Juliane Rebentisch

Gegenwartskunst zur Einführung

In recent years, debates surrounding the concept of art have focused in particular on installation art, as its diverse manifestations have proven to be incompatible with the modern idea of aesthetic autonomy. Defenders of aesthetic modernism repudiated installation-based work as no longer autonomous art, whereas advocates of aesthetic postmodernism abandoned the concept of aesthetic autonomy altogether. Juliane Rebentisch asserts that installation art does not, as is often assumed, dispute aesthetic autonomy per se, and rather should be understood as calling for a fundamental revision of this very concept. Aesthetics of Installation Art thus proposes a new understanding of art as well as of its ethical and political dimension.

Aesthetics of Installation Art

The concept of democratic freedom refers to more than the kind of freedom embodied by political institutions and procedures. Democratic freedom can only be properly understood if it is grasped as the expression of a culture of freedom that encompasses an entire form of life. Juliane Rebentisch’s systematic and historical approach demonstrates that we can learn a great deal about the democratic culture of freedom from its philosophical critics. From Plato to Carl Schmitt, the critique of democratic culture has always been articulated as a critique of its ãaestheticization“. Rebentisch defends various phenomena of aestheticization Ð from the irony typical of democratic citizens to the theatricality of the political Ð as constitutive elements of democratic culture and the notion of freedom at the heart of its ethical and political self-conception. This work will be of particular interest to students of Political Theory, Philosophy and Aesthetics.

On the Dialectics of Democratic Existence

The Art of Freedom

Die Theorie der Kunst steht heute vor enormen Herausforderungen. Die Grenzen zwischen den Künsten sind ebenso porös geworden wie die zwischen Kunst und Nichtkunst. Was aber definiert die Kunst, wenn sie nicht mehr zwingend durch die alten Gattungen bestimmt wird? Wie lässt sich dann überhaupt noch sinnvoll zwischen Werken vergleichen, wie über ihre Qualität urteilen? Und was heißt das alles für die Geschichte der Kunst? Was folgt aus der Destabilisierung der Grenze zwischen Kunst und Wirklichkeit? Gibt es in dieser Situation noch so etwas wie eine spezifische Politik der Kunst, und wenn ja, wie wäre sie zu denken? In dieser Einführung diskutiert Juliane Rebentisch die für die gegenwärtige Diskussion solcher Grundsatzfragen maßgeblichen Ansätze.

Theorien der Gegenwartskunst zur Einführung

Christoph Menke

Gerechtigkeit und Gesellschaft : Potsdamer Seminar

Axel Honneth

John Miller

Hans-Jürgen Hafner

Monika Baer

Monika Baer's painting sits directly within the traditional opposition between the figurative and the abstract. The interplay between painting materials, painting method and the canvas as a real object generates situations that are full of tension, illusional effects accentuating the spatial depth and the painting surface itself.This volume includes her paintings of playing cards, dollar bills and stylised breasts floating against an abstract wash, and more recent works in which web-like patterns are cut out of the canvas, exposing the stretcher behind.English and German text.

James Rondeau

"With a rigorous approach and self-imposed limitations to both scale and composition, Tomma Abts (b. 1967) has reinvigorated painterly abstraction and its relevance within contemporary art. Using a fixed canvas size and a vertical format, Abts deploys basic formal elements such as arcs, circles, planes, and stripes to create powerful works that are at once subtle and eccentric. This extraordinary book, designed in collaboration with the artist herself, is a substantial and deeply insightful treatment of her career to date and features sixty works made over the past decade. Essays not only contextualize Abts's work within an art-historical framework of methods, process, and style, but also examine her paintings' philosophical and psychological dimensions and their embodiment of a creative process that transcends the specifics of any particular work. The beautifully designed and illustrated exhibition catalogue examines both the art-historical framework of Tomma Abts's painting as well as its deep philosophical and psychological dimensions. James Rondeau is president and Eloise W. Martin Director of the Art Institute of Chicago. Lizzie Carey-Thomas is head of programs at the Serpentine Galleries in London. Kate Nesin is an independent art historian. Juliane Rebentisch is a professor of philosophy and aesthetics at the Offenbach University of Art and Design in Berlin"--

Juliane Rebentisch

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