Tag, utopia
2. Towards a Theory of the Zoopolitical Unconscious

There are utopian spaces knitted into the fabric of the seemingly pessimistic film La Haine.1 One famous scene in La Haine condenses this “fleeting utopia”2 more then any other moment in the film: Hubert packages and smokes weed in his bedroom, listening to “That Loving Feeling,” sung by Isaac Hayes, and looks outside the window of his “rabbit hutch” (cage à lapins – as the identical flats of the cité are called). His gaze falls onto the inhabitants of the banlieue below. While the sound of a police helicopter immerses the social landscape in a tense mode of being watched by unfriendly eyes, Hubert’s gaze arrives at another window. Here we see a DJ, Cut Killer, positioning the loudspeakers by the window to sound outwards into the space between the buildings. The non-admission of young migrant men into discotheques is a recurring theme in banlieue films3 and also later in La Haine; here, the loudspeakers transform the open space of the banlieue into a grand dance floor.4Cut Killer stages an ingenious mix with samples of U.S. hip-hop artist KRS-One’s “Sound of the Police,” French rap formation Supreme NTM’s “Nique La Police” and Edith Piaf’s notorious “Je ne regrette rien.” more

Published: 27.06.2015
0 comments
...
01.05.–15.06.2015
3. Against the Anthropocene

On May 16th, 2015, the “Paddle in Seattle” demo unleashed its kayak flotilla, a mass direct action against Shell’s Arctic-bound Polar Pioneer drilling rig temporarily stationed in the west coast city’s port. Word and images of the “S(h)ell no!” protest spread widely online, accompanying reports in indie media and some mainstream press, distributed by environmentalist and Indigenous movements, adding momentum to the popular challenge to extreme extractivism in the far North. more

Published: 25.05.2015
4 comments
2. Geo-Engineering the Anthropocene

“A daunting task lies ahead for scientists and engineers to guide society towards environmentally sustainable management during the era of the Anthropocene. This will require appropriate human behaviour at all scales, and may well involve internationally accepted, large-scale geo-engineering projects, for instance to ‘optimize’ climate.”1Paul J. Crutzen, “Geology of Mankind,” Nature 415 (2002), 23; http://dx.doi.org/10.1038/415023a.—Paul Crutzen, 2002 more

Published: 13.05.2015
1 comments
...
5. Beyond Paul Strand: What Can Radical Photography Be?

I started this blog by posing some questions about the arbitrariness of dividing Paul Strand’s career into a late period of political subject matter and activism and an early period that seemed devoted primarily to formal concerns. Certainly, this is something of a straw man, because most of us would agree that the visual arts are inherently about shaping matter, with all its inherent recalcitrance, into form, regardless of the desired or received “meaning” of that shaped form. The other problem is, of course, what we intend by the terms, “political subjects” or “political art.” The gathering together of any people into a governing unit begins to constitute the body politic, so that virtually all social life in some sense can be read as “political.” However, historically we distinguish “political art”—art that is intentionally made to express a political party line or promote a particular government or policy position—from art that can be read as confirming a location within conflicting ideologies (which may cut across formal party platforms or regimes).  This latter sense of art as functioning politically and representing certain values that can be decoded has driven much of the social history of art in the past fifty years and is what I was striving to uncover in Strand’s enigmatic urban views. more

Published: 10.03.2015
0 comments
...
4. Heart of Darkness

The 1960s are dark and phantasmagoric, like an ambiguous terrain vague or “nowhere land” in the periodization of photographic history. I’m not free from that uncertainty about the interpretation of this complex decade. It seems like a moment when the past was not quite over and the future had yet to start. Such ambiguity is evident if we compare Steichen’s The Bitter Years with Szarkowski’s New Documents. Both exhibitions were created within only five years of each other, yet stand for two different historical eras in the same decade. In a way, The Bitter Years is the last hurrah of prewar modernism, a living fossil that represents the peak and the end of the 1920-30s’ innovations. more

Published: 29.06.2014
10 comments