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Although art always takes place in time, its manifestations - actual works of art - can be characterized by the specific and close connection they maintain between contemporaneity and timelessness. Their relation to time must be differentiated in a twofold manner: on the one hand, there is the relation to the time in which they are embedded, and, on the other, the relation to the time that they themselves create. In particular historical conditions a specific temporality of the artwork emerges. Both temporalities are superimposed on by one another, namely as a timelessness of artworks as such. The book assembles a variety of thinkers that confront one of the most crucial questions when dealing with the very definition, concept and operativity of art: How to link art to the concept of the contemporary?
List of contents
7 - 8 Preface (Frank Ruda, Jan Völker)9 - 22 For and Against the Contemporary (Alexander García Düttmann)23 - 44 »No, Nobody Could Ever Call Me His Contemporary« (Judith Balso)45 - 58 What is Contemporaneity in Theater? (Oliver Feltham)59 - 76 We Are All Hot Girls in a Mental Asylum (Frank Ruda)77 - 90 Fire Walk with Me (Mark Potocnik)91 - 106 The Urinal and the Syncope (Barbara Formis)107 - 126 The Exhaustion of the Critical Form as Aesthetic Value (Vladimir Safatle)127 - 144 Benjamin and Adorno on Art as Critical Practice (Georg W. Bertram)145 - 162 To end the End (Jan Völker)163 - 174 Art and Mathematics (Alain Badiou)175 - 176 Contributors
About the author
Frank Ruda ist wissenschaftlicher Mitarbeiter am Sonderforschungsbereich 626 der Freien Universität Berlin. Er ist Mitherausgeber der Reihe morale provisoire beim Berliner Merve Verlag. Er ist Übersetzer von Schriften Badious und Rancières und hat zahlreiche Artikel zu Fragen zeitgenössischer Philosophie veröffentlicht.
Jan Völker unterrichtet Philosophie und Allgemeine und Vergleichende Literaturwissenschaft an der FU Berlin.