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Dispositiv-Erkundungendispositiv-Erkundung | Exploring Dispositifs BIRTE KLEINE-BENNE (ED.) DISPOSITIV-ERKUNDUNGENDISPOSITIV-ERKUNDUNG | EXPLORING DISPOSITIFS Birte Kleine-Benne (Ed.) DISPOSITIV-ERKUNDUNGEN | EXPLORING DISPOSITIFS Expanded publication of the conference Dispositiv-Erkundungen, jetzt., at the Institute of Art History, Ludwig-Maximilians-University Munich, June 28 and 29, 2019. Further details: https://bkb.eyes2k.net/2019_Tagung_Dispositiv-Erkundungen.html Conference and publication were supported by Department Kunstwissenscha"en Praxisbüro des Depart- Freundeskreis des Instituts Institut für Kunstgeschichte ments Kunstwissenscha"en für Kunstgeschichte der der Ludwig-Maximilians- Universität München e. V. UV, c/o Humboldt-Universität zu Berlin, Institut für Kunst- und Bildgeschichte Ulmer Verein. Verband für Kunst- Unter den Linden 6, 10099 Berlin Universität München und Kulturwissenschaften e.V. c/o Humboldt-Universität zu Berlin Frau Prof. Dr. Institut für Kunst- und Birte Kleine-Benne Bildgeschichte LMU München Unter den Linden 6 10099 Berlin Fachbibliothek Kunstwissenscha"en VorstAnd: Henrike Haug, Ann-Kathrin Hubrich, Andreas Huth, Franziska Lampe, Yvonne Schweizer [email protected] www.ulmer-verein.de Bibliographic information published by the Deutsche Nationalbibliothek Bern, den 4. Oktober 2019 The Deutsche Nationalbibliothek lists IhrthisAntrag publication auf Förderung in theIhrer Deutsche wissenschaftlichen Nationalbibliogra Publikation!e detailed bibliographic data are available in the Internet at http://dnb.d-nb.de . Sehr geehrte Frau Professorin Kleine-Benne, liebe Birte, wir danken für Ihren Antrag über eine Förderung einer Publikation zum Thema „Dispositiv- Erkundungen, jetzt“. Wir freuen uns sehr, Ihnen einen positiven Bescheid zukommen lAssen zu können. Der Vorstand kann die Ihnen entstehenden Publikationskosten mit einem Betrag von Concept and editing: Birte Kleine-Benne500,00 Euro bezuschussen. Der interdisziplinäre Zuschnitt des Bandes, die Beteiligung des Proofreading: Susann Kühn Mittelbaus sowie das Votum für eine engagierte Kunstgeschichte motivierte unsere Entscheidung. Cover: lia perjovschi, art (diagram fromMit ongoingBlick auf die series Förderung 1999–today) darf ich Sie bitten, das Logo des Ulmer Vereins in das Impressum der Publikation zu integrieren. Bezüglich der Auszahlungsmodalitäten setzen Sie sich bitte mit Henrike Art design: Anastassia Kostrioukova Haug ([email protected]) in Verbindung. Bitte senden Sie uns zum Abschluss des Projekts eine Abrechnung sowie eine Rechnungskopie der Verlagskosten zu, damit wir diese an unsere Layout and typesetting: Florian HawemannBuchhaltung geben können. Auch freuen wir uns – falls das Buch gedruckt würde – über ein Editor: Birte Kleine-Benne Belegexemplar. Ich wünsche Ihnen viel Erfolg bei der Fertigstellung des Publikationsprojekts und sende beste Grüße aus Bern © Copyright Logos Verlag Berlin GmbH and the authors 2020 All rights reserved. Yvonne Schweizer i. A. des UV-Vorstandes ISBN 978-3-8325-5197-1 http://www.ulmer-verein.de DOI 10.30819/5197 Logos Verlag Berlin GmbH Georg-Knorr-Str. 4, Geb. 10 D-12681 Berlin Tel.: +49 (0)30 42 85 10 90 Fax: +49 (0)30 42 85 10 92 INTERNET: http://www.logos-verlag.de Inhaltsverzeichnis | Table of contents Inhaltsverzeichnis | Table of contents 5 Mitteilung | Statement 9 Dispositivieren. Eine Annäherung | (Un)Doing the Dispositif. A Convergence Birte Kleine-Benne 57 Strategien des Nicht*Sagbaren / Nicht*Sichtbaren. Überlegungen zum Disposi- tiv der Ästhetik. Elke Bippus 81 About the Monolingual Players Luis Camnitzer 91 Systemcheck – nicht Corona ist die Krise. Vom Ende der Anthroposphäre. Ibou Coulibaly Diop und Thomas Oberender 105 Über die soziale Welt sprechen … Andrea Fraser 111 From the Critique of Institutions to an Institution of Critique Andrea Fraser 119 Plea for an Interpretation of the Freedom of Art and the Concept of Art in Conformity with Fundamental Rights | Plädoyer für eine grundrechtskonforme Auslegung der Kunst freiheit und des Kunstbegri!es erwin GeheimRat 129 Die gleissende Welt: Einführung Siri Hustvedt 137 Drei emotionale Geschichten Siri Hustvedt 153 Enduring Disagreement. What We Can Learn from the Pluralism Debate in Mathematics Silvia Jonas 157 Auf das Ende des ästhetischen Regimes spekulieren … Birte Kleine-Benne Inhaltsverzeichnis | Table of contents 193 Krise, Kritik und Transformation des Autonomiekonzepts moderner Kunst. Zwischen Kunstbetrachtung und ästhetischem Dasein Michael Lingner 209 Escape Attempts Lucy Lippard 227 The BRAID: Moving Across Dimensions from Representation to Performativity Adelheid Mers 241 Boxes, Cubes, Installations, Whiteness and Money Brian O’Doherty 245 “Censorship now!!”: Destruction and Memory in Art Julia Pelta Feldman 255 Philosophy En Route to Reality: A Bumpy Ride Adrian Piper 271 ReCoder – Arbeitsnotizen zu einem experimentellen Filmprojekt Stefan Römer 291 Dauermoralisierung? Zur Kritik der impliziten Kritik. Thorsten Schneider 301 Kants Ästhetik im Kontext des kolonial gestützten Kapitalismus. Ein Fragment zur Entstehung der philosophischen Ästhetik als Sensibilisierungsprojekt Ruth Sonderegger 317 Autor*innenbiogra"en | Biographies of the Authors Mitteilung „Will man die Linien eines Dispositivs entwirren, so muss man in jedem Fall eine Karte anfertigen, man muss kartographieren, unbekannte Länder ausmessen – eben das, was [Foucault] als ‚Arbeit im Gelände‘ bezeichnet hat.