SCHLEBRÜGGE.EDITOR

DAS ERZIEHUNGSBILD
Zur visuellen Kultur des Pädagogischen

Tom Holert, Marion von Osten (Hg.)

Publications of the University of Fine Arts Vienna, Vol. 11

Germ., 264 p., numerous images b/w, 16,5 x 22 cm, paperback, Oct. 2010

ISBN 978-3-85160-183-1
€ 24,70 [A]
€ 24,00 [D]

With contributions by Madeleine Bernstorff, Harun Farocki, Jesko Fezer, Henry A. Giroux, Brian Goldfarb, Tom Holert, Serhat Karakayali, Christian Kravagna, Paul O’Neill, Marion von Osten, Katja Reichard, Ricardo Valentim, Cecilia Wendt, Axel John Wieder, Mick Wilson and Barbara Wurm

Wie macht die Pädagogik ihre Gegenstände sichtbar? Was „tun“, wie „wirken“ insbesondere Bilder und Bildlichkeit im Vermittlungszusammenhang der Schule, der Universität und anderer gesellschaftlicher Felder, also überall dort, wo visuelle von pädagogischer Kommunikation nicht zu trennen ist? Neben diesen beiden sehr grundsätzlichen Fragen wird sich die Publikation damit beschäftigen, welche Funktionen die pädagogische Theorie dem Produzieren und Rezipieren von Bildern aktuell zuweist und in der Vergangenheit zugewiesen hat – vor allem in Hinblick auf die Entwicklung von „Persönlichkeit“ und „Kompetenz“. In historischen und systematischen Fallstudien und Essays aus unterschiedlichen Wissenskontexten, zielt die Publikation darauf ab, die visuelle Kultur der pädagogischen Praxis und Theorie begrifflich zu erarbeiten.

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Immediacy and Non-Simultaneity: UTOPIA OF SOUND

Diedrich Diederichsen, Constanze Ruhm (ed.)

Publications of the University of Fine Arts Vienna, Vol. 10

Engl., 264 p., 16,5 x 22 cm, paperback, 2010

ISBN 978-3-85160-173-2
&eur; 24,70 [A]
&eur; 24,00 [D]

With contributions by Nora M. Alter, Michel Chion, Christoph Cox, Diedrich Diederichsen, Caryl Flinn, Barbara Flückiger, Tom Holert, Brandon LaBelle, Christian Petzold, Constanze Ruhm, Christian Scheib, Holger Schulze, Axel Stockburger, Terre Thaemlitz and Hildegard Westerkamp

In the last two decades there has been a significant boom in the cultural sensibility towards sounds and noise - a kind of sonic boom that can, following the second meaning of this term, be seen as a breakthrough of the sonic itself. In the wake of this phenomenon, the relationship between Fine Arts and sound as a material of production on the one hand, and the field of Sound Art which emerged since the 60s on the other hand was recalibrated. Questions surrounding issues of spatiality in the Fine Arts that gained in importance with the surge of intermedia installations were increasingly posed on the basis of experimental sound. Pop music has recognised its specific relation to the materiality of sound as its primary source and positioned it at the core of self-reflective projects. Through the ubiquity of individual and ever-present sonic markers such as mobile phone jingles and sound installations in public space, everyday life has become the scene of a continuous sonic semiosis.

back to THEORY

FILM, AVANTGARDE, BIOPOLITIK

Sabeth Buchmann, Helmut Draxler and Stephan Geene (ed.)

Publications of the University of Fine Arts Vienna, Vol. 9

Germ., 428 p., numerous color images, 16,5 x 22 cm, paperback, 2009

ISBN 978-3-85160-134-3
€ 24,70 [A]
€ 24,00 [D]

With contributions by Rainer Bellenbaum, Wolfgang Bock, Gregg Bordowitz, Sabeth Buchmann, Peter Bürger, Eric de Bruyn, Astrid Deuber-Mankowsky, Katja Diefenbach, Helmut Draxler, Thomas Elsässer, Stephan Geene, Eva Geulen, Stephan Gregory, Marina Grzinic, Tom Holert, Nitzan Lebovic, Bert Rebhandl, Drehli Robnik, André Rottmann, Hito Steyerl and Tanja Widmann

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TECHNONATUREN. Design & Styles

Elke Gaugele / Petra Eisele (ed.)

