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What role might art exert in light of the challenges posed by climate change, resource depletion, and the diverse political and cultural crises our societies face in the twenty-first century? The hypothesis guiding this book is born of Félix Guattari’s claim that in confronting the multi-faceted problems of our global political economy we need to develop a more complex analysis of nature, culture and technology, shifting from catastrophic, end-of-the world narratives to productive, generative, trans-species alliances for the sake of the sustainability of life on the planet. Because capitalism is no longer understood merely as a mode of production but as a system of semiotization, homogenization, and of transmission of forms of power over goods, labour and individuals, only the emergence of other relational subjective formations would be able to counteract the fixation of desire towards capital and its diverse crystallizations of power. New social practices, new aesthetic practices and new practices of the self in relation to the other are summoned to undertake an ethical-political reinvention of life. As Guattari argues, it is about reappropiating universes of value and paving the way for the emergence of processes of singularization involving a mutating subjectivity, a mutating socius, and a mutating environment. This book is engaged in thinking about the conjunction of the ecological turn in contemporary art and the attention given to matter in recent humanist scholarship as a way of exploring how new configurations of the world suggest new ways of being and acting in that world. Contributors investigate the means by which art can act as an existential catalysist, providing ways of changing our modes of relation beyond traditional modes of representation and, in doing so, instituting transformation.

The arts

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Artists have been exploring the spatial, conceptual and three-dimensional qualities of holography for over fifty years. Why, then, is there so little sustained critical pressure placed on this process, methodology and mode of visualisation which underpins the developing practice?In 1994, pioneering British artist Margaret Benyon, in her doctoral thesis, posed the question “How is Holography Art”, and offered a range of answers, by applying critical pressure to her considerable work in the field. Over 25 years later, we have used Benyon’s investigation as an invitation to ask more questions. This Special Issue in Arts brings together artists working with holography, as well as curators and long-term expert observers with an interest in the medium, to open up a more comprehensive discussion. They have reflected on the development of their work and its place within a cultural and critical framework. The curators and observers have employed a wider lens from their standpoints outside the field, but this is located firmly within current cultural discussions.There are more questions and certainly a need to increase the critical pressure around why holography could be one of the most significant ways of seeing and representing worlds and ideas today. We are surrounded by terrible art (painting, sculpture, print, photography, performance, digital, moving image), and holography has undoubtedly contributed to the visual flotsam clogging our vision. This publication aims to identify the importance of critical conversation, and the place holography holds within our current and complex media landscape.

The arts

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The arts

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Lampedusa in Hamburg: Im Mai 2013 gingen über 300 Migrant_innen auf Hamburgs Straßen, um ihre Rechte einzufordern und ihre zwangsweise Rückführung nach Italien zu verhindern. Ihr Protest versetzte die Stadt, ihre Bürger_innen, ihre Debatten und Grenzen in Bewegung. Die Protestierenden machten die europäische Migrationspolitik und ihr Scheitern sichtbar und stellten bestehende Konzepte von Bürgerschaft grundsätzlich infrage. Vor allem aber überraschten sie durch ihr Handeln als Bürger_innen Europas – ein Handeln, das in gängigen Bildern von leidenden, an den Rand gedrängten Migrant_innen nicht vorgesehen ist. Birgit Niess begleitet in dieser Ethnografie den Alltag der beginnenden Protestbewegung und stellt dabei immer wieder die Perspektive der Lampedusa in Hamburg-Mitglieder in den Vordergrund. Wie sah ihr Alltag in der Warteschleife aus? Welche Bündnisse und welche Brüche entstanden dort, wo sich die Protestbewegung und zivilgesellschaftliche Organisationen wie Kirchen und Gewerkschaften begegneten? Wie wurden hier Rechte verhandelt? Mit vielen Alltagserlebnissen, Begegnungen und Originaltönen zeichnet sie ein vielschichtiges, widersprüchliches Bild einer gleichermaßen dynamischen und brüchigen Bewegung, die sich eher mit Fragen als mit Antworten greifen lässt.

The arts

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What role might art exert in light of the challenges posed by climate change, resource depletion, and the diverse political and cultural crises our societies face in the twenty-first century? The hypothesis guiding this book is born of Félix Guattari’s claim that in confronting the multi-faceted problems of our global political economy we need to develop a more complex analysis of nature, culture and technology, shifting from catastrophic, end-of-the world narratives to productive, generative, trans-species alliances for the sake of the sustainability of life on the planet. Because capitalism is no longer understood merely as a mode of production but as a system of semiotization, homogenization, and of transmission of forms of power over goods, labour and individuals, only the emergence of other relational subjective formations would be able to counteract the fixation of desire towards capital and its diverse crystallizations of power. New social practices, new aesthetic practices and new practices of the self in relation to the other are summoned to undertake an ethical-political reinvention of life. As Guattari argues, it is about reappropiating universes of value and paving the way for the emergence of processes of singularization involving a mutating subjectivity, a mutating socius, and a mutating environment. This book is engaged in thinking about the conjunction of the ecological turn in contemporary art and the attention given to matter in recent humanist scholarship as a way of exploring how new configurations of the world suggest new ways of being and acting in that world. Contributors investigate the means by which art can act as an existential catalysist, providing ways of changing our modes of relation beyond traditional modes of representation and, in doing so, instituting transformation.

The arts