A
Abandoned House #4 (Durant), 56
Abandoned Works (Hirschhorn), 99
abject, 7–28
abjection
defined, 16
Abramovi , Marina, 128, 133, 126, 127
Acconci, Vito, 128
actuality
defined, 183–4n34
in praise of, 127–40
Ader, Bas Jan, 154n29
Adorno, Theodor, 71, 93, 138, 153n22
aesthetic autonomy, 59, 100, 137
aesthetics
relational aesthetics, 103, 123, 134, 137, 151n4
of resistance, 40
Aesthetics and Its Discontents (Rancière), 117
Aesthetic Theory (Adorno), 71, 93
affect, role of, 25
affect discourse, 120
“Against Interpretation” (Sontag), 181n12
aggression against the visual, 14
“Aggressivity in Psychoanalysis” (Lacan), 90
al-Qaeda, 66
altars, of Hirschhorn, 36, 37, 40, 106, 108, 112
Althusser, Louis, 116
anal eroticism, 20, 21–2, 149n24
Andrée, S. A., 50
Anger, Kenneth, 51
antifetishistic critique/antifetishism, 117, 118, 119, 121, 175n26
Appadurai, Arjun, 174–5n22
archival, 31–60
archive reason, 159n67
Arendt, Hannah, 124
art-historical connections, 68
artist
as curator, 34
as ethnographer, 35
artistic critique, 172n6
artistic universality, 100
assimilation by camouflage, 24
Atget, Eugène, 53
Atlas (Richter), 60
Auster, Paul, 27
“Author as Producer” (Benjamin), 103, 116
autonomy, 113. See also aesthetic autonomy
avant-garde
attraction of abjection to, 16
function of, 137
motives of, 94
“Avant-Garde and Kitsch” (Greenberg), 137
B
Bacchus (Caravaggio), 69
Bachmann, Ingeborg, 37, 38, 41, 106, 112, 152n16
Ballard, J. G., 77
bare life, 111
Barney, Matthew, 133
Baroque art, 12
Barrada, Yto, 124
Bartana, Yael, 31
Basic Research (Genzken), 78, 84
Bataille, Georges, 13, 16, 19, 20, 24, 39, 40, 105, 108, 109, 136, 137
Bataille monument (Hirschhorn), 101
The Battle of Orgreave (Deller), 131, 132
Baudelaire, Charles, 88, 93, 140, 162–3n27
Baudelairean modernism, 150n35
Baum, Kelly, 183n29
Bayer, Herbert, 79
Beck, Ulrich, 166n6
Being and Nothingness (Sartre), 7
Bell, Daniel, 170n1
Benjamin, Walter, 24, 46, 47, 53, 54, 88, 93, 95, 103, 110, 112, 116, 138, 140, 145–6n5, 154–5n32, 180n11
Berlin Wall, fall of, 3
Beuys, Joseph, 104, 107, 110, 128
biennials, 127
Bismarckstrasse (Genzken), 82
Björk, 179n6
Blake, William, 176n28
“Blood and Soil,” 106
Bloom, Allan, 170n1
Böcklin, Arnold, 71
body
breaching of, 25
damaged/violated bodies, role of, 27
Boltanski, Luc, 172n6
Bonami, Francesco, 151n4
Bonnet I (Woman) (Genzken), 87, 88
Bonnet II (Man) (Genzken), 87, 88
Bourriaud, Nicolas, 34, 123, 134
Brancusi, Constantin, 120
Brecht, Bertolt, 99, 104, 107, 116, 180n10
Bredekamp, Horst, 175n23
Broch, Hermann, 71
Broodthaers, Marcel, 154n29, 167–8n24
Bubble House (Dean), 46
Buchloh, Benjamin, 60, 104, 109
Buckingham, Matthew, 31, 48, 176n31
“Bunk” (Paolozzi), 70
Burnett, Graham, 176n34
Burr, Tom, 31
Burroughs, William S., 50
Burton, Johanna, 128
Bynum, Carolyn Walker, 175n24
Byrne, Gerard, 31
C
Cabaret Voltaire, 91
Cage, John, 134
Caillois, Roger, 24
camouflage, assimilation by, 24
capitalist garbage bucket, 41, 95, 99
capitalist nihilism, 95
Case Study Houses, 55
The Cathedral of Erotic Misery (Schwitters), 153n17
