ticularly the Modernist examples you’ve cited. Can
you talk about how this idea has translated, for you, CC: I’ve been very interested in Arseny
into contemporary projects (Draft Urbanism, Avraamov’s Simfonia gudkov (1917)—a symphony
Aurora?) and whether the effect is still relevant in a played by navy ship horns, sirens, car horns, train
digital age? whistles, factory sirens, artillery guns, and so on. By
scoring each urban “instrument”, it transformed the
CC: Seeing the city explicitly as an exhibition city from a place of sound to a place of sonic dis-
has its dangers. Built during the Cold War, the Hansa course, of music. I was thinking of this piece when I
Viertel was organized by the West German govern- invited Dan Bodan, a Berlin-based Canadian musi-
ment to show off Western design and ideals to the cian, to compose a new piece for the Guadalupe
East. Even back then, there was a sense that the built Cathedral’s bell tower. The bell, or carillon, is both a
world has a parallel existence in various media like maker of urban sounds and a musical instrument,
newspapers, magazines, and now the Internet. Build- and I liked that Dan would be composing a piece
ings are being built, and cities are being designed as that would be heard throughout downtown Dallas
much for how they serve a function as how they without ever having been there. In this case, the
appear in photographs. people of Dallas would be given a direct experience
of a work made by someone who only has an indirect
AH: Do you think this kind of citywide exhibi- experience of it. For the same exhibition, I also pro-
tion is still relevant in the digital age? jected Niko Princen’s In the Event of Fire (2011) on
the north wall of I.M. Pei’s Meyerson Symphony
CC: Because buildings have such symbolic and Hall. Niko’s piece allows visitors to blow out a candle
representational significance, I think it’s particularly in Amsterdam by blowing into a microphone in
important in the digital age to engage the public with Dallas. Connected through Skype, the sound of
the physicality of the lived world. This is an issue I blowing into a mic is played on bass speakers posi-
have elaborated on in the past, particularly in my tioned next to a candle in Amsterdam, and enough
essay called “Measure of an Exhibition: Space, Not pressure is created to blow out a candle. There is a
Art, is the Curator’s Primary Material” (Fillip13, slight lag between when you blow into the mic and
2011). As with Denver, a similar strategy was when the candle is extinguished, and it’s a really
employed for my exhibition at Aurora Dallas 2015. entertaining demonstration of how we have forgotten
My exhibition was called Second Hand Emotions. It about the physical distances in our lived world, dis-
was comprised of the blocks containing the Meyer tances that contain much poetry and insight yet to
Symphony Hall, and the Cathedral Shrine of the mine. I also enjoyed that this work was projected
Virgin in Guadalupe, which houses the second big- onto a symphony hall, an architectural type that
gest Catholic congregation in the United States. As relies on our demand for first-hand, direct experi-
the title of the show suggests, I’m interested in the ences for its existence.
vicarious experiences of the digital age we so often
accept as first-hand experiences. We’ve grown accus-
tomed to distance and representation. Often times
we say we’ve “seen” artworks or buildings when we’ve
in fact seen images of them online. Aurora is a bien-
nial exhibition that has been attracting more than
50,000 visitors in one night, and I was attracted to
the idea of making an exhibition in which the physi-
cal presence of a large audience was guaranteed. I
saw it as an opportunity to try to engage the public’s
attention in a way that would hopefully make them
think about the spaces they inhabit.
4
AH: Our potential global reach is huge these

days. How can architecture, as a predictably physical
manifestation, stubbornly located in a specific spatial
50 Issue 31 / July 2016

