٠ The story of Appropriation Art: multiple signifiers, zero significance, one myth ٠

© Andy Warhol, The Shadow, from The Myths, 1981. excerpts from Sven Lütticken‘s The Feathers of the Eagle, published in 2005, in New Left Review, No.36, pp.109-125. “If the culture industry is based to a significant degree on the appropriation … Continue reading ٠ The story of Appropriation Art: multiple signifiers, zero significance, one myth ٠

٠ Thomas Susanka’s ‘The Rhetorics of Authenticity: Photographic Representations of War’ (I of II) ٠

What follows are excerpts from a very interesting article by Thomas Susanka, published in “Paradoxes of Authenticity”, pp.95-113, edited by Julia Straub and published by transcript Verlag, Bielefeld, 2012 In the context of the following paper, as Susanka clarifies, ‘authenticity’ … Continue reading ٠ Thomas Susanka’s ‘The Rhetorics of Authenticity: Photographic Representations of War’ (I of II) ٠

٠ Duarte Amaral Netto: It’s all real, you just need to give up on your anguish (III of III) ٠

Part I of essay here and part II here © Duarte Amaral Netto, Z (France, April 1940), 2012 65×50 cm Framed, Inkjet on Fine Art, Ed. 2 + 1 AP Storytelling isn’t far from the discursive play, on the contrary. … Continue reading ٠ Duarte Amaral Netto: It’s all real, you just need to give up on your anguish (III of III) ٠

┐ This is punctum └

It’s never too late to talk about punctum. Roland Barthes created The concept, very simple to access but very difficult to locate in linguistic terms. It remains submissive to the subjective order and to the the representation of an image of affection. If one believes in an authentic point of view one should also be allowed to believe in an authentic way of connecting to those who choose to speak through their relation with the world of ideas. Ideas that are both the light and their shadow and that can be accessed in between. This is punctum for me, studium … Continue reading ┐ This is punctum └

┐ Christian Boltanski – death from within └

© Christian Boltanski, Odessa Monument, 1991. Four gelatin silver prints, lights and wiring “Since the late 1960s, Christian Boltanski (b. 1944, Paris) has worked with photographs collected from ordinary and often ephemeral sources, endowing the commonplace with significance. Rather than taking original photographs to use in his installations, he often finds and rephotographs everyday documents—passport photographs, school portraits, newspaper pictures, and family albums—to memorialize everyday people. Boltanski seeks to create an art that is indistinguishable from life and has said, The fascinating moment for me is when the spectator hasn’t registered the art connection, and the longer I can delay … Continue reading ┐ Christian Boltanski – death from within └