INTRODUCTION: ART PERIODICALS TODAY, HISTORICALLY CONSIDERED octaVian es¸anu and angela harutyunyan

Immanuel Kant’s answer to the question “What Is Enlightenment?” was not only a call to exercise reason, but also to have the courage to do so publicly. It was no accident, then, that Kant’s Sapere aude! (“Dare to be wise!” or “Dare to know!”) appeared in the pages of the Berlin peri- odical Berlinische Monatsschrift in 1784.1 Periodical print culture is the true product of the modern age, born out of an urgent need to advance the idea of freedom and its universal application. Print periodicals turned into a battleground where words replaced swords and where skirmishes were fought over a wide range of issues and obstacles that were thought to hinder the way of universal progress toward greater autonomy and justice. The term periodical—which implies duration and iteration, but also pauses, or “writing in time” as in the German Zeitschrift —is suggestive of a temporality punctuated by short inter- vals during which the conditions of autonomy of the modern subject are renegotiated. Art periodical magazines, journals, reviews, and quarterlies yield to the same historical necessity of bringing artistic, cultural, social,

1 Immanuel Kant, “An Answer to the Question: What Is Enlightenment?” Berlin Monthly (December 1784). Translating the phrase from Horace, Kant deployed sapere aude as his motto for the Enlightenment.

© 2016 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_a_00155 3 4 artmargins 5:3 treating these elements as signifiers of radical social rupture. social radical of signifiers as elements these treating typography, and layout, design, its in itself, medium forcefully—the more even content not the only but question into also—and called Surrealism and Constructivism, Dada, as movementsgarde such avant- the that context this it in is And class. working the producer: over true to its handed and revolutionized, seized, to be had that means a others, amongst of one production as means publications periodical other and magazines, journals, positioned thrust revolutionary its and ethos avant-garde The negation. and of critique spirit true owe their periodicals art progressive contemporary that avant-gardes historical It to the is publishing. of periodical apparatus very the problematized journals and magazines art role,20th-century early the social art’s tion or to ques about art knowledge to disseminate used a passivemedium struggle. of class terms in understood transformation, historical revolutionary and tion of emancipa theories of emerging context the within conception of art this or to challenging of way living, bourgeois element of the an as arts beaux on the to reporting themselves dedicated Publications century. 19th the press in periodical cultural of the mores, explosion to an led and rules own its by sphere governed adistinct as of art separation the and capitalism, Industrial niches. market and audiences, methods, disciplinary and critical media, distinct its with a complex industry have come along way, into journal evolving and magazine, bulletin, art Salon—the Paris at the displayed paintings the discussing érudits other philosophes readership among and ited circulation position. political and social artist’s to the and of culture, products to works of relation art, in cally one’s to “using reason,” advised—specifi lent own themselves Kant as periodicals art that context social this It within is society. of bourgeois autonomous an as sphere of art advent institution of the the particular in and entities, self-governed and separate as writing) news care, health economics, education, (politics, activity spheres of social of various rise theparallel have reflected they Historically, of production. means the to revolutionize urge constant the and of capitalism contradictions out of the were born periodicals Art check. in power ofand keeping obvious, the of questioning phenomena tolight, public political and The struggle over ownership of the means of production and the the and of production means of the over ownership struggle The more perceived, or be less, as can periodical art 19th-century the If lim century—with 18th of the pamphlets self-published Since the , encyclopédistes , and , and - - - - a wider context and the dynamics of anti-colonialism, ­ of anti-colonialism, dynamics the and context a wider within Alternatively, Europe. Eastern Union socialist and Soviet the over all and sculptors by painters illustrated concretein or “realistically” cast conception of freedom acollective propagated side, they other the racy as prescribed by art critics invested in Abstract Expressionism Abstract in invested critics art by prescribed as racy democ liberal US-style and freedom promoted individual Department, State and CIA the by aided covertly often periodicals, such Curtain, one Iron On side Coldof fronts. War the the onfought different USSR, the in iskusstvo Dekorativnoe and Iskusstvo as well USA, as the in Digest Art and ARTnews including Second World War, periodicals, art resistance to cultural Stalinism in the 1930s. the in Stalinism to cultural resistance the and Front, antifascism, Popular of the context internationalist the in interpretation and over meaning wrangling constant the public the before bringing or those revolution unconscious, the of the in engaged 1920s, to journals the in form artistic and social of radical politics vanguard amore narrow serving to periodicals culture), proletarian of a future the in participation extensive (encouraging art and poetry workers’ clubs’ mass-publishing periodicals art and literary Proletkul’t from journals: and magazines of historical pages the in forms different in itself manifested has struggle this century, 20th the Over revolution horizon. on the social any without conditionsand historical transformed in appears agenda this day, although to this periodicals art for many agenda apertinent remained has of culture democratization 3 2 (New York: The New Press, 2001). Press, New York: The (New Letters and Arts of World the and CIA War: The Cold Cultural The Saunders, Stonor Frances see Expressionism, Abstract of War politics Cold the of discussion For anuanced policy. US for foreign work their of tion instrumentaliza blatant the welcome not did artists Expressionist Abstract the of Many 2011). Press, MIT MA: (Cambridge, Art for Space Alternative An Magazines: Artists’ Allen, Gwen 2013); Lang, Peter (Bern: French in Periodical Twentieth-Century The Revue: La eds., Stafford, Andy and Forsdick Charles 2013); Press, University Edinburgh (Edinburgh: Modernism Localist and Magazines Little Avant-Gardes: Transatlantic White, B. Eric 2009); Press, University Oxford (Oxford: Magazines Modernist of History Cultural and Critical Oxford The eds., Thacker, Andrew and Brooker Peter 2000); Press, Wisconsin of University (Madison: 1905–1920 Reception, and Audiences, Magazines, Little Modernism: of Face Public The Morrison, S. Mark 1997); Florida, of Press University (Gainesville: 1910–1940 Front, Political the on Journals and Art ed., Marquardt, Hagelstein 1986); Virginia Saarlandes, des Universitätsgesamthochschule (Siegen: 1915–1921 Magazines, York Dada New Berns, Andreas catalog; exhibition 1978), Britain, Great of Council Art London: 1978; March January– Gallery, (Hayward Reviewed Surrealism and Dada ed., Ades, Dawn 1947); Press, aBibliography and AHistory Magazine: Little The F. Ulrich, Carolyn and Allen, Charles Hoffman, J. Frederick include: ­references these of Some periodicals. art 20th-century the on focused has bibliography A large , 2nd ed. (Princeton, NJ: Princeton University University Princeton NJ: (Princeton, ed. , 2nd 2 In the aftermath of the of the aftermath the In progressive 3 ; on - -

5 e s¸ anu and harutyunyan | art periodicals today, historically considered 6 artmargins 5:3 ics, and dealers; or are they still capable of rediscovering that critical critical that capable of rediscovering still or they are dealers; and ics, crit curators, artists, of global circle or to acelebratory elites, cultural to new markets, financial to the mere handmaidens today periodicals art Are representation? and knowledge, of truth, limits the questions at and points that aprocedure as understood of critique, terms in cal periodi art of the conceive function of the we still can politics, and tory of his progressive disintegration world the is progress only where the above? aglobalized in we If live sketched outlines the ceived along con today, historically periodical art of the function the Whatis ask: epoch. an characterize that processes social and of economic, political, totality from the detached be cannot that venture a is publishing art periodical that is to stress means overview cal histori schematic Whatthis thought. or critical works of art with bility for visi departments—compete relations public shepherded entire by often are brands products—whose other various and fairs, art ums, muse houses, auction galleries, art commercial houses, publishing their and universities whereby private spectacle consumer liberal neo not wholesale, the by colonized if affected, increasingly been has magazine— art contemporary glamorous to the of aesthetics journal somber from the hypostases, multiple its periodical—in art The ads. gallery commercial and reviews, exhibition advertising, and practice artistic between how to distinguish of skills—namely, set anew learn have to Readers had functions. editorial of up invisible anumber taken also has market of the hand “invisible” the meantime, world. the In art the within interests or particular art of contemporary system ing expand the serve or critique to negateeconomic) or affirm, from which technological, political, cultural, theoretical, historical, global, national, (local, positions particular to occupy have rushed journals and zines maga Art public. fragmented works for increasingly an art interpret or critique to exercise right over the to contestations authority political and to methodological from resistance conflicts, Oedipal and tions contradic internal rivenby been has periodicals art field of widening Writers. of Afro-Asian Association mouthpiece of the ary liter the magazine, to Lotus dedicated Project Artist the issue current the in e.g., see imperialism: movement against non-aligned national inter of the hands the weapons in became periodicals literary and art dedicated to art periodicals, we periodicals, to art dedicated of issue ARTMargins special this In the 21st, the into and century, 20th of the quarter last the Over ------Covers of art periodicals participating in the Critical Machines: Art Periodicals Today conference (AUB Art Galleries, Beirut, 2014). Image constructed by Octavian Es¸anu. 8 artmargins 5:3 in the public sphere, economic interests of the art market versus criti versus market art sphere, public of the economic the interests in role the of criticism axes: world distinct debates along art for catalyzing sites were important publications two The time. scene at the US art the place in were taking that some shifts of the mid-1970s to discuss the of October the 1960s and early of the Artforum Worlds,” the examines sympathies. and affinities, antagonisms, contradictions, persisting conference, the addressing place during Es¸anu’s took conversations that of the aglimpse provides introduction Delat Chto Gahnama-e-Hunar and e-flux as diverse as of publications editors the invited organizers The politics. and upon readership, of more economics toissues touch and sensitive their describe and to identify aspirations, critical today, their to share cals periodi of art state the to discuss journals and gazettes, magazines, art Es¸anu.Octavian of various editors the conference together brought The by introduction an with roundtable discussion, abridged and edited system. art contemporary the in equilibrium established the destabilize and disrupt might that practices and ies” or experiences bod “foreign excluding even and or criticizing art, “good” or legitimate as what counts determining and endorsing function, gatekeeping a serve often periodicals These field. cultural the with interactions their and monitor artists that machines” “critical as metaphorically considered be websites, blogs can and newsletters, magazines, art nals, flow of production. the in jour Today,art disruptions and functioning mal equipment against to guard measures maintenance preventive deployed as are machines Critical chain. production the in machines on other to monitor report and programmed is that equipment apiece of is machine” a“critical equipment, manufacturing and cesses labor pro of modern language the In culture. and art contemporary in periodicals role the art playedby to conceptualize machines” ical Today. conference metaphor of of deployed the “crit the organizers The Periodicals Art Machines: Critical titled of Beirut, University American at the 2014 in aconference organized of point departure its as takes today? periodicals to conceive ways role of the of art alternative there Are Enlightenment? the during periodicals first very the in vested attitude disinterested and Gwen Allen’s contribution, “Art Periodicals and Contemporary Art Art Contemporary and Gwen “Art Periodicals Allen’s contribution, of an form the in conference to appears the link explicit most The Issue Special ARTMargins this questions, these addressing In , ArtLeaks , and Arteria , and , among others. The Q&A at the end of at the Q&A The others. , among Mada Masr Mada , October, Cabinet, , Cabinet, ------Allen places the discussion of discussion places the Allen world. US art the in interpreted and received was production art rary contempo in which ways the influenced and debates outlined These methodology. anti-Greenbergian versus formalism detachment, cal “Umetnost, družba/tekst” (Art, Society/Text), the essay was published published essay was the Society/Text), (Art, družba/tekst” “Umetnost, Titled (Problems–Debates). Problemi–Razprave journal Slovenian journal. of the publication the enabled that context historical presentthe and our between discontinuities and erasures, tures, at rup to hint from Lotus elements textual and indexical, visual, poses Ghouse juxta selection, and of deduction amethod 1990s. Through the during era end of that the with slowly disintegrated but surely complex periodical web the of in the Cold War politics, Entangled imperialism. weapon against aviable as seen was itself culture where internationalism, nonaligned of third-world project exemplary an and Beirut, Tunis—presented Cairo, in offices editorial GDR—with the and Union, Egypt, Soviet the by funded Association, Writers’ Asian Afro- of the quarterly literary 1990s). This (1968–early Lotus lication pub literary trilingual the with Nida Ghouse’s engagement conceptual apparatus. publishing stream main its and art contemporary in models encountered frequently to other, more alternative an presents that rubric, Surrealist the ing, of publish amodel Hansen’s issue, discusses contribution special this of structure the Within action. for occasion collective an and tivation” of objec content, of implementation Surrealism’s but an “poetics poetic Hansen’s in view, not for is rubric, merely avessel world. The ary less revolution and today’s more in cynical alive Surrealism Bretonian of legacy transgressive the keep groups that Surrealist contemporary of network international rich a surprisingly into aglimpse vides since1924 pro periodicals art Surrealist in device aesthetic and tional thesecondin academia. market, art the of benefit the first for the discourses: mainstream influential up ended shaping both they counterpublics, creating by began October and Artforum if argues, Ultimately, condition. global Allen contemporary to our precursors as society spectacle and media of the birth the as sphere,public well as bourgeois of the days early the in role of the of criticism theorization Jürgen and Habermas’s Artworld” Danto’s “The 1964 text of Arthur The Document section presents a 1975 editorial from the from the a1975 presents editorial section Document The writer and curator section, Project Artist the We in present, also organiza an as role rubric on the of the Hansen’s article Catherine and and Forum Art October October within the context context the within ------

9 e s¸ anu and harutyunyan | art periodicals today, historically considered 10 artmargins 5:3 4 another’s guidance.” without one’s to use understanding own inability nonage,” self-imposed forgence where from his “the stood nonage theoretical. and or artistic political, and social context that operate—be they which in context very the but to change publics, existing address and events of unfolding the on not to reflect only potential have the partisan, and when tendentious periodicals, culture and voices art in editorial which in ways at the points text The psychoanalysis. and poststructuralism by informed culture and of art critique materialist for a instead calling art, notion of high bourgeois of the mask logical ´c, Nikola by Dedi introduced ideo the against apolemic essay offers the ´c, Tomši Samo by Translated from Slovene edited Vid by Simoniti, and Mocˇnik, Rastko Jure Mikuž, Levski, Dolar, Danijel Slavoj and Žižek. Mladen psychoanalysis: and of Yugoslav school poststructuralism the of representatives of the anumber comprising time, same at the board publication’s of the editorial signature anonymously, the but revealed torical ruptures. ruptures. torical his of past spirit radical the in transformed and monitored, adjusted, started, stopped, be can that apparatuses as machines,” “critical as help to reconceive can them periodicals role of art critical ation of the consider Perhaps ahistorical curators. and critics, artists, emerging fastest or best-selling the “top or of 10” profiles, lists artist reviews, art-fair and of biennial reproduction: and production perpetual by driven market art aglobal within mouthpieces promotional as tioning “emergence,” neoliberal func conditioned to often serve are they which to or blogs more grow extent of aware the journals art independent and roles. Small special assigned are often periodicals “profitability”—art and growth” “limitless as self-interest—disguised and of greed age non overall this In curators. economies, artists, companies, markets, “emerging”: as addressed tend to be Today, things different entirely Comprehensive Anthology Comprehensive A Enlightenment: Gay, The in Peter trans. Enlightenment,” Is “What Kant, Immanuel Kant saw Enlightenment in terms of an emergence of an terms in saw Enlightenment Kant , ed. Peter Gay (New York: Simon and Schuster, 1973), 384. 1973), Schuster, and York: Simon (New Gay Peter , ed. —“man’s emer - - - - 4 - - criticAl mAchinEs Art pEriodicAls todAy (confErEncE rEport And Q&A) OctaVian es¸anu

The questions and answers that follow this introduction were selected from the audio transcript of a two-day symposium organized in 2014 at the American University of Beirut Art Galleries.1 For the conference, the organizers invited the editors of art and cultural publications from various regions of the world to discuss the role of art periodicals today. The aim was not to debate the state of art criticism alone, or exclu- sively,2 but to take a broader view of the means of production and distri- bution of magazines, journals, newspapers, and other media platforms dedicated solely or partially to modern and contemporary art. In their selection of participants, the organizers were driven by the desire to represent different categories of publications (independent, academic, educational, politically or socially committed, local, regional, or global) in order to broaden the perspective on the fi eld. The publications selected range from small periodicals whose impact is limited to the art scene of a particular country, to well-known and widely distributed international print and online journals that help set major trends in

1 Critical Machines: Art Periodicals Today, organized by Octavian Es¸anu and Angela Harutyunyan, American University of Beirut, Ada Dodge Hall, March 7–8, 2014. The conference program is available at www.aub.edu.lb/art_galleries/current/Pages/critical- machines-conf.aspx. 2 This topic was addressed in “Round Table: The Present Conditions of Art Criticism,” October, no. 100, special issue on Obsolescence (Spring 2002), 200–28.

© 2016 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_a_00156 11 12 artmargins 5:3 which might easily stretch across all four of the categories listed above: listed categories of four the all across stretch easily might which October others. instance, forTake, than categorize to moreare difficult some and publications successful, not are always criteria established pre- using periodical art an to pigeonhole attempts that said be must it From start, of the salt. a grain with taken be should categorizations These Machines. Curiosity and (4) and Educational Machines, Critical Justice Social and Practice Radical (3) Machines, Critical Art Regional (2) Global and Machines, Historical Art and (1)panels: Critical 3 field. of the diversity,sheer complexity, scale and of the afunction resources, but also of limited not amatter only was conference from the magazines and journals art important so many absence of the today. encountered end, the In periodicals of art types of various representative those but rather journals, and magazines ful or success not merely known to mobilize conference intended was the market, art or the galleries, commercial audiences, to mass cater that magazines art large, and by Excluding, criticism. art contemporary and contemporary artistic practices. artistic contemporary and modern or historicizing on, critiquing, reporting ofmodes monitoring, various the discuss and to conceptualize chain) production the in machines on other reporting and not but for for monitoring production programmed equipment (a piece of industrial machine” “critical the metaphor of the used conference organizers The general); or language. or specialized, global, regional, of audience (local, type journalism); art or appreciation, art education, general theory, critical and art seurship, connois art historical, (art of reporting or style production knowledge of or methods both); online, or website);form, (printed, medium plat journal, (magazine, format to editorial according them arrange to infosphere? We try global hubs of many might the the across, and to, about art information and hot and ornew cold media—knowledge of old means or or distributing—by reproducing, producing, are that feeds and apps, links, posts, tweets, blogs, zines, websites, podcasts, archives, newspapers, and gazettes magazines, and of journals number infinite seemingly the given Where one begin, should resents. even it rep terrain of the size amap the to draw as futile as seems today ing able at www.aub.edu.lb/art_galleries/current/Pages/critical-machines-conf.aspx. at www.aub.edu.lb/art_galleries/current/Pages/critical-machines-conf.aspx. able avail program conference the see machines,” “critical of concept the of For adiscussion The organizers divided the program of the conference of four into the program the divided organizers The Any attempt to grasp the entire field of the art periodicals operat periodicals art the field of entire the to grasp attempt Any 3 ------, begins to realize that October that to realize begins October conference were the like in journals the Not all scale. on awide purposes, for and educational knowledge, of reproduction and production the in used widely been itand has agenda; political to aparticular acommitment but without awareness, conveyspolitical keen line editorial its context; cultural wider, global a to resonate within American) things other (like decades past the over United States, but grew the in audiences and needs local address to established it was journal; theoretical art and historical art it an is 4 about howalive.” to stay but mainly activities about artistic were not thinking refugees when Afghan at atime zine maga this Istarted magazine; for art an were no funders there Kabul, to came Americans “Before the words of the In Omarzad, history. recent country’s of the considered light be in should events cultural and on artistic or reporting art about contemporary writing Afghan arts. of fine matters women—in Afghan particular, young—in the educate order in to Omarzad Rahraw by established was magazine The terms. educational strictly in goal main its defeatTaliban) sees ofthe after to Afghanistan relocated Peshawar, in Pakistan; 2000 (founded in Gahnama-e-Hunar magazine art Kabul-based the lege. For instance, of privi asign also is conference program, the organized that egories sionally to art historical scholarship and/or art journalism. Lebanon Lebanon journalism. and/or scholarship art historical to art sionally wholly or profes dedicated is periodical lasting life—no artistic vibrant a with art, hubcontemporary of global adynamic press as art tional interna the in advertised itself—often foror Beirut Lebanon As ture. cul and art Eastern of coverage Middle to the dedicated publications or East Middle from the representedpublications editors art invited modernization. process of the atool in as understood popularization, cultural for broad platform rather, it a publishing is of inquiry; of method its or awareness theory defined aconsciously with periodical historical art an speaking, strictly not, is Gahnama-e-Hunar material, historical art publishes it regularly Even though country. this in authority political for or people, forces interests, struggling from the separated be cannot that strategy, one political a follows it definitely most milieu; local its in anchored firmly is Gahnama-e-Hunar Afghanistan, in on art report Rahraw Omarzad, “Critical Machines,” Session 4Q&A. Session Machines,” “Critical Omarzad, Rahraw Since the conference took place in Beirut, the largest number of number largest the conferenceSince Beirut, took the place in ’s flexibility, its ability to fit into all the cat the all into to fit ’sability its flexibility, , though, and one and soon , though, 4 The only magazine to magazine only The ------13 e s¸ anu | critical machines 14 artmargins 5:3 Beirut. Imagecourtesyoftheauthor. PhotographbyOctavianEs¸anu. group’s HomefromHomesII,2014.Mixed-mediainstallation,fragment.AUBArtGalleries, Still fromtheexhibitionCritical Machines.ReconstructeddiagramofArt&Language 5 are.” wherever they artists, Arab works oflatest the about the articles critical and analytical, readers its informative, to offer United States the and Europe, countries, Arab the Lebanon, in nalists 50 jour “more than to compensate hiring by world,” trying as thus and Arab the and Lebanon in periodicals cultural Arab of modern lack the the createdvoidby “filling as mission its views of Al-Akhbar section People” and “Culture The media). new and cinema, literature, music, arts, plastic region to the (from theater the in events major cultural on reporting culture, and to art pages several dedicates regularly that newspaper Lebanese only the on being itself prides Al-Akhbar Syria. and Lebanon throughout distributed is version, 2006), which and 1938 in founded current its (in was newspaper, which Al-Akhbar based Beirut- of the section conference,cultural representedat the by was practice of journalism that did not survive in mainstream organiza mainstream in not survive did that of journalism practice for ahouse adislocated to secure “attempts that platform online an Independent Egypt English-language from the seceded Masr Mada Egyptian compared moreto the be perhaps easily can Al-Akhbar mat, newspaper. Al-Akhbar to introduction conference the from Dib, Roy , founded in Cairo in 2013 by a team of journalists who of journalists 2013 ateam by in Cairo in , founded 5 In terms of for its terms In is is Masr . Mada - - - Arabic, using the wide brushstrokes of general connoisseurship and art art and connoisseurship of general brushstrokes wide the using Arabic, in significant, on what considered is locally reports which journalism, of cultural tradition long-lived and autochthonous an between dualism: one alasting encounters East, Middle of regions the to particular cated dedi periodicals when it comes that to art said it be could Palestine, from ArtTerritories as such platforms activist focused narrowly sense.” widest the in “about culture to write is publication of the objectives the economic and conditions.” of One political associated their and tions 8 7 6 ( Turkey or in countries Gulf the in basis on aregular appear that publications arts fine moment for the mainstream Excluding East. Middle to the related events on artistic report publications which in Africa. North and East Middle the throughout located contributors and correspondents outreaches to editorial of Ibraaz team the London,coreeditorial in From offices its Atlantic. discourse.” aglobal into diaspora its and East Middle about ideas and the images, questions, new of “introducing terms in mission its sees East”) Middle from the culture and “art subtitled and 2004 in launched magazine (a Bidoun East. Middle outside of the based usually are academics, or journalists of collaboration art the more professionally, seeking by journals. and magazines art rary contempo or dedicated specialized lack still they stage—today early an from institutions and its art of fine to Western traditions exposed been modernization—having forefront at the of have been cultural countries both for though even Lebanon, in to that respects comparable many in is Egypt in situation The culture. and to art dedicated texts translated of to quality improve as the well as Arabic, in arts about the writing South,” Global the increasingly, and, East, Middle the Africa, North across life of contemporary complexities 2011) “the in explores initiated platform, fromYork New remotely monolingually, and City. (an online Ibraaz Canvas platform. Ibraaz the to introduction conference the from Downey, Anthony magazine. Bidoun to introduction conference the from Azimi, Negar newspaper. Masr Mada to introduction conference the from Attalah, Lina One can discern certain enduring historical patterns in the ways ways the in patterns historical enduring certain discern can One Those periodicals that concern themselves with Middle Eastern art art Eastern Middle with themselves concern that periodicals Those 6 8 A significant part of its mission is to encourage and support andsupport missionencourage is to of its part Asignificant Contemporary Practices , Contemporary and does so only in English, but from the other side of the side of the other but from the English, in so only does and 7 The quarterly fulfills this goal quite successfully, though though successfully, quite goal this fulfills quarterly The , and ArtAsiaPacific , and ), as well as more as ), well as - - 15 e s¸ anu | critical machines 16 artmargins 5:3 and share the results of their collective actions. collective of their results the share and view them workers, helping cultural between case workers, this or in construction between communication to facilitate is goal main its that suggesting abuilding, around erected to ascaffolding newspaper compared the Lenin organizer. acollective as to function ideas, but also role not is simply the of to spread anewspaper 1902, that in laration, dec his with publication of statement this mission the inspired himself Il’ich Lenin Vladimir artists. and writers leftist fordecade publishing a for more known than been has newspaper delat’? Chto name, same the group with aworking by English and Russian in published and St. Petersburg, and London) has a more narrowly defined activist activist London)defined amore and has St. Petersburg, narrowly Moscow, Belgrade, Bucharest, in 2011 agroup by residing of editors venues— art contemporary ious global var in as well as print in advanced has paper the group behind the that 11 11 10 9 delat’? Chto of aquestion: form the in publication appears Onesuch commitment. political firm of their West from Middlethe towardand East culture in post-9/11the art world. the in attitude curious cautiously new the as debates, well as colonial post attendant the and legacies colonial of enduring prism the through viewed be certainly can journalism, art global and autochthonous between marginal, the and central the between division ongoing The world. art global the readers venues, audiences, in and to select catering and knowledge, and opinions expert soliciting events, art significant” “internationally covering English, in or only mainly and a distance from but applies them methods, academic more and tools sophisticated journalistic art deploys sharper which reportage, of art type porary” other, amore on and the recent on or one “contemappreciation, hand; bution of wealth, internationalism, equality, and feminism) and equality, internationalism, ofbution wealth, (redistri masses or for concern the politics, emancipatory is newspaper delat’? Chto of mission the the If scholars. and writers, political artists, activist international and Russian to many writing debate, militant and space discussion, for role,this providing to fulfill works hard paper chtodelat.org/category/b5-announcements/a-6/, accessed July 26, 2015. 26, July accessed chtodelat.org/category/b5-announcements/a-6/, athttp:// section “About” the in Art,” and Knowledge, Politics, on “ASee Declaration newspaper. delat’? Chto to introduction the from Vilensky, Dmitry name. same the (1863) with novel Chernyshevsky’s Nikolai by turn its in inspired pamphlet, revolutionary 1902 Lenin’s of title the Done?,” Be to Is after “What as Russian from translates delat’? Chto Some art periodicals form a separate and distinct category, in light category, light in distinct and aseparate form periodicals Some art 9 Founded in 2003 in St. Petersburg St.Petersburg in 2003 in Founded (founded in (founded in Gazette ArtLeaks 10 news delat’? Chto The 11 —a cause cause —a ------in the so-called marginal regions. marginal so-called the in appear to be part of the same category, each journal carries on its carries category, journal same each of the part to be appear artists from these regions. from these artists and intellectuals among cooperation long-term of establishing goal the with beyond, and Africa, North Caucasus, the East, Middle the forces Balkans, the across progressive critical together ties that thread red invisible of an terms in mission their pictured editors e-journal’s the publication, its beyond Turkey’swell During borders. national struggle political its expand and context local the to transcend sought 2011, in publication ceased which hand, other on the e-journal, Thread Red Istanbul-based The capitalism. for resisting tactics and forge and sphere, to public share tools new helping privatized ingly increas an in interventions on artists’ reports journal The agendas. economic narrow-minded serve that regimes neoliberal by policy tural cul and art of contemporary cooptation the work critiques racy. Their democ liberal and art of contemporary intersection at the especially “public sphere,” the “public” and of notions the of the recent relevance the stressed has Whitely) Gil and Hewitt, Andy DaveJordan, Beech, (Mel team “public sphere.” to the relation editorial in The notion of art the role its theorizing sees as UK) Bristol, 2011 in in (established Sphere Public &the Art journal academic British the For instance, it originated. which in climate political of the aproduct as viewed be conference can rights. up for their world the to stand throughout communities artistic to mobilize seeking atool of as empowerment, publication their have used critique, tional of ArtLeaks editors collective the of WikiLeaks, model on the Building institutions. art contemporary around and in nested bureaucracy ofabuses cultural from the citizens of global category this workers, to protect and cultural and of artists rights to defend the launched was Gazette The agenda. 14 14 13 12 to anarchism, Yugoslavia former of the tradition Marxism Praxis the and philosophy from Althusserian ranging theories and positions by constituted ally publications in Turkey. in publications art engaged politically for landscape funding and political precarious the reflecting 2012, in publication ceased journal Thread Red the Biennial, Istanbul 2009 the of A product conference. the of section Q&A the in Kosova Erden e-journal. Thread Red to introduction conference the from Kosova, Erden Each of the socially engaged art periodicals participating in the the in participating periodicals art engaged socially of the Each , through their engaged politics, art criticism, and institu and criticism, art politics, engaged their , through 13 with a main goal of historicizing modernist legacies legacies modernist of historicizing goal amain with 12 Red Thread Red 14 Even though these periodicals periodicals these Even though ’s political horizon was gradu was horizon ’s political - - - - - 17 e s¸ anu | critical machines 18 artmargins 5:3 15 enterprise.” an and platform, acuratorial project, artist an archive, and platform at once: it a“publishing is functions many to integrate managed has e-flux of own. its acategory in being as occur. actions these name whose in of those sufferings the alleviate indeed United States does the and Western Europe across art centers of and contemporary museums in choreographed actions revolutionary on artistic reporting whether inquired others again while banks, from major European funding receive platforms political left-wing radical that certain to find alarmed were audience members world. Other real the in those as turbing Gazette world (by ArtLeaks art the within revealed “leaks” the or if avant-garde; historical the with case the been had as guard, van political acontemporary with alliances form they if questions: delicate periodicals committed politically of these editors the asked intellectuals. among alliance aregional to build attempted Thread Red finally, and, Labor; New and post-Thatcherism by informed of governance policies pervasive of critique artistic out an carries Sphere Public &the Art institutions; art of abuses contemporary and overbureaucratization the against Movement Occupy of the tactics grassroots deploys the ArtLeaks of dose Western Marxism); a“healthy” injecting and Leninism Marxism- Soviet in uncorrupted left been what has of preserving (by way left political Russian to the asecond to give wind attempts delat’? Chto goals: for conditionsand different different under struggle today is not to develop new means of production or new artistic and and or artistic new of production not is means tonew develop today artist of aradical tasks onemain of the that criticism artistic and tural cul contemporary in view encountered afrequently is There efforts. curatorial and archiving, publishing, journal’s the to support means necessary the 1998)—provides in back introduced Vidokle Anton ­editor cofounder promotion and that readers worldwide (a of email model to over 90,000 institutions other and for press releases museums paid part— its because “enterprise” self-sufficient financially is e-flux production. artistic of contemporary aspects onessays various monthly publishes journal the reader that the of website its informs See www.e-flux.com/about/, accessed July 25, 2015. 25, July accessed www.e-flux.com/about/, See (established in 1999), can be regarded 1999), regarded in be (established can e-flux platform, online One audience conference, of members the At the and respondents 15 The “About” The ­ distributing ­distributing ) are as dis as ) are section section - - - torical debates.” torical his art Anglophone into theory critical deploy European skillfully and to “introduce, have sought Michelson, Annette and Krauss Rosalind Since October culture. and art to interpret historians and critics by used languages and methods discourse. cultural and art meets inquiry where scientific line the along of curiosity category the placing two, these forbetween encounter an stage the sets Cabinet Principle. of one Idea, System, or big search in or thinkers hedgehogs, intuitive to the and time; same at the theories many foxes pursuing pluralist and inductive the to both approaches to knowledge: of different variety to a open is magazine the that suggest editors Cabinet the symbol, this Bychoosing one thing. big hedgehog the things, small many knows fox Berlin’s the name: same Isaiah essay by of the time our in ular pop made been has but which Archilochus, poet pre-Socratic from the comes down that symbol of aliterary translation agraphical chevron, split on adiagonally other each afox and facing ahedgehog mascot: Cabinet in inscribed also is which statement, mission center of their at the broadly. curiosity” notion of “engaged place Itsthe very editors culture York New in defines 2000 for in instance, City), (established magazine Cabinet or culture. knowledge on what constitutes takes teams’ editorial and editors’ the accordance in with approaches vary their Buteven here, culture. and art on contemporary reflection critical or of knowledge, creation and production, acquisition, engagement, dissemination, to the commitment their statements, mission their content as but producers. also solely distributors, as do themselves not editors see e-flux ­content. The regenerated cultural and continuouslygenerated ofand managing art about flowinformation of the channeling and of processing tasks the it fulfills activities, various its In function. important out avery carries e-flux perspective, From society. this consumer ­contemporary in products cultural flow of constant the or recycling transferring, distributing, ways of innovative avant-garde), but to find ­historical the by out successfully most carried mission (the forms ­literary 16 16 journal. October to introduction conference the from Joselit, David Some journals see their main task as reinventing or reforming the the or reforming reinventing as task main their see Some journals in conference representedat affirm, the periodicals Most of the 16 Under its Eisenstein-inspired name—suggestive of name—suggestive Under Eisenstein-inspired its ’s inception in 1976 its founding editors, editors, ’s 1976 founding in its inception ’s - - 19 e s¸ anu | critical machines 20 artmargins 5:3 and cultural material. cultural and literary other among texts, theoretical and historiographical art key of translations publishing as well as culture, and art Armenian and contemporary on modern reflection critical and historical art website, on the encouraging working but kept not disperse, did of necessity”— “romantics as themselves prefer tomembers describe group—whose the out, ran euros or the dollars scape). When the land post-socialist the in common beginning (a foundation very eign to afor application grant asuccessful following perspectives, differing but common interests with editors four by launched was journal The basis. voluntary on and astrictly but so locally it does culture, and art of interpretation approaches new to the seeks Arteria country. this in practices postmodernist and modernist to historicize students and scholars local by primarily used been has and Armenian in appears that artists and writers, critics, for scholars, aplatform is for example, 2011), in Yerevan, in Armenia, (established Arteria periodical online The present. of the imperatives the and context historical local own to their faithful are that ways in arts contemporary the and ernisms, postmod modernisms, their fromYork, New pretations with but deal field of contemporary art’s media, information, and critical spheres. critical and information, media, art’s field of contemporary broad diverse and the within today exist that positions various glimpse 18 17 modernisms. European Eastern of and various America from Latin art 20th-century of mid- interpretation to the acommitment making contexts, historical art world of regions their the and on lens other scholarly its turned has journal the Recently outlook. or global amore international with nal ajour to fashion culture, and on art perspective aWestern-centric with of apublication image ingrained deeply have the workededitors to alter its as asecond birth experienced recently has October modernism. of post theories and thought post-Marxist and to Marxist struction, decon and psychoanalysis, poststructuralism, and from structuralism positions, critical of amontage juxtaposed through culture and art rary contempo and of modern aspects various interpreted has journal the of knowledge— of forms new triumph the and rupture revolutionary journal. Arteria to introduction conference the from Azatyan, Vardan Ibid. The Eastern Europeans, meanwhile, do not always await inter await do not always meanwhile, Europeans, Eastern The The Beirut Critical Machines conference offered a chance to conference achance offered Machines Critical Beirut The 17 18