AH: You have written about the importance of Captions

“context-sensitivity”—how did you address this con- 1 Barkow Leibinger, Loom-Hyperbolic, 2014.
cern at the Marrakech Biennial in particular, but also Photograph by: Johannes Foerster.
in the American context of Draft Urbanism in Den- 2 Elín Hansdóttir, Mud Brick Spiral, 2012.
ver? Photograph by the artist.
3 Pezo von Ellrichshausen, Mine Pavilion, 2013.
CC: Maria Lind’s concept of “context sensitiv- Photograph by: Christobal Palma.
ity”, which I saw as an extension of the way Miwon 4 Niko Princen, In the Event of Fire, 2011.
Kwon understood “site specificity”, was a strategy Photograph by: Josh Blaylock, 2015.
framing the way contemporary art and architecture
was presented in Marrakech. Fundamentally, we
sought to structure the exhibition in Marrakech Benjamin T. Busch was internationally trained as
through our imagined visitor’s eyes. Marrakech an architect at the University of Kansas, Potsdam Univer-
didn’t have any public venues for people to see con- sity of Applied Sciences and the University of Stuttgart. He
temporary art. This was the initial challenge, but it has lived and worked in Berlin since 2011, where he leads
was also not necessarily a hindrance. Instead of rely- Studio Busch, a platform for spatial practice operating
ing on preexisting knowledge about art or explana- between the disciplines of photography and design. As a
tions through wall text, I privileged large installa- graduate student of Raumstrategien (spatial strategies) at
tions that provided physical, immersive experiences, Weissensee School of Art, he is currently researching critical
shifting the locus of meaning from the artists’ inten- modes of architectural production within the field of spatial
tion to the viewer’s experience. In Denver, the archi- practice. Treating architecture as a symptom of abstract
tectural installations began by identifying a problem processes, his artwork and writing investigate complex fields
of their respective sites. Working the Denver Down- of relations within the built environment.
town Partnership—an organization of business own-
ers in the downtown area—various urban concerns
were highlighted, and each invited architect was Carson Chan is an architecture curator and writer.
asked to respond on-site through their interventions. He is co-founder of PROGRAM, a project space for art and
Pezo von Ellrichshausen drew attention to the way architecture that hosted exhibitions, workshops, talks, and
Speer Boulevard, an eight-lane street, cuts through a residency in Berlin between 2006 and 2012. He co-
downtown fragmenting the area’s civic and social Curated the 4th Marrakech Biennale in 2012, and in 2013,
unity; June14 Meyer-Grohbrügge & Chermayeff he was Executive Curator of the Biennial of the Americas in
made butterfly pavilions to introduce a foreign spe- Denver. His writing appears regularly in Texte zur Kunst,
cies to downtown ecology by way of commenting on Art Papers, Frieze, and Kaleidoscope, where he is Contribut-
the perception of the homeless as non-native to the ing Editor, and 032c, where he is Editor-at-Large. He is
area; Alex Schweder made a temporary mobile hotel currently pursuing a PhD in architecture at Princeton
room in one of downtown Denver’s many parking University.
lots to give visitors a glimpse of what further devel-
opment might look like; and plan:b arquitectos cre-
ated shading structures for Skyline Park to promote Alison Hugill has a Master’s in Art Theory from
public use as they did in their hometown Medellín. Goldsmiths College, University of London (2011). Her
Skyline Park, problematically, has very few trees, and research focuses on marxist-feminist politics and aesthetic
without shade, under direct light, people don’t con- theories of community, communication and communism.
gregate. In all these cases, the conditions addressed Alison is Managing Editor of Berlin Art Link magazine, and
are well known to people living in Denver, but it a freelance writer and curator based in Berlin. www.
takes some added effort to draw out the key narra- alisonhugill.com.
tives of the everyday, architectural conditions sur-
rounding us. Exhibiting architecture has the poten-
tial, and perhaps the responsibility, of bringing to the
fore the salient subtexts that are so easily ignored in
day-to-day living.
51 Issue 31 / July 2016

