Contributors
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Contributors Dina Al-Kassim is Assistant Professor of Comparative Literature and Affiliate Faculty of Women’s Studies at UC Irvine. She has completed a manuscript on ranting and subjection in modernist literature entitled On Pain of Speech and is currently working on a comparative study of phantom kinship and impossible reparation in the postcolonial states of North and South Africa as these are expressed in public rituals of women’s testimony. Her essays can be found in Interventions, Public Culture, and GLQ. Rhea Anastas is an art historian at The Center for Curatorial Studies, Bard College and a founding member of Orchard. Coeditor of Dan Graham: Works 1965–2000 (Richter Verlag, 2001), her recent article, “‘Not in eulogy not in praise but in fact’: Ruth Vollmer and Others, 1966–1970,” appears in the first book about Vollmer from Hatje Cantz. Her lecture, Untitled by Andrea Fraser: A Short Reception History, 2002–2005, is a book in-progress. Gregg Bordowitz is a writer and film/video maker. His films, including Fast Trip Long Drop (1993) and Habit (2001), have been widely shown internationally. His recent book, The AIDS Crisis Is Ridiculous and Other Writings, 1986–2003 (MIT Press, 2004), was recognized with the 2006 Frank Jewett Mather Award from the College Art Association. His new work, “The Self-Shattering Peace,” one of a series of lectures, was presented at LTTR at Art in General, New York; The Cooper Union, New York; LACE, Los Angeles; and the Tate Modern, London. T.J. Demos is Lecturer in the Department of History of Art, University College London. A member of Art Journal’s editorial board, he writes widely on modern and contemporary art. His essays have appeared in journals such as Artforum, Flash Art, Grey Room, and October, and his book, The Exiles of Marcel Duchamp, is forthcoming from MIT Press in early 2007. He is currently working on a new book-length study of contemporary art and globalization. Rosalyn Deutsche is an art historian and critic who teaches at Barnard College. She is the author of Evictions: Art and Spatial Politics and has recently completed essays on the work of Krzysztof Wodiczko, Silvia Kolbowski, and Louise Lawler. Anselm Franke is a freelance curator and critic based at KW Institute for Contemporary Art Berlin until autumn 2006. He has curated international exhibitions including “Territories” and “The Imaginary Number” and edited several volumes and catalogues. In addition to the exhibition “No Matter How Bright the Light, the 4 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/grey.2006.1.24.4 by guest on 02 October 2021 Crossing Occurs at Night,” he is now working on an exhibition on cinematic gestures to be presented in Berlin and Antwerp. He is currently completing his PhD in Visual Cultures/Research Architecture at Goldsmiths College London. Andrea Fraser is a New York–based artist whose work has been identified with performance, context art, and institutional critique. Major projects include installations and performances at the Philadelphia Museum of Art, the Berkeley Art Museum, the Kunstverein München, the Generali Foundation, inSITE97, and The MICA Foundation. A retrospective of her work was organized by the Kunstverein in Hamburg in 2003. Museum Highlights: The Writings of Andrea Fraser was released by MIT Press in 2005. She was a founding member of the V-Girls, Parasite, and Orchard. Avery Gordon teaches at the University of California, Santa Barbara and is the author of Keeping Good Time (Paradigm, 2004) and Ghostly Matters (University of Minnesota Press, 1997). She is also the cohost of No Alibis, a public affairs radio program at KCSB-FM. Natascha Sadr Haghighian is a curator and critic based in Zurich and Teheran. Her upcoming projects are “Lapdogs of the Bourgeoisie,” a group exhibition at Gasworks London, and Platform Istanbul. She will be an Advisor/Tutor in Department 2 of Manifesta School 2006. Her recent projects include “How Can It Hurt You When It Looks So Good,” an exhibition project in Tehran in 2006, and “A Fiesta of Tough Choices,” a symposium and exhibition project, IASPIS Stockholm. She has been an editor of BidounMagazine since November 2004 (www.bidoun.com). This bio is borrowed from www.bioswop.net. Daniel Heller-Roazen is Professor of Comparative Literature at Princeton University. He is the author of Fortune’s Faces: The Roman de la Rose and the Poetics of Contingency (Johns Hopkins University Press, 2003) and Echolalias: On the Forgetting of Language (Zone Books, 2005), as