­ ------19 online available is presentations panel of these (a summary periodicals of their presentations short made editors which in panels, of the each followed that sections Q&A from the selections only includes below Moreover,material the periodicals. art field of the within today tered encoun decisions editorial and disputes, contradictions, and strategies of range convey the at partially least conference. Wethe will hope they took place of at conversations that longertranscripts much from the excerpts short afew Whatfollows are methods. critical and strategies, publishing structures, funding policies, editorial objectives, distinct editors’ the attention to public order other, in to bring to each tion rela in to place positions some of these opportunity an offered It also www.aub.edu.lb/art_galleries/Documents/Critical-Machines.pdf. 19 ). AUB ArtGalleries,Beirut.Imagecourtesyoftheauthor. PhotographbyOctavianEs¸anu. Still fromtheexhibitionCritical Machines.Shelfwithartistmagazinesandjournals,2014. - - 21 e s¸ anu | critical machines 22 artmargins 5:3 the network maps of the global airline alliances. We to havebe tended alliances. airline global of maps the network the other, not unlike every with equivalent to be seems globe onpoint the every on which economicscreen sphere, aflat the where like it operates in term of the use the is there one hand, the On art. contemporary in for mean somebody interested might about what globalism me to think 20 20 field?” global this work it “to what in mean does asking: global, of the or impossibility of ARTMargins when you think time, same the And at point. starting without a place, aspecific and geography without flux aconstant is global whereas the for e-flux practices; artistic about us different informing places and “going” to various by somewhere,literally specifically being as global of the thinks to it? To meanings me, other ARTMargins or there are geographically, understood globalism this Is field? global it to work this mean does in today. global What about the think or ARTMargins e-flux instance, of, for editors what the to understand “global.” trying term Iam to the referring frequently have been journals art of the editors the presentations, and remarks introductory Audience their In member: (discussants). Franses Rico and Harutyunyan Angela Yerevan, AM). platform, e-journal (Arteria Azatyan US); ( Vidokle Anton journal, ( Joselit David with PERIODICALS, HISTORICAL ART AND SESSION 1: CRITICAL Pe Art Exc e most often these are American periodicals (e.g., October (e.g., periodicals American are these often most global; is that atareadership aimed but country one in located teams by edited are zines maga and journals art however, cases, other In Egypt). in Masr Mada and Lebanon, in Al-Akhbar Armenia, in Arteria Afghanistan, in Gahnama-e-Hunar (e.g., anation-state of boundaries the within from often most readership, aspecific atattracting aims operation of language their and location, particular ata fixed office editorial their have periodicals some simple: fairly was task the cases, certain In operate. platforms and gazettes, nals, jour magazines, these which from locations the represent to way comprehensive and tent consis a finding was report conference this preparing of challenges biggest the of One Sven Spieker ( (e.g., ARTMargins (e.g., readership global or regional awider reach to operation of language their as English use large and by periodicals these cloud; the from accessed file same the on simultaneously attimes working are who but planet, the of corners different in reside members whose teams editorial international by produced periodicals well: as category, athird is there rpts from Q&A Se Q&A from rpts riodic a ls T ls ArtLeaks Gazette , ArtLeaks ARTMargins journal, US); Sven journal, SpiekerARTMargins ( October od a y Conf ssions of th of ssions , New York,, New Journal US);e-flux Vardan mˇlec Umeˇ , and has forced has ARTMargins ): My work with e r e nc ). e ( e C , it questions this possibility possibility this , it questions Ma ritic e-flux Journal , e-flux rch 2014) rch a l Ma , and Cabinet , and chin 20 e s: s: ). But But ). - - - the journal with the idea that it would be sufficient if our publication publication if our sufficient be it would idea that the with journal the Cairo. in space started We anonprofitTownhouseexhibition Gallery, worked later and at level the undergraduate on the history art studied Wood, who Kuan Brian as me, well and as Aranda Julieta artists: two by started was Journal E-flux artist. apracticing I am Primarily, demic. taken into account to the extent that they should be. should they that extent account into to the taken have not been that art contemporary and of modern understandings “peripheral” and traditions of certain resurfacing for the allows that places different in temporalities of different of parallelism akind as it understand and “con-” We seriously the “contemporary” time. in take elementan of with global the order of to complementscreen flat the in histories morewith localized equivalence universal of fiction eral neolib the confronts ARTMargins then, And become used. we have all “hubs” to which or disciplinary methodological, intellectual, the bypass tentatively so they maps such to rewrite we try we publish, projects artist and documents, articles, the Through amodel. of such critical the art public and academia? How art the do you relate to readership? a wider you or would you work for? secondly, And what about area outside the of in. smuggles globalization that universalism “stealth” the with diction complete in contra actually is that contemporary. And the in another one with synchronized are how they modern—and of the ent models you have to look for differ or multiculturalism, internationalism bland more than something to To “globalization” signify elites. term the use it absolutely from above is power imposition by tory, others an in and libera to be thought is modernism world. some In of the cases, parts different in have developed that of modernism genealogies the stand to under economic and It borders. important is spatial across tions rela of aesthetic distribution uneven of it an as to think it’s necessary rigorously, “globalization” term the to use Personally,centers. Ithink, art metropolitan traditional in based a story telling than works rather net or underrecognized lateral tracing in interested is ARTMargins it, Isee As at best. precincts market art usual beyond the to do research effort faith or ofat agood tokenism worst, akind is of There it. extent the that’s Sometimes exhibitions. international big in included is that from placesdenotes, outside to put of it Euro-America bluntly, art one valences: of these different Sven it as has said, “global” because, David JoselitDavid ( Anton ( Vidokle Audience member: October e-flux What kind of readership (imaginary or real) do ofWhat kind readership (imaginary I’m not an art historian, a critic, or an aca or an acritic, historian, ): I’m art not an I think you are right to bring up the term term up the to bring you right are ): Ithink ------23 e s¸ anu | critical machines 24 artmargins 5:3 tions of modernism in Eastern Europe and Latin America. As for your As America. Latin and Europe Eastern in of modernism tions robust tradi with by, to respond to them engaging for example, tried we have and founded, was journal when the ofent conditionsthan set October [in that think I of point view. And have aworthwhile they that conviction the with institution? become an it has that fact the October publishing keep reason words,you the itis reasons other In togoing? keep institutional there itAre reasons togoing. keep various are there that and exist] to continue should October [whether question the posing constantly are are. they who define Butdidn’t. it’s to correctly hard we readers if our down letting be we would that is tocontinue publish to decision our reasons behind of One the Armenian. held in are which courses, their in we publish material the use they readers because our of number largest the constitute Students limited. accordingly, very is readership, . Our panel. this representedin journal non-English from many different places. different from many idea expressed of urgently kind of acertain expression to the dedicated it’s that sense the in contemporary is journal the So maybe approach. our still is To this writers. some and extent of ideas artists the address to urgently but primarily what it like, and looks published is nal about how so much ajour words, not other In to think pages. written hand as Xerox copies, emails, as format—as whatever in possible and means any by texts urgent on publishing being emphasis the with uted, distrib and how it printed is notwith is concerned that appearance, and design, form, have doesn’t aset really that something doing he suggested approach to this: beautiful avery some suggested point at Gillick Liam basis. on aregular publish could they so that essary nec was platform publishing anew that clear it and was lectures, and texts, ideas, with and generous prolific very others—were and Gillick, Liam Haghighian, Sadr Toufic, Jalal Groys,Natascha WalidBoris Raad, Rosler, project—Martha of this who were part writers and artists The York—under New Nightschool. in name then for the and ayear Berlin outcomes unitednationsplaza of the one of was the journal zones. The time and distances by were separated who of conversation friends among akind personally—as we knew writers and artists people—essentially were read hundred afew just by I think a group of editors who publish a journal do so agroup whoajournal of publish editors Joselit: Ithink David you that you Franses earlier mentioned Rico (discussant): David, Vardan Azatyan ( Vardan Azatyan ’s case] we do, though we are now in a very differ ’s now avery we are in we do, case] though Arteria is the only only the is Arteria see, Ican as far ): As —an experimental school we ran in in we ran school experimental —an ------announcement service. announcement come e-flux from the funds the because sponsors, We or corporate private and do not look forjournal. grants the to publish year per dollars thousand hundred several us it costs expensive: rather is this like To publications. from academic do things different very we are sense this In places. other or in work books as their free to republish areand copyrights retain Writers benefits. other and coverage health get also they time work full they if and interns, ing includ paid, gets who journal works on the everybody basically editors; and writers of the labor-intensive. we pay all Also, very is month every toissue put out an journals: quarterly with than different is intensity voluntary. is rest editor, the and managing part-time We end. to an have a coming is that but unfortunately translations, to do ability our W. amajorreceived to enhance Andrew grant Mellon We recently portfolios. we’ve And artists’ afew had subscriptions. and some files October money from our we make then, management; ARTMargins with same bly the content? your impact or reflect how and do they azines, realm. that in to make contribution areal but it has market on the have acorner it doesn’t in; participates October that something is This art. modern in what wasn’t and of what have asense was accomplished historians—to and critics, art—artists, of contemporary for practitioners important it’s Ithink global. or the contemporary of the terms in means really ern mod of the scholarship about what serious to think to try interesting it’s morethink But I field. from the pushback astrong also is why there reason of the probably is part This true. is academia—which American in structure power acertain with aligned closely is October out that to point Idon’t question, you’re if know trying politely institutional forces. So being self-supporting gives you different kinds of freedom. kinds you gives different forces. self-supporting So being of economic kinds to other subject one freedom; is still perfect bring it was hard to imagine it tohard imagine was workwould [ model that our in a similar to imagine ofform commissionsItthe in and projects. is hard and writers artists in investedthen whose are profits service useful it provides because a very David Joselit: is a monthly publication, so the so the publication, amonthly is Journal Anton E-flux Vidokle: Sven Spieker: It’s morefor same us. or less the Joselit: David We proba is which receive Press, a subsidy from MIT for mag your structures funding the Audience Whatare member: I have long thought that the model of the that I have long thought e-flux , too. Being nonprofit, after all, does does not all, nonprofit, , too. Being after . It is enough to do a sort of barebones to do asort . It enough is October e-flux ] context, but ] context, is amazing is amazing - - - - 25 e s¸ anu | critical machines 26 artmargins 5:3 around the Middle East. Middle the around or in operating or or publication Ibraaz any ArtTerritories for example, produced is out of, that knowledge of the untranslatability the equally but translatability the with engages how Harb ArtTerritories Shuruq to ask like Iwould comesone problems up of translation. that the is and East, Middle the in artists Audience We member: work with often Sven CZ). Spieker (discussant). Prague, zine, Arabic. in write who can writers with working actually is Amman, in we are to work on like while we would that to do, onethings need and of the of we what we feel problem. solve So part notthe really does translating words, simply audience. other In same to the notwe are speaking languages across when speaking we are We because felt uncomfortable material. the we translate that idea was the So then challenging. quite was that and Arabic, in write to wanted who a artists notlot find of did ence between [ ence between differ the I think with. consult could artists references as that views inter these about think always people. So we specific for and very goal specific avery with made are alotinterviews of our that for example, different— rather 21 21 ( ( Downey Anthony PS); Ramallah, platform, online (ArtTerritories Harb Shuruq with SESSION PERIODICALS, REGIONAL 2: GLOBAL ART AND more discursive and it is not just me. What I presented today is more is it not and me. is today just WhatIpresented more discursive which raises a fundamental question about the editorial voice. editorial about question the afundamental raises which but the notion of platform, with well guess, goes I that, flatness this is there like Ifeel but more for production, dissemination. its knowledge for not is Ibraaz there that Ifeel amagazine. and aplatform between disciplines. other with interact can places where art about creating also but material, reading It’s online. not about only creating not exist does of audience that it akind generates because important quite is ground online newspaper, Cairo, EG); newspaper, Cairo, Fabuš Palo ( online Masr Mada Shuruq Harb ( Shuruq Harb Jordan. in residency artist an from Internet the over conference the in participated Harb Shuruq are are Ibraaz and of scopes ArtTerritories of the audiences, terms In Anthony Downey ( Anthony Downey Audience Anthony, member: Iwonder difference about the 21 and ArtTerritories and Ibraaz is quite a small project. We project. do realize, asmall quite is ArtTerritories online platform, London, GB); Lina Attalah Attalah GB); London, platform, Lina online Ibraaz ArtTerritories Ibraaz Our editorial voice, Ihope,much is editorial ): Our When we started ArtTerritories ): When we started ] is that actually being on the on the being actually that ] is Umeˇlec maga , we - - - Mada Masr for Mada working idea of in your part was I wonder that if possible. also was life another out point that maybe and of life ception per anew and to forge there language anew were really They terms. linguistic and political, social, in were consideredpapers revolutionary when news atime was But there medium. areproductive as newspaper audiences. nonspecialized and specialized both and art, politics, journalism, spheres of operation: different its between friction agenuine is there because model, cessful essays. critical projects, artists’ items, print news, they registers—be out of Ibraaz coming is that message of agonistic some sort is there perhaps word earlier: Somebody the mentioned “agonistic” contradictions. reveal voices messages, and other carry semination, of dis aform to be needs also Aplatform of registers. on avariety to be it has think to do. Iwould thing it acorrect is that think tion—I dissemina and production here between you’re adistinction drawing to reproductive—and opposed as productive being criticism about art When Italk to be. line or what Iconsider editorial my agood take, of very strict rules about objectivity. This kind of objectivity within the the within of objectivity kind This about objectivity. rules strict of very aseries has Wikipedia construction. for narrative atactic as Wikipedia of syntax the to use workshops ameans as Ido Wikipedia parallel, In production. relateto artistic or writers critics how less professionalized seeing in also thebut region, and Egypt in production art on reflect you developing? are project Wikipedia mention the also you could but perhaps we speak, as happening are things Iknow Egypt. in politics cultural larger the arole within it playing how you imagine Masr for Mada of developing you thinking are criticism of art kind art. in happening is of what sense for and making practices for but even cultural discourse not for just political vocabulary, anew and grammar anew inventing the process of of part be definitely do, should and it can can newspaper what a reimagining by that Ido think lies. reproducing be we would of meaning; butchering constant the reproducing basically be would obsolete. We really be would amedium as newspaper the Ithink then “reproductive,” we considered newspapers context, local Egyptian Lina Attalah ( Attalah Lina about the to thinking now we are used Audience Lina, member: amore is [Cairo] suc Masr Mada that Audience Ithink member: We are interested in having critics professionally professionally critics We having in interested are Attalah: Lina particular the to do with has my question Audience Lina, member: Mada Masr Mada If right now, particularly in the the in now,): right If particularly ’s various ’s various . ­ , and , and - - - - 27 e s¸ anu | critical machines 28 artmargins 5:3 very valuable. very is information this Ithink rights. or artists’ contracts artists’ around legislation not of aware the countries—were own their in artists I mean people— that we discovered some In cases, contexts. own their in issues these with dealing who people have been in toapproach bring is why So that’s our dysfunction. of structural kind asimilar with ing world we’re art the deal in that to emphasize want we also time, same But at the Romania. in and England in for laws, example, ­different are there as specific, are very world conflicts today. art The the ing arestructur think that I of conflict situations the and notare obvious, that up conflicts We bringing aresponse. and in interested are claim a but it’s person, actually or another entity an against aclaim making website one onjust Whatis never person our is do respond. institutions we don’t. time sometimes aresponse, Most we of get the Sometimes position?” about your Whatis it. astory to publish we want table and we say, Then put on the “okay, been has this artist. orcurator, another a institution, it an is side, whether other the contact we always case, a one just story. side Whenpublish somebody of comes the with to us we never that is that around way for but us the to sue what we publish, some who people tried trouble once in get with we did And us. behind little bit about the legal side of this struggle? side of this bit legal about the little a you talk Can from institutions. to defend them of artists, rights the to represent claims that apublication is Audience ArtLeaks member: Es¸anu Octavian and Arsanios Marwa (discussants). GB). Bristol, journal, Sphere Public &the TR);Mel Jordan (Art Istanbul, RU); RS; St.Petersburg, ( Erden Kosova, Belgrade, RO; Bucharest, Gazette, (ArtLeaks Apostol RU);Petersburg, Corina ( Vilensky Dmitry PERIODICALS, with JUSTICE SOCIAL AND SESSION PRAXIS 3: RADICAL of content. type different a with Wikipedia fill we can maybe factual, be just conditionsand these to inhabit we try Even if art. content on with Wikipedia order in to populate syntax Wikipedia the and logic Wikipedia the on learning Egypt professionals in art young and students art idea to work is with Our counterrevolutionary. quite be can concerned, is Egypt as far at community, as least Wikipedia I would like to address the question of posterity of posterity question the to address like Audience Iwould member: Corina Apostol ( Corina ArtLeaks Gazette ArtLeaks ): We don’t army have alegal newspaper, St. Delat’? Chto e-journal, e-journal, Thread Red - - posterity? content notion of relateto the online and Internet the you think how do Dmitry, online. and print in it way to publishing relates the and 22 22 ists. art of the rise of the because happened Sydney at Biennial the pened what hap for instance, Because, for distribution? its you have astrategy have PDFs you and have user-generated content. online content, so you online combined be with should this Ithink time same on paper. But at for the something nostalgia have that we all because for of reasons anumber so on.But, youand know, printing you keep sharing, about access, it’s fair today all because notare present online, in concerts, and so the newspaper can be found in clubs. Also, our our Also, clubs. foundin be can newspaper so the and concerts, in play collective from our people other theater; the in is newspaper the we do theater, for so and example, exhibitions; not the just events, our to all relates newspaper world. Our wherever, art outside of even the present be can they time same but at the exhibitions, art temporary space? gallery of the walls the break might that of distribution aform ing you consider newspaper. Are of atypical distribution mass of the spirit the not is in This public. art contemporary to the reach its limits which you participate, which in exhibitions at only the newspaper utes its Brigade], Future Interns, and Ragpickers. and Interns, Future Brigade], Workers [Precarious PWB London we worked in with example, For action. on an decide they sometimes groups and existing work with we is so what we do there England, don’t, in have anybody for example, world; but ofwe the parts from different is collective Our ground. on the actions but actually publishing, online and not exposure just involves this some In together. cases, we anarrative develop then us; or groups to come to Your rely on Case,”“Artleak artists we mostly and them? how to expose like institutions, 22 connected to Transfield Services, which operates overseas detention camps. detention overseas operates which Services, Transfield to connected Holdings, Transfield and Biennial the of organizers the between revealed were ties after event the boycott to threatened artists twenty-eight 2014, in Biennial Sydney 19th the At Dmitry Vilensky ( Vilensky Dmitry Corina, you basically deal with information. Do Do information. with deal you basically Audience Corina, member: Newspapers can be distributed in places like con places like in distributed be can Newspapers Vilensky: Dmitry distrib delat’? Iknow, as far as Chto Audience Dmitry, member: section revolves the around strategy main Apostol: Our Corina Are you planning a strategy on how to push things with the the with on how things to push astrategy you planning Are Chto delat’? Chto I cannot take seriously things that that things seriously take ): Icannot - - - - - 29 e s¸ anu | critical machines 30 artmargins 5:3 From the beginning, we didn’t want to register as an organization or be or be organization an as to register we didn’t want From beginning, the front. political aunited not we are like some Deleuzians—so are of us some come of us from communism, anarchism, with identify and group come left Dhabi. Some our Abu from in the of us Guggenheim of construction the of workers during exploitation the against Coalition Labour Gulf the with collaboration in Guggenheim at the action test done York. New have recently in apro Museums They Occupy called is onegroups we collaborate with of the fact, Movement; in Occupy change. social about discussing now, skeptical sad and I’m very really now power? in So right ultranationalists and ultrafascists open the with you comrades:cope how can for Ukrainian question our same have the we and politics, Russian with associate we howcan is issue far a big why for That’s us, wake. its in of what came critical be we should time, But same at the Ukraine. in rupture eventof political incredible an was Movement Kiev in Maidan the that now we insist right For example, it’s kind of realpolitik idea moreof communism; a the bright fulfilling Movement.it not Isee as Occupy about the skeptical very always I was For anymore. avant-garde example, apolitical as thing no is such there world? art the entertain to avant-garde or you an are just with, you work closely that avant-garde political to acontemporary you are somehow­question: connected Now places. my other in but also Russia in case the was as garde, or avant- activism apolitical with allied time of1920s most the was of the activism artistic historical that fact to the relates that a question of you all to ask like Iwould UK. the in Thatcherism by created ditions con contemporary the with deals that aproject as journal Sphere Public &the How, Art the Isee [What, &forAnd Whom],WHW others. and Prelom, with collaborations your in Inotice that Marxism Althusserian of a kind Yugoslavia, former movement the in philosophical Praxis of the tradition the in continuing Thread Red Isee sphere.lic And pub of the boundaries the within negotiation democratic of radical sort Movement, some Occupy of the spirit the in made activism political more of aform as Gazette ArtLeaks Isee Bolshevism, militant this choose. really can complex, so people very are some texts of the time, same but at the texts, academic reject We strictly of texts. types different very balances always newspaper You are right that we have some affinities with the with we have some Apostol: affinities You that Corina right are because tragic really is today situation the Ithink Vilensky: Dmitry publishes newspaper delat’? Chto the Audience While member: - . - - to the political? Or to put it in other words, where is politics in Cabinet in words, where to other put itpolitics is Or in political? to the or notion of critique to the relation magazine’s the describe you would how wondering Iwas magazine, your through looking after and speak, forAudience Ihave aquestion Cabinet member: (discussants). Scheid ( ( Azimi Negar ( Burnett LB); D. Graham Beirut, section, Society” and newspaper, “Culture Roy (Al-Akhbar Dib with SESSION PERIODICALS, ART CURIOSITY EDUCATIONAL 4: AND organized. of how artists examples historical study and Coalition Workers worker Art we look so on, and at and the art the and ism notion of activ this we introduce Courbet, with We models. begin cal histori workshops Butwe do our look at in different anywhere. located mic devices. Dithering machines “dither”: they do not lift weights or weights “dither”: do not lift they machines Dithering devices. mic algorith data-intensive many to continue work within systems of these descendants digital The bomb sights. complex mechanical within nism World submecha of War during parasitic emerged akind II as which Machine,” “Dithering the of machine, kind about astrange story gotten out way. afor Isifted Cabinet avery machines—in other regulated that machines machines,” theme/conceitthe symposium—“critical of this my view, in higher. not, be could of closure forms those of resisting stakes political therefore the And things. and to persons orientation conditionsfor that the or stipulate or abrogate suspend eventually border-guard—must each marketplace, each sovereign, “politics”—each for only amoment. Each time—if flow of the against thing and hold person each light, before the thing and hold person love. would each love But that the Not sentimental of love. tug the it feels because hesitates it uncertain—it is not because It But hesitates. automated be or It mechanized. cannot contamination. it courts It risks, known. would-be and knower of would-be implication affective/appetitive an posits Curiosity or indifferent. neutral politically by is no means stance That significance. aesthetic and political, cal, term’s of that ethi range full the under recover deploy and “curiosity” to undertakings attendant its and of mission Cabinet the is used—it magazine, Kabul, AF). Ghalya Saadawi and Kirsten Kirsten and Saadawi Ghalya AF). Kabul, magazine, Gahnama-e-Hunar D. Graham Burnett ( Burnett D. Graham You ask about “critique.” In my talk earlier today, I tried to address to address You today, earlier Itried about ask “critique.” my In talk magazine, New York, US); Rahraw Omarzad York, New Omarzad US); magazine, Bidoun Rahraw Cabinet magazine, New York, New US); magazine, Cabinet So remember the catch phrase I phrase catch ): So remember the . After hearing you hearing . After - - - , - ? - - 31 e s¸ anu | critical machines 32 artmargins 5:3 US army entered Afghanistan? entered US army the soon after launched was Afghanistan Art forCenter Contemporary here), the it is acoincidence that So (and I’mtions. speculating just organiza art local from existing different were radically that art porary centers for contem and founding financing started and Europe Eastern to came that foundations American were certain there Wall fell, Berlin When the (CCAA). Afghanistan Art forCenter Contemporary the founded have also and Kabul in magazine art Gahnama-e-Hunar to proceed. how we like ally gener is that And works. how Cabinet tell, to show, than rather trying Iwas machines. critical as magazines idea of on art the commentary way, of (counter)critical the akind along to offer publication—and, our idiom of to the native feels that away in athing with to think effort an But allegory. it not was an was This micro-destabilizations. continuous of do means so by they solutions—but on suboptimal from settling protocols computational discourage They inertia. resist They down. up or locking from seizing mechanism host noise,” prevent their they “white of meandering akind controls. Byhumming cybernetic drive their own agendas, and art is not is one of them. art and agendas, own their have NGOs international The support. financial in little very receiving center. We art are acontemporary idea of starting when the Ihad That’s magazine. art of editor our an as discussion a panel in part take to invited Iwas 2002, in to Kabul When Icame to do anything. ing no fund was there occupation, Russian of the years the money. During didn’t have any they and them needed they because refugees Afghan for courses art free or $100, $80 of around Istarted asalary received and Pakistan in When Iwas names. three to mention even them for difficult It very was countries. their in famous who were very knew women how and they many about art, were from learning prevented why women them women. Iasked Afghan and Iranian, Pakistani, with war,ameeting Ihad civil the during center. Peshawar in When Iwas a women’sestablished also I art magazine, the issue of first the lished Ipub then and articles, For or many water gas. one year, Icollected didn’t have that ahouse in living Iwas time, At that how alive. to stay but mainly activities about artistic were not thinking refugees Afghan when at atime magazine this Istarted magazine; for art an funders were no there to Kabul, came Americans Before answer. the you the Rahraw Omarzad ( Omarzad Rahraw of editor you the are Omarzad, Audience Rahraw member: Gahnama-e-Hunar My life history will give give will ): history My life - - - - - of luxury and privilege—and those are tough matters, important important matters, tough are those privilege—and and of luxury issues open tipped that question this in gogy. aprobing was But there peda of nontraditional to forms one committed or way are another, in events—many, where and we regular host free is eventspace that an rate. We who have renewat ahigh also subscribers, 11,000 ship—about voice? give and to educate urge readership, said or the to their tion rela in themselves position Bidoun and readers So how are. do Cabinet who you know your think you already voice voiceless, because to the a giving in predetermined something is there asense, In machines. epistemological be to capacity of self-reflexive akind privilege, Bidoun and Cabinet between parallels not come did the in need across This avoice or to voiceless. educate give need to the of adesperate sense of Al-Akhbar section cultural of mission the about the earlier talking Roy was which in way the or even described, just Rahraw that of Gahnama-e-Hunar case Afghan we have the then and East, Middle the in publications of art or lack dearth Someone the mentioned activities. other with continuing we are though even magazine, now,years the not we are publishing why, that’s And for independent. to itbe grow four could that not think did they donors because But interest lost these soon even magazine. our For supported Fund. one year, Claus they Prince the Oslo, and in Center Art aContemporary Goethe-Institut, the as magazine—such were some there donors art for for time the ashort to Kabul, back came when I 2002, After attend. artists and one group of students Only it. about nobody knows exhibition, When we to have people. an art porary contem of showing we have no history because was art contemporary of to people reaction Somebody mewhat the yesterday asked arts. the in some journalists idea to train why is this Ihad problems. This the one is of howmoney? much This artists? how many last? exhibition the how longdoes exhibition? this in are pieces art many questions—how same the asking always are they about and it; areport come write and they exhibition, When we do an reportage. art in specialized journalists we don’t that is have But oneproblems Afghanistan of in the students. newspapers? the in reviewed Afghanistan Art Contemporary has a pretty large and loyal reader loyal and large apretty has Cabinet Burnett: D. Graham Ghalya Saadawi (discussant): Saadawi about IhaveGhalya aquestion readership. our with do interviews Yes, media Omarzad: the ofRahraw course for Center of your activities the Audience Are member: : here, there is no such urgency, and instead a kind of luxury, of luxury, akind urgency, instead and no is : here,such there , in the the , in - - - - 33 e s¸ anu | critical machines 34 artmargins 5:3 political, ethical, and aesthetic registers. aesthetic and ethical, political, full its in curiosity to recovering commitment readers our who share and makers and andscholars andartists sublated of republic far-flung discourse of hybrid-impure to acommunity close something ture venue. We’ve that gonenur even helped providing beyond just really we have events, our space and our and magazine print the through avenue like anything been tionally creative, “queer,” learned, mixed, mad “queer,”creative, mixed, learned, archival, problematic, empirical, of work—imaginative, akind publish We effect. we to continue have, that that we have had, that Ithink And of inquiry. realms the transform and to expand aims ours like project academicus of Homo feeding for the trough present anarrow into the and thepast of richness the canalize pervasively and reflexively which regimes, disciplinary academe) and entrenched and art (in chies hierar aworldinstitutional In responses. of established for different environments—call readers, different situations—different different it But clear. out make and this look “decadent.” could call just this Let’s design—all to strong attention its and marginal, and minor the with Cabinet community, art Afghan the in role the it and fulfills aboutpresentation Gahnama-e-Hunar afascinating of such context the in that acknowledge Itotally ­matters. do that. to continue we will and sorely missing, was we thought that criticism of culture push for to a tried always butse, per we readership ­specific to a to cater tried we never said, That urban. mostly cosmopolitan, readership mostly is space. The or arts bookshop favorite independent at their People up tendBidoun to pick alot had never of subscribers. readership, we Regarding East. Middle the in capita per artists many too are there think aside note, As places. Istill these in culturally ing happen was that to represent everything words, we begin couldn’t even other In limitations. about our But we were self-conscious particular. in Tehran, Cairo to: we were Beirut, close that cities in happening things thereinteresting were that we recognized vacuum; of some sort to fill Negar Azimi ( Azimi Negar Bidoun Part of our founding instinct was certainly certainly was instinct founding of our ): Part ’s patience its omnivorousappetites, . And I would say that over the years, years, over the say that Iwould . And —for which there has not tradi has there which —for —a —a , a - - - - ARTICLE

