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By Dorothea von Hantelmann

Artwork hasn't ever been as culturally and economically famous because it is at the present time. How can artists themselves form the social relevance and influence in their paintings? In how one can Do issues with artwork, German paintings historian Dorothea von Hantelmann makes use of 4 case research artists--Daniel Buren, James Coleman, Jeff Koons and Tino Sehgal--to learn how an art acts upon and inside social conventions, fairly in the course of the "performing" of exhibitions. The book's identify is a play on J.L. Austin's seminal textual content, find out how to Do issues with phrases, which describes language's reality-producing houses and demonstrates that during "saying" there's consistently a "doing"--a linguistic counterpart to the dynamics estimated by means of Von Hantelmann for paintings, during which "showing" is one of those "doing." Von Hantelmann's shut research of works through Buren, Coleman, Koons and Sehgal explores how every one of those artists has taken keep an eye on of the way their paintings conducts itself on the planet.

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Coleman, by contrast, takes from the forms oflanguage and visual portrayal passed down through cultural memory. Yet both resort to the an form of theaterto theater as art form and theater as the cultural practice of staging the spatial and temporal relationships that mediate history and present. Both artists critically address, albeit in different ways, historical and modern forms of performing and staging, of representing and spectacularizing history and memory-a shared interest that resulted in a joint project in J985, when Coleman invited Graham to design a stage set for the theater performance of gtlatRE: An AllegOly in Ireland" It is not a coincidence that Benjamin's most important epistemological text appeared as a preface to a book on theater and theatricality.

Irc,~ flJumimllion/,ll. 171. 166 J In thc COntcxt of ... l, Benjamin Buchloh alrc\ldy :lliuded to this link b/:twcen Colcm... n ... ltcr Benjamin. king up lJuchloh's id('2, I :mempt to Desh OUI th~ link\lge. D. ), Pf1/itia-Poffln. 1f7 DtxrtmnrtJ X,lbrje Cann. Osdildem-Ruit, 1997, p. 638. In Gnh\lm, Tbfturr, Anton Ilc:rhc:rt, Ghem, 1981. ddresses Brecht, the schism... ric principle of presence \lnd the self :IS ... dnffi\llic effeci. ), Dall GnUmlfl. Rod My Rtligioll. Wn'liltU and An Proj«n 1965'1990, MIT Press, Cambridgc/~lJss, :tnd London, [993, p.

Ngs: In his inquiry into Baroque tragedy and epic theater, Benjamin himself develops a form of writing that is based on correspondences, on similarities between a theme, its representation and a method. He develops a form of fragmentary representation that concurs with his conception of history, based on fragment and discontinuity, and through which the process of representation intermediates between history and contemporaneity. In Coleman's work, history and experience arc likewise defined by fragmentation and disassociation, by the loss of coherence and stability.

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