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.This kind of time/space a space that exists in time, from which one is aware of beingembedded in measurable temporalities and historical consequence whilesomehow also being at a shadowy distance from them has always been ofenormous interests to artists.It was a major theme within modern art,pitching it against the past and many specific pasts, and doing so in thename of imaginable and inevitable futures.It is even more of a core subjectfor contemporary artists, working within and between the currents justoutlined.These include Tacita Dean, Christian Marclay, Bill Viola, JohnMawurndjul, William Kentridge, Isaac Julian, Steve McQueen, Emily Jacir,and countless others.I would argue, however, that the past present futuretriad no longer dominates temporality, because contemporaneity includes Our Contemporaneity? 25within its diversity many revived pasts and wished-for futures, all of whichare being lived out as vivid, or at least possible, presents.30I suggested above that the concept of contemporaneity allows us to seethat friction between three sets of antinomic forces shapes, in a fracturedway, the current world (dis)order.I have proposed that these forces subsistin art practice in homologous ways, such that three broad currents may bediscerned in art today, each quite different in character, scale, and scope.31They have taken distinctive forms since the 1950s.The first current prevailsin the metropolitan centers of modernity in Europe and the United States(as well as in societies and subcultures closely related to them) and isa continuation of styles in the history of art, particularly modernist ones.The second has arisen from movements toward political and economicindependence that occurred in former colonies and on the edges of Europeand then spread everywhere.It is characterized above all by clashingideologies and experiences.The result is that artists prioritize both localand global issues as the urgent content of their work.Meanwhile, artistsworking within the third current explore concerns that they feel personallyyet share with others, particularly of their generation, throughout anincreasingly networked world.Taken together, these currents constitutedthe contemporary art of the late twentieth century, and their unpredictableunfolding and volatile interaction continue to shape art in the earlytwenty-first.Notes1 Giorgio Agamben s answer to What does it mean to be contemporary? isto articulate contemporariness as experienced by those philosophers, poets,scientists, and artists who, he presumes, are most capable of understandingits true nature.Presented online as Giorgio Agamben on contemporaneity, its title when published in Italy was Che cos è il contemporaneo? It has settledin English as What is the Contemporary? Respectively, www.youtube.com/watch?v=GsS9VPS_gms&feature=related; Giorgio Agamben, Che cos è ilcontemporaneo? (Rome: Nottotempo, 2008); and Giorgio Agamben, What isan Apparatus? And Other Essays (Stanford: Stanford University Press, 2009),pp. 39 54.2 See Terry Smith, Nancy Condee, Okwui Enwezor, eds., Antinomies of Art andCulture: Modernity, Postmodernity and Contemporaneity (Durham: DukeUniversity Press, 2008). 26 The Contemporary and Globalization3 Joseph Nye Jr., inventor of the term soft power, has recently used this meta-phor to invoke the distribution of military, economic, and cultural power inthe world today.See his The Future of Power (New York: PublicAffairs, 2011).4 Jean-Luc Nancy, Art Today, lecture Accademia di Brera, Milan, 2006; L arte,oggi, in Federico Ferrari, ed., Del contemporaneo (Milan: Bruno Mondadori,2007); also in Journal of Visual Culture 9: 1 (April 2010), pp.91 99.Numbersin text refer to the last.5 Nancy, Art Today, op.cit., p.92.6 Notably in Jean-Luc Nancy, The Birth to Presence (Stanford: Stanford UniversityPress, 1993).7 Nancy, Art Today, op.cit., p.92.8 Ibid., p.93.9 Ibid., p.96.10 Ibid., p.94.11 Ibid., p.94.12 Ibid., p.94.13 See, for example, Boris Groys, Going Public (Berlin: Sternberg Press, 2010),especially Comrades of Time, pp.84 101.See also note 28.14 Nancy, Art Today, op.cit., p.94.15 Ibid., p.95.16 Ibid., p.99.17 Ibid., p.98.18 Questionnaire on the contemporary : 32 Responses, October 130 (Fall 2009),pp.3 124.19 Ibid., pp.64 73.20 Ibid., pp.33 40.21 Alex Alberro, Periodising Contemporary Art, in Jaynie Anderson, ed., Conflict,Migration and Convergence, The Proceedings of the 32nd International Congressin the History of Art (Melbourne: Miegunyah Press, 2009), pp.935 939; and inOctober 130 (Fall 2009), pp.55 60.Readers interested in an account of theprehistory of the idea of the contemporary in modern art discourse mightconsult my The State of Art History: Contemporary Art, Art BulletinXCII: 4 (December 2010), pp.366 383.22 What is Contemporary Art? e-flux 11 (December 2009) and 12 (January2010), at www.e-flux.com/journal/issue/11 and www.e-flux.com/journal/issue/12 [ Pobierz caÅ‚ość w formacie PDF ]