Call of Cthulhu Spheres of Estrangement: Art, Politics, Curating
Call of Cthulhu
Jack Schneider
When I was twelve, my friend Matt and I had an extended intermittent
debate on the plausibility of the following scenario:
You come across an object that is a colour you’ve never seen before. Not just some
nuanced colour between our familiar red, green and blue. But a radically new colour. Like a
fourth primary. What happens?
My thought was that you would be so confounded—your once relatively

stable image of the universe so fundamentally shaken—that you would die from a
cerebral aneurysm or shock.
Matt argued that such a scenario would not be possible in the first place, as
we’re only capable of perceiving a select range of colours. Specifically the range of
the electromagnetic spectrum between approximately 390 nanometers and 700
nanometers that we call visible light. There are no additional colours, because we
do not possess the hardware to perceive them.
Matt’s approach to the scenario corresponds with a correlationist worldview

wherein the human experience is tied to reality in such a way that neither could
exist without the other. My naive and speculative approach could not stand against
this argument, so I conceded.
Revisiting this question now, I have a couple additional challenges. Who was
the subject of the scenario? At the time, we assumed it was human. The outcome
of the scenario was then necessarily tied to the capacity of human perception. But
today, as our bodies become more transparent—as technology probes deeper—new
possibilities are imaginable wherein techno-bio interfaces extend our perceptual
capacity.
But even in this supposed solution, the existence of something is subordinate

to our ability to perceive it. Thus the more important question becomes: what is
disqualified from existence when we cast humanity in the lead role?
Jack Schneider (b. 1991) is an artist and designer living in Chicago, Illinois. His recent solo
shows include Call of Cthulhu at Born Nude and INTO: through Amur Initiatives Media. His
work has also been included in recent group exhibitions at Lodos, Alcatraz Chicago, Sullivan
Galleries, and the Institute of Contemporary Art Singapore. He received a BFA from the
School of the Art Institute of Chicago along with the James Ray Nelson Fellowship Award.
His work investigates the effects of anthropogenic thought, systems, and processes on other
species and the environment. Forthcoming exhibitions include a curatorial project with and
about dogs.
52 Issue 31 / July 2016

Call of Cthulhu Spheres of Estrangement: Art, Politics, Curating
53 Issue 31 / July 2016

Vampires from the Aesthetics to Ethics–1922 to the Present Spheres of Estrangement: Art, Politics, Curating
Vampires from Aesthetics

to Ethics—1922 to the Present
Penny Rafferty and PUNK IS DADA
In modern times, we are not suffering from alienation with the undead but a
provocative over-identification. Society is re-writing the horror genre; now the
Vampires, Vrykolakas and Chupacabra act as our evolutionary saviours, rescuing us
from that uncertain and timely existence known as life. Life today is less than a
desirable product much less sacred; harried, in a perpetual state of anxiety, and
ruled by the capitalist mobocracy we call the Market. Life is somewhat inconvenient
to most that walk the planet. Boris Groys recently said, during a 2015 lecture
entitled Becoming Cosmic1, “that today the question of what happens to the soul/
spirit is no longer of our concern, now the question is what happens to the corpse?”
He is not the only one speaking of corpses and politics. Mark Fisher’s text, “How to
kill a zombie: strategizing the end of neoliberalism”2, written in 2008, is still
relevant today; as he so poetically cites, “Neoliberalism now shambles on as a
zombie—but as the aficionados of zombie films are well aware, it is sometimes
harder to kill a zombie than a living person.” And in the words of all those teenage
aficionados: “true dat”.
The Zombies, however, are always the ungodly masses, the working classes
blundering on, lugging their own rotten bodies around—thoughtlessly and without
grace. With only one goal: to eat and devour anything living, be it rat or human.
Quite the opposite depiction of our modern-day Vampires, in which Vampires are
no longer the pale, sickly, half-rotten counterparts of humanity they once were,
looking back at Nosferatu the Vampire from the 1922 adaptation of Bram Stoker’s
1897 novel Dracula—with his oversized ears, fangs, and vintage smock, he would
never have walked amongst the living undetected. Even less likely is the living
lusting after him almost to the point of irritation, like the Vampire Eric Northman
from the HBO series True Blood, who has women and men alike offering themselves
up to him on a nightly basis at his club “Fangtasia”, something between a sex club
and a social centre for humans and vampires to interact consensually.
Science and the Undead

