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Die Forschungsagentur Forensic Architecture untersucht Kriegsverbrechen und ökologische wie politische Krisen und bringt sie mit ihrer "Investigativen Ästhetik" (MACBA 2017) in den Ausstellungs- wie Gerichtssaal. Lisa Stuckey untersucht anhand der Figuration 'Law on Trial' – Gesetz und Recht vor Gericht, auf dem Prüfstand, zur Verhandlung –, weshalb ausgerechnet ästhetischen und poetischen forensischen Verfahren eine radikale Befragung sozialer Gerechtigkeit überantwortet wird.In punktuellen Exkursen vergleicht die Studie Strategeme von Forensic Architecture mit denen der Medienkünstlerin Constanze Ruhm und der Poetin M. NourbeSe Philip. Nachdem das Recht im 18. Jahrhundert zum "Modellfall für Wissenssysteme" (Vismann/Weitin 2006) geworden ist, steht das heutige buchstäbliche Auf-die-Probe-Stellen von Recht im Zusammenhang mit einer neuen Dimension der Aufdeckung, die an die Institutionskritik der 1990er Jahre anschließt und zu einem Funktionswandel der Künste führt, in denen forensische Verfahren Konjunktur haben. Veröffentlichung mit Unterstützung des Austrian Science Fund (FWF) The research agency Forensic Architecture investigates war crimes and ecological and political crises, and brings them to both exhibition spaces and courtrooms by applying its “investigative aesthetics” (MACBA 2017). Using the figuration “Law on Trial,” Lisa Stuckey determines why it is precisely aesthetic and poetic forensic procedures that are assigned the task of radically questioning social justice.

ARCHITECTURE / Study & Teaching. --- Forensic Architecture. --- evidence. --- institutional critique. --- investigative aesthetics. --- jurisdiction.

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Wie können Museen, Ausstellungsinstitutionen und Ausstellungen als Möglichkeitsräume für demokratische Aushandlungsprozesse fungieren? Und inwiefern können und sollen Ausstellungsinstitutionen über ihre traditionellen Funktionen hinausgehen und zu Akteur*innen politischer Demokratisierung und sozialer Inklusion werden? Die Beiträger*innen tragen verschiedene Aspekte zu diesen Fragen zusammen und widmen sich u.a. dem Kontakt- und Konfliktpotential von Museen und Ausstellungen. Aber auch die künstlerische und kuratorische Praxis als politische Intervention steht im Fokus der Beiträge. Damit zeigt der Band neue Perspektiven auf, Museen und Ausstellungen als veränderbare gesellschaftliche Räume zu begreifen.

ART / Museum Studies. --- Activism. --- Collection. --- Conflict. --- Contact Zone. --- Critique. --- Decolonization. --- Democracy. --- Diversity. --- Exhibition. --- Imparting. --- Inclusion. --- Institutional Critique. --- Intervention. --- Museology. --- Museum Education. --- Polyphony. --- Postcolonialism. --- Practice. --- Process. --- Society.

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"Wild Art" refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of "taste," one in which each expression is acknowledged as being different while deserving equal merit.Arguing that both the "art world" and "wild art" have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of "taste" in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of "wild art" in the present will radically transform our understanding of contemporary visual art in the future.Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of "kitsch" and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.

ART / Criticism. --- Aesthetics. --- Art World. --- Art museum. --- Critique of the Art Establishment. --- Folk Art. --- Graffiti. --- Hegel. --- History of Aesthetics. --- Institutional Critique. --- Kant. --- Museum History. --- Outsider Art. --- Public Art. --- Wild art.

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This volume presents the first comprehensive academic study of the history and development of performance art in the former communist countries of Central, Eastern and South Eastern Europe since the 1960s. Covering 21 countries and more than 250 artists, this text demonstrates the manner in which performance art in the region developed concurrently with the genre in the West, highlighting the unique contributions of Eastern European artists. The discussions are based on primary source material-interviews with the artists themselves. It offers a comparative study of the genre of performance art in countries and cities across the region, examining the manner in which artists addressed issues such as the body, gender, politics and identity, and institutional critique.

Politics in art. --- Performance art. --- Institutional Critique (Art movement) --- Identity (Philosophical concept) in art. --- Human beings in art. --- Gender identity in art. --- Identity (Philosophical concept) in art --- Politics in art --- Gender identity in art --- Human beings in art --- Performance art --- Arts, Modern --- Happenings (Art) --- Performing arts --- Humans in art --- Art, Modern --- History. --- Europe, Eastern. --- East Europe --- Eastern Europe --- Europe, Eastern --- Soviet countries. --- artistic practice. --- artistic production. --- beauty. --- body art. --- communism. --- free-form. --- gender. --- identity. --- institutional critique. --- performance art. --- politics. --- post-socialist East. --- self-expression. --- socialist countries. --- sociopolitical climate. --- state control. --- women's sexuality. --- Eastern Europe.

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Through the use of various media, Annaïk Lou Pitteloud, who grew up in Lausanne and now lives in Brussels, directs the viewer’s gaze, the observer, to invisible elements that belong to the construction of the image, to institutional space or to the actual creative activity. Simple and direct, Pitteloud’s works pose critical questions about social problems and reveal the sometimes frozen mechanisms of the art world and the codes of perception, mediation and presentation of art.With the modular work documentation “Folder”, Annaïk Lou Pitteloud presents for the first time a comprehensive publication on her artistic work to date. The publication is preceded by the two sub-publications “Folder” and “Dossier”. As catalogues for the solo exhibitions at the Kunstmuseum St. Gallen and the Musée cantonal des Beaux-Arts in Lausanne, they contain different compilations of the artist’s works that are related to the respective exhibitions and thus illustrate the basic idea of the present modular documentation of works. Files on all the artist’s works are created according to a strict grid. Separated by type of content, titles, descriptions of works, notes, documentary images and texts are compiled. Reproductions of drawings and reprints of printed matter used in the exhibitions complete the collection.This archive forms the basis for the monographic publications, in that a suitable selection of works can be compiled and published according to the occasion of the publication. The individual sheets, which are held together by pad binding, have three punched holes and suggest that the contents can also later be disassembled, rearranged or supplemented and filed in a folder. Authors: Maziar Afrassiabi, Madeleine Amsler, Pavel Büchler, Barnaby Drabble, Bethan Huws, Marie-Eve Knoerle, Federica Martini, Hans Rudolf Reust, Nicole Schweizer, Steve Van den Bosch, Nadia Veronese. Designers: Arve Båtevik, Georg Rutishauser

Art --- art [fine art] --- Conceptual --- Pitteloud, Annaïk Lou --- Installations (Art) --- kunst --- museologie --- musea --- archivering --- archieven --- institutional critique --- institutionele kritiek --- 7.071 PITTELOUD --- eenentwintigste eeuw --- Pitteloud Annaïk Lou --- Zwitserland --- installaties --- Installation art --- Art, Modern --- Environment (Art) --- Pitteloud, Annaïk Lou, --- art [discipline] --- social criticism