Publications of the University of Fine Arts Vienna, Vol. 8

Germ., 258 p., numerous color and b&w images, 16,5 x 24,5 cm, paperback, 2008

ISBN 978-3-85160-124-4
€ 22,00 [A]
€ 21,40 [D]

With contributions by Annette Baldauf, Monika Codurey, Rebecca Coleman, Petra Eisele, Astrid Fingerlos, Elke Gaugele, Annette Geiger, Lola Güldenberg, Jens Hauser, Inge Hinterwaldner, Sebastian Hundertmark, Nicole C. Karafyllis, Christina Lammer, Andreas Mühlenberend, Georg Russegger and Antonia Wunderlich

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RUBY SIRCAR

Liquid Homelands, The Sonic Productions of Second Generation [South] Asian Women

Publications of the University of Fine Arts Vienna, Vol. 7

Engl., 170 p., numerous color images, 16,5 x 22 cm, paperback, 2008

ISBN 978-3-85160-118-3
€ 18,50 [A]
€ 18,00 [D]

This essay is an attempt to conceive a necessary step to be made by an emacipated “second generation” diaspora on its way to independence, no longer bound to the post-colonial and therefore not locality defined. The “second generation” was able to create its own self-definition, rooted within media and independent content, and thus emancipated itself from geographical and racist or sexist definitions; it is now no longer possible to keep on relating to theoretical roots within presenting a contemorary perspective or outlook.
Post-colonialism is like a religious bind that can lo longer hold against long-needed reforms. By trying to analyse and document the phenomenon of a “second generation” that places itself and its cultural productions and language within the liquid form of media, it is possible to break this bind built on geographical heritage and ethnic parameters.

back to THEORY

MARINA GRZINIC

Re-Politicizing Art, Theory, Presentation and New Media Technology

Publications of the University of Fine Arts Vienna, Vol. 6

Engl., 238 p., numerous color images, 16,5 x 22cm, paperback, 2008

ISBN 978-3-85160-119-0
€ 18,50 [A]
€ 18,00 [D]

While so-called new capitalist global exhibition projects that either include selected Third and Second World artists and their artworks or are organized just for them are developing, so is a subtle system of inclusion and exclusion. These projects demonstrate some important new directions that can be seen not only as conceptual shifts but also as technological ones. Key here is the technique of transfer that provides the means of reproduction. The center (the capitalist First World) establishes hegemonic interpretations of the other worlds. We can detect a dialectical process between the technology of writing and the politics of publishing. Theory and the industry of theoretical writings are precise pyramidal constructions which are carefully safeguarded. Who can publish where and at what time and, moreover, who is positioned to provide the first line of interpretation, are extremely important decisions within the capitalist system. Huge symposia, seminars and panels are organized to support world exhibitions and global cultural projects, circulating the same theoretical personalities and public opinion makers who continually reproduce the capitalist system in theoretical terms. It is perfectly clear that in the field of global contemporary art and culture, we are not dealing with gestures of just exchange and production. We are instead dealing with the delineation of political lines within a certain (public) space, with a codification of this space and a naming of its political subjects. The question is whether, in addition to this process of codification, we also have spaces of resistance?

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ERICA TIETZE-CONRAT, Die Frau in der Kunstwissenschaft

Almut Krapf-Weiler (ed.)

Publications of the University of Fine Arts Vienna, Vol. 5

Germ., 306 p., numerous b&w images, 16,5 x 24,50 cm, paperback, 2007

ISBN 978-3-85160-106-0
€ 26,00 [A]
€ 25,30 [D]

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HANS TIETZE, Lebendige Kunstwissenschaft

Almut Krapf-Weiler (ed.)