In the last twenty years, post-humanist ideas and technology have played a
strong role in the shift away from the more traditional morals and beliefs of
Christianity. This used to be at the forefront of the Western world, making room
for science as the great purifier and allowing for the erotic fixation of the immortal
soul. Many also fear humanity is nearing extinction from climate change; if we
found a way in which we didn’t need sunlight, clean water, and oxygen to survive,
we would be independent of the planet and its systems. We could therefore
accomplish immortality like our heroic Vampires. However, this is unlike Zombies,
who work on the basic principle of bite = infection = death = reanimation. When all the
living flesh is consumed, the Zombies rot away, as in the hit cult series The Walking
Dead (2010—present). With no life to leech off of, they have no power—they
become extinct. This would solve the problem of the “Neoliberal Zombie” from
Fisher’s theory. If we starve them of human flesh, they will rot away for eternity.
Fisher states that after a Zombie Invasion, it’s crucial to rethink solidarity and not
54 Issue 31 / July 2016

consign ourselves to the “atomized individual”. Interestingly, he uses the templates

of postmodernist culture to build successful heterogeneous interest groups.
With an overall unity in diversity, resources and desires similarly to the clans of the
Modern Vampire. He states the new world is more than a logistical problem of
resources and power—it is a philosophical one.
The Environment and The Cosmic

Humans have proved themselves to be a force of nature in the last decade
with the coining of a new geological epoch know commonly as the Anthropocene,
contrary to the previous popular belief that we are the most “natural” living entities
on earth. We have created new lands and terrains such as The Pacific Trash Vortex3.
Spanning thousands of kilometres from the West Coast of North America to
Japan, the collection is mostly waste and plastic debris spiralling into makeshift
islands. Yet, we are never shown this seemingly mythical, small country bobbing
along with dead sea life trailing behind its man-made arse. It is there if we choose
to believe in the scientific studies, or not, if we listen to the “climate change
deniers”, who argue it is a fictitious representation from the left wing to stop the
growth of industry. This also mimics the horror story of The Blob (1958), a strange
horrific life form that consumes everything in its path.
We also often hear of the human ability to conjure up and summon terror-
ists across the globe via Internet chat rooms into our capital cities of the West.
Naomi Klein, the leading figure in the climate change campaign after her book This
Changes Everything: Capitalism Vs. The Climate, had an interesting prophecy after the
horrific attacks in Paris on November 13th. Klein commented that climate change
was one of the key drivers of the civil war in Syria, fuelling conflict, mass migration,
and the ever-growing radical group known as ISIS. It is also a result of our ever-
changing atmosphere. Klein rejects François Hollande’s claims about choosing
between fighting terrorism and acting on climate change4. He disallowed demon-
strations that were linked to the UN Climate Change Conference in Paris as an act
of safety for the people of the city. Klein scoffed at his definition of security, instead
asserting that putting climate action at the very centre of that agenda would be the
only way to guarantee the safety of humanity, as there is no possibility for human
security in a world that is heading towards an increase of three degrees Celsius.
This would be the death sentence of everything we now know as human.
What we know as Human is also something constantly in flux with the

environment; we are not what we once were. For many modern day Vampires, the
choice of synthetic blood over real human blood is to combat the legitimate fear of
being poisoned by the ever-increasing amount of synthetic estrogens, hormones,
and chemicals put into human blood from birth—from shampoos to pesticides to
birth control pills—and that is just from living a relatively “normal life”. However, the
human body cell structure is made up of 90% bacteria, fungi, and dormant cells,
leaving only 10% that can be dubbed as human, which also brings us down a little
from our golden creation5.
Politics and the Inhuman

When Western politics are faced with the inhuman world of the occult and
ancient religions, we hear of acts from radical sub-factions and their ability to turn
people, even our own citizens (Jihadi John, the British Islamic militant fighter or the
White Widow, aka Samantha Lewthwaite). The Golden Dawn and ISIS’s need for
possession and control of people with which to harvest power only allows the
growth of these sects, which are represented in our mainstream media as inhuman.
55 Issue 31 / July 2016

