What's the Use. Constellations of Art, History, and Knowledge

Edited by Nick Aikens, Thomas Lange, Jorinde Seijdel, and Steven ten Thije
 
Graphic Design: George & Harrison

Published by L'Internationale and Valiz

2016
ISBN 978-94-92095-12-1

Contents

    1.
    What’s the Use? – Editors’ Introduction
    2.
    Part 1: Constellating History
    3.
    Constellating History – Introduction
    4.
    The Relation of Art to Use
    5.
    An Extended Lecture on Tree Twigs – Toward an Ecology of Aesthetics
    6.
    I'd Like to Be Karl Ioganson...(But It Won't Be Possible) – Cuban Applications of Arte Útil
    7.
    Really, Something?
    8.
    Pla Macià – The Garden City Movement and its Modern Afterlife
    9.
    Designing Cultural Memory – The Medieval Cathedral as a ‘Monument to History’ in Nineteenth-Century Painting
    10.
    History, Use-Value, and the Contemporary Work or Labour of Art
    11.
    Part 2: Practicing Art, Knowledge, and Use
    12.
    Practicing Art, Knowledge, and Use – Introduction
    13.
    Between Hysteria and History – Dialectic of Montage in Jean-Luc Godard’s Work
    14.
    Wendelien van Oldenborgh – Beauty and the Right to the Ugly
    15.
    Beauty and the Right to the Ugly
    16.
    From History to Imagination – Yael Bartana’s Trilogy ‘And Europe Will Be Stunned’
    17.
    The Mozambique Institute Project – A Montage of Affect
    18.
    Alexandra Pirici & Manuel Pelmuş – Public Collection of Modern Art
    19.
    Actualizing History in the Living Body as Subject-Object
    20.
    History, Time, Economy, and Museums of the Future
    21.
    History at Present – The Revealing Void of Christoph Schlingensief’s Container
    22.
    Autonomy Cube – Nick Aikens in Conversation with Trevor Paglen
    23.
    Li Mu – A Man, A Village, A Museum
    24.
    Static Gallery’s Architecture of Flows as Extradisciplinary Investigation
    25.
    Collective Difficulty, Feminist Interventions – Tamms Year Ten and Socially Engaged Art Praxis
    26.
    Time Spent
    27.
    Jeanne van Heeswijk – Freehouse – Radicalizing the Local
    28.
    Reflexions on Arte Útil (Useful Art)
    29.
    Arte Útil and Actioning Desire – Annie Fletcher in Conversation with Tania Bruguera, Part 1
    30.
    Part 3: Exhibiting and Instituting
    31.
    Exhibiting and Instituting – Introduction
    32.
    Beyond the Exhibition? A Speculation on How the Museum Might Be Put to Use
    33.
    Museos del Sur
    34.
    The Time of Display, the Display of Time – Alois Riegl, Alexander Dorner, and the Changing Historicity of Museum Displays
    35.
    No Blood/No Foul – On the Representation and Reinvention of Socially Engaged Artworks
    36.
    Using Art as Art – How to Emancipate Work through Art
    37.
    Use, Knowledge, Art, and History – A Conversation between Charles Esche and Manuel Borja-Villel
    38.
    The Barricade Has Fragmented and Multiplied
    39.
    Exhibiting and Instituting Arte Útil – Annie Fletcher in Conversation with Tania Bruguera, Part 2
    40.
    Understanding the Social Power Plant
    41.
    Conversing the Action, Narrating History, Eliciting the Present – Notes on Artistic Mediations and Practices Outstripping the Museum's Usual Functions
    42.
    Really Útil Confessions – A Conversation between Nick Aikens, Annie Fletcher, Alistair Hudson, Steven ten Thije, and What, How & for Whom/WHW
    43.
    Appendix
    44.
    Toward a Lexicon of Usership
    45.
    Contributors
    46.
    Index of Names
    47.
    Index of Works of Art, Exhibitions, Projects, Organizations
    48.
    Credits of the Images
    49.
    Acknowledgements
    50.
    Partners
    51.
    Colophon

Is art only art insofar as it refuses to be useful? Or can art practices serve a wider purpose in the world? This reader starts from the premise that art is an integral part of the social, economic and political process. Art is best understood through its dialogue with the social sphere, rather than as a ‘thing in itself’. By mapping a diverse terrain of examples and ideas, this book explores the complex interplay between art, use, history, and knowledge. The contributing writers and artists — such as Georges Didi-Huberman, Tania Bruguera, Wendelien van Oldenborgh, and Stephen Wright — demonstrate how in past and contemporary practice these relationships are set up and played out.

Contributors: Nick Aikens, Christina Aushana, Zdenka Badovinac, Manuel Borja-Villel, Tania Bruguera, John Byrne, Jesús Carrillo, Christina Clausen, constructLab, Tamara Díaz Bringas, Georges Didi-Huberman, Charles Esche, Annie Fletcher, Lara Garcia Diaz, Liam Gillick, Melinda Guillen, Jeanne van Heeswijk, Alistair Hudson, Thomas Lange, Li Mu, Wendelien van Oldenborgh, Trevor Paglen, Manuel Pelmuş, Emily Pethick, Alexandra Pirici, Laurie Jo Reynolds, Adrian Rifkin, John Ruskin, Lucía Sanromán, Catarina Simão, Sara Stehr, Subtramas, Steven ten Thije, WHW (What, How & for Whom), Stephen Wright, and George Yúdice.