Synopsis
Critique is a form of thinking and acting. Since the end of the 18th century, there has been a dynamization and fluidization of the understanding of form, as concepts such as the break, marginalization, tearing, and opening indicate. As a philosophical problem, the question of form arises in critical theory from Marx to Adorno. Since the 1960s, literary practices have proliferated that generate critical statements less through traditional argument and more 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. 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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About the Author
Sami Khatib is a postdoctoral researcher at the Leuphana University Lüneburg. Holger Kuhn is a postdoctoral researcher and a research associate at the chair of art history, and part of the DFG research group "Cultures of Critique"at the Leuphana University Lüneburg. Oona Lochner is a research associate at the Institute of Philosophy and Sciences of Art and a PhD candidate at the DFG research group "Cultures of Critique" at the Leuphana University Lüneburg. Isabel Mehl is a writer and an art critic and a PhD candidate at at the DFG research group "Cultures of Critique" at the Leuphana University Lüneburg. Beate Söntgen is professor of art history at the Leuphana University Lüneburg.
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