Mythology as the ‘condition and subject of all art’ in the varying conceptions of the early German Romantics and neoclassicism: from Schelling and Schlegel to Winckelmann and Goethe, meditations on Laocoon and anticipations of the Gesamtkunstwerk—issuing into the uncanny mythopoeias of modernity in Melville’s Confidence Man and the White Whale.
AFTER THE GODS
For centuries, classical mythology functioned as an intermedium that connected the different arts and anchored them in society. It forged a link between visual art and literature, with the interpretations of humanist scholars often supplying subjects for poets, painters and sculptors alike. This tradition was founded above all on the supreme literary and artistic value attached to ancient culture; while it was clear that the literal subjects were heathen gods and un-Christian heroes, their exploits were allegorized so that a mythological rape scene could suggest an array of profound meanings and become a suitable subject for literature and art.
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Performance Art After TV
Relations between TV and performance art since the 1960s as a tangled skein of complicity and contestation. Sven Lütticken traces shifts in modes of acting, working and self-presentation, within a televisual world itself now being absorbed by cybernetic and digital systems.
Dialectic of Dionysus
Sven Lütticken on Asger Jorn, Fraternité Avant Tout. The Danish artist and Situationist wrestles with Engels and Nietzsche.
Once deemed extinct, the play instinct now pervades the worlds of work and leisure. Can it be turned to radical ends? Sven Lütticken seeks clues in Schiller and Debord, Neuschwanstein and computer games.
Attending to Abstract Things
From the philosophe De Brosses in the eighteenth century to the abstract expressionist Barnett Newman and the conceptualist Sol LeWitt in the twentieth—via Hegel, Creuzer and Marx—the fates of the fetish and the commodity, in critical thought and art.
Do increasingly dark ecological portents indicate a deeper transformation of nature itself? Sven Lütticken elaborates a historicized conception of nature, seeking precedents and contrasts in 19th- and 20th-century philosophies and fictions. Dinosaurs and overmen, Geist and entropic decline in Verne, Nietzsche, Schelling and Smithson.
Idolatry and its Discontents
Amid rhetorical dust-storms over purported Islamist threats to Western values, Sven Lütticken finds antecedents for contemporary struggles over the image in Judaic and Protestant bans on idolatry. Multiple meanings of the veil and varying forms of iconoclasm, under the aegis of the spectacle.
Suspense and . . . Surprise
Media projections of the ‘war on terror’ as manipulations of shock and time, purveyed through a perpetual present of 24-hour coverage and on-line news. Lessons from Hitchcock, Conrad and Benjamin on the poetics of suspense and possibilities for a rehistoricization of the attentat.
The Feathers of the Eagle
Lifting, swiping, zapping: popular expressions that have been aesthetic tactics since Dada. Sven Lütticken recasts the history of such practices of appropriation—not excluding those of Warhol or Debord, sometimes misplaced—as so many exercises in mythology. Anticipated by Flaubert, theorized by Barthes, staged by Broodthaers, is time running out for such creative misuses of past or present, as ‘intellectual property rights’ tighten?
Planet of the Remakes
From Hollywood retreads to avatars of Dr Mabuse and re-creations of Solaris, the mimetic planet. Dialectic of repetition and historicity in the remake, reviled mainstay of the culture industry—and manifesto for a radical reappropriation of the form.
Stripes, No Stars
Sven Lütticken on Daniel Buren, Mot à Mot. Could a collaboration between avant-garde artist and sociologist escape the logic of the spectacle, or must it in some fashion reproduce it? Bourdieu’s last notes on art, with a view of Paris rooftops.