The first communication activity from the international congress Politics, State Power and the Construction of Art History in Europe after 1945. Organised by the Autonomous University of Madrid and the Museo Reina Sofía, this congress aims to constitute a forum in which international figures specialised in the study of European art history can, for the first time, study and compare the impact of politics on art history, art critique and museums from 1945 to the present day.
Common Notions was conceived as a project of political training for all those people wishing to intervene in reality from a critical perspective, collectively building ways of thinking and acting that enable orientation in a world that unsettles through the infinite narratives of power (in Spanish).
Instead of the political outcome of the long imperial history on the Peninsula representing a definitive end to colonial processes, it transformed into complex and ambivalent dynamics that have largely shaped our cultural and political subjectivity in the present (in Spanish).
The blog “Research, art, university. Documents for debate” from the Fine Arts Department of the Complutense University of Madrid originated from a seminar that reflected on art research, and also resulted in the publication of this book (In Spanish).
L’Internationale Online, new online research platform, resources and discussion is now available. L' Internationale Online is a joint initiative of the museum network L’Internationale and KASK / School of Arts of University College Ghent, where speculative texts, artistic projects and research papers will be published monthly, commisioned and inspired by the work and collections of the confederation.
In an extract taken from the Richard Hamilton exhibition catalogue, art critic Hal Foster uses the essay to explore the connection between the artist’s photography as a snapshot, which finds “its place between the genres” of academic art and pictorial tradition (in Spanish).
This text, taken from Kerstin Stakemaier’s doctoral thesis entitled Entkunstung. Artistic models for the End of Art,explores Adorno’s term Entkunstung, which can be translated as de-artification stemming from the proliferation of mass culture.