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such works as political art or as art tout court. It is on the viewing subject that the choice falls as to 74 Syberberg: Syberbergs Filmbuch. S. 13. 75 Gilles Deleuze: Das Zeit-Bild. Kino 2 [franz.: Cinéma 2. L’image-temps (1985)]. Frankfurt am Main: Suhrkamp 1991. S. 343 f. 76 Gehlen: Über kulturelle Kristallisation. S. 143. ZUR EXPERIMENTELLEN FILMÄSTHETIK VON HANS JÜRGEN SYBERBERG | 277 whether these films have a meaning in the strong sense, an authentic resonance, or are perceived simply as texts, as

musicians by their appeal to mass audiences. Red Bull’s sponsorship of music and sports can be located in a history of corporate interest in social capital marked by an imagined location at the 258 | FABIAN HOLT edge of mainstream modernity. Historical examples include advertising interest in counterculture in the 1960s and subcultures in the 1980s and beyond.3 The Apple Corporation celebrated legendary pioneers in politics, art, and science,4 and Saatchi & Saatchi sponsored avant-garde art in the 1990s.5 Red Bull’s sponsorship of sports and music, however

boxes of Eastman 4-X negative 7224 reels. FICTION AND NEWSREEL DOCUMENTARY IN GODARD’S CINEMA | 147 Together with the special issue FILM TRACT N. 1968, the tracts we know to have been shot by Godard are numbers 7-10, 12-16, 23 and 40. The graphic political art produced throughout the May ’68 revolts frequently used text as a means of détournement, the repossessing of an image for different ide- ological, political or artistic purposes than that for which it was created, a term originally devised by Isidore Isou and the Lettrists and then by Guy Debord and the

does this mean for the understanding of understanding, and for the self-understanding of the philosophical enterprise as well as for the methodological foundations of the social sciences? What does this mean for the relationship between texts and readers, and between university pro- fessors and their students? What does it mean for the relations between faculties, between universities, and between the educational system and other social systems such as business, politics, art, health care, etc.? And finally, what does this mean for a “postmodern” world society

Joois writes: ‘as a critical concept and ral- lying cry, “precarity” has perhaps not shaken of f this ambiguity (and this is something to reflect on). In contemporary political theory as well as “political art” “precarity” is both rejected as the perverted result of neo-liberal, global capitalism and in a way glamourized: the precarious individual is, as the British sociologist Guy Standing calls it, celebrated as a modern hero: always moving, always connected, devoid of a stable identity etc.’ Joost de Bloois, ‘Making Ends Meet: Precarity, Art and Political

. A final example of Gómez-Peña’s work is the “Pocha Nostra” collective. It was launched in 1996 and provides the artist with an open platform (Ill. 4.20). Pocho refers to the “bastardization” of Castilian Spanish under the inf luence of English.37 The group is impossible to define, featuring a Chicano/a-cyber- punk-art, robo-baroque, ethno-techno-cannibal aesthetic. Their evolving manifesto states, If there is a common denominator, it is our desire to cross and erase danger- ous borders including those between art and politics, art practice and the- ory, artist

some particular fiction, by the construction of some particular image. It is knowing what kind of human beings the image shows us and what kind human beings it is addressed to; what kind of gaze and consideration are created by this fiction.”153 Rancière’s ideas on so-called political art and its impact on real events are what feed the larger questioning behind these wide abstract thoughts. He comments on the general disbelief in art as being able to generate change or have an impact, arguing that the discourse of the unrepresentable is largely responsible for this

Oct. 2015. 8 Oct. 2015 (Transcript) < smith_on_closing_guantanamo_remembering> Literatur- und Medienver zeichnis 443 —. »Patti Smith on 19th Century Poet William Blake and on Creating Political Art ›Unapologetically.‹« Democracy Now! 8 Oct. 2015. 8 Oct. 2015 (Transcript) < on_19th_century_poet> —. »›People Have the Power‹: Patti Smith on Pope Francis and Her Per- formances at the Vatican.« Democracy Now! 8 Oct. 2015. 8 Oct. 2015. (Transcript) <

open to any and everyone’ writes O’Sullivan in his ‘Notes Towards a Minor Art Practice’.9 I especially like the mention to sickness and frailness and will write more about it, in particular in connection to disabil- ity and ableism later on. While the languages were not intended as works of art, they are—much like political art—socially engaged (and creative) ways of communication and speaking against the status quo. Opacity - Minority - Improvisation80 ΛΕΞΙΚΟ My knowledge of Kaliarnta begun by associating with older gay men in my late teens. We used a few

Lucien Pierce split for example from the Centre d’Art in the 1950s and founded the Foyer des Arts Plastiques and then the Academy of Fine Arts. These art- ists split from the Centre d’Art because they critiqued the commercialization of the ‘naïve painters’ and were concerned with socio-political issues. “Supporters of the Centre were deeply opposed to the development of modern art in Haiti and, much akin to the spirit of the McCarthy era, they considered modern art to be communist- inspired and were accordingly doubtful of the practice. Increasingly, political art