I approached the whole thing in accordance with one of the enduringly interesting things about making art, which is to be annoying and unhelpful, even indifferent or destructive. Saying that, of course I talked a lot to the director of the Vorderasiatisches Museum, Barbara Helwing. And she did point things out to me. And I pointed things out to her. In some cases, it had to do with moments of intensity, and moments of speed and slowing down, and moments of wondering. What am I supposed to be looking at? Or what’s supposed to be happening here, when there’s nothing really happening? This is also what cinema can be: the feeling that I’m not sure what’s happening at this moment, but that it will become evident later on. The drive from the researchers and the director was very much towards education. Whereas I’m more interested in power, institutions, and affect.

Like Noah, the acting subject seeks to resist the coming doom; but like Noah, the subject’s question is whether they feel obligated more to the public/the collective, or to a higher purpose. In what way is this subject, in the end, thus obligated only to itself? Before attempting to answer these bigger-picture questions, it’s necessary to have a closer look at some of the details.

“Everything will be taken away,” depending on the context, takes on different meanings, but it is always with the same underpinning: loss is always occurring, but there is also a sense of relief at being able to let go of attachments. Piper’s memoir allows you to read very concrete meaning into this in regard to her professional affiliations in US academe and the US art world: being abandoned by all those depicted in the erased snapshots made it easier for her to leave behind the country from which she has taken exile.

“The general tenor of emotional life in Moscow, thus forming a lyrical and romantic blend, still stands opposed to the dryness of officialdom,” wrote Boris Groys in his 1979 essay “Moscow Romantic Conceptualism,” delineating the state of contemporary artistic practice in the Soviet state. In the essay, Groys discusses the work of Lev Rubinstein, Ivan Chuikow, Francisco Infante, and the artist group Collective Actions ( Kollektivnye deistviya ). Founded in 1976 by Andrei Monastyrski, Georgii…

There is a sharp contrast between, on the one hand, the often blunt commodification of art (and the processes of branding and generating wealth connected with it), and, on the other, the extremely heterogeneous, fragile practice of creating art. In fact, a good part of what makes an artist succumb to blunt commodification is the sheer anxiety caused by that heterogeneous fragility. Producing easily marketable, no-questions-asked work can offer a (deceptive) security no longer provided by…