“ Gilles Deleuze: Was ist ein Dispositiv?, in: Francois Ewald und Bernhard Waldenfels (Hg.): Spiele der Wahrheit. Michel Foucaults Denken, Frankfurt a. M. 1991, S. 153. Im Nachklang der von Birte Kleine-Benne an der Ludwig-Maximilians-Universität Mün- chen, Institut für Kunstgeschichte, Ende Juni 2019 veranstalteten Tagung Dispositiv-Erkun- dungen, jetzt. möchten wir wichtige Gedanken unserer Debatte verö#entlichen. Angesichts der Herausforderungen an o#ene Gesellscha"sformen durch Anfeindungen gegenüber Pluralität, Di#erenz(ierung)en und Dekonstruktionen erscheint uns eine er- neute Re$exion über die Verantwortlichkeiten von Kunst, Kunstgeschichte und Kunst- theorie notwendig. Aus einem historischen Rückbezug auf etablierte künstlerische, kunstgeschichtliche und -theoretische Narrative ergeben sich Forschungsansätze, die auch auf ihre wissenscha"s- politischen Funktionen sowie den gesellscha"lichen Kontext, in dem sie situiert sind, be- fragt werden sollten. Daher sprechen wir uns für eine Praxis aus, die sich nicht in bereits vorhandenem Wissen erschöp", sondern dieses herausfordert, indem sie etablierte normative Wissenspraktiken, Argumentationsstrukturen und Bildrhetoriken neu verhandelt. Dieses Projekt fassen wir in zwei Arbeitshypothesen: 1. Kunsttheorien sollten neu ansetzen, indem sie die Komplexität ihrer institutionellen und disziplinären Rahmungen und ihre performativen Dimensionen mitre$ektieren. Dazu sollten die Produktionsverhältnisse, Unsicherheiten und dispositiven wie auch diskursiven Verfasstheiten in den Blick genommen werden, um sich grundlegender Prämissen, Theoreme, Ideologien, Probleme und Institutionen zu vergewissern und so tradierte Begri#e und Unterteilungen in Medien, Gattungen, Materialien, Genres und Stile grundsätzlich neu zu diskutieren. 2. Kunsttheorien sollten ihre eigenen epistemischen Prozesse markieren: Dazu sind ihre Politiken und Ökonomien der Wissensbildungen, ihre Begründungs-, Legitimierungs-, Ausschließungs- und Tradierungsprozesse zu analysieren und ebenso ist anzuerkennen, dass Kunstgeschichte(n) plural produziert werden und folglich selbst ein heterogenes Ge$echt aus Operationen und Operatoren sind. 5 Mitteilung Hierbei handelt es sich um ein wissenscha"stheoretisch, methodologisch und epistemolo- gisch gleichermaßen komplexes wie herausforderndes Projekt, das die Intensivierung einer kollektiven Diskussion über bestehende disziplinäre Begrenzungen hinweg anregt. Dazu möchten wir interessierte Kolleginnen und Kollegen einladen: Dispositiv-Erkundungen@ eyes2k.net Erste Informationen sind bereits online verfügbar: https://bkb.eyes2k.net/2019_Tagung_Dispositiv-Erkundungen.html Es folgt eine Verö#entlichung, nicht nur der Tagungsbeiträge, um weitere Diskussionen in Gang zu setzen. Prof. Dr. Elke Bippus Kunsttheoretikerin, Kunsthistorikerin, Zürcher Hochschule der Künste Dr. Silvia Jonas Philosophin, Munich Center for Mathematical Philosophy, Ludwig-Maximilians- Universität München Prof. Dr. Birte Kleine-Benne Kunstwissenscha"lerin, Institut für Kunstgeschichte, Ludwig-Maximilians-Universität München Prof. h.c. Dr. Stefan Römer Künstler Thorsten Schneider Kunsthistoriker, Leuphana Universität Lüneburg und Institut für Betrachtung Erwin GeheimRat Konzeptkünstler / digital, GeheimRat.com Juni / November 2019 6 Statement “Untangling these lines within a social apparatus [dispositif ] is, in each case, like drawing up a map, doing cartography, surveying unknown landscapes, and this is what he [Foucault] calls ‘working on the ground’.” Gilles Deleuze. What is a Dispositif? in: Michel Foucault, Philosopher: Essays. Trans. Timothy Armstrong, New York et al.: Harvester Wheatsheaf, 1992, p. 159. As a follow-up to the conference Exploring dispositifs, today., organized by Birte Kleine- Benne for the Institute of Art History at the Ludwig-Maximilians-University Munich in June 2019, we would like to summarise the main ideas that emerged from our debate. In light of the challenges faced by inclusive social systems due to hostilities against plurality, di#erences / di#erenciations and deconstructions, a renewed re$ection on the responsibi- lites of art, art history and art theory appears
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