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Die Forschungsagentur Forensic Architecture untersucht Kriegsverbrechen und ökologische wie politische Krisen und bringt sie mit ihrer "Investigativen Ästhetik" (MACBA 2017) in den Ausstellungs- wie Gerichtssaal. Lisa Stuckey untersucht anhand der Figuration 'Law on Trial' – Gesetz und Recht vor Gericht, auf dem Prüfstand, zur Verhandlung –, weshalb ausgerechnet ästhetischen und poetischen forensischen Verfahren eine radikale Befragung sozialer Gerechtigkeit überantwortet wird.In punktuellen Exkursen vergleicht die Studie Strategeme von Forensic Architecture mit denen der Medienkünstlerin Constanze Ruhm und der Poetin M. NourbeSe Philip. Nachdem das Recht im 18. Jahrhundert zum "Modellfall für Wissenssysteme" (Vismann/Weitin 2006) geworden ist, steht das heutige buchstäbliche Auf-die-Probe-Stellen von Recht im Zusammenhang mit einer neuen Dimension der Aufdeckung, die an die Institutionskritik der 1990er Jahre anschließt und zu einem Funktionswandel der Künste führt, in denen forensische Verfahren Konjunktur haben. Veröffentlichung mit Unterstützung des Austrian Science Fund (FWF) The research agency Forensic Architecture investigates war crimes and ecological and political crises, and brings them to both exhibition spaces and courtrooms by applying its “investigative aesthetics” (MACBA 2017). Using the figuration “Law on Trial,” Lisa Stuckey determines why it is precisely aesthetic and poetic forensic procedures that are assigned the task of radically questioning social justice.

ARCHITECTURE / Study & Teaching. --- Forensic Architecture. --- evidence. --- institutional critique. --- investigative aesthetics. --- jurisdiction.

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Wie können Museen, Ausstellungsinstitutionen und Ausstellungen als Möglichkeitsräume für demokratische Aushandlungsprozesse fungieren? Und inwiefern können und sollen Ausstellungsinstitutionen über ihre traditionellen Funktionen hinausgehen und zu Akteur*innen politischer Demokratisierung und sozialer Inklusion werden? Die Beiträger*innen tragen verschiedene Aspekte zu diesen Fragen zusammen und widmen sich u.a. dem Kontakt- und Konfliktpotential von Museen und Ausstellungen. Aber auch die künstlerische und kuratorische Praxis als politische Intervention steht im Fokus der Beiträge. Damit zeigt der Band neue Perspektiven auf, Museen und Ausstellungen als veränderbare gesellschaftliche Räume zu begreifen.

ART / Museum Studies. --- Activism. --- Collection. --- Conflict. --- Contact Zone. --- Critique. --- Decolonization. --- Democracy. --- Diversity. --- Exhibition. --- Imparting. --- Inclusion. --- Institutional Critique. --- Intervention. --- Museology. --- Museum Education. --- Polyphony. --- Postcolonialism. --- Practice. --- Process. --- Society.

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"Wild Art" refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of "taste," one in which each expression is acknowledged as being different while deserving equal merit.Arguing that both the "art world" and "wild art" have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of "taste" in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of "wild art" in the present will radically transform our understanding of contemporary visual art in the future.Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of "kitsch" and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.

ART / Criticism. --- Aesthetics. --- Art World. --- Art museum. --- Critique of the Art Establishment. --- Folk Art. --- Graffiti. --- Hegel. --- History of Aesthetics. --- Institutional Critique. --- Kant. --- Museum History. --- Outsider Art. --- Public Art. --- Wild art.

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This volume presents the first comprehensive academic study of the history and development of performance art in the former communist countries of Central, Eastern and South Eastern Europe since the 1960s. Covering 21 countries and more than 250 artists, this text demonstrates the manner in which performance art in the region developed concurrently with the genre in the West, highlighting the unique contributions of Eastern European artists. The discussions are based on primary source material-interviews with the artists themselves. It offers a comparative study of the genre of performance art in countries and cities across the region, examining the manner in which artists addressed issues such as the body, gender, politics and identity, and institutional critique.

Politics in art. --- Performance art. --- Institutional Critique (Art movement) --- Identity (Philosophical concept) in art. --- Human beings in art. --- Gender identity in art. --- Identity (Philosophical concept) in art --- Politics in art --- Gender identity in art --- Human beings in art --- Performance art --- Arts, Modern --- Happenings (Art) --- Performing arts --- Humans in art --- Art, Modern --- History. --- Europe, Eastern. --- East Europe --- Eastern Europe --- Europe, Eastern --- Soviet countries. --- artistic practice. --- artistic production. --- beauty. --- body art. --- communism. --- free-form. --- gender. --- identity. --- institutional critique. --- performance art. --- politics. --- post-socialist East. --- self-expression. --- socialist countries. --- sociopolitical climate. --- state control. --- women's sexuality.

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This publication is a substantial archive and a singular point of entry into thinking with and understanding Andrea Fraser's work and reception. The interview format provides intimate insight into Fraser's self-positioning as a central aspect of her practice. By presenting the artist's voice as mediated through interlocutors ranging from professional peers to popular media, 'Collected Interviews, 1990-2018' uniquely contextualizes Fraser's practice in the artistic, institutional, and discursive fields in which she intervenes. As Fraser is engaged, challenged, and understood from diverse perspectives, readers learn as much about her artistic commitments from the artist's humor and affect as from her incisive analyses. The collection spans three decades, from the early 1990s to the present, and is organized chronologically with minimal editing. The collection's unmediated format allows Fraser's key ideas and themes to attain deeper resonance through repetitions and subtle differentiations over multiple conversations.

Fraser, Andrea, --- Fraser, Andrea --- Art criticism --- Performance art --- kunst --- kunst en politiek --- gender studies --- 7.01 --- 7.071 FRASER --- video-installaties --- videokunst --- video --- performance --- performances --- kunsttheorie --- museologie --- musea --- feminisme --- institutional critique --- concept art --- conceptuele kunst --- twintigste eeuw --- Arts, Modern --- Happenings (Art) --- Performing arts --- Art --- Arts --- Criticism --- Analysis, interpretation, appreciation --- Exhibitions --- interviews --- artists' statements