Umělec 1/2012 | List of all editions. | ||||
"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."
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Author dreaming of a future without censorship we have never got rid of.
It seems, that people don‘t care while it grows stronger again.
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In the evening, after an entire day spent scanning official documents and with his fingers trembling from all that dematerialization, a person might, as he his falling asleep, slap his forehead in the realization that he would feel better if, in the morning, he stopped doing his job and refused to wipe the dust of the scanner’s glass surface. Only the dusty bits of cellulose on his nasal membranes now remind him satisfactorily that, even though he is easily lost, he can just as easily still find himself.
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Octavian Esanu looks at the acceptance and rejection of what is “American” in a non-American environment, against the backdrop of an unclear understanding of freedom and the historically growing confidence of American art, which quite possibly stands behind the seemingly universal concept of “contemporary art.” Where the colonization of the spirit through an emphasis on contemporaneity still encounters resistance, the attractiveness of American shoes perhaps presages the strongest export – packaging, boxes, frames and vehicles.
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If the monstrous nature of capitalism calls for monstrous comparisons, perhaps our method of evaluation should be monstrous as well. Wouldn’t this be the least we could do, assuming that we are already living a nightmare? Or must we preserve our humility evening in the face of horror, not succumb to the delusions of well-fitting metaphors and not fight the devil with his own tools?
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