{"id":360,"date":"2020-10-16T20:06:53","date_gmt":"2020-10-16T18:06:53","guid":{"rendered":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/?p=360"},"modified":"2022-03-11T21:11:57","modified_gmt":"2022-03-11T20:11:57","slug":"360","status":"publish","type":"post","link":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/2020\/10\/16\/360\/","title":{"rendered":""},"content":{"rendered":"\n

Anselm Franke<\/span><\/h1>\n\n\n\n

17 November 2020<\/p>\n\n\n\n

(Situatedness of art in modern-colonial structures<\/strong>)<\/h2>\n\n\n\n

In the current moment we are experiencing the rapid downfall of the liberal postwar order, and in the the cracks thus opening up, we gaze into the abyss of 500 years of colonial-modern history. For the sake of orientation on common grounds and as a means to resist the modern-colonial logic of identitarian division,  it is urgent to think through this downfall and the terms of this order. In the context of culture, this inevitably implies distancing from its institutional catgeories and value-forms. In this seminar, we will be looking at four historical dates: 1545, 1789, 1893 and 1945. Like flashlights towards a dialectical montage, they will help us unearth the situatedness of art in modern-colonial structures. We will be looking at the \u201cBildprogramme\u201d (Image-programs) of the so-called Renaissance and their relation to the political history of the colonial exterior, and at the imaginary of the French and English revolutionary movements including their class politics. We will be looking at the pivot of imperial expansion in the late 19th<\/sup> century, and the ensuing \u201cfoundational crisis\u201d of European reason as the context in which the modernist avant-gardes emerged. And lastly, we look at what has become of both \u201cWestern modernity\u201d and said \u201cfoundational crisis\u201d in the postwar order, once \u201cmodernism\u201d had turned into a beacon for the restitution of Western civilisation and became \u201cclassical\u201d.  <\/p>\n\n\n\n

Required Reading:<\/strong><\/p>\n\n\n\n

Saree Makdisi, William Blake and the Impossible History of the 1790’s,<\/em> Introduction p.1-15<\/a><\/p>\n\n\n\n

Anselm Franke <\/strong>is a curator and writer. He is Head of the Department of Visual Arts and Film at HKW Berlin, where he co-curated the multi-year program \u201cThe Anthropocene Project\u201d (2013-2014) and \u201cKanon-Fragen (2016-2019), and conceived numerous exhibitions such as recently \u201cNeolithic Childhood. Art in a False Present ca. 1930\u201d (together with Tom Holert) and \u201cParapolitics. Cultural Freedom and the Cold War\u201d (with Paz Guevara, Nida Ghouse and Antonia Majaca). Publications include \u201c2 or 3 Tigers\u201d (2017, with Hyunjin Kim), \u201cForensis\u201d (2015, with Eyal Weizman et. al.) and \u201cAnimism\u201d (2010). Franke received his doctorate from Goldsmiths College, London.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Anselm Franke 17 November 2020 (Situatedness of art in modern-colonial structures) In the current moment we are experiencing the rapid downfall of the liberal postwar order, and in the the cracks thus opening up, we gaze into the abyss of 500 years of colonial-modern history. For the sake of orientation on common grounds and as […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/posts\/360"}],"collection":[{"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/comments?post=360"}],"version-history":[{"count":0,"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/posts\/360\/revisions"}],"wp:attachment":[{"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/media?parent=360"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/categories?post=360"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/tags?post=360"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}