Art PeriodicAls And conteMPorArY Art Worlds (PArt i) A historicAl eXPlorAtion gwen l. allen

Artforum is an art magazine published in the west—but not only a magazine of western art. We are concerned fi rst with western activity but claim the world of art as our domain. Artforum presents a medium for free exchange of critical opinion.1

This editorial statement appeared in the fi rst issue of Artforum, founded in San Francisco, California, in 1962. The “west” here referred not to Western culture in general, but specifi cally to the western region of the United States, refl ecting Artforum’s initial goal to foster West Coast art, which was marginalized by the dominant, New York-centered art press at the time.2 However, the editors also voiced their aspiration to inhabit a larger “world of art,” a phrase that at once anticipates the specialized social and professional realm that would come to be known as the art world, and hints at a nascent internationalism (with overtones of cultural imperialism), foreshadowing the role Artforum would come to play in the globalized art world of today. The 1960s marked a new historical understanding of the “art world”—a term that would, in fact,

1 Editorial note, Artforum 1, no. 1 (June 1962). 2 The New York art press in the early 1960s consisted of Art in America, Arts Magazine, and Art News. Artforum was specifi cally founded as “a counterpoint to Art News,” which under the editorship of Thomas Hess in the 1950s had become the leading art magazine in the United States at that time. John Coplans, quoted in “Art as News,” Newsweek, September 18, 1972.

© 2016 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_a_00157 35 36 artmargins 5:3 and distribution). and production conditionsof their technological and material (i.e., the tus” “appara own their by as well as contexts, political economic,and social, different and/or compromised within to dostrengthened so is capacity how and their sites as of criticality, function may worlds, how they art within counterpublics and publics mediate of howmodels magazines important offers history world, this art today’s globalized in media online newer and periodicals role about the of art ple). we think As exam prime the point, become, had that by press Artforum (of which art commercial of the character promotional increasingly the teract community, while artistic regional resented, gave voice underrep to an Artforum time: world of their art the within publicity of critical channels alternative to provide sought October and Artforum both ways, different In periodicals. artists’ and azines, mag little magazines, art century 19th pamphlets, Salon self-published including Enlightenment, to the back stemming practices publishing field of alarger within history this contextualizes It further October. journal critical to foundthe of editors its of several defection the way, the along prominence; and, international and to national rise its history of Artforum history early at the back world 1970s 1960s and looking by of the art American of hegemony. instruments identity, sites of regional exchange, of critical world: vehicles emerging this playedwithin magazines roles that contradictory different, many the reveals and juncture historical at this imagined world being was 5 4 3 later, 1964 in years afew just Danto Arthur philosopher American the by coined be late capitalism. under transformed or were substantially developed culture) media lar spectacu market, art of the expansion and commercialization vast the world (globalization, art contemporary of our institutions and ditions Edmund Jephcott (New York: Harcourt Brace Jovanovich, 1978), 220–38. 1978), Jovanovich, Brace York: Harcourt (New Jephcott Edmund Writings Autobiographical Aphorisms, Essays, Reflections: In Producer.” as Author “The essay Benjamin’s Walter references “apparatus” term This 178–209. 1984): Text Social 60s,” the “Periodizing Jameson, Fredric See 19 no. (1964): 61, 571–84. Philosophy of Journal Artworld,” “The Danto, Arthur This essay considers how such contradictions informed the North North the informed contradictions essay considers how such This serve as case case as serve October and of Artforum histories the particular, In 3 —and during the subsequent decades, many of the con of the many decades, subsequent the during —and 4 Artforum 5 —its beginnings as a small regional art magazine; magazine; art regional asmall as beginnings —its ’s founding editorial suggests how the art art how the suggests ’s editorial founding attempted to coun attempted October , no. 9/10 (Spring/Summer 9/10, no. (Spring/Summer , ed. Peter Demetz, trans. trans. Demetz, Peter , ed. ------. The hegemonic magazines (Artforum hegemonic magazines . The circus. become abig has Institution Art international where the unfair, socially and anarchical, economically unidirectional, politically is Brumaria magazine Spanish published dently To indepen of participate). the editors quote the here, certainly cussed dis two the including magazines, which in (processes institutions it Western neoliberal by exploit and to tame efforts pervasive the and today globe the around production of artistic multiplicity and geneity hetero unprecedented the both signals that contested arena world—a art contemporary of the hierarchies geopolitical the by ­characterized context, aglobal in now world occur 1970s, 1960s and they of the art American North the played out in dynamics out these If to oppose. set conditionsthey very the reinforcing dominant, end up becoming often world—so art mainstream conditionsof contest the the gins—to mar the in off start that publications which in ways for the studies 6 into it from collapsing keeps and it world up the into of art, takes that theory It the is of art. theory acertain is box of aBrillo consisting of art a work and box aBrillo between difference the end makes the in “What work Warhol, of the Andy he observed, Discussing upon such. as agreed and become recognized works of art which through possibility of realm theoretical and discursive worldas a art the defined Danto of art. value and meaning, status, the determines that framework tive interpre and institutional world aspecialized as art of the theorization and understanding anew marked Danto’s Artworld” 1964 essay “The M Art Worlds, Art institution.” of this nature October tive modes of publication today. of modes publication tive out new, we seek alterna tales—as or cautionary touchstones whether provide— they examples about the critically to think and publications of these complicatehistories and the understand rather, Ihope to better embody; they criticism and of publication models American North of Artforum not dominance essay is to reinforce the this pointThe of these processes. upon reflect and resist, challenge, that publicity sites as of critical function also can periodicals attests, December 2007): 46. 2007): December (November/ 146 Philosophy Radical Lie,” Big “The Montero, Irene and Corbeira Dario ) play a role that hardly questions the classist and perverse perverse and classist the questions ) play hardly arole that a g a 6 itself itself of Brumaria Yet,example the as zines , Parkett : “We live in a world that : “Weaworld in live that Flash Art , Flash , October , Frieze , and the the , and - - , - - - - 37 allen | art periodicals and contemporary art worlds 38 artmargins 5:3 Marcel Duchamp.TheBlindMan,no.1(1917).ImagecourtesyofRogerConover. status of” art. of” status institutional setting.” institutional acertain took place within Duchamp’s act “that fact the was work of art Fountain 11 11 10 9 8 7 Independent Artists and subsequently lost) was documented in a in documented lost) was subsequently and Artists Independent of Society the by rejected was 1917 (which Fountain original the Man that Blind The periodical Duchamp’s self-published in it was For of art. status the conferring in role of magazines crucial equally of the of revealing Duchamp’sis Fountain example his galleries, Dickie, “Defining Art,” 255. Art,” “Defining Dickie, 1982). Press, California of University (Berkeley: Worlds Art Becker, Howard See Becker. Howard of those notably most world, art the of theories sociological subsequent on influential been have Dickie and Danto Both 255. 1969): 3(July no. 6, Quarterly Philosophical American Art,” “Defining Dickie, George included. world this what and who about assumptions Euro-American deeply on based was world art the of concept Danto’s that rather but existed, world art an that places only the were these that suggesting not Iam To clarify, 580. Ibid., 581. Artworld,” “The Danto, , arguing that what transformed the ready-made urinal into a into ready-made the urinal what transformed that , arguing 10 Dickie illustrated his point with Marcel Duchamp’s Marcel with point his illustrated Dickie 11 While Dickie focused mainly on museums and and on museums mainly focused Dickie While whose practices “confer the whose practices institution” world a“social as art the defining of art, theory institutional the as known is towhat develop ­observations upon Danto’s expanded described it. described he as theory, artistic and “atmosphere” of language simply an moremuch than was referring was Danto world to which Yet, art the the real object which it is.” which object real the Europe. United Western States and the in primarily located publications, and institutions, markets, critics, ences and audi artists, works of art, between of relationships set In 1969, George Dickie 1969,In Dickie George 9 8 It acomplex was - 7

Art in America Art and Avalanche openings, and esthetics parties, monuments and It ideas. and includes resources, messages, objects, of persons, It asum is collections. private and ies, museums, galler writings; informative and historical, critical, reproductions; and works of art “network,” composed of “original acommunication itself generally. more culture of media expansion of the 1970s, 1960s and part as the world. art work the entered this which through vehicle actual the was ­magazine the that argued it be could Thus Stieglitz. Alfred by ­photograph taken 14 14 13 12 judgment. The critic Rosalind Krauss, writing in the first issue of the issue of first the in writing Krauss, Rosalind critic The judgment. and analysis aprocess of as aesthetic itself of criticism function tional tradi the some outstripped in had ways economic and capital ­cultural value.” economic its extent, to alarge for and, fame basis its the became fact, the after of more information accretions with along installation, record no-longer-extant of the This magazine. art an ­photograph in about reproduced a and as written then and agallery in exhibited be work hadto only as is, ‘art’—a value—that having as defined to be that of seemed It ‘art.’ thestatus attaining have it difficulty would zine about amaga reproduced and in wasn’t written awork “If of art stated: famously Graham Dan artist world 1960s, the of the art American it). or challenging upholding in of publications kinds roles of the different and structure, power of this contested nature the suggest also Avalanche and America in of Art examples his (though publics various its among munication com the mediated and system information its to organize helped they world’s art the structure: sites power in were privileged magazines out, (Cambridge, MA: MIT Press, 1999), 12. 1999), Press, MIT MA: (Cambridge, Art His on Graham Dan by Writings Selected Power: Mirror in Art,’” Conceptual of ‘A Pages: History Magazine Works for “My Graham, Dan 29. 1972): (September Artforum aSystem,” as World Described Art The “Network: Alloway, Lawrence 1991). Press, University Duke NC: (Durham, Capitalism Late of Logic Cultural or, the Society Network the of Rise The Castells, Manuel See wealth. economic and cultural of creation the in tance impor agrowing assumed have communication and information of processes and sites wherein society,” “network or age information post-Fordist capitalist, late the with ciated asso shifts economic and social larger to correspond world art the within changes These The role of art magazines would grow even more important during during more even grow important would magazines role ofThe art Observing the new importance of the art magazine in the the in magazine art of the importance new the Observing 14 As Graham suggests, the art magazine’s role in producing role magazine’s producing in art the suggests, Graham As 12 By 1972, Lawrence Alloway would define the art worldas art the define would Alloway Lawrence By1972, , vol. 1 (Oxford: Blackwell, 1996), and Fredric Jameson, Jameson, Fredric and 1996), Blackwell, 1 (Oxford: , vol. , ed. Alexander Alberro Alberro Alexander , ed. .” 13 As he pointed he pointed As Postmodernism, Postmodernism, Two-Way ------39 allen | art periodicals and contemporary art worlds 40 artmargins 5:3 18 17 16 the magazine and the art world alike. art the and magazine the of categories the transforming further are ofprocesses globalization and technologies now communication are new at amoment which in we media, mass by linked system communication world anetworked as notion of the art world.” art notion of the historical of a eclipse to amounts “a that certain Danto,by defined world it as was art the in shift adramatic witnessing we are argued, good appears.’”good is which that good, is appears which ‘that more than nothing says inaccessible. and It indisputable positive, enormously something as itself presents spectacle follows: as “The Guy Debord described which character, “tautological” and affirmative self-perpetuating culture’s media of spectacular effect an as automatically and instantly of art status the now conferred magazine art upon objects—the value and meaning aesthetic world long instilled had art modern the which through critique of analysis—modes and reflection, research, knowledge, theoretical and historical of Instead facilitating it. theorized world had Danto as art of the functioning very the altered ular—had partic in magazine art the of the media—and of influence growing the 15 art.” as existence its of verifying means only the virtually decade, last of the course the in matured has that generation become, for has the media the through disseminated and reproduced, work published, be artist’s an That media. mass to the relation its by affected disastrously and deeply been world has art the years fifteen last the “In with): to begin prompted her to fact foundOctober in had that (a situation situation this 1976, lament in would October journal set of practices that continue to depend insidiously upon abroadly insidiously to continue depend that of practices set narrower refers to amuch world usually art the by it canonized as is art “multiplicity,” by contemporary characterized be may globe the around of art experience actual YetDanto’s Western model. the while modern, of universality presumed the have challenged ways various in which meaning, and production for art’s frameworks diverse and multiple (Cambridge, MA: MIT Press, 2013), 3. 2013), Press, MIT MA: (Cambridge, World Art the Forgetting Lee, M. Pamela 2013). Press, MIT MA: (Cambridge, World Art Your Everyday Relyea, Lane see today, for stage the set 1970s and 1960s the of world art networked the how of discussion For adetailed n.p. 1977), &Red, Black MI: (Detroit, Spectacle the of Society The Debord, Guy Rosalind Krauss, “Video: The Aesthetics of Narcissism,” October Narcissism,” of Aesthetics The “Video: Krauss, Rosalind If the 1960s and 1970s marked a new stage in the American art art American the in stage anew 1970s 1960s and marked the If 16 18 Globalization has brought into proximity proximity into brought has Globalization 17 Indeed, as Pamela M. Lee has has Lee M. Pamela as Indeed, 15 As Krauss points out, out, points Krauss As , no. 1(1976): 59. , no. - global art market. art global the and of neoliberalism tenets the compatible, not complicit,with if often too all is which reality, disparate order upon this deterritorialized) and diversified (if ahomogenizing imposes world (singular) art porary coincide— and coexist fact in worlds that art different many hence, the world of the today—and parts various in art characterize that leaves us with even less of a foothold from which to critically to critically less of from which even afoothold leaves with us that circle avicious creating them, world perpetuates art the in changes tal. capi cultural and economic, political, into information and images nel help to chan media, online new as well as magazines, museums—art and galleries, fairs, art auctions, of biennials, arena—composed global commercialized ahighly into world morphed has art contemporary critical distance from which to reflect upon or resist these processes. upon or resist to reflect from which distance critical or traction of gaining possibility the over,” but precludes all which nomic and political ends, has led to “a new kind of to “a led informe has kind ends, new political nomic and eco toward instrumentalization culture’s with media),along global spectacular and market, the (design, spheres ofnally, activity separate formerly, and at nomi art least between breakdown the that argues she and writes, Lee of agent globalization,” and object both itself is world art power. “The economic political and and capital of global those with coincide increasingly operations and activities its world, so that art on the wrought has globalization that effects wide-ranging the World Art the Forgetting 2013 book, her in diagnoses Lee Pamela that transformation astructural signal phenomena such apparatus, media spectacular of its intensification Western set of criteria and traditions. and of criteria Western set 22 22 21 20 19 21 More than just a geographical expansion of the art world an and art of the expansion ageographical just More than Forgetting the Art World Art the Forgetting Lee, W. 2008). W. Norton, Artforum on largely focused World Art the in Days Seven workings, world’s inside art the of exposé best-selling 2008 her In 5–28. 1(2011): no. 1, ArtMargins Art?,” Was Contemporary “What Esanu, Octavian See 77–97. 2014): 3(October no. 3, ArtMargins China,” of Case the and Canon Art Contemporary Global “The Lago, Dal Francesca see term, this of nature contested the of account For an 4–5. 2009), Press, Chicago of University (Chicago: Art? Contemporary Is What Smith, Terry see art, contemporary of antinomies and multiplicity the of account For an Indeed, as Lee notes, the loss of criticality resulting from these from these resulting loss of criticality notes, the Lee as Indeed, Art magazines participate profoundly in these processes. As the the As processes. these in profoundly participate magazines Art , Sarah Thornton devoted an entire chapter to “The Magazine,” in which she she which in Magazine,” “The to chapter entire an devoted Thornton , Sarah 20 (New York: (New World Art the in Days Seven Thornton, . Sarah , 4, 3. , 4, . She is particularly concerned with with concerned . She particularly is 19 Despite the vast differences that that differences vast the Despite : a new all : anew contem the - - - 22 - - - 41 allen | art periodicals and contemporary art worlds 42 artmargins 5:3 ries. centu 19th and late 18th the evolved during periodicals art specialized as eroded gradually was dimension political its of commentary, form 26 26 25 24 23 1737. in Louvre at public the general the to opened first was which Salon, the of art, exhibition public regular earliest of the wake the in circulated pamphlets self-published the in lies periodical art of the of point reference origin for the important An Periodic Art today. changes these upon to reflect from which tance some offer dis might history this hope that the magazine—in art the andspecifically criticism, reflection—art and sites of criticality tional emergence development and of the onetradi of the tracing cally, by histori situation to approach this what In follows, Itry them. ­analyze power’s authority. ruling the to oppose class bourgeois the allowed debate, which critical rational- in publicity, grounded of egalitarian progressive and kind new of a formation to the criticism art early of this importance the stresses (1962), Sphere Jürgen Habermas Public the of Transformation Structural The Europe, sphere 18th-century public in emergence bourgeois of the and political establishment more generally. establishment political and social on the extension, by Salon—and the sponsored that Sculpture and of Academy Painting Royal regime-backed on the commentary or explicitly implicitly was of art judgment painting, French century account of 18th- his in detail in described Crow has Thomas sion. As dimen ethical and political deeply its was criticism art 18th-century 1904), one of the most important vehicles for art criticism in in criticism for art vehicles 1904), important onemost of the 26 Company, 1976), 3–10, 13–20. 3–10, 1976), Company, Magazines Art of Centuries Two Press: Art The in Journals,” “Scholarly Fawcett, Trevor and Periodicals,” Century “Nineteenth Burton, Anthony See public. ageneral for intended not journals, torical his art scholarly specialized more or staid, and conservative accordingly and themselves, academies art of organs either were art to solely devoted periodicals earliest the of Some 1987). Press, University Yale CT: Haven, (New Paris Eighteenth-Century in Life Public and Crow, Painters Thomas 1989). Press, MIT MA: Society Bourgeois of Category a into Inquiry An Sphere: Public the of Transformation Structural The Habermas, Jürgen 2011). Press, MIT MA: (Cambridge, Art for Space Alternative An Magazines: Artists’ Allen, Gwen 1of chapter see criticism, Salon early to ship relation in sphere public the of concept Habermas’s of discussion in-depth For a more However, if art criticism was born as a progressive and egalitarian egalitarian aprogressive and as born was criticism However, art if This can be witnessed in a magazine such as L’Artiste as (1831– such amagazine in witnessed be can This a ls, Publics, a Publics, ls, 24 Indeed, one of the most remarkable things about things remarkable onemost of the Indeed, , ed. Trevor Fawcett and Clive Phillpot (London: Art Book Book Art (London: Phillpot Clive and Fawcett Trevor , ed. , trans. Thomas Burger and Frederick Lawrence (Cambridge, (Cambridge, Lawrence Frederick and Burger Thomas , trans. nd Counter nd 23 In his classic account of the account of the classic his In 25 p ublics, 1837–1960 ublics, ------19th-century Paris, which pub- lished such critics as Charles Baudelaire and Honoré de Balzac. L’Artiste fostered a new, Romantic form of criticism, based on the doctrine of l’art pour l’art, and largely devoid of explicit social, political, or moral commentary. According to Nancy Allen Roth, L’Artiste cultivated an approach that was pluralist rather than polemical: it sought “to make the journal not so much coherent or persuasive as diverse, entertain- ing, and visually appealing”—a strategy that was especially well- suited to an emerging, market- based economy.27 The commercialized, plural- ist model of the art magazine exemplified by L’Artiste has remained fundamental up to the present day. As the British critic John Walker has noted, “Art peri- odicals are commercial products First page of the “Letter to M. de Poiresson-Chamarande, . . . On the which are subject to economic Paintings Displayed at the Salon du Louvre, Paris, September 5, 1741.” criteria. They are vulnerable to Image courtesy of Bibliothèque nationale de France. competition, rising costs, falling circulations and changes in public tastes.”28 The development of the commercial art magazine corresponds to the larger historical transfor- mation that Habermas observed in the press, “from a journalism of conviction to one of commerce.”29 He traces this shift to publications in France, England, and the United States in the 1830s, and argues that

27 Nancy Allen Roth, “L’Artiste and ‘L’Art pour L’Art’: The New Cultural Journalism in the July Monarchy,” Art Journal 48, no. 1 (Spring 1989): 39. 28 John Walker, “Periodicals since 1945,” in Fawcett and Phillpot, The Art Press, 45. 29 Jürgen Habermas, “The Public Sphere: An Encyclopedia Article (1964),” in The Idea of the Public Sphere: A Reader, ed. Jostein Gripsrud, Hallvard Moe, Anders Molander, and Graham Murdock (New York: Lexington Books, 2010), 118.

