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Sami Khatib, Holger Kuhn, ...: An Introduction to
An Introduction to "The Stakes of Form"
(S. 7 – 34)
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Sami Khatib, Holger Kuhn, Oona Lochner, Isabel Mehl, Beate Söntgen

An Introduction to "The Stakes of Form"

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  • Philosophie
  • Ästhetik
  • Kritik

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Sami Khatib

Sami Khatib

is professor of visual arts at the American University in Cairo (AUC) and member of the Mellon Foundation research group “Extimacies: Critical Theory from the Global South.”
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Holger Kuhn

works as assistant professor (Juniorprofessor) for Historical Visual Culture and Art History at Bielefeld University. From 2016 to 2021 he was postdoctoral researcher at the DFG research training group “Cultures of Critique” at Leuphana University Lüneburg. His current research focuses on and visual culture, media theory, and the questions of financialization and environmentalization in contemporary art.
Mathias Denecke (Hg.), Holger Kuhn (Hg.), ...: Liquidity, Flows, Circulation
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Oona Lochner

is a research assistant at the Institute of Philosophy and Sciences of Art and a PhD candidate in the research training group “Cultures of Critique,” both at Leuphana University Lüneburg. Her PhD project focuses on forms of feminist art criticism since the 1960s, asking how writing about art can contribute to a negotiation of subjectivity. Together with Isabel Mehl, she founded the collaborative “From Where I Stand” which addresses the current conditions and possibilities of writing feminist art histories. She was an editor of Texte zur Kunst and writes about contemporary art.
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Isabel Mehl

Isabel Mehl

is a writer and an art critic. Since 2016 she is part of the research training group “Cultures of Critique” and researches on the function of fiction for art criticism. Her texts have been published in frieze, Texte zur Kunst, and elsewhere. Dialogue is at the core of her work – collaborators include: art historian Oona Lochner, artist Grażyna Roguski and Susan Funk (as DJ DUO). In 2012 she co-founded the Feminist Working Collective (FAK) and co-edited their publication Body of Work. She is developing a radio play for WDR with opera singer Pauline Jacob and musician Georg Conrad; and plans an anthology on digiphrenia with critic Masha Tupitsyn.
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Beate Söntgen

Beate Söntgen

ist Professorin für Kunstgeschichte an der Leuphana. Neben freier Mitarbeit im Feuilleton der FAZ, Mitwirkung an Ausstellungen, zuletzt als Ko-Kuratorin zu „Matisse. Figur Farbe Raum“ (K20, Düsseldorf). WS 2009/10: Flaubert-Gastprofessorin am Flaubert-Zentrum der LMU München/Venedig.
Beate Söntgen (Hg.), Katharina Tchelidze (Hg.), ...: Scenes of the Avant-Garde
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Sami Khatib (Hg.), Holger Kuhn (Hg.), ...: Critique: The Stakes of Form
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Sami Khatib (Hg.), Holger Kuhn (Hg.), Oona Lochner (Hg.), Isabel Mehl (Hg.), Beate Söntgen (Hg.)

Critique: The Stakes of Form

Broschur, 352 Seiten

PDF, 352 Seiten, 0.0 MB

Critique is a form of thinking and acting. It is determined by its objects, yet never accesses them immediately but is always mediated through its own forms of (re)presentation. Since the end of the 18th century, there has been a dynamization and fluidization of the understanding of form, as topoi such as the break, the marginalization, the tearing and opening indicate. However, these multifarious attempts to “build on the structure through demolition” (Benjamin) testify to the dependence of all articulation on the forms of (re)presentation [“Darstellung”]. As a philosophical problem, the question of form arises in critical theory from Marx to Adorno. Since the 1960s, literary practices have proliferated which generate their critical statements less argumentatively than through the programmatic use of formal means. At the same time, the writing self, along with its attitudes, reflections, affects and instruments, visibly enters the critical scene—whereas the theatrical scene as a stage of critique has been contested intensively during the 20th century. This volume examines how the interdependence of critique, object, and form translates into critical stances, understood as learnable, reproducible gestures, which bear witness to changing conditions and media of critical practice.

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