Cattelan, Maurizio, 96
celebrity-spectacle complex, 41
Charlesworth, Sarah, 10
Chiapello, Eve, 172n6
Christiania, Copenhagen, 48–9
Church, Judson, 127
citation, in archival art, 35
Cities of the Red Night (Burroughs), 50
citizenship, 124
Civilization and Its Discontents (Freud), 20
civil rights movement, 31
Clark, T. J., 138
collaboration, 136
commodity, 90, 100, 109, 118, 121, 137
commodity culture, 79
commodity exchange, 109
commodity fetishism, 121
Conceptual art, 32
connecting what cannot be connected, 59
Constructivism, 4
contemporary art, characterization of, 3
conversations, marathon, 182n20
convulsive possession, 25
Cooper, Dennis, 27
corpse, as subject of abjection, 27
counter-hegemonic, 39
counter-repression, 158n56
Crary, Jonathan, 180n11
creative indeterminacy, 134
critical iconoclasm, 174n20
criticality, 115, 173–4n17, 181n15
critical theory, 115, 116, 119, 120, 122, 170n1
critics
destructive critic, 119
emergence of, 122–3
critique
antifetishistic critique/antifetishism, 117, 118, 119, 121, 175n26
institution critique, 32
Cronenberg, David, 77
Crowhurst, Donald, 43–4
Crowley, Aleister, 51
Cultural Contradictions of Capitalism (Bell), 170n1
cultural politics, 24, 41, 170n1
curatorships, 127
D
Dada/Dadaists, 87, 91–4, 95, 108, 146–7n9, 153n20
damaged/violated bodies, role of, 27
database art, 34
Davey, Moyra, 31
Da Vinci (Genzken), 84
Day for Night, Christiania (Koester), 48, 49, 49
Dean, Tacita, 31, 35, 41–8, 54, 55, 56, 59
deconstruction, 116
Deleuze monument (Hirschhorn), 101
Deller, Jeremy, 31, 95, 131–2, 176n31
desublimation, 12, 146n6, 148n18
The Devil’s Blind Spot (Kluge), 54
dialectical image, 140
dialectics, 59, 78, 80, 83, 85, 90, 122, 153n22, 180n11, 182n17
DiCaprio, Leonardo, 89
Dick, Philip K., 77
Didi-Hubermann, Georges, 175n23
Die Aesthetik des Widerstands (Weiss), 40
digital dividuals, 89
Dion, Mark, 32
Direct Sculpture (Hirschhorn), 36
direct sculptures, of Hirschhorn, 36–7, 38
Disappearance at Sea I (Dean), 44, 44
Disappearance at Sea II (Dean), 44
Dolven, Jeff, 176n34
dompte-regard (taming of the gaze), 10
Douglas, Emory, 56
Douglas, Mary, 147n11
Douglas, Stan, 32
Dracula (Stoker), 50
Dracula trope, 178n2
D’Souza, Dinesh, 170n1
Duchamp, Marcel, 21, 68, 88, 90, 94, 95, 120, 133, 134
dumb looking, 106
Dürer, Albrecht, 87
E
Eames, Charles, 54
Eames, Ray, 54
Eco, Umberto, 133
Écrits (Lacan), 90
Eggers, Dave, 159n66
ego, 89–90. See also bashed ego
The Eighteenth Brumaire of Louis Bonaparte (Marx), 123
Ellipsoids (Genzken), 78
Ellwood, Craig, 55
The Emancipated Spectator (Rancière), 118
Emergency Library (Hirschhorn), 98, 111
The Emigrants (Sebald), 47
Empire/Vampire, Who Kills Death (Genzken), 79, 90
Enwezor, Okwui, 151n4
Erickson, Steve, 27
Etant donnés (Duchamp), 68
exaggeration, 92
exception, state of, 110
excremental impulse, 21
expenditure (dépense), 99, 108, 109
Experience (Höller), 135
Export, Valie, 128
Expressionism, 9
F
failed futuristic visions, 45, 47, 154n31
the fan, 106
Fast, Omer, 32
festivals, of Hirschhorn, 108