43 44 artmargins 5:3 and counterpublics around specific interests and ideas. This term, term, This and ideas. interests specific around counterpublics and of readers communities fostering group of individuals, self-selected) (or select smaller, to amuch themselves address question in cations publi practice—the in not always if at least, theory, public—in general a to reach aspired where criticism Salon Further, from them. excluded largely are that represent opinions and and ideas institutions its tion ques actively sphere, public sincethey bourgeois liberal of the model from Habermas’s depart also Yet, publicity. they critical and of dissent asite as of print potential radical the alive keep they that in criticism, to redress. it sought York New which of world the time, at the alism art parochi narrow-minded and shortsighted the to suggest so named was Man earlier, mentioned Duchamp’s Blind Toat large. example an take world and/or world art conditionsof the the dominant protest the that criticism and art of models andsupport to profit, by than rather tion aposi by motivated tend to be here, they generalized toaudiences be and goals editorial their in diverse too are publications such While photomontage. as such practices, visual and typographical radical pioneered and manifestos and writings artists’ circulated publications content, as such well as form in movements. Experimental avant-garde other , and Stijl De Constructivism, Futurism, Surrealism, Dadaism, with associated periodicals artists’ numerous the regard are this in 31 31 30 taking.” under of acommercial possibilities earning of the advantage take and positions able press] to abandon been [the “since polemical its has then gressive and critical publicity within the art world. art the within publicity critical and gressive of pro short-lived—sites and precarious often vital—if as have served which circulations), small for (so their named magazines little and journals, critical periodicals, artists’ of noncommercial history another industry. culture century ­ 20th- the in he observed that “pseudopublicity” ersatz the into ity public critical sphere public from asite bourgeois of true liberal of the Press, 2012), 267–87. 2012), Press, Modernisms Global of Handbook Oxford The in World Form,” Magazine, “Little Bulson, Eric see magazine, little the of histories other and this of framework Western the to revision important For an aBibliography and A History Magazine: Little The F. Ulrich, Carolyn and Allen, Charles Hoffman, J. Frederick See Ibid. In some ways, such publications hark back to 18th-century Salon Salon to 18th-century back hark publications someIn such ways, However, running alongside this history of the art magazine is is magazine art of the history this alongside However, running 30 According to him, this change precipitated the disintegration disintegration the precipitated change this to him, According , ed. Mark Wollaeger and Matt Eatough (Oxford: Oxford University University Oxford (Oxford: Eatough Matt and Wollaeger Mark , ed. , 2nd ed. (Princeton: Princeton University Press, 1947). 1947). Press, University Princeton (Princeton: ed. , 2nd 31 Especially notable Especially ------34 34 33 scene making will be transformative, not replicative merely.” not replicative transformative, be will scene making of poesis the that it hoped is which in spaces of are circulation publics “Counter it: world, but to change the in to act only of agency—not kind of aparticular possibility the implies also counterpublic notion of the conflictual relation to the dominant public.” the dominant to relation conflictual a through “constituted is apply may “counterpublic” group to any that term the that Warner, who Michael by argues described sense the more in counterpublics fostered they way, part most this for in the ity of counterpublic forms part—as or in implicitly least function—at that so forth. and orientation, gender, sexual race, ethnicity, on class, based against discriminated who have been counterpublics” spheres” “subaltern and public “proletarian including institutions, and definitions dominant from its excluded historically have been that publics those emphasize and universalism its question sphere public that bourgeois liberal of the theories revisionist several with “counterpublic,” associated is 32 32 of all— and—worst pseudo-philosophy, pseudo-psychology, history, ­ pseudo- pseudo-exposition, pseudo-narrative, “pseudo-description, to amounted opinion his in prose, which purple its and of rigor lack United States) the for in its magazine art leading considered the (then News Art as such magazines art in published writing out the gling sin discredited, becoming was criticism art that Greenberg warned Its Bad Name,” Clement Earns Writing “How Art 1962 his In article, R as it has helped to shape those conditions. those to shape helped itas has conditions—even historical different under varied itself has that gory acate magazine, of the form distribution to the tied deeply are public its and politics, its criticism, of art function the suggests, periodical art of the history selective and brief admittedly this world. As art dominant the transform and to critique seek they of counterpublicity: forms as conceived be above might described publications alternative the sense, einvesting in the Art M Art the in einvesting Ibid., 122. Ibid., 118. 2002), Books, York: Zone (New Counterpublics and Publics Warner, Michael Social Text Social Democracy,” Existing Actually of Critique the to AContribution Sphere: Public the “Rethinking Fraser, Nancy 1993); and Press, Minnesota of University (Minneapolis: Oksiloff Assenka and Sphere Public Proletarian and Bourgeois the of Analysis an Toward Experience: and Sphere Public Kluge, Alexander and Negt Oskar See While we can certainly find many examples of artists’ magazines magazines artists’ of examples many find certainly we can While 32 , no. 25/26 56–80. , no. (1990): a g a in the 1960 the in Artforum zine: , trans. Peter Labanyi, Jamie Owen Daniel, Daniel, Owen Jamie Labanyi, Peter , trans. 33 According to him, the the to him, According 34 In this this In s - - - ­ 45 allen | art periodicals and contemporary art worlds 46 artmargins 5:3 criticism as a consumer product. aconsumer as criticism art and art packaged essentially News Art magazine, art century 19th- of the model commercialized pluralist, the with keeping In dios. stu of artists’ glimpses behind-the-scenes up-close, provided which series, aPicture” “Paints famous its as such stories, general-interest entertaining as well topics, as on more historical articles published also Painters.” It Action American “The Rosenberg’s 1952 famous article Coldby War, of the politics exemplified as cultural the within pose pur- ideological an served clearly that emphasis critical freedom—a existential and creativity individual like motives artistic and themes ing stress criticism, Romantic of 19th-century tradition belletristic the in Harold who John and followed Rosenberg, Ashbery, O’Hara, Frank as such critics, and poets published 1950s, the mainly in Expressionism 37 37 36 35 pseudo-poetry.” that time. that United States at (at the Greenberg’sin by least standards) ­criticism for serious periodical art of an lack the suggest facts These Nation. The magazine cultural and political progressive weekly the in lished Review Partisan magazine little literary and political Communist-affiliated 1930s of the the in criticism Marxist early his Greenberg published that It revealing defended. is rationally be could that of empiricism kind anew art of evaluating practice to the bringing by situation this in the magazine’s early years. early magazine’s the in on episodes key afew to focus Iwant full, in history that rehearse than told so rather elsewhere, been has of Artforum story The publication. asingle overlap within fact, in might, and all, after exclusive mutually so not be commerce and might of conviction functions the least—how at atime suggesting—for criticism, of art form acommitted ­foster also it would magazine, art acommercial was Artforum While cle. vehi its as to serve magazine art of the capacity the in criticism—and art in areinvestment representing criticism, formalist Greenbergian Artists’ Magazines Artists’ my see Also 2000). York: Press, SoHo (New 1962–1974 Artforum Art: Challenging Newman, Amy See 1960s. and 1950s late the Arts and News Art including magazines, art in published also occasionally Greenberg 71. 1962): (December Encounter Name,” Bad Its Earns Writing Art “How Greenberg, Clement Artforum , and throughout the 1940s 1950s pub and the he frequently most throughout , and 36 Art News Art , founded in 1962, would become the main venue for main become the 1962, would in , founded 35 Greenberg’s formalist method attempted to redress to redress attempted method Greenberg’s formalist , which had become associated with Abstract Abstract with become associated had , which , chapter 1. , chapter 37 previously, Imentioned As Artforum , no. 17 17 , no. - , in , in - - - at times antagonistic conversation, as these different points of view of view points different conversation, these as antagonistic at times and dynamic, engaging, an was result Greenberg. by The established framework modernist the challenged deeply that were making they work new who the defended artists, conceptual and minimalist by ings writ artist experimental to publish began Artforum time, this During magazine.) the in published occasionally also (Greenberg himself method. by Greenberg’s who wereinfluenced deeply formalist Fried, Michael and Krauss Rosalind including critics, group of modernist a with associated Leider, it became Philip editor founding 1960s, under mid- the world’s During art the wealth. center of and power, prestige, consolidate, helped and with, to York, New itself then where it aligned and Angeles, Los to moved magazine the five years, first its ever, within York-centered New How world dominant time. at the the art within of counterpublicity aform as origin unlikely its suggests that fact amouthpiece for as West Francisco art—a San in Coast founded was Artforum 5,no.10(Summer1967),cover. ©Artforum. ­ - 47 allen | art periodicals and contemporary art worlds 48 artmargins 5:3 the other essays of essays 1966–67.” other the and Objecthood’ ‘Art and in at stake was of Western civilization future the less than nothing that Ithought fact mattered—in doing I was what that sure “Iwas way.recalled, Fried have rememberedit As this that modernist criticism in some sense emulated or tried to re-create to re-create or tried some emulated in sense criticism modernist that 40 40 39 38 methodology. sionate apolitical and Artforum in lished pub criticism formalist modernist of the posturing ethical and moral denouncing. was Fried that of art type the precisely advanced they which in Smithson, Robert and Morris, Robert Sol by LeWitt, articles alongside ­theatrical, as latter the condemned and Minimalism against art modernist he passionately defended which in Fried’s essay Objecthood,” “Art and included 1967 which issue, Summer the is example striking cially from aforegoneoutcome far debates espe was of conclusion. these An the that and mattered, that over things were arguing writers that sense 1960s convey mid-late a from the of Old Artforum issues poraneity. contem its reinforcing time, at the magazines art American from other it distinguished that identity visual amodern logo magazine gave the Artforum unfolding. much very still was one that albeit project, acollective as together to come seemed criticism art American that of Artforum pages the years). these during Ruscha Ed artist the by designed was (which magazine of the pages the within confronted one another dream of art as the focus of an ideal public sphere.” public ideal of an focus the as of art dream earlier of an relic the was that commitment of moral 1960s asurplus the into brought criticism “Modernist or lost repressed: been quently subse had but that Enlightenment the in origins to its central been had that of criticism dimension political for the amarker as served it “compensatory,” as that criticism suggesting of such fervor moral Press, 1987), 7. 1987), Press, Culture Contemporary in Discussions Foundation Art Dia in Art,” of Function Public the On Viewer: the of Death and Birth Crow, “The Thomas anything.” itfor missed have Iwouldn’t me, to thrilling itremains thrilling, was That apoint. up to only but ironic, “I’m being added: Art Challenging Newman, in Newman, Amy by interview Fried, Michael 140–49. 2001): 8(March/April Review Left New Agonistes,” “Art Foster, Hal example, for See, A number of subsequent commentators have remarked on the on of the commentators subsequent haveA number remarked in it elsewhere, was published also artists and critics these While —a tone that was at odds with its otherwise dispas otherwise its with at odds was tone that —a ’s signature square shape and Helvetica-derived Helvetica-derived and shape square ’s signature 39 Thomas Crow has characterized the the characterized Crow has Thomas 38 Likewise, the critics themselves themselves critics the Likewise, , ed. Hal Foster (New York: New York: New (New Foster Hal , ed. 40 Crow suggests Crow suggests , 436. Fried Fried , 436. - - - - - pages in 1970. in pages 1962 in to forty-six pages from six increased which section, tisement mercialism, a shift that can be witnessed in Artforum in witnessed be can that ashift mercialism, com compromised growing its by increasingly was publicity critical the 1960s. the during escalated market art the as world itself art of the mercialization contingency. and historicity of own its “innocent” and prescriptive” critically “unself- to seem came disillusioned—explained, those Krauss—among as which method, about doubts Greenberg’s formalist experienced editors and writers own magazine’s of the anumber Meanwhile, gallery system. For example, if you didn’t review a particular artist’s artist’s aparticular you didn’t review if For example, system. ­gallery a large public. a large reach at least—to theory, potential—in the with magazine art mercial com amass-produced in published it was that fact very the was pose pur apublic with Artforum in published criticism art modernist the of what provided Part itself. magazine of the medium the distribution, of form very its through was argue, so, it Iwould ways did ofOne the century. 18th the in served had criticism that purpose public true the 45 44 43 42 41 but it’s depressing that it’s gotten so bad and close to the others.” to the close it’sso bad and gotten but that it’s depressing magazine art probably is best the shows. . Artforum the all review Krauss as Greenbergers such exist; hardly low. Irwin and . Bell equally all else, there’s then and everybody art high serious “There’s of 1969, complained Artforum in Judd, writing Donald artist The formulaic. to feel begun had artists and of critics roster andin ensconced New regular its point, that Yorkby firmly was publicity. asite as of critical to serve capacity renewed its and itself, magazine of the stakes moment from the were inseparable 1964–66 Art American Statements: Definitive in Market,” the Pop Goes Sixties: “The Wells, Jennifer see 1960s, the in States United the in market art the of explosion the of account For an issue. 1970 April the and issue 1962 June the on based Figures 50. 1972): (September Artforum “A Modernism,” of View Krauss, Rosalind 184. 1969): (April International I,” Studio “Complaints Judd, Donald Art Challenging Newman, in recollection Leider’s Philip on based is 2,000 of Artforum of issue November the in annually printed Circulation and Management Ownership, of Statement the to according 1968, in 13,770 to 2,000 from It grew growing. itwas years, those in huge wasn’t Artforum of circulation the While Just as significantly, however, the magazine’s function as a site of function magazine’s thehowever, Just significantly, as falter. Artforum would both in faith decade, Yet, end of the the by 45 , ed. Kermit Champa (Providence, RI: Brown University Press, 1986), 53, 59. 1986),53, Press, University Brown RI: (Providence, Champa Kermit , ed. As Krauss described, critics were held “hostage to the to the were held “hostage critics described, Krauss As 43 41 44 In this sense, the high stakes of art criticism at this at this criticism of art stakes high the sense, this In This change was part and parcel of the growing com growing of the parcel and part was change This ’s narrow editorial focus: focus: ’s editorial narrow ’s swelling adver ’s swelling . (The initial figure figure initial . (The , 24.) 42

- - - - - 49 allen | art periodicals and contemporary art worlds 50 artmargins 5:3 48 48 47 50 50 49 exchange value.” exchange as consumption”produces and “art avoyeuristic it encourages “doesn’t participation, that creative encourage of criticism sentative repre as out Artforum singled Fox, The magazine artist-run the in writing Menard, Andrew Ron 1975, In and White tendencies. tional promo its amplifying greatly of art, evaluation role its the altered in magazine art economy commercial of the visual spectacular the within criticism of art integration The experienced. were being criticism art and art which within culture visual anew 1960s, creating the ­during Artforum with not begin did changes of November 1974 the in issue Benglis Lynda artist out the by ment taken during this time in the United States. the in time this ­during more broadly culture media and technology printing in to changes linked turn were in color which reproductions, increasingly and quality of high- abundance an and coated pages including character, visual to its linked deeply was magazine of the aspect promotional the gests, 46 46 market. art cial commer to the relationship magazine’s of the result adirect felt to be were that decisions she conceived—editorial that art on performance issue n’est aspecial shotFoucault’s down “Ceci also pipe” and une pas of Michel Michelson’s atranslation to publish refused proposal allegedly Coplans For example, were pioneering. Michelson, Annette including she others, and approaches that critical new ophy the and philos of continental influence to the hostile was Coplans that claimed has Krauss magazine. the with dissatisfied increasingly became 1960s the during championed had whom Leider critics of the many of took editor Artforum over as John Coplans 1970s, early after the In R pictures.” or many apicture, was there longas as wrote, what you didn’t care They advertising. its pull would show, gallery the defiantly wielding a large, double-headed dildo. The artist had wanted wanted had artist The dildo. large, double-headed a wielding defiantly einventing the C the einventing Artforum The Fox The Madness,” “Media White, Ron and Menard Andrew changes. these of account detailed amore for Magazines Artists’ my See Challenging Art Challenging Newman, in interview Krauss, Rosalind 53–68. Krauss,” Rosalind with “Interview Krauss, See Rutgers Art Review Art Rutgers Paley, Richard and Gilbert Gregory by Krauss,” Rosalind with “An Interview Krauss, Rosalind . 50 The ad was a two-page spread showing Benglis, nude and Benglis, spread showing a two-page ad was The 49 The “last straw” for several critics was an advertise an was critics for several straw” “last The 48 ritic , no. 11 (1990): 63–64. (1990): 11 , no. a l Art Journ l Art , they intensified considerably intensified , they 47 While it is true that these these that it true is While a l: O l: , 414. ctober , no. 2(1975):114. , no. 46 As she sug As , 1976– ­ - - - , - - mises critical effort.” critical mises and compro deflects which journalism of pictorial aform producing is reviews major of present art the format the that feel artists, and writers many those readers who,like “to address issue, first the in wrote they October journal to foundthe Rolfe resigned sense of that term.” of that sense debased most the in promotion role to of the journal’s devoted artists as the pictured has advertisement the which with “crudeness to the also from Artforum selves them disassociated publicly they which in editor to the aletter wrote Michelson, and Krauss including critics, several advertisement, to the response In content advertising. and editorial between breakdown very the underscoring opposite effect, ad the had of the appearance the tion, sec editorial magazine’s of the integrity the to preserve intended dently the gender politics of the art world time. at the art of the gender politics the as well as magazine art of the commercialism of the acritique as seen come what has to in be advertisement, took out apaid instead Benglis space, editorial the in image the to run however, refused when Coplans issue; about her work that in photograph to accompanythe article an 55 54 53 52 51 diminished public sphere of the American art world to the Stalinist world Stalinist to the art sphere public American of the diminished exemplary and unique.” and exemplary amanner were in joined innovation artistic and inquiry, theoretical practice, when revolutionary century momentcelebration our of in that in journal this “We have named declaring, to reclaim, sought editors journal’s the lineage formalism—a of Russian aesthetics radical the to tribute revolution,as a October the memorializing film 1926–27 October film, his with beginning from, suffered had Eisenstein aesthetics Artforum at experienced had critics she other repression and that ­market-driven reference to aveiled the it was explained, later Krauss As Stalin. under censored been had Eisenstein’s film that given connotation, Krauss, “Interview with Rosalind Krauss,” 63. Krauss,” Rosalind with “Interview Krauss, montage. of theory his on essays critical and writings own Eisenstein’s of translations publishing explore, to on go would October which ostranenie, of form a as montage of practice and theory Eisenstein’s of thinking Iam particular, In 3. Ibid., “About October Editors, 1974): 9. 4(December no. 13, Artforum editor, the to letter al., et Alloway Lawrence 73. 2004): 3(November no. 43, Artforum Contention,” of “Bone Meyer, Richard See Shortly after the incident, Krauss, Michelson, and Jeremy and Gilbert- Michelson, Krauss, incident, the after Shortly .” 55 : “We felt this was a replay of the kind of repressive, Stalinist of repressive, Stalinist kind areplay of the was : “We felt this Implicitly, then, October Implicitly, then, 52 53 , objecting not only to the vulgarity of the ad, but ad, of the vulgarity not to the only , objecting ,” October was named after Sergei Eisenstein’s after named was October 54 However, October , no. 1 (Spring 1976): 5. 1976): 1(Spring , no. ’s title ironically compared the compared the ’s ironically title , with which they wished, wished, they which , with ’s title carried a further afurther ’s carried title 51 Though Coplans evi Coplans Though - - - - 51 allen | art periodicals and contemporary art worlds 52 artmargins 5:3 October, no.1(Spring1976),cover. ©OctoberMagazine,Ltd.,andtheMassachusettsInstituteofTechnology. were important, so too was its “apparatus,” its Benjamin’s was in so too sense were important, October However, contents of the if magazine. art of publicity, the vehicle main world its and art mainstream conditionsof to contest the the sought 1970s.and world 1960s of the art the in publicity asite as of critical magazine art commercial of the failures the Union, underscoring Soviet was thus conceived as a form of counterpublicity, which which conceived of counterpublicity, aform as thus was October emphasis on extensive reviewing and lavish illustration.” lavish and reviewing onemphasis extensive by autonomy undermined seriously intellectual an arts, of other that to as sculpture, and of painting tocriticism restore need to the of the us convinced has journals major art with experience working “Long wrote, in its cover design—black text with red accents red with text cover its design—black in to Telhomage Quel paid October gowell. as on would to publish of whommany October Jacques and Foucault, Derrida— Michel Barthes, Roland Kristeva, Julia as such theorists of poststructuralist writing experimental the with associated (1960–82), Tel Quel journal French the was to emulate tried most they publication But the one as prototype. Review Partisan from being academic.” from being content the of to keep October we struggle although journal, academic an are technically we suppose “I irony she reflected, later this About duction and distribution. and duction of pro means its and of apublication, instruments” and “forms of the 58 58 57 56 61 60 59 to be an academic journal,” according to Krauss. according journal,” academic an to be October didn’t want to avoid: “We wanted what they know did to But create. they wanted they of magazine kind for of models the faced adearth of October Press. MIT by published been has Oppositions journal architectural esteemed the published also (which Urban Studies and for Architecture Institute the by published first was It institutions. nonprofiteducational and world in art of the pressures commercial from the refuge sought apparatus. own its form trans to and seeking upon reflecting quo without status protest the it not could effectively apiece of writing, or revolutionary how radical no matter that argued and transformation,” its and apparatus duction of apro mere supplying “the between distinction the made Benjamin aspect,” allowing only sparse, black-and-white images. black-and-white sparse, only allowing aspect,” Artforum like of amagazine excess visual the to contrast in and advertisements, no gallery it carried magazine: art commercial of the those vis-à-vis economic and structure format own “About October Ibid. 228. Producer,” “Author as Benjamin, Ibid. 62. Krauss,” Rosalind with “Interview Krauss, Ibid. In contemplating their goals for the journal, the founding editors editors founding the journal, for the goals their contemplating In ,” 5. 61 They considered the early, radical years of years early, considered the radical They 57 56 did so by carefully considering its its considering carefully so by did October In his article “The Author as Producer,” Author as “The article his In ), and since its fifth issue issue ), fifth sinceits and , it vowed to be “plain of , it “plain vowed to be 58 As the editors editors the As 59 October - 60 - -

53 allen | art periodicals and contemporary art worlds on a cream background—and its subtitle, Art/Theory/Criticism/Politics, was clearly a reference to Tel Quel’s subtitle, Littérature/Philosophie/ Science/Politique. October’s first issue included the translation of Foucault’s text “Ceci n’est pas une pipe,” which Artforum had refused to print, and focused heavily on those newer media, such as video, perfor- mance, and film, that had been underrepresented in the commercial art press. Especially notable during the first several years of the journal was its publi­cation of texts by contemporary artists and practitioners, including Daniel Buren, Trisha Brown, Laurie Anderson, Hollis Framp- ton, Michael Snow, Samuel Beckett, Yvonne Rainer, Robert Morris, and Carl Andre. As the American art world grew more conservative toward the late 1970s and 1980s, with the rise of neo-Expressionism and ­right-wing attacks on public funding for the arts, October championed critical forms of postmodernism by publishing key texts by Craig Owens, Douglas Crimp, and Hal Foster. All of them would go on to become editors, as would the art historians Benjamin Buchloh and Yve-Alain Bois—both of whom had been involved in editing important little magazines (Interfunktionen and Macula, respectively) in their native countries, Germany and France. The history of October attests to the effectiveness of publications in not only incubating fledgling counterpublics, but enabling them to achieve legitimacy, even dominance within the public sphere. October’s introduction of European structuralist and post- structuralist theory into art his- tory has had an immeasurable influence on the theory, history, and practice of art, both in the Anglo-American context and globally. And yet October (like Artforum before it) would achieve a kind of dominance, becoming Tel Quel, no. 50 (Summer 1972). Image courtesy of Éditions du Seuil. closely aligned with the power

54 Oedipal terms. Oedipal it—in to need challenge the authority—and unassailable seemingly journal’s one as the commentator killed,” must be put it, describing October of founding the precipitated ways many ad—in Artforum Benglis’s investigation—Lynda one such fact, In question. in period the during proliferated that space artists—phenomena by exhibition and medium a as magazine of the investigations as well as periodicals, artists’ and magazines little including practices, publishing of alternative ­history time demonstrate an unprecedented self-reflexivity toward the formal the formal toward self-reflexivity unprecedented an demonstrate time from this magazines artists’ elsewhere, detail in Ihave described As legacy. this transformed periodicals, artists’ of avant-garde tradition earlier on an drew they while which, publications, artists’ experimental of saw asurge 1970s 1960s and also content, The of mode and address. design, graphic format, its manipulating tactically by magazine of the role promotional and authority the challenged ways various in which others, and Steven Kaltenbach, Mel Bochner, Graham, Dan including artists, American by magazines art of commercial pages the into tions has been seen as elitist and Eurocentric. elitist as seen been has art American on and North European recently) focus nearly exclusive and (until Its tower ivory academia. status of American structure erase it. erase upon build progressive to attempts between to distinguish reasonother than for world—if no art the within counterpublicity a as ofform critical involved its genesis in stakes high and the history journal’s own the to remember However, crucial and Eurocentrism. it equally seems itself. ofmagazine the apparatus the of by distribution: its vehicle informed deeply its criticality—are of how criticism—and in politics the 64 63 62 must be contextualized within a larger alarger within contextualized be must October sense, this In 1988): 5–15. 1988): October on attack neoconservative right-wing, Kimball’s Roger of here specifically thinking I am 2014. 7–8, March Beirut, University, American Conference, Machines Critical discussion. panel Franses, Rico issue. this in Conference Machines Critical Es¸anu’s Octavian See the to decade. past the over introduction change to begun has This . Benglis’s ad came on the heels of a number of such interven of of such anumber heels on the ad. Benglis’s came 64 Among other things, things, other Among October (October (October Criterion New The Syndrome,” October “The Kimball, Roger . See 63 It is certainly important to question important It is certainly ’s legacy and reactionary ones to undermine and and ones’s to undermine and reactionary legacy October ’s history serves as aas lesson’s serves history 62 “ October is the father that that father is the October ’s authority

- 55 allen | art periodicals and contemporary art worlds 56 artmargins 5:3 Aspen, nos.5+6(Fall 1967),cover. TheGetty ResearchInstitute,LosAngeles(86-S1350no.5-6). Avalanche as such world. magazines For example, art the within function political economic, and social, its to alter attempts accompanied by distribution. and conditionsofto its circulation and it, of reading act to the attention drew and page printed of the ity Aspen Gorgona as such examples in seen be can as magazine, of the seriality and temporality, materiality, the 65 potential. political and social, artistic, its toward as well as magazine, of the possibilities ­conventions conceptual and These magazines contested the institutions and economies of the economies of and the institutions contested the magazines These ( practices art feminist Yet supported others rights. legal and moral promoted artists’ Newsletter Workers Art as such magazines, Other world time. at the art mainstream the within were marginalized that or international, local whether communities, artistic alternative fostered and system gallery commercial outside the forms art mental Artists’ Magazines. Artists’ Allen, These radical experiments with the form of the magazine were magazine of the form the with experiments radical These , which in various ways foregrounded the tactility and interactiv and tactility the foregrounded ways various in , which , Art-Rite Heresies , FILE , Lip supported new experi new supported Interfunktionen , and ) and postcolonial theory ( theory postcolonial ) and Revue Integration , Revue , Intermedia 65 Artists investigated investigated Artists Black Phoenix Black , Zero The Fox The , and 0 to 9 , 0to , and , and ). , - - Spread from Avalanche no. 1 (Fall 1970). Bykert Gallery “Stop the War” advertisement (left) and table of contents (right). Image courtesy of Liza Béar and Pamela Seymour Smith Sharp for the estate of Willoughby Sharp.

