DESCRIPTION. Text by Benjamin Buchloh piblished on Artforum on December Transcript. Download Farewell to an Identity Text by Benjamin Buchloh piblished on Artforum on December TRANSCRIPT. 01 02 03 04 05 06 07 08 Looking up from the book, the reader inevitably tries to relate Buchloh’s . in the exposure of all fascination with fetishistic possession or seamless identities.

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Of course, the sense of summation and academicization of hitherto living reflection is an unavoidable side effect of such collections. We still view our contemporary art; more than that, we consume and ponder it as never before.

A stronger impression of the same sort was produced by Art Since Please send comments fagewell this review to editor. Please click on this link to confirm your subscription.

His critical impulse is somewhat complicated by the focus on individual artists in the other essays included here simply because he is not engaged directly in critique or even so much in the discrimination between good art and bad although such discriminations are always assumed if not always directly statedbut is attuned instead to the interest of the work in question, appraised according to its measure of historical reach and acuity.

And yet, this fissure is inseparable from any attempts to act on current conditions. His model of criticality thus might be said to have shifted from one side of the artwork to the other. Beginning with the enthusiastic introduction of Western philosophical writings and Modernist artworks in the s, this one-way exchange crystallized into a dichotomy, with China and tradition on one side, and modernity and the West on the other.

The rise of information and the struggle between The fatigue and exasperation recently expressed by industry players such as Raf Simons or Alexander Wang—both of whom rather abruptly fled high-paying, prestigious gigs at some of the most venerated houses last season—over excessive workloads, creative burnout or stagnation however seem curiously belated from the vantage of point of contemporary discourse.

A Conquest detail There is nothing vulgar about the this commitment, however: Listen, for example, to the tone of this characteristic passage: Recent Books in the Arts. The discourse—or cultural malaise—of late-capitalist alienation, followed by strategic complicity absorbing ineffective artistic autonomy and avant-garde criticality, was an evolutionary process from an art-historical perspective. Although Buchloh writes of the present, he is always gazing backwards into the past.


Farewell to an Identity

The glare from his enlightenment is blinding, and as we observe the patterns Buchloh has detected, we cease to consider the peripheral, the incomplete, or the contested.

For the real fissure of the subject, which Buchloh himself discusses, consists in the detection of the inevitable blind spots that arise in any system of knowledge, panoptical or otherwise. His ideological orthodoxy corresponds to a geopolitical centralism. Share – A Farewell to Totality.

Steve Kado, October Jr.

FAREWELL TO AN IDENTITY – Artforum International

For better or worse, it might be said, it has little of the melancholy of a Farewell to an Idea. Much has been made lately, in newspaper style sections and the blogosphere alike, of the fissures, anxieties and turbulences exposed in the glamorous and frenzied world of high fashion.

To these we can also add messianism, which is likewise explicit in Benjamin and implicit in Adorno. Buchloh calls for responsive strategic thinking. Marxists don’t like to admit it, but their whole show That said, however, we can also see a clear methodological shift that has taken identigy over the course of that career.

An unequivocal, universal, and seamless answer to these questions is impossible. Identifying these fissures—which are present within each of us—can hardly be labeled practically or pragmatically valuable if we deem practical and pragmatic only what is subject to instrumentalization, monitoring, and rational management.

Following Alain Badiou, we might say that Buchloh remains true to the event of revolution, but the path of this fidelity has become ever more attenuated and difficult as it has passed through two periods of unconditional decline, the s and the s. The one insight that may have been less visible previously but comes clearly into view when reading these essays together as intellectual history is that this is true now more than ever.

On the one hand, as Buchloh teaches—and following the legacy of the Frankfurt School—we should not relegate the structures of art production to oblivion; we should not indulge in childish rapture over the very fact of access to utterance. Modernism, Antimodernism, Postmodernisma two-volume textbook authored by Buchloh, Hal Foster, Rosalind Krauss, and Yve-Alain Bois, and designed to cement the exceptional authority that has long collected around October.

What does the desire for art look like, under the circumstances? Attempts to elude such recuperation set art on a path of monkish asceticism, which manifests as the rejection of any intoxicated delight in the illusions art is capable of supplying, in the exposure of all fascination with fetishistic possession or seamless identities.


And history goes on, too, however frightened and hopeless its continuation might make us feel. In this email is a confirmation link. Click to start a discussion of the article above. In each stage, that field has a certain definitive quality.

Fumes are rising from the engine. Writing inAdorno offered this description of the ethical and epistemological criterion that governed his practice: Alleged conditions characteristic of post-Fordist labor such as creative exhaustion, self-exploitation, depression and jadedness have thematically nourished entire artistic careers and curatorial frameworks for over a decade.

It is here that Buchloh emerges as an art historian even more than a critic and as an Adornian in the best possible sense: Duchamp understood this even before Keynes did. Almost none are interested in a hermetic criticism and reflection on language itself, neither modernist nor postmodernist, and this obliviousness renders many of them naive. Buchloh himself witnessed the second period, which saw the rise of neoconservative and neoliberal regimes and the dismantling of the welfare state.

Post-Mao, Chinese intellectuals embraced a progressive narrative of history wherein Western Europe and North America represented the The cover art of Formalism and Historicity features an El Lissitzky artwork. Instead, the question, as ever, becomes: Theodor Adorno poses for the camera with an equestrian painting in the background, date unknown. Vetements in this regard also signals for the time being the definite end of normcore which the label has deftly appropriated so as to cannibalize and estrange it as stone-washed blue jeans, hoodies, bombers, varsity jackets, puffa jackets and sweatpants are being more or less drastically reshaped and disfigured.

A Publication of the College Art Association. It is driven off a WWII memorial pedestal and promptly goes to war. To put it another way, what this book provides is an opportunity to see in a clearer and more detailed light that which we have known about Buchloh all along—i.