well as the editor and translator of Giorgio Agamben’s Potentialities: Collected Essays in Philosophy (Stanford, 1999). “Murriana” is the preface to his latest book, The Inner Touch: Archaeology of a Sensation (forthcoming from Zone Books this winter). He is currently preparing The Norton Critical Edition of the Arabian Nights. Tom Holert, an art historian who is based in Berlin, is a former editor of Texte zur Kunst and Spex. Among his books are Künst- lerwissen (Fink, 1998), Imagineering. Visuelle Kultur und Politik der Sichtbarkeit (König, 2000), Fliehkraft. Gesellschaft in Bewegung— 5 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/grey.2006.1.24.4 by guest on 02 October 2021 von Migranten und Touristen (Kiepenheuer and Witsch, 2006) co-authored with Mark Terkessidis. Eva Horn is a Professor of German Literature at the University of Basel, Switzerland. She is the author of numerous works that focus on secret services, war, borders, and political secrecy in modernity, including Grenzverletzer (Kadmos, 2002), Defense (forthcoming 2006), and “Waldgänger, Traitor, Partisan,” in The New Centennial Review. She has just finished a book manuscript, “The Secret War,” which explores political secrecy and espionage in modern literature from the Great Game to 9/11. Jutta Koether is a New York–based artist and frequent contributor to Texte zur Kunst and Artforum. Recent projects include “Fresh Aufhebung,” exhibited and performed at Columbia University; the Generali Foundation, Vienna; and Reena Spaulings Fine Art, New York. “what do you want from me?—fantasy nyc!” appeared in the Whitney Biennial 2006. In May the Kölnischer Kunstverein opened “Fantasia Colonia,” a major solo exhibition (with cata- logue), which travels to the Kunsthalle Bern in 2007. Pamela M. Lee is Associate Professor of art history at Stanford University. She is the author of Object to Be Destroyed: The Work of Gordon Matta-Clark (MIT Press, 1999) and Chronophobia: On Time in the Art of the 1960s (MIT Press, 2004). Her current project is Forgetting the Art World: Globalization and Contem- porary Art. Glenn Ligon is a New York–based artist. A solo exhibition of his work, “Glenn Ligon—Some Changes,” curated by Wayne Baerwaldt and Thelma Golden, opened at The Power Plant, Toronto, and travels to The Andy Warhol Museum, Pittsburgh; Wexner Center for the Arts, Columbus; and Mudam—Musée d’Art Moderne Grand-Duc, Luxembourg. In October 2006 he will have a solo show at Thomas Dane Gallery, London. Heather Love teaches English and Gender Studies at the University of Pennsylvania. Her first book, Feeling Backward: Loss and the Politics of Queer History, is forthcoming from Harvard University Press. She is currently working on a history of social stigma called Marked for Life. Ines Schaber is a freelance artist living in Berlin. She studied Fine Arts at the Academy in Berlin and Architecture at Princeton University. She is currently realizing a work on representations of labor in Pennsylvania and a ghostly picture mine. 6 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/grey.2006.1.24.4 by guest on 02 October 2021 Eyal Weizman is an architect and director of the Centre for Research Architecture at Goldsmiths College, University of London. His book, The Politics of Verticality, is forthcoming with Verso Press. Editors’ Note This special issue of Grey Room was conceived in response to the invitation to participate in documenta 12 magazines, a collective editing project linking more than seventy print and online period- icals, radio programs, and other media worldwide, part of the larger series of activities surrounding the “documenta 12” exhibition in Kassel, Germany in 2007 (www.documenta12.de). In particular, the texts gathered in “The Status of the Subject” intersect with one of the exhibition’s three main topics or “leitmotifs,” that of, as it was originally formulated, “Bare Life (Subjectification).” Although no article responds directly to the exhibition curators’ question, “What is bare life?” or proposes to define the contempo- rary condition of subjectivity, each one, firmly rooted in the writer’s ongoing research, sheds light on the topic in a more or less direct or oblique manner. Our thanks to the contributors, all of whom worked under conditions of a pressing deadline and a limited page count. Special thanks are due to Rhea Anastas and Anselm Franke for organizing, transcribing, and editing their discussions. —Branden W. Joseph, for the editors. 7 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/grey.2006.1.24.4 by guest on 02 October 2021.