FILE 1, no. 1 (April 15, 1972), cover. Photograph by David Hlynsky. Image courtesy of AA Bronson and David Hlynsky. 58 artmargins 5:3 cism) as idealized moments when art criticism and its public somehow public its and criticism moments when art idealized as cism) criti Salon to 18th-century looked back Habermas that way the much in (perhaps October and of Artforum histories to the look back cally authority, we nostalgi current their question weEven sometimes as the conditions of art and art magazines in the 1970s art world. 1970s art the in magazines art and conditionsof art the transform and today, out of to challenge ciated adesire but stemmed it asso is which with institutions academic the in not begin did which of October relevance and urgency initial the stresses and shared they context political and social the reveals continuum tone of Art-Rite colloquial casual, jokes inside of away FILE from the or the miles seem may character October While project. original its helps to contextualize 66 66 communication. site ofcant artistic signifi another correspondence, was private in rooted art, 1980s, mail 1960s to the region from the the across swept repressive dictatorships of where aseries America, Latin in and there Likewise, samizdat. of practices underground dissident, the resonated with magazines ists’ censorship, and art supervision of state levels to varying were subject where Europe, artists Eastern former of the countries the in example, For conditions. political and social different world to vastly response in of the parts other in engineered being were simultaneously practices publishing distinct yet related Western Europe, and America North magazines. mainstream détourning and appropriating and/or pages, tactically by newsprint and formats DIY their through media economy of mainstream visual spectacular the challenged They interviews. and criticism, of writing, pioneered forms new They galleries. sponsor to commercial than rather spaces nonprofitartists’ support and statements political to broadcast pages advertising used They distribution. and circulation, conditionsof its production, as well as design, graphic and format printed magazine—its of the ­apparatus very the contents, but transforming by their so not merelydid through they Significantly, criticism. art and of conditionsfor set art alternative an spheres, forging counterpublic vital as world functioned and art 1, nos. 2–3 (June–October 2012). (June–October 2–3 nos. 1, ArtMargins Europe,” Eastern and America Latin in Networks “Artists’ section special the See alongside these artists’ publishing practices practices publishing artists’ these alongside October Situating If many of these examples were operating within the art worlds of art the within were operating examples of these many If * , seeing these magazines as part of a part as magazines these , seeing * 66 * ’s own project, ’s project, own ’s scholarly - - - - - ture industry. ture cul and market agrowing by sidelined was criticism serious which in vacuum” a“discursive lamented collectively contributors, and of editors generations multiple including participants, The present future. and the journal’s upon reflecting while considered legacy and its ­history own its it surveyed which aroundtable in staged October 2002, in those of Avalanche those October and of Artforum counterpublics and publics the and prejudices, confines Euro-American former beyond its histories and cultures, audiences, world’s art the artists, works have expanded net travel and communication as and globe, the across proliferated have biennials obsolete. As becoming it itself is emerged which in world art the that fact to the due, part, is in this outmoded, appears today. October If criticism of art situation the characterizes that publics— of potential multiplication exponential of it—an expansion an as public it aloss notof is perhaps the so much Indeed, diagnose. of acoherentcritics “lack these public” to the key surely are gies, technolo communication new of related those with along effects, its are revealed to have been but minuscule fragments of this larger arena. arena. larger of this fragments but minuscule to have been revealed are of 1981 2001.” versus October about the thing somehow. counted same one say the Or could writing your that and of 1970 for where whom you knew you were writing Artforum not the of is 2001 Artforum The don’t for anymore whom know you writing. are You defining. indeed crucial, coherent to public whom one speaks—is of a lack or the of constituency lack about—the talking we have been that issue the that today. Ithink place for in writers situation different “ James Meyer observed: critic and historian art the icism, mattered more than they do today they more than mattered 70 70 69 68 67 and the sense that its project, at least as originally conceived, past. is originally at as least project, its that sense the and publication’s the both venerable status suggesting archeological,” even “ that since1990, claimed October Hal Foster, “Round Table,” 227. “Round Foster, Hal Table,” 222. “Round Meyer, James 202–28. 2002): (Spring 100 October Criticism,” Art of Conditions Present Table: The “Round Krauss, Rosalind 85–93. 1996), Press, Yale University CT: Haven, (New Culture Common Artforum of Anniversary Thirtieth the On Values: Incommensurate of Age the in Criticism “Art as reprinted 1993): 186–88; (September 1 no. 32, Artforum Criticism,” of Graying Crow, “The Thomas example, for See, While globalization is barely mentioned in the 2002 roundtable, 2002 the in mentioned barely is globalization While 68 Elaborating on the challenges facing contemporary crit contemporary facing challenges on the Elaborating , Interfunktionen . has become more historical, become more has historical, October 67 , Heresies On the occasion of its 100th issue, issue, of 100th its occasion the On Modern Art in the the in Art Crow, Modern ,” Thomas in , and other publications, publications, other , and 69 Hal Foster, at editor Hal an , as well as as well , as There is a is There , no. , no. - - 70 - - 59 allen | art periodicals and contemporary art worlds 60 artmargins 5:3 investment and with luxury and tourist economies. tourist and luxury with and investment of capital kinds other with of art integration the underscoring services, financial and liquor, fashion, airlines, hotels, but for high-end leries not for ads only gal includes now regularly which section, advertising of Artforum character international increasingly the in witnessed be can expansion global above its attests), discussed of Artforum history world. art contemporary of the system global the within ized instrumental are sites of publicity such problemway the is Rather, globalization. of politics and the processes analyze to self-reflexively seek that writings progressive, trenchant publishing mission, editorial of its part on globalization commentary critical made has for example, Artforum magazines. content not due is only to the of art This archies. world’s hier art global economic geopolitical and not it reinforces—the more than often challenge—and not necessarily does artists and art marginalized and underrepresented of coverage previously increased São and Paulo. Yet Dubai, this Beijing, as such 1990s to cities the since increasingly and Cologne, and Paris, London, as to places such first section, reviews its expanded has and biennials and exhibitions of coverage its international increased ItStates. sincesteadily has United outside audiences the and to art commitment anew signaling 72 72 71 alike. sphere public publications and of the models new demand which worlds contexts, and manifold to way multiple, have given world 1970s 1960s and of the art of the boundaries circumscribed The ally, and the ease with which its cultural capital may be exchanged with with exchanged be may capital cultural its which with ease ally, the and glob circulates art which with speed compoundedthe have only media social and platforms Online market. the with of criticism merging total the near- to attesting fairs, art of high-profile anumber and magazine art an both sponsors corporation Frieze London-based the example, 181–87. World, Art Your Everyday Relyea, see 1980s, the since how of For a discussion 7–30. (2007): 24 &Society Culture World,” Theory, aPost-Westphalian in Opinion Public of Efficacy and Legitimacy the On Sphere: Public the “Transnationalizing Fraser, Nancy see relied, have counterpublicity of models revisionist various and model Habermas’s both which upon assumptions Westphalian the of acritique for Also, 159–73. 2: no. 1, Sphere Public &the Art Armenia,” in Affirmation of Aesthetics Group’s ACT Political the and State Constitutional The Sphere: Public the “Rethinking Harutyunyan, Angela and Thread Red Biennial,” Art Sharjah Tenth the in Liberalism of Traps Politics: Cultural Becomes Matter “When Harutyunyan, Angela see models, alternative for need the and world art contemporary the in sphere lic pub of the notion bourgeois liberal of the inadequacy of the discussions excellent For two While the promotional aspect of art magazines is not new (as the not is (as new the magazines of art aspect promotional the While 1982, in International to Artforum name its changed Artforum Artforum ’s advertising section and editorial content have changed changed have content editorial and section ’s advertising , no. 3 (2011), www.red-thread.org/en/article.asp?a=48; www.red-thread.org/en/article.asp?a=48; 3(2011), , no. 72 To another take 71 ’s - , - - - - world, and within it, but also beyond it. but also it, world, within and art to the relationship in operate worlds—which own publics—their and criteria, languages, own their creating are publications ones. These old transform and of publishing inventmodels new they as potential, upon this seizing are periodicals art today, critical and independent their pos their to attention draws it also criticality, and sites as of critique periodicals of some failures of the Ihave told here highlights story the While publicity. critical and of participatory forms as of communication world’sart the sites and reclaim these processes upon reflect and resist, to challenge, opportunities provide also publications these capital, into labor intellectual and conversion of artistic ference, ruthless its and and/or of dif space, erasure and its exploitation of collapse time nizing globalization’s homoge facilitate and in participate media online and magazines world(s). work today’s and art art in While we write which under the conditions understand better and upon to reflect but rather peer reviewers for their feedback and constructive comments. constructive and feedback their for reviewers peer art is validated in the marketplace.” the in validated is art waythe on of influence amount enormous an disposition—has leftist of editor October [an Buchloh Benjamin world. Someone the like moves through art way the and market the role abig plays in criticism “Trickle-down observed, has Bankowsky Editor-at-Large Jack Artforum As publications. for both write critics to Artforum reaction in born was autonomy October If nofrom it. longerclaim can market, from the harbors were safe once as seen which journals, art critical other kinds of economic and political currencies. of economic political and kinds other 74 73 e t o n as the the as well as Rapp, M. Karen thanks author The www.artmargins.com. Online: ARTMargins at published Context” aGlobal in Publicity II): (Part Worlds Critical Art Contemporary and Norton, 2008), 176. 2008), Norton, York: W. (New W. World Art the in Days Seven Thornton, Sarah in quoted Bankowsky, Jack offentlichkeit-und-erfahrung/. https://www.textezurkunst.de/61/ 2015, 9, August accessed 2006), (March 61 Kunst zur Texte Blogs,” Art-and-Gossip of Booming the On Experience: and Sphere “Public Conrads, Martin see Also 295–301. 2013): (Summer Artforum Transmission,” Daily Art Contemporary publication online the of adiscussion for Also, 2013). Press, MIT MA: (Cambridge, Art After Joselit, David See It is not my intention to condemn these critics or these magazines, magazines, or these It critics not is my to condemn these intention ARTMargins

I further explore the critical potential of art publications today in “Art Periodicals Periodicals “Art in today publications art of potential critical the explore I further sibilities—even if unfulfilled or co-opted. Around the worldAround or co-opted. unfulfilled if ­sibilities—even editors (especially Angela Harutyunyan and Octavian Octavian and Harutyunyan Angela (especially editors ’s commercialism, today many of the same same of the many today ’s commercialism, 74 , see Michael Sanchez, “2011: Art and and Art “2011: Sanchez, Michael , see ]—counterintuitively given his his given ]—counterintuitively 73 Meanwhile, even even Meanwhile, Es¸anu ) and ) and - - 61 allen | art periodicals and contemporary art worlds This article has been cited by:

1. Gwen Allen. Magazines as Alternative Sites of Artistic Practice 261-277. [Crossref] ARTICLE

SURREALISM IS A THING RUBRICS AND OBJECTIVATION IN THE SURREALIST PERIODICAL, 1924–2015 Catherine hansen

What Will Be is the title of a 2014 anthology compiled by members of a 21st-century international network of Surrealist groups, announcing the continuing ambitions of a movement that fi rst began amid the sleeping fi ts and Dada-inspired provocations of the early 1920s. The anthology includes a special feature on the publishing activities of the various groups, which frequently coordinate their efforts across group and national boundaries—operating as a kind of dispersed organism whose vital functions have never seen fi t to cease, even as Surrealism has come to be considered a historical and concluded phenomenon. There is particular emphasis on the Surrealist attitude, in general, toward publishing, publicization, circulation, the digital revolution, and the rise of on-demand printing. Contributors, for example, speak- ing on behalf of the Montreal- and Miami-based Surrealist publisher Editions Sonámbula, state: “any attempt aiming to expand the fi eld of the real and of the poetic has necessarily to refl ect on the means of communication to use.”1 Surrealism has always claimed to extend the domain of what is

1 “The Utility of Surrealist Editions and of the Surrealist Gallery: An Inquiry,” in Ce qui sera/What Will Be/Lo que serà: Almanac of the International Surrealist Movement, “hors- série” number of Brumes Blondes, ed. Her de Vries and Laurens Vancrevel (Amsterdam: Brumes Blondes, 2014), 438–39. The translation here is my own, as are all subsequent translations not otherwise attributed.

62 © 2016 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_a_00158 subscriptions and by its members, who are also solely responsible who for also members, its are by and subscriptions limited by entirely funded are group’s the out that points serials realist Sur wording—one have approved would of this efforts tionalizing interna his Breton with movement”—André Surrealist group of the Paris “the itself calls pointedly that entity for the so. Speaking tantly act. collective and public to the page printed the link also present—but and past, there, groups—here, Surrealist of projects disparate the not link only periodicals of Surrealist rubrics serial the of objectivation, way, instruments this as In mirrors. facing of agame in as productions, upon fashion further recalibrated tinually con in itself imposes thus which rubric, of the requirements and ing the mean and modify fulfill both can contribution new Each dialogue. in constantly are rubrics and texts of submissions contributors, and ties activi future the but to organize exist already that texts to reframe only not serve can rubric the because And undertaken. have been otherwise not might that kind of the others forth call and realities as consistency thicker a ablespace gain and/or this into to fit made experiments and acts, Texts, or documents. of texts kinds to certain rise give ences that experi and acts the solicit and classify world, sincethey the in also are they but the page, are Thesespaces on fit. texts but spaceswhich into surréaliste Révolution La magazine Surrealist early of the or “dreams” divisions surréalistes” “textes the with as titled, formally are or not they periodicals—whether in Rubrics real. vation of objecti apoetics as element of Surrealism acrucial contributors—is from solicited are images and more texts of of which such name the in and appears, or image of text kind acertain which under or category rubric The rubric. the periodical, of the aspect one particularly question—and this say in acentral has broad delta, of its channels newest to the beginnings from its and incarnations, Surrealism’s across various itself, periodical the here that is I argue But what question. open of an something itself, is, that apublic with and other each collaborate with and groups communicate Surrealist present-day which through anthologies blogs, and re-editions, and editions limited the as well as digital, and printed both ­magazines, and periodicals many so across remain They question. open tively produc and aperennially have been purpose employedto be for this of communication means the and real, as experienceable and accepted Surrealist publishing today is a modest endeavor, a modest is mili today often and publishing Surrealist , which is defined precisely as an expansion of the domain of the of the domain of expansion an as precisely defined is , which —are not themselves texts, texts, not themselves —are —defined as a heading as a heading —defined ­ ------63 hansen | surrealism is a thing 64 artmargins 5:3 to be called Surrealists, as this would harm their reputation.” their harm would this as Surrealists, called to be [are] reluctant poets and painters promising “most young Netherlands, the home in base at at least their that explaining network, Surrealist half-occulted fugitive, a within andfor specifically of publishing ity necess- the feel also itself, anthology Be Will responsible What for the Blondes Brumes review Surrealist long-standing of the editors The two. or up aposter putting by chance of tempting short up forto make this, vocation” “messianic any it feel does neither present materiality—and on a insisting past of the aghost as rendered inaudible”—perceived and “inadmissible as efforts its group sees Paris The constellation. this engage that projects but to initiate abookshelf, stock might works that Laboratory, in other words, is one of the rubrics of the magazine. of the words, one rubrics is other ofLaboratory, the in of Salamandra pages on the cisely pre coherenceits and finds continuity de lo imaginario” “Laboratorio group’s Madrid the page, printed beyond the manifestations its all 4 3 2 constellation.” “Surrealist the to available made to be have no ambition than and greater chandise,” not “mer emphatically are productions cooperative). Its printed chist anar of afellow-traveling part is printer (the layout distribution and phy, painting, video, object, gommage, drawing, etc.” drawing, gommage, object, video, phy, painting, tools: photogra various its through etc.) visionary, conceptual, (oneiric, of imagination possibilities different the with where we experiment “ an or creating way; ritual and arepeated in so doing places, public and in works of art anonymous leaving a city; throughout disseminated be can that graffiti into for example, text, ten writ acollectively transforming to it: analogous accomplish something would that publishing than other activity of collective forms proposes etc.),” also and Marxists, libertarians, environmentalists, industrials, anti- groups (anti-capitalists, alternative kindred “cooperation between politics. and power by to corruption vulnerable highly endeavors, remain sincemost or cultural publishing of marginal most but the any with ment’s associated to be reputation move the harm it would rejoin that might aSurrealist hand, other Ibid., 432–34. Ibid., 441. Ibid., 428–29. Ibid., A rubric is one of the ways, albeit modest, in which an exception exception an which in modest, albeit oneways, is of the A rubric The Madrid-based Surrealist group, along these lines, calls for calls lines, group, these along Surrealist Madrid-based The 2 The key is not to amass a collection of acollection not is key to amass The , its journal founded in 1987. in founded The journal , its imagination laboratory 4 However, for 3 On the the On ------, mused—“Is that a thing now?” athing that mused—“Is or be- wry often most expression, of the Think arule. becomes 6 5 collective action.” collective of a the dynamo is itself cause, which our with tory, identification and initia almost process of searching, to way the analogous an “in develop any, if apublic, would with Its relationship individuals.” groups and dispersive groups, and non-groups, between dialogue meant to “feed of adventure,” commercea form “collective but of “copyleft”-inspired “micro,” groups, are not other are and with as efforts, Its publishing real.” turn things of “mak[ing] practice acollective as effect, to this things makes that athing is arubric it, around grow might of sorts acommunity which conditionsin creates doing, so by and, it; in to engage of individuals anumber (orcauses permits) or doing; thinking, of writing, aform names arubric that To extent the it? around coalesce of collectivity aform of it? Can or it, think perform or it, recognize oneself besides others can and Do communicability. reason, iterability, or of intelligibility, pale beyond the mote drifting somenameless fluke, abizarre a phenomenon exception, or an eventis one reason why the periodical is such a fundamental expression of the of the expression afundamental such is one reason periodical why the is real.” This turn how things one “makes exactly it models act, of that and in recognition participation collective andby soliciting filled, to be anew, frame empty or drawing by what exists reframing by function: doubles its way, same of arubric form the In the it with. to share ity for of and collectiv aform latent or orrepressed oppressed, marvelous, for whatocculted, is asearch demands and concerns content, likewise, their occulted—while unpublicized, of access, difficult be, should and “The Utility of Surrealist Editions,” 439–40. Editions,” Surrealist of Utility “The imagery. Surrealist recalls rats”) garden coated (“lemon last this for chosen “thing” new of a example the Significantly, not_sure_where_to_post_this_but_what_is_the/). (https://www.reddit.com/r/etymology/comments/2tyu07/ Reddit and php?t=653604); (http://boards.straightdope.com/sdmb/showthread. board message Dope Straight the (http://english.stackexchange.com/questions/144171/phrasal-verb-be-a-thing); site Exchange Stack &Usage Language English the See memes. Internet of rise the by inflected and blogs, in and TV on mostly mid-2000s, to early- the to phenomenon guistic lin this of emergence the date Web,which of most the around attempts similar ences refer Yagoda 2012). 13, (December online Education Higher of Chronicle the in Thing,’” a ‘It’s Guess “I Yagoda, Ben example, for See, language). the in advent its registered yet not has Online Dictionary English Oxford (the etymology and/or history at asocial stab apreliminary taken and now”— athing “that’s or athing” not “that’s in “thing”—as word the of use new relatively this of notice taken recently have researchers Casual The Surrealist Grupo Decollage of São Paulo explains its work, its of São explains Paulo Decollage Grupo Surrealist The 6 This is to say that Surrealist periodicals tend to be, tend to be, periodicals Surrealist to say is that This 5 What this question asks is whether whether is asks question Whatthis . - - - - 65 hansen | surrealism is a thing 66 artmargins 5:3 dictionary, Michel Leiris’s “Glossaire j’y serre mes gloses” (published in in (published mes gloses” j’y “Glossaire serre Leiris’s Michel dictionary, of aSurrealist example early an In general. works in rubric Surrealist on how shedsome the light whose workings counterdictionary, ist Surreal- the or rather way. dictionary, Take, the this in for instance, soon come would to function they publications or offuture LRS pages “poems.” as such categories morealongside familiar ( corpse exquisite the example, genres—for Surrealist established 8 7 head.”your upon open burst blossoms shall of orange afreight to my brother delivers which cloud this not and soap, you, salute Palmolive sir, Ishall Nestor, “by vows to obèse” acertain monsieur “Le which in dialogue a is text” Péret’s 1“Surrealist issue Benjamin of automatic writing. not pieces but have did to be, were often, which surréalistes,” “Textes was Another Breton, others. and Giorgio by de Chirico, dreamed of accounts dreams with “Rêves,” was 11 beginning 1through issues from rubrics of One the rubrics. its come through todegree agreat ( surréaliste Révolution La project. to that so central is literature— of aminor inauguration even perhaps community—and of aminor aseed to action, impetus an as page printed beyond the and within both functioning rubric, why and the project, Surrealist cadavre exquis cadavre phrases de reveil” by Maurice Béchet. Maurice by reveil” de phrases “Douze p. 28, 3, issue also See (33). market flea Ouen St. the through Giacometti with stroll Breton’sof famous context the in significant becomes that ashtray”) “Cinderella or cendrillon,” cendrier L’Amour in (“le fou reveil” de a“phrase of example another is There (21–22). phrases other of series a“gratuitous” by followed immediately it is and construction,” poetic for “material his into phrase this He incorporates window.’” the by two in cut aman is ‘There like: something . itwas window the at knocking was which bold, so be Imay if . aphrase, phrase strange arather voice, any of sound the from . removed Iperceived asleep, Ifell before therefore, evening, “One (1924): Surrealism of Manifesto First the see reveil,” de For “phrase drawings. with done be also can This (25). out” read sentences the and unfolded is paper The noun. another finally and tive, adjec and article indefinite or definite another averb, with repeated is process the and it, conceals anoun, writes then player Each player. next the to round passed and words, the conceal to as so folded are sheets The them. see cannot neighbors their sure making tive, Games Surrealist of ABook To from wine.” quote new the drink will corpse exquisite “The in: resulted it that sentence first the from name its got that agame is This corpse: Exquisite 9. 1: no. surréaliste Révolution La see For Péret, Still other rubrics were not explicitly formatted as such, but on the but on the such, as formatted were not explicitly rubrics other Still : each player “writes on a sheet of paper a definite or indefinite article and an adjec an and article indefinite or adefinite paper of asheet on “writes player : each 7 Other rubrics, outlining what would later become well- later what would outlining rubrics, Other ) and the “waking phrase” ( phrase” “waking the ) and ; 1924–29) laid the ground for work ground to the laid ; 1924–29) LRS * , facsimile edition (New York: Arno Press, 1968), 1968), Press, York: Arno (New edition , facsimile * * phrase de reveil de phrase ) 8 —appeared —appeared - - like architecture like for words definitions Providing Bataille. Georges by (1929–30), edited reinvented. be at time any might that inventions of it aseries proposes of givens, aseries than Rather arbitrariness. amarvelous language, and experience, knowledge, of thought, ries catego existing in to reveal, opportunity excellent an itself—provides rubric magazine Surrealist to the form—similarly dictionary the Surrealists, the by appropriated as because, is This notional. the and sensible of the partitioning epitome rational of that the dictionary, the of enough to get seem cannot irrational, of the championing their all secret ramifications that circulate across all language.” all across circulate that ramifications secret the and virtues hidden most words in “their to discover was it, puts Leiris as point, The du viDe”). Unsépare la or Protée” “Vie: Dé “Porte: (for example, rearrangement combinatorial and sound, and on sight wordplay based association, acombination of free through created be, might of definition the act of what but reimaginings definitions, their of LRS 3–5 issues 10 9 press announcements put it: press announcements productive meanings.” productive but unacceptable, [them] to new, but to open results, illegitimate, their it not is to “borrow losophy, psychoanalysis, economics, and ethnology, phi including of disciplines language awhole as the uses Documents if completed knowledge”—and closed, as itself constituting without of codes knowledge the capable of overturning ]writing a [form of success of “the represents Dictionary” “Critical the this: more than of words. “excreta”) Yet but also (“tasks,” it is besognes and virtues” “hidden the via impossible-to-classify the and informe of the irruption the to catalyze was task dictionary’s this Desnos, Robert and Leiris ney , written by Bataille himself and by collaborators including Michel Michel collaborators by including and himself Bataille by , written Versteeg (Amsterdam: Rodopi, 1987), 125. 1987), Rodopi, (Amsterdam: Versteeg 1985) juin 22 (21 et d’Amsterdam International Colloque du Actes Bataille: Georges in revues,” des autour Bataille Critique: Acéphale, “Documents, in Lecoq, Dominique 503. 1998), Press, MIT MA: (Cambridge, Language Imagining eds., McCaffery, Steve and Rasula Jed ossuary.” My glosses’ “Glossary: as gloses” mes j’yserre “Glossaire title punning Leiris’s surréaliste Révolution La Documents journal the in arubric was Critique” “Dictionnaire tions, neglected till now, will be the object of studies as rigorous, rigorous, as of studies object the be now, till will neglected tions, produc heteroclite certain and works of art, aggravating most the , absolute ), the “glosses” upon words are not only rewritings of “glosses”), upon the words not rewritings are only , no. 3: 7. Jed Rasula and Steve McCaffery convincingly translate translate convincingly McCaffery Steve and 7. 3: Rasula , no. Jed 10 Or alternatively, as one of the magazine’s early early onemagazine’s as of the alternatively, Or , materialism , metaphor , eye factory chim factory , and 9 Surrealists, for Surrealists, , ed. Jan Jan , ed. - - - - 67 hansen | surrealism is a thing 68 artmargins 5:3 The questionnaire ( questionnaire The instances. various its in and category ageneral as research—both of aform as understood be also can itself rubric but the rubric, magazine Surrealist used since“research” afrequently is ambiguous, 1924, October in established Research,” “Bureau of Surrealist the that “recherche.” announces Issue 2of LRS collective the elsewhere: and LRS in appearance its makes that activity attention. illuminating tent and persis of an object undefined and disquieting, neglected, heteroclite, is what make to framing and definition, organization, of rational tures It struc uses lines. same the works along compared to adictionary) be it as can insofar magazine, Surrealist the (and also entry a dictionary de liaison,” a node around which a community gathers and grows. gathers de liaison,” a community a node which around its role,whole, ofBureau,“organe an as the that with doubling along a as periodical ofSurrealist the tasks ofvarious the summary is a fair of mores.”this on or critique politics” a “free of aresearch, definition As one’s but also ideas ous dreams, on as fashion well as “most instinctive coincidences” and curi on investigation,” “striking aof report psychic 12 12 11 La Révolution surréaliste Révolution La 118. Ibid., The relationship between rubrics and research is somewhat is research and rubrics between relationship The account an include of might a “new results system “Experimental” manifest. be yet cannot that for apurpose data, of experimental possible amount greatest the to gather proposes Surrealism and enterprise, for this apriori specified is No domain of taking. susceptible is spirit the of activity unconscious the that forms diverse to the relative tions communica appropriate means, all by gathering, in employs itself of category to another linked closely also is rubric Surrealist The compared to be it as can insofar rubric, magazine Surrealist The underlined. deliberately be . will dissimulated from being far methods, or the results of the character absurd the sometimes investigations, diverse these In defined. been yet whose consequences have not those facts, disquieting most the We consider archaeologists. herethe . those of as scientific as enquête 12 , no. 2: 31. 2: , no. sine sine the perhaps is arubric, as )—which, 11

