WINTER 2021 - ONLY WHAT HAS BECOME IS TRUE - SOLD OUT

ART CHARACTER: THE CAPACITY AT ONCE TO PRODUCE AND WITHHOLD MEANING THROUGH THE ARTICULATION OF A TOTALITY OF COMPONENTS IN A MANNER THAT ENGAGES YET REMAINS IRREDUCIBLE TO DISCOURSE?

NEWS: UP TO A MILLION MODERN (NOT MEDIUM-SPECIFIC AND NON-FORMALIST), POST-CONCEPTUAL, CONTEMPORARY ARTISTS BEING HELD ON A NEW FRONTIER

ART = RELATION BETWEEN ART IDEA + CONTINGENT MATERIALITY OF ITS MEANS OF ACTUALISATION, MEDIATED BY ITS CONDITIONS OF RECEPTION?

‘TRUTH IS OBJECTIVE, NOT PLAUSIBLE’? (CONCEPTS ARE DISTORTING AND MASK SOCIAL REALITY; THE RELATION OF A THOUGHT OR A CONCEPT TO WHAT IT IS INTENDED TO COVER, IS PROBLEMATIC; STANDARD MODES OF COMMUNICATION ARE INADEQUATE, SINCE THEY DEPEND ON THE ORDINARY USE OF CONCEPTS; EXPRESSING THE RELATION OF THE THOUGHT TO ITS OBJECT SHOULD BE PRIOR TO ANY CONCERN WITH EASE OF COMMUNICATING THAT THOUGHT)

I FOUND I’D REACHED - AND THIS IS TRUE - THE EDGE OF THE ABYSS, THAT CAVERN OF GRIEF AND PAIN THAT RINGS A PEAL OF ENDLESS MISERIES

’DON’T WORRY, I KNOW YOU’LL NEVER UNDERSTAND IT’ WITTGENSTEIN REASSURES HIS EXAMINERS BERTRAND RUSSELL AND G. E. MOORE, AFTER DEFENDING HIS THESIS AT TRINITY COLLEGE

NEWS: THE INCREASING CONCENTRATION OF CAPITAL HAS MADE EVERYONE INTO A FUNCTION OF CAPITAL

‘THE PIT, SO DARK, SO WREATHED IN CLOUD, WENT DOWN SO FAR THAT - PEERING TOWARDS ITS DEEPEST FLOOR - I STILL COULD NOT DISCERN A SINGLE THING…’ : EXHIBITION REVIEW: THE CAVERN OF GRIEF AND PAIN

NEWS: KNOWLEDGE IS NOT TRUTH; KNOWLEDGE IS RELATIVELY EASY; TRUTH IS DIFFICULT, AND RELATIONS TO TRUTH ARE FAR MORE IMPORTANT CULTURALLY AND EXISTENTIALLY, THAN MODES OF KNOWLEDGE

CAN THE IDEA OF SCIENTIFIC TRUTH NOT BE SPLIT OFF FROM THAT OF TRUE SOCIETY?

NEWS: THE PRODUCTION OF VALUE IN EXCHANGE IS THE UNDERLYING PROCESS IN SOCIETY IN RELATION TO WHICH ALL OTHER PHENOMENON ARE TO BE UNDERSTOOD

THE QUESTION IS ‘WHAT IS ART BECOMING?’ (WITH REGARD TO WHAT IT MIGHT BECOME)

NEWS: NO UNIVERSAL HISTORY LEADS FROM SAVAGERY TO UTOPIAN SOCIETY, BUT THERE IS ONE THAT LEADS FROM THE OLDUVAI STONE CHOPPING TOOL TO THE NUCLEAR ARSENAL

THE UNITY OF ART IS ALWAYS RETROSPECTIVE AND RETROACTIVE? THE HISTORY OF RECEPTION IS CONSTITUTIVE OF WHAT ART IS - AND WHAT IT WAS (FROM THE STANDPOINT OF THE PRESENT)? WHAT THINGS WERE ONTOLOGICALLY CONSTANTLY CHANGES BY VIRTUE OF THE RETROACTIVITY OF THE RETROACTIVE PERSPECTIVE?

NEWS: CONFINES OF CONVENTIONAL EXHIBITION PRACTICES BLOWN OPEN BY THE BASIC ONTOLOGICAL STRUCTURE OF CONTEMPORARY ARTWORKS (AS POSTCONCEPTUAL, AS STRUCTURED BY A CONCEPTUAL(METAPHYSICAL)-AESTHETIC(SPATIAL) DIALECTIC (A SPATIAL DIALECTIC)), WHICH IS NOW ONLY LIMITED BY THE CAPACITY OF WORKS TO INSTITUTE THEIR OWN ART SPACE AS A CONDITION OF BEING VIEWED AS ART?

‘I SPEND LONG HOURS IN THE CHURCH OF SAN SALVATORE IN VENICE, IN THE LOUVRE, IN THE GUGGENHEIM MUSEUM, COAXING A PICTURE INTO LIFE’ - RICHARD WOLLHEIM ON BECOMING AN OBJECT OF SUSPICION TO PASSERS-BY - ALONG WITH THE PICTURE HE WAS LOOKING AT

ART SPACE: THE INSTITUTIONAL SOCIAL SPACE OF ART IN GENERAL (A MORE ONTOLOGICALLY BASIC CATEGORY THAN THE EXHIBITION FORM); AN IDEAL SPACE ULTIMATELY ‘PRODUCED’ BY ANY ARTWORK THAT ACHIEVES A CERTAIN LEVEL OF AUTONOMY, OR SELF-CONSCIOUSLY ILLUSORY INDEPENDENCE, OR FREE MEANING-PRODUCTION; THE SOCIAL-SPATIAL CORRELATE OF THE AUTONOMY OF A WORK, WHICH THE ‘WHITE CUBE’ WAS THE CANONICALLY FORMALIST ACTUALIZATION OF?

COMFORTINGLY INSULAR SHELLS? THE ‘WHITE CUBE’ AS MIRROR IMAGE OF THE VIEWER’S PSYCHI INTERIORITY

FORTRESS OF SCIENCE? SYMBOL OF RETREAT? MARXIST MONASTERY? THE FRANKFURT INSTITUTE REVISITED

BOOK REVIEW: INDIVIDUALITY IN ART AFTER THE GENERIC CONCEPT OF ART; OR, HOW THE CONCEPTUAL RELATIONS THAT CONSTITUTIVELY MEDIATE THE WORK OF ART’S INDIVIDUALITY - A COMPLEXLY INTERNALLY STRUCTURED ARTICULATION OF ELEMENTS THAT MEDIATES THE SUBJECT-STRUCTURE OF SOCIAL COLLECTIVITY (THE SPEECH-LIKE CHARACTER OF ITS ILLUSORY AUTONOMOUS ADDRESS) WITH A MATERIAL, THINGLY ELEMENT

NOMINALISM: HOW ARTISTIC SIGNIFICANCE CAME TO DEPEND UPON THE INDIVIDUALITY OF THE ARTWORK; OR, HOW I LEARNED TO STOP WORRY AND LOVE HOW INDIVIDUAL WORKS CAME TO BEAR THE BURDEN OF RELATING TO THE MEANING OF ART - CONDITIONING IT AND BEING CONDITIONED BY IT?