disconnections that emerge through processes of putting
‘thinking with conditions’ into play in the cultural field.
towards a pedagogy of institutions
What do culture-making practices teach us against the grain of their intention?
This is a question with which I have begun seminars with current and
prospective cultural workers over a number of years, in which we diagram
the anatomy of politicalart and pedagogical projects from their conceptual
underpinnings through the practice of their organisation. They often begin
with a good intention, a noble aim, like ‘sharing
.‹ Class and Transformation in Lifestyle Televi-
sion.«, in: Su Holmes, Deborah Jermyn (Hg.): Understanding Reality Televi-
sion. London/ New York: Routledge 2004, S. 173-190.
Paul, David W. (Hg.): Politics, Art, and Commitment in the East European Cin-
ema. London: Palgrave Macmillan 1983
Péron, Didier; Versieux, Nathalie: »Andrzej Wajda dans la forêt de Katyń«, in:
Libération, 16. Februar, (2008). Abrufbar auf: http://next.liberation.fr/cul-
Pfeifer, Moritz: »Lost in Translation«, in: Eastern European Film
Shields (ed.). London,
New York: Routledge, 1992. 99-114. Print.
Shulman, Robert. The Power of PoliticalArt. The 1930s Literary Left
Reconsidered. Chapel Hill: University of North Carolina Press, 2000. Print.
Signoret, Simone. Nostalgia Isn’t What It Used To Be. New York: Harper & Row,
Simmel, Georg. The Philosophy of Money. (trans. Tom Bottomore and David
Frisby). London: Routledge, 1978. Print.
Sirridge, Marjorie S. “Cather, Willa. 'Paul's Case.'” Literature Annotations.
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their work. Tracing the lineage of this idea through
the ancient and Christian traditions of art up to the politicalart of the early
twentieth century, Groys argues that this function of art requires a common
language between artist and audience within which the artist can evoke the
authentic. It was an idea of shared language and values that came under attack
by the modernist avant-garde who sought to produce work that was actively
disliked by the public, a form of counter-message to the shared assumptions of
religious and political ‘big collectivities’. As
feeling of col-
lective ›doing the right thing‹, the speaker ends the set of speeches with a rhetoric
sleight of hand: »Thank you for being here, you can clap for yourself«. At the first
human life: »This is also why the theatre is the politicalart par excellence; only there is
the political sphere of human life transposed into art« (Arendt 1998: 188).
152 | SUSANNE FOELLMER
sight, this seems to be a rather rhetorical and simple statement. However, in the con-
text of the symbolically overloaded
over and over and over again.
TD: I don’t think it’s worked at the best of times, politicalart doesn’t change any-
RM: No I agree. I think people have said that my work was political but in a dif-
ferent sort of way. I suppose I couldn’t understand this at first, then by and large
these rather decrepit areas of the country producing images with this forlorn,
empty, rather hopeless feel–that’s why they don’t get bought–is a kind of political
statement which comes across almost sub-consciously.
TD: I think every move you make is political.
RM: It must be in
disapproved of the “Oriental” rembetiko qua amané
as “anachronistic”, “immoral”, and embarrassingly reminiscent of
Alex G. Papadopoulos62
Greece’s Ottoman antecedents, it was the Metaxas regime, which,
unwittingly, elevated it to politicalart.
Embedded spatially in a hostile state, the performance of loud,
rude, lewd or profane Rembetika songs in an underground club (a
teké, so called, evoking the spiritual spaces of Sufi Islam), or their
broadcast on the gramophone, is, I would claim, the quintessence of
psychical self-care and wellbeing. Rembetika’s effects might
., Critique de la raison pure. Trans. A. Renaut. Paris: Flammarion,
KLANTER R. et al., Art & Agenda: PoliticalArt and Activism. Berlin: Gestalten
LE LANNOU, J-M., La puissance sans fin: essai sur la dissolution du monde. Paris:
LEVI-STRAUSS C., Race and History. In The Race question in modern science.
Paris: Unesco, 1952
LYOTARD, J.F., La condition postmoderne. Paris: Éd. De Minuit, 1979
LYOTARD, J.F., La phénoménologie. Paris: Presses Universitaires de France,
MARTIN J.H. (Ed.), Magiciens de la terre. Paris: Éd. Du Centre
Workers and Peasants Will
Never End‹. Politics and Politicisation, Art and the Politics of PoliticalArt«, in:
Third Text 16 (2002), S. 387–398, hier S. 396, sowie Deller in Beech: »The
Uses of Authority«, S. 12. Von »Living History« spricht Deller in Slyce:
»Jeremy Deller«, S. 76. Der Begriff dient oft zur Bezeichnung einer subjektiven
Auskundschaftung der Vergangenheit, zuweilen in Unterscheidung dieser Form
der Geschichtsvergegenwärtigung vom eigentlichen Reenactment. In The Living
History Newsletter vom Frühjahr 1994 schreibt der Herausgeber auf S. 1, für ihn