fetishism, 117, 118, 120, 153n17, 164n36, 173n17, 174–5n22, 176n29
fiction
archival impulse in, 159n66
mimetic exacerbation as practiced in, 164n37
fictional feelings, 71
Fischer, Urs, 133
Flight Out of Time (Ball), 91, 92
Fluxus, 134
Foer, Jonathan Safran, 164n37
Fontcuberta, Joan, 32
Forkert, Kirsten, 131
Foucault, Michel, 28, 55, 116, 119, 133, 154n27
The Four Fundamental Concepts of Psychoanalysis (Lacan), 7
Fraenkel, Knut, 50
Frankenstein trope, 178n2
Freud, Sigmund, 20, 21, 24, 60, 77–8, 89, 118, 119, 121
Freundlich, Otto, 37, 38, 40, 106, 112
Fried, Michael, 181–2n16
Friedrich, Caspar David, 50
From the Travel of Jonathan Harker (Koester), 50
Fuck the Bauhaus (New Buildings for New York) (Genzken), 78
Fuck the Bauhaus #4 (Genzken), 79, 90
Futurism, 175n27
G
Gaddis, William, 164n37
Gaillard, Cyprien, 95
game of substitutions (le jeu des transpositions), 19
Gauguin, Paul, 113
gaze
Lacanian diagram of, 8–9
in Sherman’s work, 13–14
understanding of, 7–10, 24, 145–6n5
Gehry, Frank, 180n11
Gell, Alfred, 174–5n22
Genet, Jean, 43
Géricault, Théodore, 69
Gesamtkunstwerk (total work of art), 78
Giddens, Anthony, 166n6
gift exchange, 109
given, mimesis of the, 78
“Global Village Idiot” (Kessler), 75–6
Gober, Robert, 62, 64–70, 72, 77, 78, 80, 91
“God and Guns,” 106
Graham, Dan, 32
Gramsci Monument (Hirschhorn), 101, 102
Grass, Günter, 154–5n32
Greenberg, Clement, 59, 71, 122, 137, 138, 173–4n17
Haacke, Hans, 124
Hamilton, Richard, 79
happenings, 178n1
Harrison, Rachel, 95, 162n17, 178n2
“Heaven’s Gate” (Kessler), 73, 75
Hegel, Georg Wilhelm Friedrich, 131
Helms, Jesse, 19
Hesse, Eva, 158n56
Hirschhorn, Thomas, 31, 35, 36–41, 59, 95, 98, 99–113, 124
Hirst, Damien, 96
historical exhibitions, 130
histories (Koester), 54
history, parallactic model of, 49
Hitchcock, Alfred, 32
Hobbes, Thomas, 111
Höch, Hannah, 32
Höller, Carsten, 135
homophobia, 147n11
Honeycomb (Genzken), 81
Huelsenbeck, Richard, 92
Huyghe, Pierre, 32, 33, 123, 134, 176n31
Hyperbolos (Genzken), 78
hypertrophy, 92
hysterical realism, 164n37
I
The Ignorant Schoolmaster (Rancière), 104
image screen, 8–9, 9, 10, 11, 13, 16, 17, 25
Independent Group, 32
Ingeborg Bachmann Kiosk (Hirschhorn), 38
installation art, 175n26
installation format, 32
institution critique, 32
Internet
algorithmization of operations of, 121
reformatting of art for, 95
role of in archival art, 34
Isa (Genzken), 83
J
Jacir, Emily, 124
Jackson, Michael, 106
Jameson, Fredric, 25
Jamie, Cameron, 95
Janco, Marcel, 93
Jay-Z, 179n6
“Jean Genie” (song), 43
Johnson, Denis, 27
Joseph, Manuel, 166n12
Judd, Donald, 173–4n17
Julien, Isaac, 124
junkspace, 2, 4, 53, 90, 95, 137, 153n21, 162n17
juxtaposition, 35, 77, 156n39, 166–7n14
K
Kalinin, Mikhail, 52
Kant, Emmanuel, 52, 59, 120, 122
The Kant Walks (Koester), 52, 53
Kelley, Mike, 21, 22, 23, 24, 27, 90, 95
Kienholz, Ed, 91
Kimball, Roger, 170n1
Kinsey, Alfred, 51
kiosks, of Hirschhorn, 36, 38, 40, 105, 108
Kippenberger, Martin, 90
kitsch, 37, 41, 59, 70, 71–2, 78, 161n8
Kluge, Alexander, 49, 54, 175n27
