Ulf Wuggenig Książki

This book is the result of four years of collaborative work that focused on topics of affect, the return of history, ecology, and art and its markets in today's power law-based economies. These themes triggered not only the development of new artworks but also gave rise to reflexive discourses and discussions surrounding art theory, philosophy, sociology, and economics. The book contains a visual documentation of a number of group shows - which also included the works of winners of the Daniel Frese Prize - at Agathenburg Castle, Halle für Kunst Lüneburg, Kunstraum of Leuphana University of Lüneburg, and Kunstverein Springhornhof. The contributions by critics, curators, theoreticians, and scientists include essays and in-depth conversations.

Weder in der Sozial- noch in den Bildwissenschaften sind die Aspekte des Visuellen in der Theorie Pierre Bourdieus bislang ausreichend gewürdigt worden. Der vorliegende Band setzt sich mit bisher unbeachteten Aspekten der Behandlung und Bedeutung von Bildlichkeit in der Bourdieu’schen Theorie auseinander. Bourdieus Algerien-Bilder, seine Hinterlassenschaft an selbst gemachten fotografischen Aufnahmen von algerischen Menschen, Dörfern und Straßenszenen, stellten einen besonderen Schwerpunkt des vorangegangenen Symposiums dar, bieten sie doch eine ganze Reihe von Ansatzpunkten in Bezug auf das Verhältnis von Bild und Gesellschaft bei Bourdieu. Die Legitimationsfunktion von Kunst, der wachsende Einfluss des Marktes auf das Kunstfeld und Bourdieus Ausführungen zum Verhältnis von Theorie von Praxis sind weitere Gegenstände der Beiträge dieses Bandes. The Visual Anthropology of Pierre Bourdieu' fand im Juli 2007 an der Hochschule für Grafik und Buchkunst Leipzig und am KW Institute for Contemporary Art Berlin statt. Der Band enthält Beiträge von Christoph Behnke, Beatrice Bismarck, Christine Frisinghelli, Isabell Graw, Christian Kravagna, Ruth Sonderegger, Ulf Wuggenig.

What do artists, curators, critics, gallery owners, collectors and exhibitions' visitors think about contemporary art, and what do they make of the dramatic changes in this field? The intellectualization of the 1990s was followed by the economization of the “decade of greed.” Under these circumstances how do the perspectives of the producers differ from the viewpoints of those who decide as gatekeepers—curators, critics, gallery owners, collectors—about success and failure in this field, and from those of “art lovers” who primarily enjoy looking at the works exhibited? * * In this volume edited by Heike Munder and Ulf Wuggenig, with contributions from the cultural experts and social scientists Christoph Behnke, Cornelia Kastelan, Valérie Knoll, Sophia Prinz, and Christian Tarnai, the field of art is considered from an objectifying stance. The book is based on interviews with some 800 visitors to contemporary art exhibitions in Zurich, a center of the art market, as well as earlier surveys carried out in Vienna, Hamburg, and Paris in the 1990s. * * Heike Munder is the Director of the Migros Museum für Gegenwartskunst in Zurich. Ulf Wuggenig works as a sociologist at Leuphana University in Lüneburg. * * Published with the Migros Museum für Gegenwartskunst, Zurich.