Publications of the University of Fine Arts Vienna, Vol. 4

Germ., 328 p., numerous b&w images, 16,5 x 24,50 cm, paperback, 2007

ISBN 978-3-85160-105-3
€ 29,00 [A]
€ 28,20 [D]

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DAVID QUIGLEY

Carl Einstein or The Defense of the Real

Publications of the University of Fine Arts Vienna, Vol. 3

Engl., 316 p., numerous color and b&w images, 16,5 x 22,5 cm, hardcover, 2007

ISBN 978-3-85160-083-4
€ 24,70 [A]
€ 24,00 [D]

Einstein is emerging ever more clearly as one of the most representative and complex figures in the commitments of European artists and intellectuals between the First World War, revolution, avant-garde art, the Spanish Civil War and National Socialism. With his books "Negro Sculpture" (1915) and "African Sculpture" (1921) he opened up the view of the "reality" and "intensity" of this art. He co-edited various journals (incl. Die Pleite), collaborated with G. Grosz and J. Heartfield, wrote a very successful "Art of the 20th Century" and a first monograph on Georges Braque. In Paris he published, with G. Bataille, "Documents" (1929). In an intellectual biography in which an epoch is portrayed, the American philosopher David Quigley maps out the Einstein's various stages and positions in the territory of the political, philosophical and aesthetic arguments for a "new" art and a "new" society.

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ROLF LAVEN

Franz Cizek und die Wiener Jugendkunst

Publications of the University of Fine Arts Vienna, Vol. 2

Germ., 336 p., numerous color and b&w images, 22,5 x 16,5 cm, hardcover, 2006

ISBN 978-3-85160-077-3
€ 24,70 [A]
€ 24,00 [D]

Cizek (1865-1946) is regarded as a prominent reformer of art pedagogy. His Vienna art classes for children, established in 1897, became the centre of an international, long-term reform movement. His educational principles based on the freedom of development of children's creativity and his international exhibition activity, which made his classes particularly well-known in G.B. and the USA, changed art teaching in state schools and met with a multifaceted response � such as from Maria Montessori, Johannes Itten, the English Child Art movement, the Group of Seven in Canada and, not least, in the teaching and writings of Mark Rothko from the late 1930s. The educationalist Rolf Laven charts an overall picture of Cizek's work and impact against the background of contemporary pedagogical positions. He was also able to drawn on the largely unpublished material in the Cizek Archive in Vienna. With extracts from conversations with students of the Cizek classes and separate chapters dedicated to those of them who became famous such as Hans Hollein and Rudi Gernreich.

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THE ARTIST AS PUBLIC INTELLECTUAL?

Stephan Schmidt-Wulffen (Ed.)

Publications of the University of Fine Arts Vienna, Vol. 1

Engl., 168 p., numerous color images, 22 x 16,5 cm, paperback, 2008

ISBN 978-3-85160-117-6
€ 18,50 [A]
€ 18,00 [D]

With contributions by Rosalyn Deutsche, Manthia Diawara, Andrea Geyer, Thomas Hirschhorn, Christian Höller, Silvia Kolbowski and Chantal Mouffe and an interview with Sabeth Buchmannw and Barbara Kruger

In reading all the theoretical contributions to this book, an essentially common idea of the social can be observed which is of fundamental importance for a new definition of artistic production: a process-related order of institutionalized actions, including the linguistic actions to which individuals are exposed. For here, in the repetition of such institutionalized acts, is where subjects first emerge at all. Objects, whether they be objects of everyday use or whole architectures, are like moulds which provide for the institutionalization of actions. The artist emerges as a social figure, as the product of a society and the agent of political interests. From this point of view, the status of objects, the status of the “work” is not the expression of a circumscribed meaning, but the instrument of forming a subject. The opposition of theory and practice becomes obsolete. Subject and object are meaning written into actions.