- - - - mysterious (Q: What is fraternity? A: It is perhaps an onion”). It an perhaps is A: (Q: fraternity? Whatis mysterious to other”) any like It ahierarchy is A: (“Q: equality? Whatis satisfying from cynically range results The answering. from those hidden are enquête the in where, unlike of question-and-answer, Take, game ways. the for example, similar in meantto function are two the since game, of as a form Surrealist rubric the Surrealist to define turn, in It difficult, not present. up be would to the rubric, periodical Surrealist tried-and-true another is games of collective results of the for word example, in image, presentation and complex. The similarly is to puzzle over, are thereby given an oracular significance that their their that significance oracular over, an given thereby to are puzzle for published all and of chance quarries rich from the drawn pairings, nonsense. utter was end of Surrealism of the announcement this that believed who Prague, and Paris in particularly of those, regrouping the lyzed cata that ou quoi?”) (“Rien Vincent Bounoure by circulated enquête thean dissolution movement in was of it 1969, official ment of the Jean Schuster’s announce second-in-command Breton 1966 his in and of death the after what And by means? and act, Surrealism should today? what In domain Surrealism in it asked, placed, be hope can to represent defend “absolute and What liberty.” willing those tifying iden wheatchaff, World from the to separate was War. Its purpose Second of the ruins movement the among Surrealist the revitalize and reboot to collectively instrument an as used was enquête an example, 1947, in improved and upon them; models as for surveys early these took of Surrealists ofgenerations hope do you love?” place Later sort in aSolution?,”one,” “Is Suicide asking 1929, “What in asks, 12, issue and ofissue LRS first the in Anenquête defined. endeavorfield just of only thought or of to a itself to address is whose task or otherwise, temporary community, a together of calling effect category, the sinceit general has as rubric of the resembles that also enquête of the function The of research. method aprime also forums—is and periodicals of Surrealist non qua 14 14 13 La Révolution surréaliste Révolution 1928,”La en Dialogue “Le .blogspot.com/. http://robberbridegroom See Paris.” in activity Surrealist concrete of abandonment the for alibi an as “served which 1969),” and Canto,’ Fourth (‘The continuity’ latent its in tory his ‘escap[es] supposedly which surrealism’ ‘eternal the of “notion Schuster’s of agingly Bridegroom Robber The blog its Group, in Action London Surrealist The The relationship between research, rubrics, and Surrealist games games Surrealist and rubrics, research, between relationship The 13 , in 1924, for example, “indiscriminately appeals to every appeals “indiscriminately for example, 1924, , in , no. 11. , no. , the questions questions , the , speaks dispar , speaks 14 Such Such - ­ - - - - 69 hansen | surrealism is a thing 70 artmargins 5:3 what sorts of things, thoughts, values, and languages are possible in possible in are languages and values, thoughts, of things, what sorts it works to redefine Furthermore, it but to to open reordering. such, and images, “the only constitutive elements of the spirit.” of the elements constitutive only “the images, and of percepts “effervescence” provoke also rests,” acollective it as can ‘real’ world the by to understand what we agree uponnotions which of the character ultrafallible even and precarious the to expose power the has Other’ the into ‘One game the more than “nothing here that Breton explains effect. to this ensemble of efforts entire simply the is Other,” which the of into One Dictionary of aUnitarian Elements “New its with stage next to the game particular this takes Medium zine 15 thing. another with associated vocabulary and properties the using athing describing with tasked ( of “one game other” the the into with case the is This analogy. and juxtaposition is absurd, ment of the treat serious experimentally its and obvious of the making-strange aside from its game, Surrealist of the purpose heuristic basic the eral, gen In not could afford. wit content ormere (unintentional) semantic [its] forces to this reclassing of life” [its] reclassing forces to this to “apply is fact, all in research, of Surrealist purpose same.” the The all order reason, but an of ordinary means the by impossible to elucidate and more profound afiner order, following of things reclassing taneous spon “the is But other,result its on thought.” the of all leveling radical the of languages, renewal the . and obvious of the demineralization . the of values devalorization general “the toward it, puts Artaud “revolution” Antonin as aims, Surrealist the one hand, the ence. On of experi conduct and forms collectivizing and of generating course phenomenon the in but toasecondary do so as ate present and facts, re-creations. literal be play, and to are of gaming sense the in recreations, Surrealist then, 17 17 16 For example, the Czech artist Toyen’s “I am a gleaming Toyen’s agleaming am “I artist Czech the For example, réaliste sur Révolution La in Surréalistes,” Recherches de Bureau du “L’Activité Artaud, Antonin why. and in, them invite would one door, one’s on knock to were personages well-known of anumber of one if whether, is question Medium of issue 1953 November the in “Ouvrez-vous?” example, for See, enquêtes. surréaliste Révolution La 1995), 31. Redstone, Shambhala (Boston: Games Surrealist of ABook eds., Gooding, Mel and Brotchie Alastair asword. words, other I’m placed”—in at which throats those across run to as so The goal of any act of Surrealist research is not so much to gener not is so much research of Surrealist of act any goal The , no. 3: 31. 3: , no. , no. 3: 56. Other types of games are difficult to distinguish from from distinguish to difficult are games of types Other 56. 3: , no. 15 Issue 3 of the postwar Surrealist maga Surrealist postwar Issue 3of the l’un l’autre dans 17 —not to totally dismantle order as dismantle to totally —not necktie ), player is where the knotted around the hand hand the around knotted 16 Ideally, : the : the ------ship between producer produced. and ship between relation dialectical continuing product,”amoment and the in human a than other something as experiences he aworld then that producing capable is of man that paradox It “the represents discourse. of collective unit and definable an becomeaccepted can glimpse) orcidence fleeting of coin or pareidolia, of paranoia of dream, reverie, of personal domain to the (belonging movement mind inchoate of an the cess which by pro gradual or the existence, acquires exist or materially conceptually not yet does that object an which by or construction of imagination to reobjectivate. and to objectivate both rubric—is periodical the Ihave said, as includes, that category research—a theof goal Surrealist place.In short, first the 21 21 20 19 18 Breton calls Surrealism’s “will to objectivation” [ to objectivation” Surrealism’s “will Breton calls cies” of laten series “uninterrupted to an or material, verbal whether blocks, building their of each or “forcefields,”as cuits, Bretonputs it—returns cir of configurations—new creation new The action. authority, and sense, of that uphold structures configurations certain within exist writes that words tend to group themselves “according to particular “according words to particular tend to group themselves that writes agroup. of acollectivity, participation world, the the presence and in shape totaking continue requires, objectivity new the latter have hitherto assumed. have hitherto latter the that arrangements specific the it within world,” limiting but without “concrete real of the the forms in mind” present to the image or “the representation” “inner the clothes ofprecision sensible forms.” Poetry “the to attain will ofde l’objetpoetry’s where he speaks surréaliste,” de l’objet/Situation surréaliste “Situation lecture 1935 his in is Prague Breton, “Crise de l’objet,” 146. de “Crise Breton, complètes Œuvres Breton, André 144. 2005), Place, Jean-Michel (Paris: Guigon Emmanuel surréaliste in L’Objet l’objet,”de “Crise essay 1936 his in appears phrase specific This 280). 2013), Press, CEU Es¸anu (Budapest: Art Post-Soviet in , Transition Octavian (see reality lived of condition apriori an is and consciousness,” for objects ity real of aspects various . mak[ing] others to knowledge communicating of and knowing of “naming, of that meaning, this has “objectification” word the Berger, in Elsewhere 61). (p. objectivity” of character the attain activity human of products externalized Versachlichung term Hegelian-Marxist the translates often “Objectivation” 78. 1971), Penguin, UK: (Harmondsworth, Knowledge of Sociology the in ATreatise Reality: of Construction Social The Luckmann, Thomas and Berger L. Peter See Objectivation, as Surrealists use the concept, is the simple process the is concept, the use Surrealists as Objectivation, In his “Introduction au discours sur le peu de réalité,” le peu Breton sur au discours “Introduction his In 21 and drafts an alternative text of reality—a new “objectivity.” This “objectivity.” new This of reality—a text alternative an drafts and , vol. II (Paris: Gallimard, 1992), 477. 1992), Gallimard, (Paris: II , vol. 20 Words, objects, and concrete forms Words, concrete forms and objects, 18 The classic formulation of what formulation classic The , as “the process by which the the which by process “the , as volonté d’objectivation volonté - , ed. , ed. ] - - 19 - -

- 71 71 hansen | surrealism is a thing 72 artmargins 5:3 effective, if modest, means of generating and nurturing things, and and things, nurturing and of generating means modest, if effective, ing things that further its own ends: itslove, own marvelous. desire, the further that things ing task theof generat itself sets upon Surrealism which battlefield very the however, age. This, is pace,Internet the in frantic and at a particularly of objectivations— stream generation a never-ending of new “things,” constant up the is caught in One’s being aas social life to Surrealists. are notto least, say of exclusive forthe objectivation, Acts its operations. for imagery, or dream example, chance) (also including backdrops ferred only as one pre of several serving unconscious mission—the to this only corollary are ofunconscious actually exploration the the as such ata Moreof objectivation. desider radically, one even central could posit that and conscious discipline and so states, butforth), aas collective mental of simulation exceptional object-making, gaming, (automatic writing, genres peculiar or style its by, literary or defined visual example,for its 23 22 of power enunciation?” on our depend essentially verse uni of our Breton or“does adds, As made. mediocrity not the thought, said, be what could or made—conceals thought, said—or been already world the upon old its words, model.” what has other In instant, each them recreate, at making of theeffect has generally which affinities, ble that lies within the visible.” the within lies ble that invisi the “revealing and understanding” human remaking “radically of purpose the has work on language Surrealist that when he writes mind in has group of Surrealists, Paris present-day of the Joubert, Alain that this like It process. something is to “game” this literally to do, however, wish to accelerate is or quite tive.” Surrealists Whatthe “objec of the tapestry reweave the continually they together other, and reinforce and each instigate changes socio-material and linguistic scale; repeatedly, on and ahistorical naturally, occurs that of course, aprocess, is This reality. words, retextualizing in other experience—in field of upon the of language grid the way, realigning this in in ceed, suc might One language. into a shared experience personal nificance, sig into collective significance subjective to transform is fact, in latter, of the specialty The rubrics—do. researches—and games, dictionaries, what is Surrealist which experimentation, of textual for akind is called What Will Be Will What Vancrevel, and Vries de in pouvoir,” du controverse “La Joubert, Alain complètes Œuvres Breton, Games, alternative dictionaries, enquêtes dictionaries, alternative Games, should not itself be It Surrealism could reasonably that argued be , II 276. , II 23 are are recherches , and 22 Thus what is Thus - , 334. ------. objective reality.” . objective transforms that ity activ collective voluntary of a“concerted result ritual, produced the as is knowledge Surrealist Group) that London Action writes Surrealist Group the and Surrealist Athens (of contemporary the Koutalis Vangelis action. to resemble said collective apublic be can function and form both in rubric periodical the while periodical, aSurrealist in arubric as appear may of agroup action or write-up report the events: entanglement. one is of Möbius-like types of various its to many rubric periodical the Surrealist Theof relationship definable. the into thoughts and acts it partitions adictionary, like contributors; and editors periodical’s the by constituted collective to the of interaction rules it special presents agame, like solving; or needs aproblem that answers demands that resembles aquestion frame empty its that in of research, akind also and of survey akind is rubric The of these. of each nature of the takes par also rubric periodical the suggesting, Ihave been as cals—and periodi Surrealist in arubric as appears also of activity categories these of Each objectivation. of Surrealist mechanisms exemplary thus are 24 24 dant variety of Surrealist object types—found, ready-made, “mobile,” types—found, object of Surrealist variety dant abun- already to an adding For example, activities. these to describe it used vocabulary the and activities participants’ predetermined, extent an thus to and groupframed, the of howas a result specifically, present and manifestations— past its in itself, of Surrealism that but in group states. others,” the with relationship elemental that in verified be only could discourse “Our proceedings. of the meaning” the “suspend continually thus and questions, ask intervene, through, to pass were public invited of the inutilizable es (e.g., todo slogans it with lot populated and took over avacant group also the to “appropriate” sphere. public But the call of 2011 the protests and anti-austerity massivethe Spanish of light in the object” on “reflect of debate days to three Event.” eventincluded “Object a public The aim: very this had that activity collective voluntary, mented) aritual, up docu and wrote (and Group then organized Surrealist Madrid the Investigations and Research Surrealist Hydrolith: in Symbols,” the of Forest the “Into Koutalis, Vangelis This is also the case with Surrealist collective actions and public public and actions collective Surrealist with case the also is This The public participated not only in the Madrid group’s Madrid the “discourse” not in only participated public The , ed. Eric W. Bragg (Berkeley, CA: Oyster Moon Press, 2010), 172–77. 2010), Press, Moon Oyster CA: (Berkeley, W. Bragg Eric , ed. ), objects, and ad hoc constructions; members members ad constructions; hoc and ), objects, 24 In the summer of 2013, of 2013, summer the In - - - - 73 hansen | surrealism is a thing 74 artmargins 5:3 of the building blocks, which must of necessity be composed of be what of must necessity which blocks, building of the inertia the opening—between as form and limit as form between tion hesita of dialectical akind is there general, in objectivation Surrealist Not here, just but in or more of athing. athing, objects of hybrid construction collective spontaneous, the to make but rather objects, creation theof Surrealist not eventis specifically object of the purpose the that true It nonetheless event. is object Madrid for the schematic apreset as function reason, they words; for other and this in thing, a have longbeen objects” above. “Surrealist described bestiary the 26 26 25 “interpreted” Surrealist painting: Surrealist of as of what come one has to think vocabulary visual the recalls episode Acertain effect. to this comments and stories to send in ward after continued objects”; others with relationship about our knowledge general our increase that “dreams confirming need, or will needs he of objects dreams he often that reported demon.”). participant One (but horny) [a] home, harmless our into becoming sneak [that] objects 2014), 44–50. 2014), Investigations and Research Surrealist 2: Hydrolith in Event,” Object the of Group, “Chronicle Surrealist Madrid object. Surrealist the to 1936) devoted 1–2, (nos. d’art Cahiers of issue the of cover the on objects of types of acatalog in appear These One has come to expect “Surrealist objects” to look something like like to look something objects” “Surrealist come has toOne expect of authority and displaying great disdain for seriousness. disdain great displaying and of authority principle every mocking of skill, dictatorship the overcoming ties, abili anesthetized perhaps recovering themselves, within powers more or those less dormant restoring all game, the into jumping were strangers . there head. alightbulb with adoll of metal, abody with aswan atiger-headedgiraffe, lot; on the materializing was bestiary imaginary An old suitcase. an into them placed and hands their Two with uprooted protruded. people weeds doll small out of whose a of eye mask, awhite mouth the into shell another Someone placed. put been had ashell onto which track train a toy girl revealed into A her head. pour to sand with filled a cup him offered ahole Another it. in making until ahammer with eyes one hit and of the bust female porcelain took asmall Aman cally. freneti but almost silent, of became people number A substantial 25 —participants proposed the “succubus-object” (“small (“small “succubus-object” the proposed —participants , ed. Eric Bragg and Ribitch (Berkeley, CA: Oyster Moon Press, Press, Moon Oyster CA: (Berkeley, Ribitch and Bragg Eric , ed. 26 - - - - broadly social, and the second personal and perceptual. and second personal the and social, broadly name) outside of the movement: the narrative of objective chance. of objective narrative movement: the name) outside of the recognized acommonly (or not one at no least, with equivalent has that genre of aSurrealist 1992”—and examples 5, are Saturday, December of “Morning example, of time—for tend to referbutions to spans contri of the titles above. mentioned de réalité” The le peu sur discours Breton’s by inspired au likely “Introduction title the magic”), tidian Emblems of quo (“More reality! cotidiana magia la de Emblemas dad! and without the mind, texts, and memories—all following like an an like following memories—all and texts, mind, the without and within images dérives, of and city of dreams debris the incorporating chance, and around coincidence significance oracular and of dense patterns weaving narrative, detailed and personal ahighly is This one”), for watchwords are us two these life,’ Rimbaud; said ‘change Marx; world,’ the (“‘Transform said écrivains” des au Congrès “Discours conclusion of from the Breton’smundo.” drawn latter, These 1935 el “transformar and vida” la “cambiar categories the fashion, unique quite in rubrics, as “photographs”) include the accompanying isms” “photomorphoses” “photograph and (with issues colectivos”; future space for “objetos includes Salamandra group’s Madrid the magazine “collectivization.” case, this in group calls, for Madrid what the or for objectivation, not-yet, crucial is the and already the spontaneity, and fixity between hesitation the rubric, periodical lot the and empty the of both canvas blank-yet-delimited upon the frame, the Within capable are of building. they that not-yet-existent the and exists, already 29 29 28 27 (Cambridge, MA: MIT Press, 1994), 172. 1994), Press, MIT MA: (Cambridge, Unconscious Optical The Krauss, Rosalind phantasms.” these of nature buried hitherto the subject the to announce abottle, in sage mes the like will, that arevelation of form the in world refashioned now this of return happenstance “seemingly the also It is desires.” their of measure the itto recutting ity, real upon operate will thoughts unconscious subject’s “the which by process the to ring refer as lines these interpreted notably has Krauss Rosalind 31). 28, (pp. unconscious” human the through apath itstrikes as necessity exterior by manifested form “the as later tive chance as “the meeting [ meeting “the as chance tive objec call Surrealists what defines Breton André 2001), Gallimard, L’AmourIn (Paris: fou collapse.” industrial of advent the before desire of adiscourse “for 17–18 issue or, in antifascism, and capitalism on Burgos, in protests anticorruption on reflections include world” the “transforming of category the under falling articles objects”); “suicidal 19–20, issue Salamandra in (e.g., objects of types new (or recognizing) inventing example, for includes, life” “Changing complètes Œuvres Breton, Más reali Más rubric the included Salamandra 5, issue with Beginning Alongside “texts, poems, collages, and paintings,” the first issue issue of first the paintings,” and collages, poems, “texts, Alongside 27 are shorthand for two domains of Surrealist action, the first first the action, of Surrealist domains for two shorthand are , II 459. , II rencontre ] of an external causality and an internal finality,” finality,” internal an and causality external an ] of 28 29 ­

­ ------75 hansen | surrealism is a thing 76 artmargins 5:3 peu solide.”peu “Une maison called prescient, darkly to be Breton, by taken collage-text of a treatment aline-by-line and Apollinaire, by books two Madrid, in 32 32 31 30 aquestion. as posed continually be must sis exege their and arbitrary, be would group insists, the correspondences, these from drawn conclusions piping). However,underground firm any to leading hatch mouth” its on amaintenance through laughs that “A phrase the stomach-ache written had for example, Castro, (Eugenio events two of the details the between kind subtle the and obvious the of correspondences both group seeks The shook Madrid. earthquake alow-intensity occurring, was action this as precisely that, fact the lies narrative of the sensible.” of the heart At the “liberation to the tribute con and reality” [foundations] “monolithic of the manifest crack might for objectivation) synonyms one Surrealist of many being tematization” (“sys actions of “sistematización” such the that logic echt-Surrealist the objects—following evocative of various surfaces on the ­slogans posting neighborhood Malasaña the some in group spent hours of Night 21-V-1997” Madrid how “The the recounts text the example, 10 issue (1999), Salamandra In for insight. and paranoia invention, and discovery between lines the blurs that attention of acute state asustained case, this in it: frames and what by delimits being, into brought possible, made is even chance of objective experience the itself, memories. persistent the most to encounters fleeting and to others’, writings own his coincidenceslink of and correspondences L’Amour foundin be can Vases communicants Les and fou Breton by are and examples standard The answer. to an sometimes and ­argument of insidious intent, to lead one to an question— overwhelming was someone who had been working during the break hour; the line line the hour; break the during someone working was who been had collapse Madrid of the casualty only the that fact the corresponds duty” disturbing dreams of cats. dreams disturbing involving also countries, various across over and some years guises, various Hin letter the with re-encounter aconstant centered around of events aseries is 13–14, from issue rubric, realidad!” “Más the under 2 (1935) and appearing in L’Amour in fou appearing 2(1935) and Minotaure in lished pub tournesol,” du Nuit “La in text, own his of treatment, line-by-line asimilar forms per Breton http://gruposurrealistademadrid.org/julio-monteverde-otra-casa-poco-solida. http://gruposurrealistademadrid.org/vicente-gutierrez-h-oro. http://gruposurrealistademadrid.org/jose-manuel-rojo-la-noche-del-21-v-1997. See As with the operations of the “narrative of objective chance” rubric rubric chance” of objective “narrative of the operations the with As 32 To Breton’s line “Watchman falls victim to his devotion to devotion to his To victim Breton’s falls “Watchman line 31 Still another concerns a building collapse collapse abuilding concerns another Still 30 Another contribution contribution Another . , where chains , where chains - - - - - . European civilization.” of . European basis at the by, ideas the uncontamination our asense in from, detachment “total their to declare as go so far Paris—they in 1931 Exhibition the Colonial of denunciation scathing Morocco, in their preceded and Abd-el-Krim by led rebellion, 1925 Rif for the of statement support Surrealists’ Paris It also creates a space in which Surrealism must be posed as the only only the as posed be must Surrealism which aspace creates in It also play, optimism. absurd, the wild and incorporates easily that injustice to of reaction kind quo, aparticular status sonable upon the demand of unrea kind aspace for open to keep aparticular is effect the tion, illegal and reckless building practices. building reckless and illegal by caused was collapse the that fact to the corresponds neighborhood” of people the the by unreasonable deemed was Rue Martyrs des on the located house apartment an to build used method the “for alongtime 35 34 33 tion.” of globaliza McMiseries the . all in epitomized as time, own of our ideologies ruling to the “gives aname which Breton, “miserabilism,” a1956 essay by after have called, what Surrealists as well anism”—as authoritari all and military, the fatherland, the capital, state, “church, Rosemont, against Franklin Surrealist to quote Chicago itself, setting high, derogation aims Surrealist the agility, literary and intransigence militant of both Adisplay ire. of critical radius scorched-earth a wide, with outrageous, calculatedly and rhetorical highly aposition, of taking way aparticular model they army!”); the disband prisons, the “Open 2of issue LRS see (for example, an or otherwise political position, of not are simply Derogations statements automaticor even writing. chance, of objective narrative the as genre Surrealist anative much as “derogation,” group’s polemics.” is tions, The Madrid the term, to use declara “pamphlets, subtitle the with (“Derogations”), “Exenciones” things. as tained or sus constituted, revealed, are or attention inquiry, of action, forms eccentric these up which aspace opens in others, and examples these Ibid., 9–10. Ibid., 6. 2009), Press, Texas of University (Austin: Diaspora the and Africa from Writings Surrealist Beige: and Brown, Black, eds., Kelley, D. G. Robin and Rosemont Franklin to Introduction 30. 1993), Press, &Moon Sun Angeles: (Los Earthlight Rogow, trans., Zack and Zavatsky Bill When a rubric in a Surrealist periodical is given over to the deroga over to the given is periodical aSurrealist in When arubric This is also the case for another rubric in Salamandra in rubric for another case the also is This 34 In the tract “Revolution Now and Forever”—which followed the followed the “Revolution Now Forever”—which and tract the In 33 The “Más realidad!” rubric, in in rubric, realidad!” “Más The 35 , : ------77 hansen | surrealism is a thing 78 artmargins 5:3 38 38 37 36 36 condemned tocondemned death.” world, you are “Western year: same that in students to Madrid address Aragon’s Louis as well Revolt”—as in “specialists themselves name ter lat the 1925”—in which of January “Declaration tract Surrealists’ Paris Turkish “autonomous[ly]” group The and references the spirit. from the revolt its identity, ideology, comes union, directly or lifestyle, party, any to itself tying than rather that, group declares revolution. The Egyptian 2011 year, the and of that May October and in protests anti-austerity and anticorporate global movement, the Spring Arab of the wake the we desire a lavish feast.” alavish we desire table, cafeteria from the when it comes of tocrumbs solutions, “instead Group explains, Surrealist Island Inner the demands.” As “immediate of level do, on the even will utopian the and outrageous the than less where derogation, nothing but aSurrealist of outrage, a statement Group’s United However, States. not the is St.Louis merely in the text racism of institutional realities and legacies the foroptions addressing policy as fielded to be likely nor were Ferguson, they in events to the responses practical not immediately least, were, to say the These for calling by statement its closed and revulsion,” “complete and condemnation its Group expressed Surrealist St. Louis the for example, Missouri, Ferguson, in 2014 August in Brown Mike of shooting the oppression. and After capital, misery, against off square marvelous the and desire, life, where field upon awider arrayed be can where and events import, to problemsreasonable of planetary answer . in which you [bourgeois students] are molded like fossils in fossils like molded are students] [bourgeois you which . . in civilization this ruin Beige and Brown, Black, Kelley, and Rosemont in quoted is This harbors.” unexpected and strange into gliding randomly ferries . Unscheduled ferries; all on freedom sexual Absolute work; ferry of eroticization total The workers; ferry all for slavery wage to end genre: “An the within fit still but tone, in serious less are Columbia Hydrolith Bragg, Hydrolith 2 Hydrolith Ribitch, and Bragg in 2014,” “Ferguson In late 2011, the Turkish Surrealist Group signed a statement in in Group astatement Turkish signed lateIn 2011, the Surrealist Ferguson and everywhere else. everywhere and Ferguson in barbarism current to the antidote the as we invoke surrealism sense on absolute this In based freedom. fecundity of creative environment an in mix can affinities diverse other and genders of races, ethnicities, wonder ofwhere cities ofcreation people all the as well as conformity, and exploitation authority, brutality, of structures other and police of dissolution the immediate the , 51. Its “immediate demands” regarding ferry services in British British in services ferry regarding demands” “immediate Its , 51. 38 Whether it is from the heart or the borderlands borderlands or the heart it from the is Whether 37 36 , 70. , 9: “First of all we shall shall we all of “First , 9: - derogations: Surrealist of onefirst of the title the War. with it closes And Indochina First the against Word,”“Freedom directed Is aVietnamese was which tract content), and genre 1947 the Surrealist both (in predecessors its one of by quoting significantly, It Garden. begins, Square Madison Convention at National Republican 2004 at the Bush,” directed Coronation of W. George Imperial of the Occasion on the Torturocracy Statement against ASurrealist Leash: the “Breaking titled national” Inter “Surrealists by signed statement 2004 the derogation falls Surrealist of the tradition the In weight. their all heft can gestures verbal subtlest the and present, of the to those imagery and language lend their seamlessly and easily can past revolts great of the the desire, versus misery marvelous, the versus of despair form martial the in tragedy.) to anow-distant from Marx, borrowing counterpart, farcical now, was movement that irrevocably, history—the countercultural tury of amore midcen authentic reenactments to haplessly theatrical pared were com protests Wall Street how frequently, Occupy for example, (One recalls it. against instead of and of protestactivism, benefit the toward weighs history Here, association. by glorified be quent events subse letting well, as but events together not groups texts only rubric, a as derogation, Park). The (and Gezi soon, Square to Tahrir riots urb sub Paris 2005 the Turkish quote the group—from of everything—to common revolt substrate the apure as such it possible to is see which aspace in world; it maintains the in manifest itself to make managed or not revolt, it whether has pure for door open this holdsogation the der Surrealist of the “thing-ness” the that rather is point The point. the ideology, revolt not is beyond all (or sur-) historical trans- of pure, kind a for, it possible or to is channel notto one stand whether believes and made is comes, “West” whatever acall such Western world that of this