Koening, Pierre, 55
Koester, Joachim, 30, 31, 35, 48–54, 56, 59
Kolbowski, Silvia, 10
Koolhaas, Rem, 128
Kristeva, Julia, 13, 14, 16, 17, 24, 25
Kundera, Milan, 71
L
Lacan, Jacques, 7–9, 24, 89, 90, 145–6n5
Lacanian psychoanalysis, 7, 69
Lambert-Beatty, Carrie, 179n7
Landscape Art (Emory Douglas) (Durant), 56, 57
languages, mass-cultural, 41
La part maudite (Bataille), 108, 109
Lassry, Elad, 129
Latour, Bruno, 117, 118, 119, 120, 121, 124
the Left, 41, 60, 99, 106, 115
le jeu des transpositions (game of substitutions), 19
Leonard, Zoë, 32
Les plaintifs, les bêtes, les politiques (Hirschhorn), 104, 105, 105, 107
Let’s Talk (Kelley), 22
Leviathan (Hobbes), 111
Levinas, Emmanuel, 103
Levine, David, 178n1, 179–80n8
Lévi-Strauss, Claude, 167–8n24
“The Life of Infamous Men” (Foucault), 154n27
live events, 128
Live in Your Head: When Attitudes Become Form, 130–1
Louis Vuitton Foundation Museum, 180n11
Lumpen, 24
Lumpenprole (Kelley), 24
M
Maciunas, George, 133
Magritte, René, 68
Manzoni, Piero, 21
marathon conversations, 182n20
Marker, Chris, 32
Marx, Karl, 24, 106, 109, 116, 118, 119, 121, 123
mass-cultural languages, 41
materialism, vital, 120
Matta-Clark, Gordon, 158n56
Mauss, Marcel, 109
McCarthy, Paul, 21, 22, 24, 95
McElheny, Josiah, 32
McEwan, Ian, 27
McLuhan, Marshall, 75
memory industry, 159n67
mere similarity, state of, 25
Merz (Schwitters), 90–1
Merz, Mario, 154n29
Merzbau (Schwitters), 35
Message from Andrée (Koester), 30, 50
methodological fetishism, 174–5n22
mimesis
of the given, 78
mimetic adaptation, 91, 92, 93
mimetic exacerbation, 78, 91, 92, 95, 108, 116, 138, 139, 162n19, 164n37
Minimalist/ism, 55, 78, 131, 158n56, 176n30
“Mirror Stage” (Lacan), 90
mnemotechny of the beautiful, painting as, 140
“Modernity—An Incomplete Project” (Habermas), 153n19
“Modern Vision” (Kessler), 73
monuments, of Hirschhorn, 36, 38–9, 101–2, 107, 108
The Morgue (Burnt to Death) (Serrano), 26
Morning of the Magicians (Koester), 51
Müller, Christian Philipp, 32
Musée Précaire Albinet (Hirschhorn), 101, 101
museums
boom in new museums, 128
as sites of activation, 134, 181–2n16
N
National Gallery of Art (Washington), 181–2n16
National Security Administration, 89
Nauman, Bruce, 128
“Negative Expressionism” (Benjamin), 93
Negt, Oskar, 175n27
Neo-Concretism, 134
neoconservative Right, 170n1
neo-Gramscian, 139
neoliberalism/neoliberal capitalism, 3, 27, 100, 110, 117, 124, 131, 138, 172n5, 178n2
neo-Situationist, 139
Neutra, Richard, 55
New Buildings for Berlin (Genzken), 78, 81, 83
New Criticism, 133
The New Land(s) and the Tale of Captain Mission (Koester), 50
Nietzsche, Friedrich, 93
nihilism, 95, 96, 116, 117, 172n7
9/11
aftermath of, 67, 69, 70, 72, 73, 78, 110, 115
emergency as norm thereafter, 4
1989, significance of, 3
Nirvana, 149–50n31
No Ghost Just a Shell (Huyghe and Parreno), 32
Nordenskiöld, Nils A. E., 50
O
object gaze, 10
object-oriented ontology, 174n21, 181–2n16
Obrist, Hans Ulrich, 136, 182n20
obscene, 13, 14, 19, 107, 146–7n9, 147n12, 148n17
Oehlen, Albert, 178n2
