WINTER 2013 - CRITICAL ALIBIS - SOLD OUT

BIOGRAPHICAL REDUCTION

‘SHEER EGOISM’ - THE ORWELLIAN IMPULSE OF CONTEMPORARY ‘ART CRITICISM’ TODAY?

BIOGRAPHY AS FORM? OR; REFUNCTIONING THE REVIVAL OF BIOGRAPHICAL DISCOURSES ABOUT ART AND THE AVOIDANCE OF THE CUL-DE-SAC OF THE INDIVIDUALISTIC DISPLACEMENT OF SOCIAL MEANING

THE AESTHETE

THE LITERARY ASPECTS OF JOURNALISTIC PRESENTATION AS A SIGN OF DISPLACEMENT OR AVOIDANCE OF THE CRITICAL PROBLEM OF CATEGORISATION IN CONTEMPORARY ART CRITICISM

I’LL BE YOUR MIRROR: ‘IT’S THE ART NOT THE ARTIST’

COMPLETING THE WORK OF ART? THE ROLE OF ART CRITICISM: RECOVER OR CONSTRUCT THE MEANINGS OF A WORK OF ART?

‘AND WHILE COMMENTARY AND CRITIQUE OF ART ARE ELEMENTS OF ITS OWN LIFE, THEY CANNOT BE HALTED, THEY PUSH FORWARDS, THEY CANNOT BE STOPPED ON THE WAY TOWARDS A THEORY OF ART, WHICH IS WHERE THEY MUST END’

‘DEMATERIALISED’ ART STRIPPED BARE BY ITS DOCUMENTATION, EVEN; OR: THE RETROSPECTIVE RESTITUTION OF THE SEMBLANCE CHARACTER OF ART

A CRITICAL ALIBI CONTRADICTED BY ITS ARTIST, EVEN?

‘THERE ALWAYS HAVE BEEN MULTIPLE VERSIONS’ - TATE MODERN’S MULTIPLE MODERNISMS? EL-SALAHI & CHOUCAIR’S SUDAN & LEBANON; OR: THE TATE TURNS AGAINST THE IDEA OF A SINGULAR MODERNITY? (IT’S SINGULARISATION HAS THE EFFECT OF PLURALIZING IT) TO EACH NATION’S MODERNISATION, IT’S OWN MODERNISM?

DE-DUVE’S SECRET KIERKEGAARDIANISM? THEORY BEHIND THE ART CRITICISM: ART FORUM - NOVEMBER 2013

NON-ART CURATION? (CURATING ACCORDING TO CATEGORIES UNRELATED TO ART, EVEN?)

FROM SHOCKINGLY SUBLIME TO SUBLIMELY CLASSICAL? SOLO SHOW CHARTS SARAH LUCAS’S EMERGENT REGRESSION FROM POST-CONCEPTUAL

RETROGRADE TO OUR DESIRE? FROM THE PRESENT TO THE PAST? (THE LAST SNAPSHOT OF THE POLITICS OF TIME OF WORKS OF ART?)

A REACTIONARY RENAISSANCE FOR THE ART OF ‘PERFORMING’? PERFORMA’S HISTORICIZATION OF ‘PERFORMANCE’

DAMAGE CONTROL - THE CRISIS OF MEANING/NOMINALISM: HOW ‘ISMS’ MEDIATE INDIVIDUAL WORKS