Ernst-Wilhelm Händler, "Lügen gegen das Kapital," Die Zeit, April 19, 2012. See →.
Demystifying the Financial Sector: A Nuts & Bolts Guide (s.l.: Corporate Watch, 2012). See →.
Paul Chan, "The Spirit of Recession," October 129 (Summer 2009): 3.
Ibid.
Challenged by Van Doesburg's Elementarism, Mondrian noted that he did not reject the diagonal in principle. The crucial thing was the right angle. He did, however, reject the theoretical underpinnings of Van Doesburg's use of the diagonal. See Carel Blotkamp, Mondrian: The Art of Destruction (London: Reaktion, 2001), 192.
Theo van Doesburg, "Schilderkunst en plastiek. Elementarisme (Manifestfragment)," De Stijl Vol.7, No.7 (1926-27): 85. The "art concret" manifesto was published in 1930 in the only issue of the magazine of the same name (1).
A related photograph by Raoul Hausmann shows both César and Ruth Domela in front of the same painting.
Liam Gillick, “Abstract” (2011). See →.
Karl Marx, Grundrisse, trans. Martin Nicolaus (London: Penguin, 1993), 100–102.
Alfred Sohn-Rethel, Geistige und körperliche Arbeit(Frankfurt am Main: Suhrkamp, 1972 (1970)), 38–45.
Ibid, 108.
Some of Kant’s qualities actually pertain to the object’s qualities, but they are logical abstractions of qualities; “quality” becomes a philosophical concept as abstracted from specific qualities as “quantity” itself. Ibid., 20–22, 45–57, 88–115.
Sohn-Rethel, 26–27, 107.
Marx, Grundrisse, 750. In the late 1960s, Hans-Jürgen Krahl would use such remarks by Marx for his argument that the scientific/academic caste was a now a productive class on par with the proletariat, and needed to develop its own forms of political and social action. See Krahl, “Thesen zum allgemeinen Verhältnis von wissenschaftlicher Intelligenz und proletarischem Klassenbewusstsein” (1969), Konstitution und Klassenkampf. Zur historischen Dialektik von bürgerlicher Emanzipation und proleratischer Revolution. Schriften, Reden und Entwürfe aus den Jahren 1966–1970 (Frankfurt am main: Verlag Neue Kritik, 20007 (1971), 336–351. On Krahl as an early theorist of the “cognitariat” and the need for new organizational forms, see Franco “Bifo” Berardi, The Soul at Work: From Alienation to Autonomy, trans. Francesca Cadel and Guiseppina Mecchia (Los Angeles: Semiotext(e), 2009), 66–67.
The term “technoscience” was introduced by Gilbert Hottois in the 1970s and used by Lyotard and Latour, among others. I use it to denote the increasingly tight and complex integration of science and industry, which turns science into an operative real abstraction.
The reference is to Capital: Volume 3, trans. David Fernbach (London: Penguin, 1993), 515.
Zachary Formwalt, Reading the Economist (Utrecht/Porto: Casco/Serralves, 2010), 16.
Ibid., 135.
“Die Abstraktion, das Werkzeug der Aufklärung, verhält sich zu ihren Objekten wie das Schicksal, dessen Begriff die ausmerzt: as Liquidation,” in Max Horkheimer and Theodor W. Adorno,Dialektik der Aufklärung. Philosophische Fragmente (Frankfurt am Main: Fischer, 1988 (1947)), 19.
Gilles Deleuze, “Postscript on the Societies of Control,“October 59 (Winter 1992), 3–7.
“Value and Economy” (1962), in Asger Jorn, The Natural Order and Other Texts, trans. Peter Shield (Aldershot: Ashgate, 2002), 117–217.
Pierre Klossowski, La Monnaie vivante (s.l.: Joëlle Loesfeld, 1994 (1970)), 30–35.
Ibid., 18–21.
Ibid., 13.
The artist as maker of simulacra obeys two masters, both the institutionalized world of equivalence and sublimation (productivity) and obsessional world of phantasms (sterility); it is because of this that art can unveil the secrets of the commodity. Klossowksi, La Monnaie vivante, 48.
Ibid., 72.
Ibid., 70.
Jürgen Harten and Horst Kurnitzky (eds.), exhib. cat. Das Museum des Geldes, Vol. 1 (Städtische Kunsthalle Düsseldorf/Kunstverein für die Rheinlande und Westfalen, 1978), 78–99.
In the earlier “Aufruf zur Alternative” (1978), Bueys had used the term Rechtsregulativ (legal regulative instrument) instead of Rechtsdokument. Joseph Beuys, “Aufruf zur Alternative,”Frankfurter Rundschau, December 23, 1978. See →.
Joseph Beuys et al., Was ist Geld? Eine Podiumsdiskussion(Wangen: FIU-Verlag, 2009), 43.
David Graeber, Debt: The First 5,000 Years (Brooklyn: Melville House, 2011), 43–71.
Ibid., 18.
On the Wirtschaftswerte installation, see also Max Rosenberg, “Through the Wall, Slowly: Joseph Beuys's Economy of Transformation,” Texte zur Kunst 85 (March 2012): 70–81.
Beuys, Was ist Geld?, 48 a.o.
Beuys, “Aufruf zur Alternative.”
See Almuth Spiegler, “Extrem berechnend und unglaublich berührend,” Die Presse, May 23, 2012, 23.
Andrea Fraser, “Le 1%, c’est moi,” Texte zur Kunst 83 (September 2011), 114.
Ibid., 118, 120.
Ibid., 122.
Ibid., 124.
De Volkskrant, March 28, 2012.
Andrea Fraser, “There’s No Place Like Home,” exhib. cat.Whitney Biennial 2012 (New York: Whitney Museum of American Art), 33.
“Boycott Bukowskis!,” bojkottabukowskis.blogspot.com. See →.
Ibid.
Frans Josef Petersson, “Critical Collapse at Tensta Konsthall,” kunstkritikk.no. See →.
From an email by Andrea Fraser to the author. For an early mock-up of what an Artigarchy site might look like, see →.
This article takes up a line of inquiry from my article/book chapter “Living with Abstraction.” It is part of my long-term project Art and Thingness.