Oldenburg, Claes, 77, 108, 164n36
“One Hour Photo” (Kessler), 73, 74
129 Die (Warhol), 104
One Million Kingdoms (Huyghe), 33
Oppenheim, Meret, 38
Orozco, Gabriel, 152n10
Osama Fashion Store (Genzken), 79–80, 80
Other Primary Structures, 130
Otolith Group, 32
Otto Freundlich Altar (Hirschhorn), 37
Owens, Craig, 59
P
The Palace at 4 A.M. (Giacometti), 77
The Palace at 4 A.M. (Kessler), 73, 73, 74, 75
Pane, Gina, 128
Panofsky, Erwin, 135
Paolozzi, Eduardo, 70
paradigms, 1
parallactic model of history, 49
paranoia
in archival art, 60
models of visuality as tinged with, 145–6n5
Parker, Cornelia, 158n56
Parsons, Talcott, 123
Partially Buried Woodshed (Dean), 46, 56, 57, 58
participatory modes of art, 2, 123, 134, 135, 139, 179n7
part object, 120
Party Crasher (Kessler), 76
pense-bête, 167–8n24
pensée sauvage, 167–8n24
père-version, 20
performances, institutionalization of, 127
performative modes of art, 2, 26, 129–30, 132, 133, 139, 179–80n8, 182n20, 183n33
The Phenomenology of Perception (Merleau-Ponty), 7
Philosophy of Modern Music (Adorno), 93
picture-making, 9
Pile of Rubbish (Genzken), 80
plaintive, 105
political infotainment, 78
political kitsch, 78
political nihilism, 116
politics. See also the Left; the Right and art, 19
cultural politics, 24, 41, 170n1
The Politics of Aesthetics (Rancière), 119
Polke, Sigmar, 78
post-critical? 115–24
Postminimalism, 131
postmodernism, 25, 26, 32, 35, 59, 90, 117
postproduction, archival art as, 34
poststructuralism, 20, 26, 27, 90, 116, 122, 176n34
Powell, Amy Knight, 135
Powers, Richard, 159n66
Powers of Horro (Kristeva), 14, 16
precarious
in art, 99–113
defined, 103
“Precarious Life” (Butler), 103
preproduction, archival art as, 34
“Presence and Production,” 103
Primary Structures, 130
psychogeography, 53
public sphere, 35, 70, 95, 108, 122, 123–4
pulsatile gaze, 13
puncture, 77
Q
Quaternary Field/Associative Diagram (Durant), 58
R
Raad, Walid, 32
Rancière, Jacques, 104, 117–18, 119, 121
Raqs Media Collective, 32
Raunig, Gerald, 101
Rauschenberg, Robert, 32, 59, 77, 91
Reagan, Ronald, 110
real
abject art in relation to, 25
as disturbing the symbolic, 69
as opposed to fantasy, 26
precarious as real form, 102
Sherman’s turn to, 12
shift in conceptions of, 7
realism
hysterical realism, 164n37
speculative realism, 174n21, 181–2n16
reenactments, 127, 129, 130, 131, 132, 178n1
regression, mimesis of, 20, 22
relational aesthetics, 103, 123, 134, 137, 151n4
relational art, 134
representation
Rhoades, Jason, 95
the Right, 60, 106, 117, 160–1n3, 170n1
Rococo art, 12
Rodchenko, Alexander, 32
Romanticism, 134
Roof Piece Re-Layed (Trisha Brown Dance Company), 128
Roth, Dieter, 91
Roth, Michael S., 171n2
The Russian Ark (Sokurov), 154n31
Russian Constructivism, 4
Russian Eccentrics, 93
S
Sandra of the Tuliphouse or How to Live in a Free State (Koester), 48, 49
Santner, Eric, 106
Saunders, George, 164n37
Scanlan, Joe, 181–2n16
Scorsese, Martin, 32
The Sea of Ice (Friedrich), 50
Sekula, Allan, 124
self-criticism, 173–4n17
