Regimes of invisibility in contemporary art, theory and culture : image, racialization, history

This book places a focus on the regimes of in/visibility and representation in Europe and offers an innovative perspective on the topic of global capitalism in relation to questions of race, class, gender and migration, as well as historicization of biopolitics and (de)coloniality. The aim of this volume is to revisit theories of art, new media technology, and aesthetics under the weight of political processes of discrimination, racism, anti-Semitism and new forms of coloniality in order to propose a new dispositive of the ontology and epistemology of the image, of life and capitalism as well as labor and modes of life. This book is firmly embedded in the present moment, when due to rapid and major changes on all levels of political and social reality the need for rearticulation in theoretical, artistic and political practices and rethinking of historical narratives becomes almost tangible. Regimes of Invisibility in Contemporary Art, Theory and Culture 3 Contents 5 List of Tables and Figures 7 1 Introduction: Image, Racialization, History 8 Part I Theoretical-Political Interventions 17 2 Racialized Bodies and the Digital (Financial) Mode of Production 18 Introduction 18 Part 1: From the Cinematic Image to... 20 The Movement-Image—Indirect-Time Interval—Exteriority of Space—Organic Form 21 The Time-Image—Direct-Time Interval—Anteriority of Space—Serial Form 21 Time Through Space 21 The Movement-Image—Indirect-Time Interval—Exteriority of Space—Organic Form 21 The Time-Image—Direct-Time Interval—Anteriority of Space—Serial Form 22 The Movement-Image—Indirect-Time Interval—Exteriority of Space—Organic Form—Nation 23 The Time-Image—Direct-Time Interval—Anteriority of Space—Serial Form—Postwar Middle Class, A New Form Of Intellectual, The Bourgeoisie 23 Shifts in the Space-Time Paradigm 24 Part 2: In Cyberspace with the Virtual-Image 26 Space Through Time 26 The Virtual-Image—Real-Time Interval—Non-Space—Synthetic (Artificial, Simulated) Form 26 The Virtual-Image—Real-Time Interval—Non-Space—Synthetic (Artificial, Simulated) Form—The Multitude, Swarms 27 Part 3: In The Midst of The Trophy Image, or Europe’s Forgotten History: From “Human Zoos” to “Human Trophies” Displayed in Colonial Museums 29 Racialized Space and Time 30 The Trophy-Image—Without Time—Erased Space—Racialized Form 30 The Trophy-Image—Without Time—Erased Space—Racialized Form—The Wretched (The Superfluous and The Disposable) 31 Notes 32 3 Politics and Aesthetics of Databases and Forensics 34 Expanding the Visions of Governmentality Beyond the West and Back 35 Database as Major Global Neoliberal Governmental Technology 37 Practices and Forms of Knowledge Production and Visibility 39 “The ICTY’s Archive/database” 41 Public Exhibition as a “Forum” 43 Databases and (im)possibility 44 Notes 45 4 The Emancipation of Necrocapitalism: Teleological Function of Liberalism and the Optimization of Hegemony 50 Depoliticization of Ideology 50 The Sovereignty of Hegemony 57 The Teleology of Transgression 61 Notes 64 5 The Impact of Western Society onto the Identity Politics of Sexual and Gender Minorities in Colonial and Post-colonial India 66 Global queering 66 Imposing Western Epistemology 69 Western Concept/Construct of Homosexuality, Trans* Identity and its Transposition to India in The Colonial and Post-colonial Era 70 Notes 76 Part II Visual and Curatorial Deconstructions 79 6 Radical Contemporaneity 80 Introduction 80 Case 1: Labyrinth 82 Case 2: Naked Freedom 84 Case 3: Relations 86 Case 4: Seizure 87 Conclusion 89 Notes 89 7 Affective Constructions: Image—Racialisation—History 91 Dialogue: The Dialectic of a Profile 91 Effect, Intensity, and Reconstruction: Differences in History and Geography 92 Who Are You? Who Am I? 96 A Conclusion About the Logistics of Moving 102 Notes 103 8 Spiritual Revolutions: Afropean Body Politics and the “Secularity” of the Arts 104 Notes 119 Part III Histories Disclosed 124 9 “Contingent monuments:” *Constructions of Publicness in the Fascist Italy Exhibitionary Complex 1920s–1940s 125 “Make it modern:” the Rome Quadriennale and the Mostra della Rivoluzione fascista 128 Editing Façades, Constructing Exhibition Spaces: The Venice Biennale 132 Notes 136 10 Screened Otherness: A Media Archaeology of the Romani’s Criminalization 141 Introduction 141 Poets and Rogues 143 “Gypsy-Criminality” and the Urge of “Truth-Telling” a Century Later: A Country Stabbed in Its Heart 144 New Genres and Forms Creating Blurred Boundaries Between the “Putative or Real Gypsy Characteristics”: A “Reconstructed Newsreel” from 1908 146 “Good Roma, Bad Roma” 148 Imagined Encounters of Imagined Communities 149 Notes 152 11 The Painting and Its Histories: The Curious Incident of Rembrandt’s Painting Quintus Fabius Maximus 158 Notes 165 Index 168 Front Matter ....Pages i-vii Introduction: Image, Racialization, History (Miško Šuvaković, Aneta Stojnić, Marina Gržinić)....Pages 1-9 Front Matter ....Pages 11-11 Racialized Bodies and the Digital (Financial) Mode of Production (Marina Gržinić)....Pages 13-28 Politics and Aesthetics of Databases and Forensics (Adla Isanović)....Pages 29-44 The Emancipation of Necrocapitalism: Teleological Function of Liberalism and the Optimization of Hegemony (Šefik Tatlić)....Pages 45-60 The Impact of Western Society onto the Identity Politics of Sexual and Gender Minorities in Colonial and Post-colonial India (Aleksa Milanović)....Pages 61-73 Front Matter ....Pages 75-75 Radical Contemporaneity (Aneta Stojnić)....Pages 77-87 Affective Constructions: Image—Racialisation—History (Miško Šuvaković)....Pages 89-101 Spiritual Revolutions: Afropean Body Politics and the “Secularity” of the Arts (Alanna Lockward)....Pages 103-122 Front Matter ....Pages 123-123 “Contingent monuments:” *Constructions of Publicness in the Fascist Italy Exhibitionary Complex 1920s–1940s (Federica Martini)....Pages 125-140 Screened Otherness: A Media Archaeology of the Romani’s Criminalization (Andrea Pócsik)....Pages 141-157 The Painting and Its Histories: The Curious Incident of Rembrandt’s Painting Quintus Fabius Maximus (Jelena Todorović)....Pages 159-168 Back Matter ....Pages 169-173 Annotation This text places a focus on the regimes of in/visibility and representation in Europe and offers an innovative perspective on the topic of global capitalism in relation to questions of race, class, gender and migration, as well as historicisation of biopolitics and (de)coloniality. The aim is to revisit theories of art, new media technology and aesthetics under the weight of political processes of discrimination, racism, anti-Semitism and new forms of coloniality in order to propose a new dispositive of the ontology and epistemology of the image, of life and capitalism as well as labour and modes of life