Hydrolith 2 Hydrolith Ribitch, and Bragg in found be can Millennium” New the of Game The “Revolt: statement Surrealists’ Turkish The surréaliste Révolution La in printed Conférence,” d’une “Fragments from taken It is enemies.” your all with apact make We shall atus. laugh rather, care—or, take so Europe, of defeatists We the are death. to condemned are you world, Western shale. . Every time one of them spouts some spouts one of them time . Every week. YorkNew this City in meeting revival self-congratulatory and ghoulish this against surrealism to re-assert obligated we feel It reasons that for is these itself repeating keeps history as derogation, Surrealist the In , 54. , no. 4 (1925), 24. 4(1925),, no. 24. ­ - - - - - 79 hansen | surrealism is a thing 80 artmargins 5:3 41 41 40 39 39 States, “Another Stupid War,” United Movement the in Surrealist the by 2002 in signed A statement flict of imperialist interests . interests .” imperialist of flict con inextricable up from the to rise threatens which war the measures, security increased and of repeated form hypocritical the in augured war “The declaration: 2002 for the used have been easily might that words with nor peace!,”begins your war which your “Neither tract the signed Surrealists 1938, Paris September In the peace!” nor imperial war class ruling “Neither declare: signers cheerleaders,” the Christian fundamentalist their and profiteers, war demagogues, militarist gists, apolo of “carnage obfuscation” “miserabilist the Against derogations. take off (or, say, go viral), with massive consequences. After all, every every all, (or, off consequences. After massive take say, with go viral), and burgeon suddenly can or thought act, gesture, smallest the which process by the models tendentiously and It repeatedly fabric. human inter of the alteration of an change, social of large-scale praxis and ity possibil the to mean taken word is the “politics” coincide—if inevitably on and it. in to act but simply continuing history not are reenacting Surrealists that and it ended, never because resurrected to be not need does Surrealism that declaration mere as history—a now disarmed no longerbe can which “past,” this with of unbroken continuity adeclaration as functions but derogation, it also contemporary of the feature ageneric is past the of texts collective of the diction heightened and language of the (London: Pluto Press, 2001), 120. 2001), Press, Pluto (London: Declarations and Tracts Current: the against Surrealism eds., Fijałkowski, Krzysztof and Richardson Michael www.Surrealistmovement-usa.org/pages/news_iraq.html. See Bragg, Hydrolith Bragg, police everywhere! Open the prisons! Disband the army! the Disband prisons! the Open everywhere! police and Freedom now, jailers against murderous humanitarianism. and war, occupation, resolved and against united ity, we stand andsensitiv spontaneity, imagination, liberty, of wildfires elegant the with of solidarity Convention. Out National Republican at the applauded honored and being is that regime Bush-Cheney the by internationally and domestically practiced totalitarianism balling of fear. violence,and rape . We snow the denounce archipelago carceral asprawling planet, aprison to build efforts feverish their you remember about “freedom,” that we ask balderdash twisted In Surrealist objectivation, the political and the imaginative often often imaginative the and political the objectivation, Surrealist In , 233. 40 also incorporates language from past from past language incorporates also 41 Such frequent and pointed quotation quotation pointed and frequent Such 39 ------a backdrop of nonacts and nonce acts, and itself becomes athing. becomes itself and nonce and of acts, nonacts a backdrop against focus into brought act—is Surrealist so—the of doing act the of nonthings, abackdrop against focus into out brought and sifted are Here, things new as just thing. charged (or politically) poetically even and identifiable it now an as leaps attention to greet wholly beneath and invisible once what was virtually collective, and personal both of objectivation In acts memory,and recognition. notice, definition, beneath falls that of everything wrested, are things that of nonthings domain it from the is modestly, of necessity—since begins thing new 81 hansen | surrealism is a thing T C E J O R P T S I T R A 82 LOTUS NOTES London-based Encounter London-based as journals—such of these many intellectuals, leftist communist Bombay-based Quest Bombay-based 1 Michael C. Vazquez, “The Periodical Cold War: Tales from the Bidoun Library,” (lecture, (lecture, Library,” Bidoun the from Tales War: Cold Periodical “The Vazquez, C. Michael 1 fi worlds.” third second,and rst, of the length entire the governments—across and/or own nism their or commu- imperialism battles—against pitched fought magazines international of state-sponsored 1960s, when “an the array in height War, order. neoliberal apost–Cold by obscured been has that of a time signs into memory told. It brings been not have otherwise may improbable out that an Notes” draws story access chronological to its little with of Lotus archives evolution, “ from outside the Written biography of research. acontemporary charts simultaneously series of the form fragmented the links, missing and encounters chance with Riddled networks. historical interrupted from abygone, world bipolar its and quarterly literary trilingual Asian Masr Mada platform “ © 2016ARTMargins andthe MassachusettsInstitute ofTechnology Notes” began in 2014 as a monthly series of texts for the online online for the of texts series amonthly as 2014 in Notes” began Lotus Sackler Centre of Arts Education, London, August 13, 2011). 13, August London, Education, Arts of Centre Sackler “Periodical diplomacy,” as Michael Vazquez has called it, was at its was it, diplomacy,” Vazquez called has Michael “Periodical as . It traces a partial biography of Afro- aforgotten apartial . It traces , and Beirut-based Hiwar Beirut-based , and Paris Review , Paris SHREYAS KARLE ANDSACHIN KONDHALKAR 1 Often founded independently by non- by independently founded Often NIDA GHOUSEINCOLLABORATION WITH , Kampala-based Transition , Kampala-based —were in fact funded funded fact in —were doi:10.1162/ARTM_a_00159 , Lotus and more copies of printed in the German Democratic Republic, Democratic German the in printed Union, Soviet the by sponsored Association, Writers’ Afro-Asian the by Published edition. French the by later followed months afew English, and Arabic 1968 in March in appeared Writings ofissue Afro-Asian Mada Masr Mada in series along. all listed York, New and London, them had whose catalogs Berlin, in reference in Tunis, as libraries and well as Beirut, Cairo, Lotus name the acquire would journal the Organization, Liberation Palestinian the by eventually and Egypt on its own terms. on own its celebrates Lotus that impulse arevivalist to offset writing the with comes and together of translation territories and tion of produc- amovement languages across explores of images set Each trajectory. political uneven an and infrastructure concealed cultural of a evidence to construct them juxtaposes and of Lotus pages scanned from elements textual and content. It isolates visual material very its E T O N rying out the recommendations of a counteractive directive, of acounteractive recommendations out the rying car- and news, of this wake the In folded. magazines resigned, editors world— literary the across sent ripples imperialism, cultural American Agency. Intelligence Central the United States’arm, espionage the by bankrolled and established afront organization was Congress the that York revealed New Times Freedom. 1966, In The Cultural for Congress the group called advocacy anticommunist an by covertly 3 The fi rst issue of the journal was printed in Cairo. By 1971, the English and French edi- French and English the 1971, By Cairo. in printed was fi The journal the of issue rst 3 Neo-Colonialist and Imperialist the to Counter-Action the “On titled directive, The 2 Francis for the various ways in which they helped make this project happen. project this make helped they which in ways various the for Francis Rosette and Evans, Jenifer Busch, Annett thanks author The Association. Writers’ Asian Afro- the of revival the for committee the of member and America Latin and Asia, Africa, of Union Writers the of General Secretary Salmawy, Mohamed by granted was Notes” In recent years, interest in this literary landscape has been growing, In growing, recent has been landscape years, literary interest this in tions were printed in the GDR, whereas the Arabic edition continued to be printed locally. printed be to continued edition Arabic the whereas GDR, the in printed were tions activities. imperialist disguised its and Freedom Cultural for Congress the of mention makes and Writings Afro-Asian of issue inaugural the of pages closing the in It 1967. appears in Beirut in held was which Association, Writers’ Asian Afro- the of conference third atthe formulated was Field,” Infi Cultural the in ltration carries the same title as the earlier earlier the as title same the carries ARTMargins in project This The scandal, which exposed the ideological implications of implications ideological the exposed which scandal, The

used in “ in used Lotus of pages the from elements the for permission Copyright Lotus , but deals with the magazine differently: through through differently: magazine the with , but deals have found been second-hand in bookstores in . 3 and housed initially in in initially housed and 2 the fi the rst Lotus 83 GHOUSE | LOTUS N O T E S Lotus was, if anything, an operation in translation, on a supranational scale. Not only did texts move across English, Arabic, and French in each issue of the quarterly, but over the course of its history, essays, stories, plays, and poems made their way into these three languages from the multitongued literatures of more than seventy African and Asian countries. In a review of the fourth conference of the Afro-Asian Writers’ Association, held in New Delhi in November 1970, the literary critic R. K. Kaushik reported:

But this toy sputnik which was fired with so much fanfare to spotlight the Red Star on the Indian horizon failed to go into a viable orbit and came down like a damp squib, raising more stink than shock waves.1

The crux of his account is this: the “babel of rabid anti-U.S., anti-Israel hysteria” and “blatant anti-West propaganda” bogged down a literary conference with “extra-literary issues.” Save for the inaugural address, delivered by the chairman of the Indian organizational committee, Suniti Kumar Chatterjee, who cautioned against transforming the event into “a mere political forum,” the speeches made by the other leaders of the conference—V. K. Krishna Menon, Mulk Raj Anand, Sajjad Zaheer, Kamil Yashen, and Youssef El-Sebai— peddled a Kremlin-sponsored agenda. Besides endless platitudes of resistance against neo-imperialism and easy celebrations of the inherent greatness of the shared Afro-Asian condition, not much was said. A few of the delegates staged a walkout, and many others, feeling humiliated for being treated like “morons,” simply stopped attending. For Kaushik, Chatterjee’s was “a lone cry in the wilderness.” His words gestured to the limitations of espousing ideological positions that risked reducing the relationship between the two continents to nothing but geography.

1 R. K. Kaushik, “Tin Hawks and Clay Gods,” Mahfil 8, no. 2/3 (Summer/Fall 1972): 237–45. After the Israeli invasion of Lebanon in 1982, the editorial offices of Lotus shut down for a while. The Palestinian Liberation Organization was bombed out of Beirut that summer and its headquarters moved over to Tunis. Faiz Ahmed Faiz was granted safe passage through Damascus, via Tripoli and Homs. He went to London, then stayed in Moscow working on Lotus, before returning eventually to Lahore. He died two years later, but carried on as editor-in-chief posthumously for the single issue that came out in 1985. The PLO continued to house the Afro-Asian Writers’ Association until the Soviet Union collapsed and funding dissipated. But it took a bit of time for the editorial structure to reconstitute itself, and during that transition the colophon ceased to carry a postal code or cable address. Where were submissions being mailed? Eventually, a location emerged: Villa 94 in Manar 3 on Route X in Tunis. But between 1983 and 1984, Lotus appeared only when it did, as if out of nowhere. In 1986, while the position of editor-in-chief was still vacant, the graphic identity of Lotus changed. The following year, Ziad Abdel Fattah, the head of the Palestinian news agency WAFA, was promoted from his role as first deputy. In an interview published in an Arabic magazine in Paris on the occasion of his appointment, Fattah recounted the history and significance of the Afro-Asian Writers’ Association and declared plans to extend the trilingual quarterly to a fourth language—Russian. Was delusion at play? Or were there real aspirations in the air? Both, maybe. In 1991, the Soviet Union would break up and the PLO would lose its base in Tunis; but two years prior to that, the editorial staff reprinted Fattah’s interview in what was (most likely) the last issue of Lotus. This article has been cited by:

1. Frank Schulze-Engler. Entangled Solidarities: African–Asian Writers’ Organisations, Anti-colonial Rhetorics and Afrasian Imaginaries in East African Literature 117-139. [Crossref] DOCUMENT/INTRODUCTION

ON YUGOSLAV POSTSTRUCTURALISM INTRODUCTION TO “ART, SOCIETY/TEXT” niKOLa DEDiC´

“Umetnost,­družba/tekst”­was­an­editorial­published­in­the­Slovenian­ journal­Problemi-Razprave­(Problems-Debates)­in­1975.­It­was­written­ by­the­journal’s­editorial­board­at­the­time:­Mladen­Dolar,­Daniel­ Levski,­Jure­Mikuž,­Rastko­Mocˇnik,­and­Slavoj­Žižek.1­The­journal,­ which­is­still­published­today­under­the­name­Problemi,­was­the­central­ outlet­of­the­so-called­Slovenian­Lacanian­school,­and­as­such­the­most­ important­place­for­the­reception­of­French­antihumanist­philosophy­in­ the­former­Yugoslavia.­The­journal’s­concept­was­based­on­interpreting­ French­poststructuralism­in­the­spirit­of­Tel Quel­magazine;­anti- humanist­Marxism­in­the­spirit­of­Louis­Althusser;­theoretical­psycho- analysis­in­the­spirit­of­Jacques­Lacan­and­his­followers;­as­well­as­the­ special­blend­of­Lacanian­psychoanalysis­and­Althusserian­ideology­ ­critique­that­characterized­the­French­journal­Cahiers pour l’analyse.2­ For­this­issue­of­ARTMargins,­the­original­text’s­fi­rst­two­parts­are­ translated,­in­which­the­theoretical­orientation­of­the­whole­magazine­ is­elaborated;­the­excised­third­and­fourth­parts,­which­I­will­also­

1­­ “Umetnost,­družba/tekst:­Nekaj­pripomb­o­sedanjih­razmerijih­razrednega­boja­na­ podrocˇju­književne­produkcije­in­njenih­ideologij”­[Art,­Society/Text:­A­Few­Notes­on­ Contemporary­Relations­in­Class­Struggle­in­the­Domain­of­Literary­Production­and­Its­ Ideologies],­Problemi-Razprave­XIII,­nos.­3–5­(March–May­1975):­1–10. 2­­ One­might­also­fi­nd­theoretical­and­conceptual­similarities­between­Problemi­and­other­ French­poststructuralist­periodicals,­such­as­Peinture, cahiers théoriques­and­Cahiers du cinéma.

© 2016 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_a_00160 93 94 artmargins 5:3 3 socialism. self-managed of already-realized ideal on the rested which time, at Yugoslav the of the context specificity due to the was This Maoism purview. from its absence of the radical 1960s lay in the in journals French similar from many difference greatest , its of Tel Quel mold the in ajournal basically was Problemi offield ideology. Although the in transgression anti-utopian world an as of the so much formation trans autopian not seek did which collective, Kunst Slowenische Neue ­ of the strategies citational-eclectic and cynical the later, especially adecade nearly Yugoslav of the retro-avant-garde strategies modernist post the anticipated also journal hippie movement. The of the spirit the in conceptualism a“mystical” through process art and art, land Povera Arte OHO to bridge of the sought group,utopianism which neo-avant-garde the Most notable was here,’70s. Slovenia, at in least 1960s and of the experiments utopian Yugoslavof the neo-avant-garde overcoming representedagradual Problemi to art, others). relation In Praxis journal the around gathered philosophers were the of which nists protago (the Yugoslav theory dominated enology, hitherto had which phenom and of existentialism ­philosophies, variants Marxist including of humanist deconstruction and acritique it realized soIn doing, country. asocialist in ideology, art and debates culture, about society, into psychoanalysis Lacanian and poststructuralism, structuralism, time. that at ­ Yugoslavia and Slovenia scene in literature local the around on debates focus ­discuss commentary, introductory this in briefly it to to relocate remote but sought rhetoric, revolutionary ­charismatic for no longerallowed that society apostrevolutionary in emerged ´c, Šuvakovi Miško had,” to critic according it because “precisely “ French characteristically below, none had of that discussed editorial the as well as journal, The democrats. social German and Belgian, Scandinavian, and Labour British with ties political active forging by and Commune, Paris the of teachings social-utopian the of implementation arevolutionary and workers” the to “factories of slogan Marx’s on relying by others, and Kidricˇ, Boris Đilas, Kardelj, Milovan Edvard by elaborated were self-management of postulates The market. free asocialist and management self- workers’ to policymaking statist planned, from switching by labor productive tizing debureaucra of concept the on based itwas democracy: direct implement and proclaim would that astate toward type Bolshevist the of Marxism state revolutionary of revision a through It 1950. emerged in introduced was self-management socialist of concept The to introduce seeking of ajournal example aunique was Problemi erv ´c, ´c, Petrovi —Gajo Grli Danko Kangrga, Milan and Supek, Rudi Tel that Quel ecstasy and zeal writings -ian , - - 3 -

- - amalgam. emergence for of the this framework theoretical the as acted critique, of ideology aform as psychoanalysis, procedures—Lacanian artistic radical retro-avant-garde’s Slovenian the and cultures, 1980s youth on ablend “alternative,” based of Slovenian punk, of the continuation of the think We also theory. can social Marxist Hegel and as phy such philoso German of classical analysis structuralist on Lacanian based Society, at the given lectures published initially which Psychoanalysis), (Philosophy through psihoanalizo skozi Filozofija series its cially house, espe publishing Analecta Ljubljana in the and Psychoanalysis for Theoretical Society were the these Among Lacan’s psychoanalysis. of Yugoslav and readings poststructuralism Slovenian advancing ture lens. antihumanist journal’s the through observed socialism, aged self-man under culture and of art domain the in situation Slovenian local the analyze sections fourth and second,third, the psychoanalysis; and poststructuralism through interpreted of art theory materialist on aMarxist, based was policy, which programming journal’s the tains registers.” different into divided ­distances struggle, of class revolution analysis the and between philosophical and revolution of the or to theoretical historicizations 6 5 4 on. so and ­ linearity, truth, absolute rationalism, universality, of ideas the abandoned humanism Anti subject. human the precedes process) (or social structure such, As relations. or ­ structures, of field asynchronic as but society, or subject human the of self-realization ­ the toward leading process diachronic ateleological, as not viewed is history spective, per antihumanist an within contrast, By emancipation. social of process the in attained be to aim anormative as interpreted is totality sense, that in (self-)emancipation; and alienation of adialectic within Marx reading on based It is society. entire the of pation emanci teleological the of philosophy synthetic agreat as Marxism views which thought, holistic of akind for astriving implies theory Marxist within humanism of notion The 1990. after only fame global current his to proceeding editorial, this of gence emer the after soon books first his He published critique. ideology Lacanian of field the in philosopher international prominent most the is today Žižek Slavoj while criticism, art and anthropology historical undertook later who historian art an is Mikuž Jure activism. political leftist and linguistics, semiotics, psychoanalysis, theoretical art, of sociology the philosophy, political to ideology of theories Althusser’s apply to ways unique generated Spirit of Phenomenology Hegel’s concerns which of important most (the idealism classical German of interpretations his in analysis psycho Lacanian applied instance, for Dolar, Mladen philosophy. antihumanist Yugoslav of representatives chief the become to on went družba/tekst” “Umetnost, of authors The 466. 2006), nosti, umet Univerzitet (Belgrade: Analysis] [Discursive Šuvakovi´c, analiza Miško Diskurzivna con first the sections: four comprises article noted above, the As of abroader cul endeavors, its not in alone but was part Problemi 5 4 Mocˇnik Rastko opera. and music as well ), as 6

­ ------95 DED I C´ | O N Y U G O S L AV P O s t s t r UC T U r a L i s m 96 artmargins 5:3 7 well). as aestheticism,” “socialist and ate modernism” phenomenon “moder as this have described historians art regard, that ­ (in Yugoslav of the neo-avant-garde experiments radical the against resistance of conservative astronghold as well as culture, and art of bureaucratized alocus often was modernism socialist apolitical, the autonomy and artistic advocating by yet, self-management; of socialist conditions­ the under emancipation cultural brought turn this first, At culture. and of art liberalization country’s of the signs as ernism mod of international procedures formalist the adopting instead trine, doc artistic official its as realism socialist rejected 1948, Yugoslavia in Cominform the and Stalin with break country’s the Following ism. modern phenomenon Yugoslav of as the socialist now known teristic ­bourgeois autonomy, charac inherent an was concept of which artistic of the critique amaterialist to offer is purpose main text’s The textual practice or textual concept of signification Tel the Quel conceptswith those associating and ceptualizing on recon insists editorial economic the processes, with struggle class and materialism links theory Marxist whereas classical Nonetheless, struggle. to class linked fundamentally is that etc.) relations, ideology, of production, social conditionsof existence—modes social and material its by but rather consciousness, by notis determined life human that implies practice” notion of “material the sense, Marxist atraditional (in practice of material aform as art on interpreting insist of art. fetishization on abourgeois predicated was time at the culture Yugoslav in paradigm ideological dominant the that arguing is, that aestheticized— highly also was that humanism European traditional of a arelic as modernism of socialist adeconstruction offers editorial concept of reflection Marxist classic out the authors single the term, central their As sense. alist poststructur the in of discourse words, that is other in Its materialism, society. given ahistorically in meaning of producing complex systems as viewed culture and but of language society, and of history nant determi basic of economicthe as not processes is that ofism Problemi Histories: Historical Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918–1991 Yugoslavia, in Post-Avant-Gardes and Neo-Avant-Gardes, Avant-Gardes, Historical Histories: Impossible in 1950–1970,” Scene, Art Yugoslav the on Views Radical Modernism’? ‘Socialist Outside or “Inside Denegri, Ješa see discussion, detailed For amore 170–208. 2003), autonomy, concepteditors of the artistic humanist ofInstead the Djuricˇ Dubravka by , edited understood humanistically , but its not in Šuvakovi´c Press, MIT Miško and MA: (Cambridge, material the regard, that . In 7 Problemi The –derived ------thinking.) linear and rationalism, scientificity, it systematic and doubts of meanings, instability the and on plurality it insists origin; of metaphysical theory any in discourse to ground reluctant is philosophy antihumanist that means tency. (This wholeness, of consis complementarity, and totality, Western tradition 2,000-year-old the deconstructs thus philosophy Antihumanist out. falls something from which apparent, are intersections their whole; ­ only aunified to form come together might that circles two do not form culture and nature psychoanalysis, to Lacanian According ­entities, nonwhole the called from what Lacan draw aconcept they inconsistent and fragmentary are itself society and subject human field. social the in exclusion of point this precisely presents Art determined. negatively is society sense, that In or lack. “remainder” atraumatic excluding by established is field social whole; the contrary, on the a homogeneous or undivided not is of field ideology. the Society in aprocess of exclusion but through of mimesis, terms not in society reflects art that claim the emphasized instead and structure of social view this rejected Lacanians venian base’s Slo the on goes in whatever economic domain. reflects ically mimet ­economic superstructure, of the part as whereas art, exchange, of domain the comprises base the tradition, to that According ture. superstruc and of base dialectic traditional the through sense Marxist 8 theory economy, of the post-Marxist contradictions Slovenian the were meantto reconcile self-realization society’s and subject the that belief humanist of the lieu In it. on radicalizing insisted they spirit, Althusserian and aLacanian in humanism Marxian deconstructing rather, by ideologically; Marxism to revise nor sought rejected ther nei theorists Slovenian the Yugoslav the framework, in dominant then production. of cultural potential revolutionary the process reveals the in and of art, nature productive signifying, the ­ rediscovers thereby and antagonism of social locus at the It strikes ­ fragmented. is society that fact to the points contrast, by art, critical concept of autonomy, elitist this negating by unity; whole, undivided a as autonomy, its and society to posit seeks art ideology bourgeois 1995), 46–47. knjiga/Alfa, Narodna (Belgrade: Concepts)] (73 [Postmodernity (73 Šuvakovi´c, pojma) Miško Postmoderna the both imply that thereby theorists antihumanist Slovenian theory, Marxist reinterpreting by to note that is important What is 8 conceptsof disinterested the Using . ­ - - ­ - 97 DED I C´ | O N Y U G O S L AV P O s t s t r UC T U r a L i s m 98 artmargins 5:3 group the phase, reistic its during thinking; theoretical Kermanauer’s Taras philosopher Slovenian the by phenomenology, especially and by inspired group was work, the its In reism. so-called was one of them experimentation; neo-avant-garde its in of stages anumber through it. achieve not ultimately did they abreak,” such of making brink the OHO “to while came that maintain authors the as even of poetry, domain the in OHO group’s experiments the especially Istok and and G. Plamen, Kermanauer, Aleš Paš, Boris works of poetic the mentioning explicitly neo-avant-garde, Slovenian of the significance the highlight further They artists. avant-garde of individual efforts the notwithstanding literature, in especially and Yugoslav and culture, Slovenian in to happen yet had cut materialist aradical such that authors stress The practice. signifying amaterial, as art interpreting toward object beautiful and adisinterested as from art Western culture, in cut materialist of aradical whom marked all music, in Schoenberg and painting, in Cézanne literature, in Mallarmé and Lautréamont, Rimbaud, as such of artists importance the emphasize scene: they literary Slovenian contemporary the with deal also editors The culture. and art interpreting in idealism philosophical with them link and culture national Slovenian in trends dominant these critique editors The literature. Slovenian in dominated aestheticism socialist or modernism sober so-called time, at that arts visual the in 1970s. As of the beginning at the literature of Slovenian state the tion) analyze determination. or negative antinormative abasically gaining of transgressivity, theory amaterialist into idea from autopian of synthesis transformed thereby is Marxism totalitarianism. into falls inevitably antagonistic non itself declares that society antagonisms—any of inherent free is ­ so on.No and society of gender, subculture, generation, race, nation, to those but also differences, relatenot to class only antagonisms social words, other In of field signification. the was for them which of culture, ­ field the in them located Society/Text,” of “Art, editors the including of field economy, the in Lacanians, Slovenian antagonisms social situated Marxists whereas vulgar Marxism: ofeconomic classical basis the was then, to deconstruct, Whatit sought of totality. category ist ideal to the opposed as concept of difference, poststructuralist the ing reflect antagonisms, social of reconciling impossibility on the insisted 1966 went 1971 and and between OHO active groupThe was transla from our (omitted parts fourth and third editorial’s The - ­ - - the In culture. and art avant-gardes) of interpreting Russian and dada, surrealism, zenitism, (symbolism, heritage avant-gardes’ historical the up with linking etc.), especially and struggle, class and reflection of categories of the interpretations mechanical humanism, mism, econo as (such of idealism remnants of all theory Marxist “cleansing” of example an It also is of culture. understanding national(ist) the ing of deconstruct domain the in operate would which poststructuralism, Yugoslav development and about of Slovenian the indications clear offers text the From today’s perspective, activities. future journal’s the of language. ­ analysis astructural through of essentialism tion phenomenological adeconstruc OHO of the group pursued critique editors’ the method, this with line In infinite.” “the and unfinished” of “the aesthetics the and writing fictional and theoretical between divide the leged blurring privi articles authors of those The reality. ofrepresentation external over the prevailed text of the aspect or material linguistic the which in writing, textual promoted so-called contributions , those Tel Quel to ­ Similarly theory. literary and to film particularly and to art, cated dedi was issue of every part so on.But important and an antipedagogy, philosophy, linguistics, traditional and theory of psychoanalytic fusion a psychoanalysis, Lacanian with dealt that of papers mostly sisted con issue each instead, often; were very not published contributions of Problemi history the Throughout of language. nature transgressive and open, rhizomatic, intertextual, heteronomous, productive, the disregard that systems founded ically ontolog and essentialist, closed, phenomenologically with engagement this precisely but criticize experiments, neo-avant-garde poets’ reistic of the significance accept the editorial authors of the The versa. vice phenomenality, and to visual points word literally phenomenality—a of aword visual its and meaning the between relation a tautological on It insists poetry). of visual spirit the in object aspatial to transform or of objects, (or acollection as abox abook-object into text transform to working entails for instance, poetry, presence. Reistic of immediate ­ appearance the space of agallery, the in gave them, then and objects impressions of group, asimple to quotidian make procedure the used MarkoPogacˇnik, thinking, that with presence. line In of amember ­ unmediated their in of appearance forms with is, themselves—that phenomena with working perception, of pure domain the in acted for ­ guidelines provide article of the paragraphs concluding The 1970s, literary the in , especially ------99 DED I C´ | O N Y U G O S L AV P O s t s t r UC T U r a L i s m 100 artmargins 5:3 of Problemi Ideology of Object ­success Sublime of The translation 1989 English the after international Žižek’s in (culminating internationally contribution original an to make Yugoslav enabled theory eventually choanalysis psy and poststructuralism, of Marxism, mix educations). This their in paths similar pursued thinkers poststructuralist Slovenian other and àSaint-Denis, Vincennes VIII at Université Paris studied Slavoj Žižek Paris, in Sociales Sciences en École Hautes des the Études and Études Mocˇnik France (Rastko in Hautes des École at Pratique the studied at universities abroad, education typically further pursue and to study them enabled that asystem in lived generation this time, same At the Yugoslavia’s horizon.” “ideological aconsequence of socialist Marxism, in education athorough had Psychoanalysis, for Theoretical Society Problemi around gathered theorists Most of the time. at the Yugoslavia in prevailed conditionsthat to the according reinterpretation of philosophy, French models made their but rather of ready- no mere was importation Yugoslavia in poststructuralism Moreover, of reception the asynthesis. such to permit enough liberal was socialism of self-managed Yugoslav variant The theory. of Marxist ­possible, ­ revision of poststructuralism’s critique anuanced alone let was philosophy of poststructuralist French no reception stances, circum historical and political specific where, due to their countries, Europe’s among post-communist other opment humanities of the Scipion Nasice theater. the Sisters and in ing, paint in IRWIN arts, visual the music and in Borghesia and Laibach as such collectives by strategies artistic ment of retro-avant-garde develop the and alternative youth emergence Slovenian of the the with 1980s, the during culminated, Problemi around authors gathered of the work theoretical the by merely suggested etc.). Whatwas Salecl, Renata Mocˇnik, Rastko (Slavoj Žižek, critique Zupancˇicˇ, Dolar, Alenka Mladen ideological as school Lacanian Slovenian of the crystallization definite (Braco Tomaž Rotar, a and Brejc, Jure of Mikuž), painting semiotics the Riha), of(Rado philosophy science Althusserian-Lacanian an via Erjavec), work of the is Aleš relevant especially regard, that (in culture for studying platform interdisciplinary amaterialist, into beautiful the of study from ahumanist aesthetics classical reinterpreting directions, multiple in developed poststructuralism Slovenian followed, that years devel the place in a unique represents Yugoslav poststructuralism 1975 editorial this out in sketched theory, Lacanian ). Slovenian of psycho discussions in shift of paradigm asort , effected Slovenian the later , and ------scene. intellectual unique Europe, Eastern called to be of what used confines the within and, of adynamic beginnings to the testament important here an provides ­ presented editorial reason, the for of that ideology.issues Precisely of application Lacan’s nonwhole their to and Razprave of discourse proponents,most however, Yugoslav of Problemi- the philosophers in areas. other, non-Marxist in Maoism work to academic from political directions, different in persed dis board editorial its and issues, ten only after were discontinued l’analyse pour Cahiers at the Miller Jacques-Alain around work authors gathered French of the the in psychoanalysis Lacanian critique. cal ideologi poststructuralist become alate-materialist, would choanalysis of Yugoslav its psy advocates, hands the in Indeed, of culture. theory all-encompassing ­psychoanalysis an into theory from ametamedical of transition materialist the enabling theory, acritical as analysis 10 9 1–55. 2012), Verso, (London: Peden Knox and Hallward Peter by edited l’Analyse, pour Cahiers the from Selections 1. Volume Form: and Concept in Training,” Theoretical “Introduction: Hallward, Peter See theory. social of field the in only acted have but practice, psychoanalytic pursued not have authors Slovenian the colleagues, French their unlike Interestingly, 9 of transformation of this seeds the see Curiously, we can 10 fore its find would transformation The Cahiers . The - - - - 101 DED I C´ | O N Y U G O S L AV P O s t s t r UC T U r a L i s m This article has been cited by:

1. Marko Juvan. 2020. Literature, Theory and Politics of the Long ’68: The Last Season of Modernism and Peripherality. European Review 18, 1-14. [Crossref] DOCUMENT

ART, SOCIETY/TEXT A FEW REMARKS ON THE CURRENT RELATIONS OF THE CLASS STRUGGLE IN THE FIELDS OF LITERARY PRODUCTION AND LITERARY IDEOLOGIES

ANONYMOUS (AUTHORIZED BY THE EDITORS OF PROBLEMI-RAZPRAVE

At this time, when a certain escalation of the ideological struggle in the fi eld of high culture has yet again brought the (idealist) “question of literature” to a point, where the dividing lines between idealism and materialism are being drawn, and where, in the last instance, what arises is a class struggle in this specifi c sphere of the social superstructure — whereby the very idealist form of this question is such that it already forecloses the fi eld of possible answers, that is to say, it is a momentary incidence of the function of general dominance that the bourgeois class ideology today perpetuates in the fi eld of high “culture”—which is at the same time a suffi cient warning to every materialist intervention, that in this area, materialism is moving in the opponent’s terrain; a terrain, where, at least for now, every con- frontation, this one included, inevitably begins with the opponent’s attack —

“Umetnost, družba/tekst,” Problemi-Razprave XIII, nos. 3–5 (March–May 1975): 1–10. Translator’s note: The present text is stylistically rather diffi cult, perhaps in order to upset the “normalization” of language, which the authors attack in Section I. Here I have attempted to preserve the original style, particularly the authors’ preference for long sentences with multiple subordinate clauses. I have only broken up the sentences or varied punctuation marks when I felt that not doing so would introduce a new ambiguity. I have also followed the authors’ use of bold type and their occasionally inconsistent capitalization of theoretical terms. However, to ease the fl ow of argument, I have standardized their interchangeable use of double and single quotation marks as double quotation marks.