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.This kind of time/space a space that exists in time, from which one is aware of beingembedded in measurable temporalities and historical consequence whilesomehow also being at a shadowy distance from them has always been ofenormous interests to artists.It was a major theme within modern art,pitching it against the past and many specific pasts, and doing so in thename of imaginable and inevitable futures.It is even more of a core subjectfor contemporary artists, working within and between the currents justoutlined.These include Tacita Dean, Christian Marclay, Bill Viola, JohnMawurndjul, William Kentridge, Isaac Julian, Steve McQueen, Emily Jacir,and countless others.I would argue, however, that the past present futuretriad no longer dominates temporality, because contemporaneity includes Our Contemporaneity? 25within its diversity many revived pasts and wished-for futures, all of whichare being lived out as vivid, or at least possible, presents.30I suggested above that the concept of contemporaneity allows us to seethat friction between three sets of antinomic forces shapes, in a fracturedway, the current world (dis)order.I have proposed that these forces subsistin art practice in homologous ways, such that three broad currents may bediscerned in art today, each quite different in character, scale, and scope.31They have taken distinctive forms since the 1950s.The first current prevailsin the metropolitan centers of modernity in Europe and the United States(as well as in societies and subcultures closely related to them) and isa continuation of styles in the history of art, particularly modernist ones.The second has arisen from movements toward political and economicindependence that occurred in former colonies and on the edges of Europeand then spread everywhere.It is characterized above all by clashingideologies and experiences.The result is that artists prioritize both localand global issues as the urgent content of their work.Meanwhile, artistsworking within the third current explore concerns that they feel personallyyet share with others, particularly of their generation, throughout anincreasingly networked world.Taken together, these currents constitutedthe contemporary art of the late twentieth century, and their unpredictableunfolding and volatile interaction continue to shape art in the earlytwenty-first.Notes1 Giorgio Agamben s answer to What does it mean to be contemporary? isto articulate contemporariness as experienced by those philosophers, poets,scientists, and artists who, he presumes, are most capable of understandingits true nature.Presented online as Giorgio Agamben on contemporaneity, its title when published in Italy was Che cos è il contemporaneo? It has settledin English as What is the Contemporary? Respectively, www.youtube.com/watch?v=GsS9VPS_gms&feature=related; Giorgio Agamben, Che cos è ilcontemporaneo? (Rome: Nottotempo, 2008); and Giorgio Agamben, What isan Apparatus? And Other Essays (Stanford: Stanford University Press, 2009),pp. 39 54.2 See Terry Smith, Nancy Condee, Okwui Enwezor, eds., Antinomies of Art andCulture: Modernity, Postmodernity and Contemporaneity (Durham: DukeUniversity Press, 2008). 26 The Contemporary and Globalization3 Joseph Nye Jr., inventor of the term soft power, has recently used this meta-phor to invoke the distribution of military, economic, and cultural power inthe world today.See his The Future of Power (New York: PublicAffairs, 2011).4 Jean-Luc Nancy, Art Today, lecture Accademia di Brera, Milan, 2006; L arte,oggi, in Federico Ferrari, ed., Del contemporaneo (Milan: Bruno Mondadori,2007); also in Journal of Visual Culture 9: 1 (April 2010), pp.91 99.Numbersin text refer to the last.5 Nancy, Art Today, op.cit., p.92.6 Notably in Jean-Luc Nancy, The Birth to Presence (Stanford: Stanford UniversityPress, 1993).7 Nancy, Art Today, op.cit., p.92.8 Ibid., p.93.9 Ibid., p.96.10 Ibid., p.94.11 Ibid., p.94.12 Ibid., p.94.13 See, for example, Boris Groys, Going Public (Berlin: Sternberg Press, 2010),especially Comrades of Time, pp.84 101.See also note 28.14 Nancy, Art Today, op.cit., p.94.15 Ibid., p.95.16 Ibid., p.99.17 Ibid., p.98.18 Questionnaire on the contemporary : 32 Responses, October 130 (Fall 2009),pp.3 124.19 Ibid., pp.64 73.20 Ibid., pp.33 40.21 Alex Alberro, Periodising Contemporary Art, in Jaynie Anderson, ed., Conflict,Migration and Convergence, The Proceedings of the 32nd International Congressin the History of Art (Melbourne: Miegunyah Press, 2009), pp.935 939; and inOctober 130 (Fall 2009), pp.55 60.Readers interested in an account of theprehistory of the idea of the contemporary in modern art discourse mightconsult my The State of Art History: Contemporary Art, Art BulletinXCII: 4 (December 2010), pp.366 383.22 What is Contemporary Art? e-flux 11 (December 2009) and 12 (January2010), at www.e-flux.com/journal/issue/11 and www.e-flux.com/journal/issue/12 [ Pobierz caÅ‚ość w formacie PDF ]