The latest Star Wars: Episode VII is another example of this mainstream fight
between the good vs. evil representation of the guerrilla fighter over the decades. It
has been the most expensive: a staggering €160–185 million has been spent on
production. The film tells the story of a young man who sees Darth Vader as a
martyr, and idolizing Vader he fights the state for Vader’s freedom. Quite unlike
the early films from the 1970s in which the retired Jedis recruit, Luke Skywalker, is
trained in secret to fight against the dark imperialist capitalist figure, the then
Darth Vader. The Star Wars franchise seems to reflect our position of what we
concede as evil and threatening. This has changed drastically from the 1970s’
optimism of society to today’s threat of the lone wolf who acts out of the passion
of belief, bringing anarchy and terror to the global citizen.
Save Us from the Dread of Life

We no longer crave the supernatural as “the other” like society did in the
aftermath of World War II. Filmmakers in the US, Europe, and Japan produced
films that Susan Sontag termed “popular mythology for the contemporary
negative imagination about the impersonal”6, which imaginatively addressed
post-Auschwitz/post-Hiroshima guilt and anxiety with horror and fantasy so far
removed from the viewers’ real lives that it acted as entertainment.
Dehumanization as strength is a common theme in the fantasy and horror

genres, but it is becoming an increasingly central theme to the young adult
dystopian novels and films that are coming out, such as True Blood, Twilight, Hunger
Games, Star Wars, etc. In all of these, the main characters have to give up their
bodies to the supernatural host, but in turn they can conquer and control their
newfound strengths. The loss of the human body seems key, perhaps mirroring the
despair or loss of humanity to these young viewers, but actually you see their
humanity is not lost—just transferred to another being. Does this mirror our need
and want for evolution of the human body?
The horror spectator is now entering a new phase in the genre post-Buffy the
Vampire Slayer; it is no longer the fear of death that entertains us but the thought of
expelling the dread of life. The populace seeks a world of eternity in their deepest
fantasies, not needing to rush from the school to the church to the maternity ward
to the grave. We want leisure, nihilism, and above all safety from each other and
from our own impending doom. In times of crisis, we think of our own mortality;
thanatophobia, or death anxiety, is nullified when we see ourselves stronger than
life. Western civilization is faced daily with acts that hinder our survival: raising rent
prices, unemployment, GM food, and overcrowding. These may be a far cry from
werewolves, zombies, and witches, yet just as deadly as we are placed in feuds
between neoliberal lords, extremist “knights”, and the ever-growing state magiste-
rium.
Perhaps we can renegotiate these fantasies rather than develop them into a
fascist posthuman regime for all. I propose we learn something more, from the
league of Vampires we seek on a Friday night after a long eight-hour shift and a TV
dinner. Today’s Vampires are their own masters, with exception to their makers
whom they are fiercely loyal—family must come first. Also, as stated, many choose
to drink synthetic and donated ethical blood, fearing contamination or poison by
the degradation of the environment not so far removed from “Vitality Air”7 (a
Canadian company that sells bottled air to the Chinese elite during smog outbreaks
in capital cities). Rather than the traditional Vampires who catch their prey in the
wake of fear and terror, now they visit bars like “Fangtasia” where willing donors
allow them to feed. In mutual fits of sexual ecstasy for both parties, the Vampire is
56 Issue 31 / July 2016