Self-Portrait (Genzken), 86
Serra, Richard, 132
Seven Easy Pieces (Abramović), 128, 126
sexual fetishism, 121
Shteyngart, Gary, 164n37
Shulman, Julius, 55
Simmons, Laurie, 10
Smith, Kiki, 17
Smith, Zadie, 164n37
Smithson, Robert, 46, 53, 54, 55, 56, 57, 58, 158n56
Social Facades (Genzken), 82, 84
social practice art, 139
Sokurov, Andrei, 154n31
Someone Takes Care of My Work (Hirschhorn), 99, 100
Sontag, Susan, 181n12
sound mirrors, 45–6
Sound Mirrors (Dean), 47
speculative realism, 174n21, 181–2n16
speech-act theory, 130, 179–80n8
Spielautomat (Genzken), 88, 89
Spinoza, Baruch, 39
Spinoza Monument (Hirschhorn), 39, 101
Spiral Jetty (Dean), 46
Spivak, Gayatri, 116
state of exception, 110
Steinberg, Leo, 2
Steyerl, Hito, 124
Strindberg, Nils, 50
subject
becoming space, 25
gaze as attacking, 25
as parrying shocks of metropolitan world, 88
subject-as-picture, 10, 11, 13
subject–object relations, 36, 109, 120
subject of representation, 8–9, 9, 10, 144n2
sublimation, 19, 20, 21, 148n18
Surrealism, 4, 19, 77, 85, 120
Swinton, Tilda, 179n6
symbolic order, 4, 17, 19, 25, 60, 92, 107, 110, 147–8n16, 147n15
T
Tale (Smith), 17
Tate Britain, 181–2n16
Tausk, Victor, 78
Teignmouth Electron (Dean), 44, 45, 46
Thatcher, Margaret, 110
theory
critical theory, 115, 116, 119, 120, 122, 170n1
speech-act theory, 130, 179–80n8
thing theory, 120
Theory Garbage, Stuffed Animals, Christ (Kelley), 22, 23, 24
“Theses on the Philosophy of History” (Benjamin), 110, 113
Tiananmen Square, uprising at, 3
Tillmans, Wolfgang, 86
time readymades, 32
Tinguely, Jean, 77
totalitarian kitsch, 72
“A Tour of the Monuments of Passaic, New Jersey” (Smithson), 57–8
transitive painting, 137
redefining experience in terms of, 27
treatment of, 28
Trecartin, Ryan, 95
Tribe, Mark, 131
Trisha Brown Dance Company, 128
trompe-l’oeil (tricking of the eye), 10
24 Hour Psycho (Gordon), 33
2013 Venice Biennale, 181–2n16
U
The Unbearable Lightness of Being (Kundera), 71
unmonumental sculpture, 137
Untitled (Gober), 62, 64, 66, 67, 68
Untitled (Kruger), 6
Untitled (Presence) (Lassry), 129, 129
Untitled #190 (Sherman), 13, 15
Untitled #222 (Sherman), 12
Untitled #250 (Sherman), 14
untitled 1992/1995 (free/still) (Tiravanija) 136
Ur-Collage (Hirschhorn), 106, 107
use value, 103
V
van der Rohe, Mies, 79, 82, 108
Verb List (Serra), 132
viewer, activation of, 134, 135
Virilio, Paul, 77
“Visuality and Its Discontents,” 21
vital materialism, 120
Vo, Danh, 32
Vollman, William, 159n66
von Heyl, Charlene, 178n2
W
Walker, Kara, 95
Wall, Jeff, 151n7
Wallace, David Foster, 159n66, 164n37
Wallinger, Mark, 95
Walser, Robert, 38, 105, 152n16
War and Peace in the Global Village (McLuhan), 75
Warhol, Andy, 104, 107, 108, 110
We Drank Some Cokes and Beat Our Toys into Ploughshares (Miller), 21
Weiner, Lawrence, 89
When Attitudes Become Form: Bern 1969/Venice 2013, 131
Where do I stand? What do I want? (Hirschhorn), 112
Wood, James, 164n37
working-class America, 65
World Receiver (Genzken), 79
World War II, 81
X
Z
zombie trope, 178n2
Zürich Dadaists, 91–2