back to THEORY

		DAS ERZIEHUNGSBILD Zur visuellen Kultur des Pädagogischen Tom Holert, Marion von Osten (Hg.) Publications of the University of Fine Arts Vienna, Vol. 11 Germ., 264 p., numerous images b/w, 16,5 x 22 cm, paperback, Oct. 2010 ISBN 978-3-85160-183-1 € 24,70 [A] € 24,00 [D] With contributions by Madeleine Bernstorff, Harun Farocki, Jesko Fezer, Henry A. Giroux, Brian Goldfarb, Tom Holert, Serhat Karakayali, Christian Kravagna, Paul O’Neill, Marion von Osten, Katja Reichard, Ricardo Valentim, Cecilia Wendt, Axel John Wieder, Mick Wilson and Barbara Wurm Wie macht die Pädagogik ihre Gegenstände sichtbar? Was „tun“, wie „wirken“ insbesondere Bilder und Bildlichkeit im Vermittlungszusammenhang der Schule, der Universität und anderer gesellschaftlicher Felder, also überall dort, wo visuelle von pädagogischer Kommunikation nicht zu trennen ist? Neben diesen beiden sehr grundsätzlichen Fragen wird sich die Publikation damit beschäftigen, welche Funktionen die pädagogische Theorie dem Produzieren und Rezipieren von Bildern aktuell zuweist und in der Vergangenheit zugewiesen hat – vor allem in Hinblick auf die Entwicklung von „Persönlichkeit“ und „Kompetenz“. In historischen und systematischen Fallstudien und Essays aus unterschiedlichen Wissenskontexten, zielt die Publikation darauf ab, die visuelle Kultur der pädagogischen Praxis und Theorie begrifflich zu erarbeiten. back to THEORY
		Immediacy and Non-Simultaneity: UTOPIA OF SOUND Diedrich Diederichsen, Constanze Ruhm (ed.) Publications of the University of Fine Arts Vienna, Vol. 10 Engl., 264 p., 16,5 x 22 cm, paperback, 2010 ISBN 978-3-85160-173-2 &eur; 24,70 [A] &eur; 24,00 [D] With contributions by Nora M. Alter, Michel Chion, Christoph Cox, Diedrich Diederichsen, Caryl Flinn, Barbara Flückiger, Tom Holert, Brandon LaBelle, Christian Petzold, Constanze Ruhm, Christian Scheib, Holger Schulze, Axel Stockburger, Terre Thaemlitz and Hildegard Westerkamp In the last two decades there has been a significant boom in the cultural sensibility towards sounds and noise - a kind of sonic boom that can, following the second meaning of this term, be seen as a breakthrough of the sonic itself. In the wake of this phenomenon, the relationship between Fine Arts and sound as a material of production on the one hand, and the field of Sound Art which emerged since the 60s on the other hand was recalibrated. Questions surrounding issues of spatiality in the Fine Arts that gained in importance with the surge of intermedia installations were increasingly posed on the basis of experimental sound. Pop music has recognised its specific relation to the materiality of sound as its primary source and positioned it at the core of self-reflective projects. Through the ubiquity of individual and ever-present sonic markers such as mobile phone jingles and sound installations in public space, everyday life has become the scene of a continuous sonic semiosis. back to THEORY
		FILM, AVANTGARDE, BIOPOLITIK Sabeth Buchmann, Helmut Draxler and Stephan Geene (ed.) Publications of the University of Fine Arts Vienna, Vol. 9 Germ., 428 p., numerous color images, 16,5 x 22 cm, paperback, 2009 ISBN 978-3-85160-134-3 € 24,70 [A] € 24,00 [D] With contributions by Rainer Bellenbaum, Wolfgang Bock, Gregg Bordowitz, Sabeth Buchmann, Peter Bürger, Eric de Bruyn, Astrid Deuber-Mankowsky, Katja Diefenbach, Helmut Draxler, Thomas Elsässer, Stephan Geene, Eva Geulen, Stephan Gregory, Marina Grzinic, Tom Holert, Nitzan Lebovic, Bert Rebhandl, Drehli Robnik, André Rottmann, Hito Steyerl and Tanja Widmann back to THEORY
