Progress in autonomy cannot be - nor historically has it ever been - measured in quantitative units. Rather, the need for autonomy is repositioned in relation to society's political, economic, and cultural developments on an ongoing basis. What do we mean when we speak of 'autonomy' and 'reproduction' in the field of contemporary art? What kind of objects do these terms encompass, what are their histories, and what internal logical relations can we identify between these concepts? How do they operate in a philosophical discourse about art and in political theory and practice? In this book, Marina Vishmidt and Kerstin Stakemeier analyse 'autonomy' and then 'reproduction', in the understanding that this method of categorical isolation must be overcome if we are to reach towards the relationship of the two terms. These three essays establish a new framework to locate notions of artistic autonomy and autonomies of art. The texts not only offer an entrance into thinking about the role that autonomy has occupied in modern European intellectual history; they also put forward an original thesis.

Reproducing Autonomy: Work, Money, Crisis and Contemporary Art

Arts & Photography

Stakemeier, Kerstin

Vishmidt, Marina

History & Criticism

Mute

Richard Prince's (born 1949) pieces in It's a Free Concert demonstrate the artist's extraordinary range of media usage. This publication focuses on Prince's series of appropriations, while also serving as an overview of the renowned contemporary artist's oeuvre to date.

Richard Prince: It's a Free Concert

Black, Paul

PRINCE, Richard

Kunsthaus Bregenz

Learning is the accumulation of knowledge, skills and behavior; it is often progress-oriented and institutionally driven. In contrast, unlearning is directed toward embodied forms of knowledge and the unconscious operation of ways of thinking and doing, in order to actively, critically investigate normative structures and practices. Assembled by the authors of Grand Domestic Revolution Handbook, this book is an account of the process of unlearning, taking art institutions as potential sites for unlearning. The publication shares a set of “unlearning exercises” as propositions to be adapted within other institutional contexts, ranging from daily practices like “Cleaning Together” to more difficult negotiations around issues of collective authorship and fair wage. The exercises are accompanied by personal accounts, essays and collective conversations, comprising a multi faceted critique of institutionalized habits and an attempt to put processes of unlearning into practice.

Unlearning Exercises: Art Organizations as Sites for Unlearning

Pethick, Emily

Phillips, Andrea

Van Der Heide, Yolande

Valiz/Casco

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Books by Stakemeier, Kerstin