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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 political art 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- ture/2008/02/16/andrzej-wajda-dans-la-foret-de-katyn_65194 Pfeifer, Moritz: »Lost in Translation«, in: Eastern European Film

Shields (ed.). London, New York: Routledge, 1992. 99-114. Print. Shulman, Robert. The Power of Political Art. 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, 1978. Print. 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. Literature, Arts, and Medicine Database. NYU, 24 Oct. 1997. Web. 14 Oct

their work. Tracing the lineage of this idea through the ancient and Christian traditions of art up to the political art 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 political art 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

. Philosophische Studien, Stuttgart: Reclam, 117-139. Martin, Randy (1990): Performance as Political Art. The Embodied Self. Critical Perspectives in Social Theory. New York: Bergin & Garvey. 300 | TEXTMASCHINEN – KINETISCHE POESIE – INTERAKTIVE INSTALLATIONEN Martínez, Roberto Sanchiño (2006): „Die Produktion von Präsenz“. Einige Überlegungen zur Reichweite des Konzepts der ‚ästhetischen Erfahrung’ bei Hans Ulrich Gumbrecht“, in: Sonderforschungsbereich 626 (Hg.): Ästhetische Erfahrung: Gegenstände, Konzepte, Geschichtlichkeit, Ber- lin, OnlinePublikaton: http

over and over and over again. TD: I don’t think it’s worked at the best of times, political art doesn’t change any- thing. 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 political art. 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, 2006 (GF) KLANTER R. et al., Art & Agenda: Political Art and Activism. Berlin: Gestalten Verlag, 2011 LE LANNOU, J-M., La puissance sans fin: essai sur la dissolution du monde. Paris: Hermann, 2005 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, 1954 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 Political Art«, 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