102 © 2016 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_a_00161 tual planes. tual concep to distinct of belong it, because to is say precisely that tariness,” “elemen despite their which points, to elementary afew attention draw rhetoric),and of “style” questions ideological more the explicit as well as language, “incorrect” and about “correct” questions translation, of criticism, ( guage” “lan problem in to the of production dedicated moreand generally production, Slovene) of (mostly literary theory to dialectical-materialist directly posed. directly are therefore not are questions solvable where level these ature” at the up “liter by opened questions The symbolic. social effects—the its and practice problem of asignifying it—the and—through lem of language prob the is of literature regressive question the behind hidden fact in is theory.” What “literary field of the conceptions in ideological dominant 2 1 of a effect aspecific only version whatever always is in humanism universal Emphasizing struggle. this by splitintroduced the with marked kernel very its not is in essence,” which heritage,” no “human “human no is universal-humanistic ). There Komunist in appeared that discussion from a formulation concise sufficiently this to use are we (if conditions the struggle in of class practices—occurs “artistic” of whole the domain indeed Today, “literature”—or what we call I ature never wants to exclude this “meta” level from itself. from level “meta” this exclude to wants never ature liter which in way the i.e. literature, of field very the in meta-language the of problem the specify must theory materialist the However, idealism. bourgeois of stronghold main the today is meta-language of position this struggle, ideological the within that emphasize to want merely we problem much-discussed this to relation In object. its for ittakes which language asameta- discourse critical the of understanding an with deal first must field this into intervention materialistic every things: two to attention draw should we it, of enough not is there how and needed itis how about critique, about talk people days these When claim. innocent and neutral most the in precisely intervene will determination ideological an property): life, nature, (man, “generality” this of nature class-based specific, the see clearly can one time same atthe while prosthesis, as serves rhetorically commonplace such some Here, property.” and life his protect to man’s nature in is “It struggle: class the discusses author the which in editorial, newspaper some of beginning atthe sentence atthis looking by speech everyday penetrated has ideology bourgeois the deeply how see easily can One In this essay we will, perhaps in somewhat disorganized fashion, fashion, somewhat disorganized in perhaps essay we will, this In dedicated journal, of the section anew introducing are Razprave langage , i.e. as a discourse that claims to possess the “truth” (“sense”) of the discourse, discourse, the of (“sense”) “truth” the possess to claims that adiscourse as , i.e. 1 and also dedicated to the struggle against the up-to-now up-to-now the against struggle to the dedicated also and 2 ) (i.e., in spoken language: this includes the problems the includes this language: ) (i.e., spoken in ------103

anonymous | A rt, society/text 104 artmargins 5:3 nem negatio per (and perhaps oppositionem per process) exclusively textual the of structuring historical specific (i.e.as literature the defines ogy ideol the then process, which textual upon the acts cess, retroactively labor pro of specific its structure nondominant societally on the based Form and Marxism laborJameson’s (cf. his in of Hemingway, alienated analysis of non amodel as counts “act” or artistic any literary the to which ing accord mystification, ideological for basis the material the is fact this industry)— capitalist for the of typical labor,is object which the and of labor means of of i.e. the technology, unity mechanistic to the tion of opposi labor (in means the of and labor power craftsman’sthe unity by determined is production literary that fact the and goods: of material production dominant industrial the in linked are they which in way the opposite of the is that away in linked are production literary process in fetishism particular its as use then may it of workits process, which structuring specific the duction pro literary in finds ideology humanist however, the that is framework, for our important especially Whatis of mode production. capitalist the condition for structural person,” the natural “the term legal of the form the in is, which relation, very of that autonomoustively systematization the mystification of the radically excluded understanding of literature literature of understanding excluded theradically of mystification the on depends literature of mystification cultural-idealist the that means 3 concreteness. aweb into of historical neutrality innocent the disperses which effect,” here “alienating one show nicely may the because analysis, ­ and “neutral” thatseemingly be noted to position; it ought class specific ahistorically “absent,” its as “negative” determination—recognize one must— love poem, innocent an in life, still impressionistic in themes, “neutral” most the in way: the go must all analysis whereis the This struggle. class the pole in of aspecific concealed affirmation ) in relation to the dominant capitalist process of production. This This process of production. capitalist dominant to the relation ) in “universal” themes are especially appropriate for such an an appropriate for such especially are themes “universal” of “external circumstances.” “external of set as a merely themes” of “eternal determination specific-historical the understands only always fetishizing love”; such passion, of themes “eternal problem,” internal “eternal i.e. art”— “Western of fetish particular the of ademystification against effect,” “distancing very the against argues fact in review this atplay, etc., forces psychological for gard Delo in published Tomaž Münzer, about play Forte’s of review arecent is this of A symptom The question of humanist ideology is complex, sinceit is arela is ideology of humanist question The : in the name of a polemic against a vulgar-economic simplification, against a disre a against simplification, avulgar-economic against apolemic of name the : in ). The fact that the entire ideological privilege of literature is is of literature privilege ideological entire the that fact ). The 3 . The “factors” or elements of the labor of or the elements “factors” . The - - - - ­- - - - - appear as “sign,” as “appearance,”appear so that exteriority, etc.), internal an is to art allows only which (exteriority, practice to social relation its in art for typical is which external, of relation being very words, this other or in practice, social to the a“sign” as internal is art contrary, the On side.” other “the be on would content, which some social reflects a sign means: This dialectic. materialist of the worthy remain should process our is, to it—that attached often is which mechanicism, idealist and/or empiricist an with in we do not fall formula this when following that important content. However, it social crucially its is (mirrors) question). in history the escapes happily course of which and it; within happened fact in which suppresses that time same at the involved—and ideology of the limits shows the clearly tism syncre nonantagonistic its principles: of these basis on the Catalogue the analyzes history literary recommend that we would untouched; typically remains (whereby regressive of literature ideal the society trial postindus to the industrial from the transition the calls ideology same this which to that corresponds directly which and type, McLuhan of the ideology, ideologues bourgeois completely of notions the relatable to the for the matter internal an is one: this technicist-cybernetic the with vocabulary old replace naturalist-“spontanist” the which ideologies, “avant-garde” literary contemporary properly overcome so-called the by process), production be never of may course very the in negativization of question materialist the broaches already production oftion literary the—scientific—ques because secondly and relation; social material a as production with to deal wants never ideology an as Productivism because all of it (first enunciate never but can of literature, standing class. ruling of the interests to the adapted already astructuring ideology, is, of the that specie sub only text of the structuring literary for the it allows time same at the base”—and rial a“mate of humanism ideology bourgeois the it gives effects: main two has symbolic, social of the organization bourgeois the within action subversive its and negativization suppression textual of active the the is which fetishization, This art. and literature as fetishize atext turally it possible to is cul that comparison, for basis the the as of production category capitalist the recognizes already which opposition, of this basis on it only the is production: dominant to the similar production as It is not the case that art is a sign “on one side,” asign is the such that and art that It case not is the reflects art that position the occupy We firmly therefore must under aProductivist presupposes always suppression, which This ------105

anonymous | A rt, society/text 106 artmargins 5:3 field, but only in a tension between a dominant instance and other and other instance a dominant between in atension but only field, very at work this in negativity negativity—the constitutive pre-existing and constant its against completeness social of the lished “illusory” some alreadyestab posits itself generality whereby generality, this tory as a noncontradic field of this unity the establishes which discourse, that contradict will instance representational this that understandable it is same/other) the negativization; oppositional, (i.e. the constituting the other, differentiating-rearranging, excluded the its field represents this in which practice, very the social—the field of the in practices the “one among” it is—as because same, the within other the representing space for the itself is art because to it, other from and different thing some reflects “art” of this, because precisely tion” social—and for the defined “negatively.”defined some “non- contains . ,” to be it has Social of the “positivity” very the words:other be In practice. signifying of the level of own its expulsion the through deter content,”is alreadyat “social work very the in “negative, its absent as constituted. “reality,” is first social the thefield of or the Social, field of the i.e. “content,” this which through act very content—is the to the external aform as form, empty/neutral an as itself manifests ken language spo which “disinvesting”—through or the “emptying,” the that stand unconscious.” “the Freud calls which of that basis” actual “the practice, asignifying practice, it alreadydetermined an is rather abyss of “nature”; chaos,” some undeterminable of “pre-human sort believe—some have us would many not—as is constituted, is Social exteriority”: “internal an is ity exterior this because this not it suggest does to capture; attempts vain in literature which and outside literature is “real”which reality, tates” “imi literature whereby example for reflection, of mechanistic level the on that we remain therefore suggest not does the Social, field of to the constituted. art, in “reflected” content,” then is “social which the is exteriority this through only The exclusion of the signifying practice is the “existential condi “existential the is practice signifying of the exclusion The content,”that it butits so “social “reflects” practice signifying The under we should theory materialist of the From of point view the the of which exclusion the through and excludes, Social What the in relation art we find which in of exteriority, relationship The mination,” since the very field of “the social” is constituted is constituted social” “the field of very sincethe ­mination,” cause there is a void in the midst of the Social, because because Social, of the midst avoid is the in there ­cause ------at its truth own truth of is not areflection art in the society of “reflection” The truth. own its it to exist. is if to “kill” needs society the which of that truth the but rather itself, society of the truth represses society the which of that contentthe the social medium is in which medium, its own “reflects” that it butrather it“reflection,” not is bare its that fact the through the society about “truth” the content, delivers the social “reflects” constituted. all be at can field this so that repressed, to be need that processes of those “return” the are They of processes production. social “ the literally all are etc., religion, art, practice, signifying of the forms permitted/counterfeit obsessive neurosis: with mind.” of the “logic and heart” of the “logic the between schism ern “sacred/profane” opposition mod to the mythical from the determined: historically always is fields marginal of these determination actual the “madness,” wherebyetc., every field “art,” of “sacred,” religion, the as falsification: an ideological with marked already fields, governable marginal, within only allowed is and constituted, it to be is if exclude, subversion. atextual as totality this within revealed is instances, practices- other through articulation and its literature, of specificity the totality, to the belonging “illusory” to its opposition In 3. it; “within” on ideology, therefore depends from it lives and discourse, ideological reduced to apure be it process”;cannot “Art,” though 2. even “artistic an within treatment of specific “object” the ideology, also always but is an as primarily “art” present is in so: —and Politicality 1. “weight” specific its obtains discourse particular shadow, every general which in it politicality its to some is totality, belongs discourse every that fact of the amarker discourse, from every inseparable marker course—a dis ideological of the fullness pretentious the in instead—except but is self-standing, nothing is generality, supports which discourse, The itself. social of the contradiction the to say, is within nation—that overdetermi to say, is that within determinant, the and dominant the between distance) more the radical, therefore all and “internal,” an is this (even though adistance at work within anegativity instances, In other words: it is only in this “reflection” that society arrives at arrives that society “reflection” words: this other in In it only is a“work of for art,” example practice, signifying the way this In rituals Freud compared religious already that It not is for nothing to needs the Social field of what is the practice signifying The arrives arrives itself the reflected which through areflection , it rather is . . The truth about society is not the not is the about society truth . The return of the repressed of the return , - ” - - 107

anonymous | A rt, society/text 108 artmargins 5:3 call art, religion, etc., an “imaginary supplement” to the “earthly mis “earthly to the supplement” “imaginary an etc., religion, art, call we can that way It this in is apart. fall would totality same that which without and Totality the “holdstogether” such as circle,” which of the “completion imaginary an a “plug,”as allows economy”) acts which eral “thegen enjoyment, the“infinite,” field of of the organization ity—the sexual art, (religion, practice signifying of the form permitted socially constant, this out of a“set a“circle into circles,” And of sets,”itself etc. it prevents from filling always avoid, avoid always that is there which within totality, elliptical decentered, alack,” with “totality always is the “finite,”its totality field of the in whole,encompass the it remains never can practice words: social-productive other In the social. of the arrival the with repressed been had which practice, absent signifying replacements as for the determination historical-social own their within act each etc.) practice, erotic the practice, religious the practice, as a whole. the field of “social” from the practice artistic of exemption of the akind to maintain one has of parts; its each in expressed/reflected whole,is of relation the which Hegelian not the whole”; the and of it “part relationship is to the therefore notis equal “profane.” “sacred” the and the splitbetween the with beginning history, throughout names several had dualism This practice. signifying the and practice social-productive mist. ideological empty into process signifying of the “sublate” would materiality the which sign, apure into change it would art; no longerbe would art presocial, and be bare negation ( bare be would which regression,” fetishism, into a“pre-phallic into fall would art Social, from the abstracted If extra-social. and social it both is itself. Social the constitutes which contradiction that “expressed,” including sharply most are Social of the contradictions the which “medium”in the Social—is of the arrival the with pressed sup been has which practice, signifying of the re-presentative mitted per intra-social, an as practice, the signifying of specification historical of aform practice—as artistic contrary, on the society; judge we should from which viewpoint, “measure,” exalted an ­unmediated/nonalienated We could also put it this way: these marginal fields (the artistic artistic (the fields marginal these way: We put it this also could practices of social totality to the practice artistic of relation the The the “dualism” of practices: irreducible an is assumption basic The Here we have a specific dialectic of art: as Adorno already claimed, claimed, already Adorno as art: of dialectic Here we have aspecific of some is kind art that to suggest is none course, ofOf this Verneinung ) of the Social; however, without the extra- extra- however, the without Social; ) of the - - - - - relation with the linguistic purism of the “traditional” bourgeoisie. The The bourgeoisie. “traditional” of the purism linguistic the with relation structural direct in is bourgeoisie mobile petite upwardly about the by brought degeneration linguistic The alanguage). he “invents” poem little every with that poet avant-garde of the conviction ideological more even perhaps rigidly and no less naïve from the not far is too tion posi “conscious” (this action adirect, with “problems”the of language “solve” therefore we might that neutral—and and general, objective, something is language that ideology) class automatism of aparticular merely an actually is (which belief naïve the in address often too we Slovenia all in which of language,” “crisis so-called of issue the the struggle. class the as and classes the between relation (represented) shown is the as which economic but arelation,relation, an not is asubstratum, structure super of the of some basis” “fact” “social the power):sie in because bourgeoi regressive nationalist (the basis” when itjust “social its loses struggle its escalates the ideology theory); field of the in political the of representing of philosophy, function the i.e. function the performs ideology, (for literature this discourse (i.e. dominant) exalted most the place of the of philosophy, in prefers to abstraction put literature ized overintellectual about ideology, complains the which aesthetic-elitist The symbolic. social of the own”organization to “its i.e. to “culture,” more and generally struggle, class its to support to literature turn will symbolic. social of the field the in domination of class means chosen the becomes literature way, this In nation. of the sack the in apotato as way imaginary an in himself to recognize individual it thereby enables the tation—and represen sphere of the political in performs state the as function same that performs literature society, civil the in hung: be can bourgeois of every desires intimate most the upon hook, which very that becomes longer—literature little alittle, just preserved—for is artist craftsman of the unity lost the which in of production kind the As ror of time. its mir the be should literature that demand well-known the by described concisely most are that investments of ideological center kinds for the problematic. this address sentences, which Engels’s and Marx one reinterpret should that viewpoint it from this is process; social-productive of the ery,” asupplement structure to the From what has been said here one might also want to illuminate to illuminate want also here one said From might been what has it state nation its loses bourgeoisie once the that It clear quite is areception as acts literature does, or aplug astopper as Precisely ------109

anonymous | A rt, society/text 110 artmargins 5:3 individuals-persons. between of communication means neutral anormal, as of language spoken organization the in organization, “infrastructural” sphere its in of this unity afundamental longer capable of ensuring no is symbolic, sphere social of the the dominates it still though even Sloveneideology, norm.” bourgeois The “linguistic neutral-totalizing general now the as presented up until been has which of that nature class specific the moreshows ever clearly it because especially important thehowever, present situation we find then, Until ideologeme sign. of follows the the that language mative nor anormalizing, as end of langue the until end, the until crisis the to escalate present opposite: task it our is the solved—quite be cannot langue Saussurean the fall—and itself sign the emphasize, really we should this and norm, the with and class; of the demise the with together collapse now will norm the norm, of the establishment the “established” with once was class this if and normativity; alinguistically-signifying as norm to this linked existentially is which of aclass, crisis merelyis the of immediacy— akind to establish we need instance, this norm—in tic linguis of the crisis the that point at this merely recall us Let relation. this what structures in interested only is analysis however, Marxist the “norm”; linguistic the or constrain relax side can of each ideologues fetishistic inclination to study merely the reflected “content.” reflected merely the to study inclination fetishistic direct, the in overlooked are necessarily that conditions reflection—the the of “medium” and “content” reflected the between distance the tute possible is it towhich consti through place, and first the in reflection enable artistic that assumptions conditionsand point—those starting dialectic the with to show—together we care radicalized; be tions posi these that demand we even content, addition in social oftion the areflec as about art of art, nature pronouncements class-based on the positions/ “radical,” most the even not do we accept only all, all, after materialism; historical and of dialectical arevision nor with Leninism, of “revision” of kind Marxism- any practices—with social-productive the and the signifying of the duality of reflection of the standing 4 It should be clear that we are not here concerned—in our under our not we are here concerned—in that It clear be should interpretation of of interpretation aparticular in interested only here are we that emphasize immediately reply, must we In forces. asocial/unconscious of effect an as art of understanding tional irra age-old, an is here atstake ultimately is what that point atthis complain will Some . Therefore, the “crisis of language” of language” “crisis the . Therefore, , all-binding, and therefore the therefore the and , all-binding, , its ideologeme will ideologeme, its will 4 ------

A Portrait of the Artist as aYoung as Man Artist the of A Portrait onward ( Joyce’s from Ulysses itself, within oeuvre borderthe find borders) the (one we of yet prose Baudelaire); fiction in ( Mallarmé Lautréamont, late Rimbaud, the poetry in names: with delineated clearly quite be may point breaking This etc. structure; tonal classical end of the the music, in reality”; “objective the of imitating theend painting, in an reality”; of “objective reflection or the “interior” the for expressing medium aneutral as language in belief naïve direct, “quasi-realism,” the direct-naïve artwork’s of an sense basic most the in end of “realism” the is that literature, in century: 19th end ofat the the “disciplines” artistic of the all noted in be can which point breaking the to art, relationship of our entirety the determines that point breaking historical from outbasic a if onestarts mystifications—only ­ideological in ourselves losing Today about “art”—without it possible to is talk II

contemporary electronic music; what does a Mallarmé amount to in to in amount aMallarmé what does music; electronic contemporary to comparison “radical”—in when it course, comes to being to—of amount aSchönberg (whatsince “overcome” does “radicalized” and long Today, mere beginnings, ­suppressed. like seem may breaks these still is scope its that and through, completely not thought been has line dividing day, of this as this even but oneFreud, note should that of Marx/Nietzsche/ points breaking the and point breaking this tween be parallel about the “poststructuralism,” and “structuralism” within well-developed already thesis, tothe develop not attempt Here we will of scope. its question the does as open, remains “fact” this to theorize of how question here yet the and a“commonly is point fact, known” Impressionists); music( Schönberg in Eros and Civilization. and Eros in Marcuse by revealed been already has which of conformism ideological concealed the Sullivan), Fromm, Horney, (Rapport, “neo-psychoanalysis” of revision analytical directed a“socially” toward aredirection demand and discovery, latest their as psychoanalysis of “crisis” the us sell to “anti-psychiatry”—try to links of denial Lebensphilosophie to bound ideologically etc., forces,” archetypal “deep of version “Jungian” obscurantist, entirely an side, other the on Freud’sdiscovery; of point central the to blind tently consis “refutations,” pseudo-“objective” cultured-and-complacent, have we side, one the on understanding: this of level the of indicator an as useful is T.V. and Svetina Zupan between polemic The Slovenia. in understood been has Freud how of question the open course of may one Here revisionism. obscurantist Jungian the with contrasts sharply which and practice, signifying aspecific as Unconscious the understands which Lacan, of direction the in is, that himself: Freud to even half-obscured discovery, psychoanalytic the of dimension preserved properly only the see we which within theory, psychoanalytic At the same time, some “radical” psychiatrists—with their symptomatically persistent persistent symptomatically their psychiatrists—with “radical” some time, same the At . ); in painting Cézanne ( Cézanne ); painting in Debussy). This breaking breaking not This yet Debussy). nor not yet Dubliners the not yet the not ­- - 111 anonymous | A rt, society/text 112 artmargins 5:3 5 Dadaism? to postwar comparison (to write in the strict sense of the word, which this word acquires in the the word in acquires this word, of which the sense strict the in (to write etc. etc. produces sense, first which non-sense, as practice to textual relation in operations, of “autonomous” signifying effect later the as to meaning relation in pheno-text; to the relation in geno-text the signified, to in relation signifier the enunciated,” of the “process to the relation processin of enunciation” “the re-presentation, to relation in of production de-centering the concerns which apparatus, whole of the conceptual purpose the indeed is that cut; historical the practice signifying of the theory field of materialist the nicknames) logical ideo go to let we of (if are these more precisely “poststructuralism,” and field of It the “structuralism” only is revisionisms. mentioned afore the what is allows oversight very this and cut, historical this overlooked of scope one’s overlooked of the having act, of having own effect the awareness, of aretroactive effects the witness “practice”—we in as much as “theory” Everywhere—in it (Lacan). bare” laying act—of his is act—which very away the from it in he turns that power of his Freud. by made is unconscious “production” of the of level at the which and Nietzsche, by made is categories ideological “production” of of ethical- the analysis of the level at the which Marx, by made process is social-productive of the analysis of the level the at which century, 19th end of atthe the cut artistic fundamental this cess suppression the of with its productive own abreak pro determination, concrete-historical its in itself art to say is with that art,” “Western of characteristic fundamental the with abreak is, that cut: of the point fundamental the “developments,” obfuscate only mostly which revisionisms, mere specious mere practical all “continuations” after are ; a break, which at the level of the signifying practice is made by by made is practice signifying of the level at the which ; abreak, after the war, and then is finally deviated from by Surrealism and the Bauhaus. the and by Surrealism from deviated finally is then and war, the after “continuation” by its first “radicalized” is war) the after Dada of most and Chirico, Arp, of works the in break—e.g. the of revision the Tzara—and Picabia, Ernst, Schwitters, of works the in break—e.g. the of realization the both see we which within thinkers,” “free of a coalition as Dada understand must we short, in etc.; anarchism, liberalism, bourgeois of elements also but break the of elements the only not itself within itincludes since ble dou necessarily is (which revolution cultural the of anticipation this war, the after partly and wars the between Dada then Cubism; by “radicalized” is Cézanne break: the of sion arevi is that a“radicalization,” is that adeviation, notice also can we arts” “visual the In These days, after the break, it simply is no longerpossible to break, write the after days, These face true the when he discovers man seizes that fright the is “Such , that is the field of this later awareness, a repetition/return of a laterrepetition/return awareness, this field of the is , that 5 ), but all these “radicalizations” and and “radicalizations” these ), but all ­ ­ - - -

something that, of course, is in its very formal-methodological aspect aspect formal-methodological very its in is of course, that, something forms, “particular” to its indifferent and concreteness, historical to real indifferent type,” “ideal of an generality amere to abstract be taken is mere as coincidences.” treated not may structure be Here,they then, order same so that the in and enough often occur certainly which reference by to one and another, explained be can and less do match neverthe of which theparticularities butother, each have influenced not could which poems, common of agroup form of the several means here “‘Structure’ word author for himself: means the sider what this con us let ion” here mentioned probably refers to “structuralism”—but “fash (foreword edition). The 9th disciplines” of to the academic kinds all fashionable word spread through has this out, came book of this edition first when the time sincethe because avoid word the ‘structure,’ rather much Iwould edition new the in that author says: “Iadmit the Slovene—where into translated also Friedrich, H. by Poetry Modern of Structure The book to the we turn may means, point breaking the meaning. class-based have entirely an before—to time any more so than understood—today “avant-gardes,” and therefore be should modernisms fore various the in cess of its production is obfuscated. is cess of production its pro the which within “work of of art,” the fetish up to break the form, mystified “wild,” in a still if even aims, which to it),nal areflection, not exter practice, to the (internal practices component of their of each an irreducible is the practice upon “reflection” . .—a Brecht Pound, Schönberg, Mallarmé, avant-garde: the within anything means which Consider any name reflection. by “creativity,” “unsullied” poetic “pure” “naïve,” of the myth end of the the is dialectic—this materialist the of laws basic the knowing without practice), signifying of the theory 6 prevent, stop, and dismiss this entirely subversive rhythm of the historical matter. historical the of rhythm subversive entirely this dismiss and stop, prevent, to ought which counterattack, ideological an merely is poetry of scientification called translation in mostly then even (and practice literary the in way, also secondary acompletely in there, and here only and theory, of field the in mostly it does, that extent the to occurs, guage lan of history so-called the Slovenia, in example for if, art; of “functions” certain over takes today science if symmetry: no implies relationship double this However, terms. popularizing sufficiently in Barthes, Roland by described been already ­critique”—has of the “crisis which—as process the itself; science of “artification” the is process this of side other necessary the that note merely us let itself, art of a“scientification” about ing talk merely are we here that believe who ideologues scientistic naïve those to response In To consider a real “archetype” of the misunderstanding of what misunderstanding of the To “archetype” consider areal comes to especially which of Slovene literature, dilettantism The , which has really become something of a tradition by now)—then the so- the now)—then by atradition of something become really has , which 6 ------

113 anonymous | A rt, society/text 114 artmargins 5:3 to a certain spiritualist obscurantism. spiritualist to acertain andespecially mystification, ideological to its belong already that tics characteris those and break of the characteristics real the both include may “avant-garde,” of point the “features”: this its and ing he lists notion break of the theoretical every lacks Friedrich because another: one empiricism support and notion of a“structure”) the using by etc. poetry, of modern dissonance of fundamental metaphors, use on the poetic modern and classical the between difference on the views incisive quite occasionally Friedrich’s of of sight loses “features,” one enumeration easily abstract-empirical this areIn negative. classifications fundamental of most his son that rea for is that “classical”—it of the measure the by poetry avant-garde “measures” still how Friedrich etc.; meaning, everyday/literal their of independent is of power words that magic/suggestive unreal, the toward flight chaos, Hermeticism, to evade: tried poetry” “modern that consciousness” “ideological very of it that by typical as recognized are which markers those of merely repeating means by poetry” “modern ..” version of merelyis aweaker Rimbaud. he today, though even popular quite to be who appears Lautréamont, with case the for is example This structure. basic of the variations us merely offer question in materials when the especially materials, complete of set ahistorically to gather attempt any redundant quite renders notion of astructure “The excluded: are break of the writers some fundamental of the on emphasis “structure” of this name the in when surprised, not should be we also Therefore emphasizes. often self author him the to “history,” opposed as which of “structure” standing under amethodological in question, approach to the ahistorical an up ends in necessarily always notion of “structure” of the use general to go by! here anything are of structuralism “understandings” current the if Slovenia, hereleast in at for astructuralist, taken be author will the that now worry we should word, author since for to avoid the this better be it would set—indeed, adifferential as notion of astructure “structuralist” away from the far (here idealism how methodological clearly quite see Here we can classifies how Friedrich observing sight, It acomical quite is ­ abstract- an such to add that unnecessary almost It be would Transla t ed by vid simoni vid by ed - - - - t - i