By Nuria Enguita Mayo, Pablo Lafuente, Dieter Roelstraete
"Afterall" is a magazine of paintings, context, and inquiry that provides in-depth attention of the paintings of latest artists from all over the world, in addition to essays that set the paintings in a broader context. Articles on artwork heritage and demanding idea utilized to paintings around out every one quantity. "Afterall" is written via students - yet with a watch towards the final reader who's attracted to the location of paintings and artists in our global. factor 25 is outfitted round examinations of the way of taking a look and commemorating. The essays on artists during this factor tackle the images of Zoe Leonard, the gadgets and video clips of Judith Hopf, the flicks of Yugoslavian Black Wave director Zelimir Zilnik, and the paintings of Lebanese artist Rabih Mroue, whereas broader items examine the cultured dimensions of protest and commemoration less than the Argentine dictatorship, the luck of 'project exhibitions' within the Nineties, and the sculptural poetry of Karl Homqvist.
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Additional resources for Afterall: Autumn Winter 2010, Issue 25
28 Their behaviour is not regulated by a disciplinary power, but by government practices that are built on the neoliberal idea of a ‘self-regulating’ market and are more likely to mobilise and stimulate than to monitor and punish. We are now meant to become as contingent and adaptable as the market. It is not surprising that artists have dealt with this normative change in recent years. The exhibition ‘Be Creative! The Creative Imperative’, at the Museum of Design (Museum für Gestaltung) in Zurich in 2003, was realised by a collective of artists, architects, designers, theoreticians, students, sociologists and cultural theorists, and looked at the changing concepts of creativity and the social design process that goes with them.
The outlook in the sociologists Luc Boltanski and Ève Chiapello’s The New Spirit of Capitalism (1991) is not quite as optimistic. 21 The current ideology of self-responsibility, as promoted by the governing model of neoliberalism, was only able to establish itself, according to the authors, because the transformation of the Fordist model of capitalism went hand in hand with the integration of ‘artistic critique’ — as addressed in Molesworth’s exhibition or in Sabeth Buchmann’s publication Denken gegen das Denken (2007) — into Despite this, artistic investigations — if we take their production of meaning and discursive ability seriously — make a more important contribution to the possible critique of predominant economic discourses than has been assumed.
Marion von Osten I just wanted to do it and get it over with so I could go home and watch TV. — Frank Stella 1 The editors of Afterall have asked me to reﬂect on an article titled ‘Producing Publics — Making Worlds! On the Relationship between the Art Public and the Counter-public’, a consideration of art and curatorial practices of the 1990s that I originally gave as a lecture in the context of ‘Never Look Back’, an event at the Shedhalle Zurich in 2000. This text has been published over the last decade in a variety of adaptations and translations.
Afterall: Autumn Winter 2010, Issue 25 by Nuria Enguita Mayo, Pablo Lafuente, Dieter Roelstraete