		TECHNONATUREN. Design & Styles Elke Gaugele / Petra Eisele (ed.) Publications of the University of Fine Arts Vienna, Vol. 8 Germ., 258 p., numerous color and b&w images, 16,5 x 24,5 cm, paperback, 2008 ISBN 978-3-85160-124-4 € 22,00 [A] € 21,40 [D] With contributions by Annette Baldauf, Monika Codurey, Rebecca Coleman, Petra Eisele, Astrid Fingerlos, Elke Gaugele, Annette Geiger, Lola Güldenberg, Jens Hauser, Inge Hinterwaldner, Sebastian Hundertmark, Nicole C. Karafyllis, Christina Lammer, Andreas Mühlenberend, Georg Russegger and Antonia Wunderlich back to THEORY
		RUBY SIRCAR Liquid Homelands, The Sonic Productions of Second Generation [South] Asian Women Publications of the University of Fine Arts Vienna, Vol. 7 Engl., 170 p., numerous color images, 16,5 x 22 cm, paperback, 2008 ISBN 978-3-85160-118-3 € 18,50 [A] € 18,00 [D] This essay is an attempt to conceive a necessary step to be made by an emacipated “second generation” diaspora on its way to independence, no longer bound to the post-colonial and therefore not locality defined. The “second generation” was able to create its own self-definition, rooted within media and independent content, and thus emancipated itself from geographical and racist or sexist definitions; it is now no longer possible to keep on relating to theoretical roots within presenting a contemorary perspective or outlook. Post-colonialism is like a religious bind that can lo longer hold against long-needed reforms. By trying to analyse and document the phenomenon of a “second generation” that places itself and its cultural productions and language within the liquid form of media, it is possible to break this bind built on geographical heritage and ethnic parameters. back to THEORY
		MARINA GRZINIC Re-Politicizing Art, Theory, Presentation and New Media Technology Publications of the University of Fine Arts Vienna, Vol. 6 Engl., 238 p., numerous color images, 16,5 x 22cm, paperback, 2008 ISBN 978-3-85160-119-0 € 18,50 [A] € 18,00 [D] While so-called new capitalist global exhibition projects that either include selected Third and Second World artists and their artworks or are organized just for them are developing, so is a subtle system of inclusion and exclusion. These projects demonstrate some important new directions that can be seen not only as conceptual shifts but also as technological ones. Key here is the technique of transfer that provides the means of reproduction. The center (the capitalist First World) establishes hegemonic interpretations of the other worlds. We can detect a dialectical process between the technology of writing and the politics of publishing. Theory and the industry of theoretical writings are precise pyramidal constructions which are carefully safeguarded. Who can publish where and at what time and, moreover, who is positioned to provide the first line of interpretation, are extremely important decisions within the capitalist system. Huge symposia, seminars and panels are organized to support world exhibitions and global cultural projects, circulating the same theoretical personalities and public opinion makers who continually reproduce the capitalist system in theoretical terms. It is perfectly clear that in the field of global contemporary art and culture, we are not dealing with gestures of just exchange and production. We are instead dealing with the delineation of political lines within a certain (public) space, with a codification of this space and a naming of its political subjects. The question is whether, in addition to this process of codification, we also have spaces of resistance? back to THEORY
		ERICA TIETZE-CONRAT, Die Frau in der Kunstwissenschaft Almut Krapf-Weiler (ed.) Publications of the University of Fine Arts Vienna, Vol. 5 Germ., 306 p., numerous b&w images, 16,5 x 24,50 cm, paperback, 2007 ISBN 978-3-85160-106-0 € 26,00 [A] € 25,30 [D] back to THEORY
		HANS TIETZE, Lebendige Kunstwissenschaft Almut Krapf-Weiler (ed.) Publications of the University of Fine Arts Vienna, Vol. 4 Germ., 328 p., numerous b&w images, 16,5 x 24,50 cm, paperback, 2007 ISBN 978-3-85160-105-3 € 29,00 [A] € 28,20 [D] back to THEORY
