The article analyses the relatively meager response of artists to the ‘war on terror’ compared to the response of American artists to the war in Vietnam, where artists organized both exhibitions and protests against the war in South East Asia in the late 1960s. This of course has to do with the transformations going in contemporary art and the broader political context characterized by the hegemony of neo-liberalism. The article juxtaposes an installation by the Retort collective with an installation by (...) Alfredo Jaar, analyzing two different ways of confronting the image war of the capitalist state machine with either a heave-handed use of art or a negative representation. (shrink)

In a historical situation characterised by crisis, wars and widespread protests the question of the relationship between past Left-revolutionary endeavours and present political challenges is of utmost importance for the possibility of mounting an anti-systemic challenge to capitalism. T. J. Clark’s essay ‘For a Left with No Future’ argues that the future-oriented stance of the 19th and 20th Century Left turned the Left into a disastrous dobbel- gänger of capitalist modernity causing havoc and death instead of being a genuine opposition (...) to capitalism. The great refusals have to be replaced with a ‘modest’ and more ‘realistic’ approach, Clark argues, enabling the Left to understand the human propensity to violence and therefore engaging in a kind of anti-war activism. This article rejects Clark’s analysis and tries to save the revolutionary perspective Clark is trying to get rid of arguing that it is indeed the Left that we have to bury. Juxtaposing Clark’s argument with a reading of Michèle Bernstein’s ‘Victories of the Proletariat’ made as part of the 1963 Situationist exhibition ‘Destruction of RSG-6’ the article attempts to contribute to the re-formulation of a contemporary revolutionary position on the basis of the breakdown of the programmatic Left. (shrink)

This article is a discussion of Grant Kester’s notion of socially-engaged art criticism via a retrospective mapping of the four most important 1990s artistic practices: relational art, institutional critique, tactical media and socially-engaged art. While both relational, or participatory, art and institutional critique seem to have run out of steam, and have fused more or less seamlessly with the institution of art, socially-engaged art still seems to hold critical potential by making use of the relative autonomy of art beyond the (...) narrow confines of the art institution. The journal Field, founded and edited by Kester, is an attempt to develop a new art criticism that is able to account for this kind of practice. The turn to ethnography in order to analyse often open-ended community-based projects is relevant – and the. (shrink)