Notice: Function _load_textdomain_just_in_time was called incorrectly. Translation loading for the photo-gallery domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /var/www/html/www.eur-artec.com/www/wp-includes/functions.php on line 6131
EUR ArTec

Notice: Trying to access array offset on value of type bool in /var/www/html/www.eur-artec.com/www/wp-content/themes/eur-artec/single-events.php on line 40

Contemporaneity, Anachrony, and Historical Imagination

Date

06/11/2018 -


Lieu

Université Paris 8


Infos pratiques

Mardi 6 novembre à 18h Jacob Lund, professeur associé d’esthétique et de culture, et directeur du programme Contemporary Aesthetics and Technology à l’Université Aarhus au Danemark proposera une conférence en anglais :  “Contemporaneity, Anachrony, and Historical Imagination”.
Historically speaking, contemporary art, following modern and – so it existed – postmodern art, is the art of today. As such, it seems that art has ceased to be a historical project with less interest in change than remaining in circulation, in particular on a global scale. For some, this is the contemporary condition of art. At the same time, as the name suggests, in the con-temporaneity of contemporary art, different times and temporalities come together able to create links across times and across spaces that would otherwise be unthinkable. Following the famous claim made by Roland Barthes, who (inspired by Nietzsche, and quoted by Agamben) said that “the contemporary is the untimely”, the contemporary might suggest artistic practices that run against their own time and epoch, or at least help problematize and re-emphasize particular relationships to time, history and historicity. However, what is the relationship of artistic research to contemporary art? Can it help to further artistic practices interested in resisting the flow of our times, or is it complicit in making art available now not only as material object but also as object of knowledge?