		DAVID QUIGLEY Carl Einstein or The Defense of the Real Publications of the University of Fine Arts Vienna, Vol. 3 Engl., 316 p., numerous color and b&w images, 16,5 x 22,5 cm, hardcover, 2007 ISBN 978-3-85160-083-4 € 24,70 [A] € 24,00 [D] Einstein is emerging ever more clearly as one of the most representative and complex figures in the commitments of European artists and intellectuals between the First World War, revolution, avant-garde art, the Spanish Civil War and National Socialism. With his books "Negro Sculpture" (1915) and "African Sculpture" (1921) he opened up the view of the "reality" and "intensity" of this art. He co-edited various journals (incl. Die Pleite), collaborated with G. Grosz and J. Heartfield, wrote a very successful "Art of the 20th Century" and a first monograph on Georges Braque. In Paris he published, with G. Bataille, "Documents" (1929). In an intellectual biography in which an epoch is portrayed, the American philosopher David Quigley maps out the Einstein's various stages and positions in the territory of the political, philosophical and aesthetic arguments for a "new" art and a "new" society. back to THEORY
		ROLF LAVEN Franz Cizek und die Wiener Jugendkunst Publications of the University of Fine Arts Vienna, Vol. 2 Germ., 336 p., numerous color and b&w images, 22,5 x 16,5 cm, hardcover, 2006 ISBN 978-3-85160-077-3 € 24,70 [A] € 24,00 [D] Cizek (1865-1946) is regarded as a prominent reformer of art pedagogy. His Vienna art classes for children, established in 1897, became the centre of an international, long-term reform movement. His educational principles based on the freedom of development of children's creativity and his international exhibition activity, which made his classes particularly well-known in G.B. and the USA, changed art teaching in state schools and met with a multifaceted response � such as from Maria Montessori, Johannes Itten, the English Child Art movement, the Group of Seven in Canada and, not least, in the teaching and writings of Mark Rothko from the late 1930s. The educationalist Rolf Laven charts an overall picture of Cizek's work and impact against the background of contemporary pedagogical positions. He was also able to drawn on the largely unpublished material in the Cizek Archive in Vienna. With extracts from conversations with students of the Cizek classes and separate chapters dedicated to those of them who became famous such as Hans Hollein and Rudi Gernreich. back to THEORY
		THE ARTIST AS PUBLIC INTELLECTUAL? Stephan Schmidt-Wulffen (Ed.) Publications of the University of Fine Arts Vienna, Vol. 1 Engl., 168 p., numerous color images, 22 x 16,5 cm, paperback, 2008 ISBN 978-3-85160-117-6 € 18,50 [A] € 18,00 [D] With contributions by Rosalyn Deutsche, Manthia Diawara, Andrea Geyer, Thomas Hirschhorn, Christian Höller, Silvia Kolbowski and Chantal Mouffe and an interview with Sabeth Buchmannw and Barbara Kruger In reading all the theoretical contributions to this book, an essentially common idea of the social can be observed which is of fundamental importance for a new definition of artistic production: a process-related order of institutionalized actions, including the linguistic actions to which individuals are exposed. For here, in the repetition of such institutionalized acts, is where subjects first emerge at all. Objects, whether they be objects of everyday use or whole architectures, are like moulds which provide for the institutionalization of actions. The artist emerges as a social figure, as the product of a society and the agent of political interests. From this point of view, the status of objects, the status of the “work” is not the expression of a circumscribed meaning, but the instrument of forming a subject. The opposition of theory and practice becomes obsolete. Subject and object are meaning written into actions. back to THEORY