careful not to allow the human to die in the process of feeding on them, allowing
for recovery and the ability to harvest from them again—a sustainable food plan.
The other interesting part about modern Vampire life is that they don’t seem to
engage in menial labour/work; they are writers, philosophers, and musicians
pondering the meaning of life. Could the world of the Vampire make room for a
post-work economy? Humans have such a short time on this earth, why are we so
interested in racing to the finish line, tired, hungry, and exhausted? It is hard to find
a Vampire who is fed up with living, depressed at the very thought of continuing his
or her life eternally. Nor do we ever hear of racism, sexism, or homophobia in the
Vampire world. In fact, in True Blood most of the oldest Vampires choose life-long
same-sex partners, albeit in a polygamous way.
In both Christianity and Judaism, the belief in the resurrection of the undead
en masse on “The Day of Judgment” is the moment of forgiveness when all the sins
of the world are washed away and life will begin anew. This is now the time for
human self-mastery rather than post-humanist conquests. Can we overthrow the
Neoliberalism Zombie in wake for an autonomous mortal life with as much to offer
as eternity could? To do this, we must recognise the inherent violence in both
heaven and hell, literally and metaphysically. By harnessing the cosmic as a creative
force, we can be liberated. Certainly rethinking the values and needs of today’s
humans is a start; there is a need for micro-units that act out of desire and horizon-
tal unity for the alien, the fluid, and the non-human, and only then will we welcome
the “true death”.
Notes
1 Boris Groys, “Becoming Cosmic”, November 18, 2014, ZFL, Berlin.
http://www.zfl-berlin.org/zfl-in-bild-und-ton-detail/items/vortragsvideo-boris-
groys-new-york-karlsruhe-becoming-cosmic.html
2 Mark Fisher, “How to kill a zombie: strategizing the end of neoliberalism,”
Open Democracy, July 18, 2013. https://www.opendemocracy.net/mark-fisher/
how-to-kill-zombie-strategizing-end-of-neoliberalism
3 Greenpeace.org, “The Trash Vortex”. http://www.greenpeace.org/interna-
tional/en/campaigns/oceans/fit-for-the-future/pollution/trash-vortex/
4 “Naomi Klein on Paris Summit: Leaders’ Inaction on Climate Crisis is
‘Violence’ Against the Planet.” Democracy Now!, November 18, 2015. http://www.
democracynow.org/2015/11/30/naomi_klein_on_paris_summit_leaders
5 “Microbes in the human body.” The Marshall Protocol Knowledge Base,
2015. http://mpkb.org/home/pathogenesis/microbiota
6 Susan Sontag, “The Imagination of Disaster,” Commentary 40, October
1965. https://www.commentarymagazine.com/articles/the-imagination-of-
disaster/
7 Vitality Air, promotional website for canned air. http://vitalityair.com/
57 Issue 31 / July 2016

58 Issue 31 / July 2016
Penny Rafferty is a writer and visual theorist based in Berlin. She is heavily involved
with the artist collective group Omsk Social Club featuring PUNK IS DADA and pioneered
the spectacle Ying Colosseum. She is working intensively with the concept of Cosmic
Depression—the theory of depression caused by digital utopia (Paradise without Ecology).
PUNK IS DADA is “futuristically political”, [i.e. unrealistically] proposing the

contents and makings as a form of post-political entertainment. The content examines other
virtual egos and experiences, allowing the works to become a dematerialized hybrid of
modern day culture.
Yet she declares herself an untrend; PUNK IS DADA assumes the visage of poverty in
her anti-nostalgic dystopia; she is industrial by nature and de-gendered by style.
“Zen, Speed, Organic: 3 lifestyle diets.”

www.punkisdada.com
59 Issue 31 / July 2016

Imprint Spheres of Estrangement: Art, Politics, Curating
Imprint
Issue 31
Publisher
Dorothee Richter
Co-Publisher
Michael Birchall, Ronald Kolb
Editors
Jonas Becker, Benjamin T. Busch, Matthew Hanson,
Penny Rafferty, Paul Stewart
Contributors
Joesphine Baker-Heaslip, Jonas Becker, Franco ‘Bifo’
Beradi, Dan Bustillo, Lilian Cameron, Joey Cannizzaro,
Carson Chan, Jeni Fulton, Ken Gonzales-Day,
Matthew Hanson, Anke Hennig, Alistair Hudson,
Alison Hugill, Suzana Milevska, Jared Pappas-Kelley,
Penny Rafferty, PUNK IS DADA, Claire Ruud,
Jack Schneider, Adrian Shaw, Paul Stewart,
Sam Thorne
Interviews conducted by
Alison Hugill, Claire Ruud, Penny Rafferty
Proofreading
Stephanie Carwin
Web Design and Graphic Design Concept

