SUMMER 2009 - WHEN EVERYTHING BECOMES FORM - SOLD OUT

WALTER BENJAMIN’S CONCEPT OF CULTURAL FORM (OR; HOW ONE MIGHT NO LONGER FEEL SECURE IN IT)

FORM + LIFE: LIFE-PHILOSOPHY: THE PREHISTORY OF ‘NEW MATERIALISM’ IN EARLY 20TH CENTURY GERMAN LEBENSPHILOSOPHIE (‘PHILOSOPHY OF LIFE’)

SOCIAL FORM APPEARS ‘WITHIN’ ARTISTIC FORM: ART AS SIGNIFYING FORM, SOCIAL FORM, CRITICAL FORM, AESTHETIC FORM

MARX’S TRANSDISCIPLINARITY: FORMS AS PARTIAL OBJECTS OF A GENERAL SOCIAL FORM

‘COMMODIFY OR DIE’? THE COMMODITY-FORM, THE MONEY-FORM, THE ART-FORM AND THE VALUE-FORM

FREEDOM FROM REIFICATION? (THE CONSTITUTIVE ILLUSIONS OF EXISTENTIALISM AS A HUMANISM, AND NEW MATERIALISM, EVEN)

VALUE! SOCIAL! FORM! (OR; WHY THE VALUE FORM AND THE SOCIAL FORM ARE COTERMINOUS)

HUMAN UNIVERSALITY ONLY FUNCTIONS VIA THE MONEY-FORM (OR; READING ‘CAPITAL’ FROM THE STANDPOINT OF THE PRESENT)

BOOK REVIEW: RETROSPECTION AS FORM? ART’S FRAGILE BACKWARD-LOOKING ATTEMPT AT THEORETICAL UNITY AS A CONCEPT

CRISIS AS FORM

TURN, TURN, TURN: WHEN “CONTENT” IS NOTHING BUT THE RECIPROCAL OVERTURNING OF FORM INTO CONTENT, AND “FORM” NOTHING BUT THE OVERTURNING OF CONTENT INTO FORM; OR, THE DIALECTICAL DOUBLING OF FORM IN THE FORM-CONTENT RELATION

DRAWING AS WRITING; WRITING AS DRAWING; OR, DRAWING AFTER DRAWING (DRAWING AFTER WRITING AFTER DRAWING): KAFKA’S HAND - WHEN HANDWRITING BECOMES FORM

FORM AND FREEDOM: ART OFFERS THE SUBJECT-POSITION OF AN ACTIVE INTERVENTION INTO THE STRUCTURES OF TECHNOLOGIES OF IMAGE PRODUCTION AND THE NEWLY ECONOMICALLY IMPOSED GEO-SPATIAL RELATIONS THROUGH WHICH THEY CIRCULATE - INSOFAR AS FORM IS THE LAW OF THE TRANSFIGURATION OF THE EXISTING (NOTES ON FORM (VIRTUAL AND OTHERWISE))

NEWS: SUICIDE OF A GALLERY ATTENDANT ON A SUNDAY AFTERNOON, AROUND 3.42PM

BOOK REVIEW: WHEN THE EXHIBITION FORM BECOMES… ; OR: WHEN THE INCREASING NOMINALISM OF ART IS RECODED BY THE NEW EXHIBITION FORM; OR: WHEN THE GAP BETWEEN THE IDEA AND ACTUALIZATION IN THE ONTOLOGY OF THE WORK APPEARS, DESTROYING THE EXISTING MEDIUM-SPECIFIC UNDERSTANDING OF ART, AND IS PROVISIONALLY EXPRESSED IN THE TITLE ‘WHEN ATTITUDES BECOME FORM’, POINTING TO THE NEW GAP; OR: WHEN WORK PRODUCED IN CONTRADISTINCTION TO MEDIUM-SPECIFIC MODERNIST FORMALISM IS UNDERSTOOD AS IMMATERIAL (ATTITUDES) AND AS MATERIAL (FORM), ALLOWING FOR THE TRADITIONAL, BAD ROMANTIC INDIVIDUALISM OF IDEAS OF THE ARTIST CAN CONTINUE (‘SPIRITUAL’); OR, WHEN THE NEW ART IS PROVISIONALLY UNDERSTOOD AS BEING LOCATED PRIMARILY IN THE SPATIO-TEMPORAL EXPRESSION OF AN ‘ATTITUDE’ OR DISPOSITION OF ARTISTS (THE ACTIVE EMBODIMENT OF IDEAS), AND WHICH TAKE ON FORM

BOOK REVIEW: FILM TRAILERS: HISTORY OF A FORM

DEAD ON ARRIVAL? REVIEW: THE QUICK AND THE DEAD - WALKER ART CENTRE

REVIEW - D.O.A: THE PUNCTUAL TEMPORALITY OF AN ACT

REVIEW - BAROQUE - V&A

JOHANNA BILLING / ALEXANDRE DA CUNHA - CAMDEN ARTS CENTRE