Ronald Kolb, Biotop 3000
Graphic Design Issue 31

Ronald Kolb, Biotop 3000
Supported by
Postgraduate Programme in Curating, ZHdK
(www.curating.org)
Institute for Cultural Studies in the Arts (ICS),

Department of Cultural Analysis,
Zurich University of the Arts (ZHdK)
Saas-Fee Summer Institute

(Warren Neidich and Barry Schwabsky)
saasfeesummerinstituteofart.com
60 Issue 31 / July 2016

ONCURATING.org is an independent international
journal (both web and print) focusing on questions
around curatorial practise and theory.
ONCURATING.org
Toni-Areal,
Pfingstweidstrasse 96,
8031 Zürich
[email protected]
www.on-curating.org
For advertising options please visit

our website and get in touch!
Supported by
Postgraduate Programme in Curating, ZHdK
(www.curating.org)
Institute for Cultural Studies in the Arts (ICS),

Department of Cultural Analysis,
Zurich University of the Arts (ZHdK)

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ONCURATING.

Originating in Viktor Shklovsky’s analysis of Russian formalism, ostranenie

The publication is interspersed with artistic projects by Ken Gonzales-Day,

Benjamin T. Busch, a graduate student in spatial strategies (Raumstrategien)

2 Issue 31 / July 2016

With Claire Ruud, Director of Convergent Programming at the MCA

In her essay Vampires: From Aesthetics to Ethics, 1922-Present, artist and

Benjamin T. Busch was internationally trained as an architect at the University of

3 Issue 31 / July 2016

architecture as a symptom of abstract processes, his artwork and writing investigate

This Issue is dedicated to the memory of

A dreaded sunny day

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5 Issue 31 / July 2016

The next—I would say main—contribution or development in Russian

6 Issue 31 / July 2016

The idea of ‘estrangement’ is present in Formalist texts from the early

Estrangement becomes much more important when it goes global. We find

7 Issue 31 / July 2016

So, we know that the concept of estrangement is first taken up by Brecht

8 Issue 31 / July 2016

this context—often titled Freudo-Marxism—the idea of estrangement as de-familiar-

It is worth mentioning that only in the 1960s does a difference become

However, beside the appealing historical complexity, we have to ask our-

It seems we are returning to our initial question of whether it is proper to say

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10 Issue 31 / July 2016

They affect the psychological superstructure of love, they produce new

Although Trotsky repeatedly addresses literature as constantly writing down

Furthermore, the reference to Freud suggests itself because, as concerns

Artistic creation, of course, is not a raving, though it is also a deflection, a

This is a reference to August Strindberg’s Inferno. Trotsky here hides and

I would like to use some observations on the history of the present-tense

With Strindberg’s Inferno, written in 1894-1897, we see the first case of a

11 Issue 31 / July 2016

I am condemned to death! That is my firm conviction. By whom? By the

Strindberg is an adept autobiographer, highly skilled in meta-fictional

Such a literary device, operating with all permissible and impermissible

When my friend enters after a minute, it is I who am seized with compassion.

All of a sudden, “Strindberg” has a second doctor, whose diagnosis counters

12 Issue 31 / July 2016

In terms of spitefulness, “Strindberg’s” attack leaves nothing to be desired.

To suspect a disturbance in perception here, as Karl Jaspers did, is certainly

I would argue that in this point there is no disagreement between Formalism

13 Issue 31 / July 2016

imagination, and they become literary fictions as soon as it is possible to share

To come back to the present…

In a different context, I analysed the opportunities that criticism could offer

14 Issue 31 / July 2016

edition of “Literature and Revolution”. HTML markup by David Walters in August

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IT WAS THE CONSISTENCY BETWEEN US THAT CAUSED IT

I WAS SURE THAT YOU WERE NOT AT RISK

WE WERE PLANNING TO MEET HALFWAY