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The Conspiracy of Art: Manifestos, Interviews, Essays

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Cutting-edge theorist Jean Baudrillard on the complicitous dance of art, politics, economics, and media; includes War Porn, on Abu Ghraib as a new genre of reality TV.The images from Abu Ghraib are as murderous for America as those of the World Trade Center in flames. The whole West is contained in the burst of sadistic laughter of the American soldiers, as it is behind th Cutting-edge theorist Jean Baudrillard on the complicitous dance of art, politics, economics, and media; includes War Porn, on Abu Ghraib as a new genre of reality TV.The images from Abu Ghraib are as murderous for America as those of the World Trade Center in flames. The whole West is contained in the burst of sadistic laughter of the American soldiers, as it is behind the construction of the Israeli wall. This is where the truth of these images lies. Truth, but not veracity. As virtual as the war itself, their specific violence adds to the specific violence of the war. In The Conspiracy of Art, Baudrillard questions the privilege attached to art by its practitioners. Art has lost all desire for illusion: feeding back endlessly into itself, it has turned its own vanishment into an art unto itself. Far from lamenting the end of art, Baudrillard celebrates art's new function within the process of insider-trading. Spiraling from aesthetic nullity to commercial frenzy, art has become transaesthetic, like society as a whole. Conceived and edited by life-long Baudrillard collaborator Sylv�re Lotringer, The Conspiracy of Art presents Baudrillard's writings on art in a complicitous dance with politics, economics, and media. Culminating with War Porn, a scathing analysis of the spectacular images from Abu Ghraib prison as a new genre of reality TV, the book folds back on itself to question the very nature of radical thought.


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Cutting-edge theorist Jean Baudrillard on the complicitous dance of art, politics, economics, and media; includes War Porn, on Abu Ghraib as a new genre of reality TV.The images from Abu Ghraib are as murderous for America as those of the World Trade Center in flames. The whole West is contained in the burst of sadistic laughter of the American soldiers, as it is behind th Cutting-edge theorist Jean Baudrillard on the complicitous dance of art, politics, economics, and media; includes War Porn, on Abu Ghraib as a new genre of reality TV.The images from Abu Ghraib are as murderous for America as those of the World Trade Center in flames. The whole West is contained in the burst of sadistic laughter of the American soldiers, as it is behind the construction of the Israeli wall. This is where the truth of these images lies. Truth, but not veracity. As virtual as the war itself, their specific violence adds to the specific violence of the war. In The Conspiracy of Art, Baudrillard questions the privilege attached to art by its practitioners. Art has lost all desire for illusion: feeding back endlessly into itself, it has turned its own vanishment into an art unto itself. Far from lamenting the end of art, Baudrillard celebrates art's new function within the process of insider-trading. Spiraling from aesthetic nullity to commercial frenzy, art has become transaesthetic, like society as a whole. Conceived and edited by life-long Baudrillard collaborator Sylv�re Lotringer, The Conspiracy of Art presents Baudrillard's writings on art in a complicitous dance with politics, economics, and media. Culminating with War Porn, a scathing analysis of the spectacular images from Abu Ghraib prison as a new genre of reality TV, the book folds back on itself to question the very nature of radical thought.

30 review for The Conspiracy of Art: Manifestos, Interviews, Essays

  1. 4 out of 5

    Ron

    Auschwitz e Hiroshima segnano un punto di svolta nella storia della modernità: l’avvento dei mezzi di comunicazione fredda (radio, televisione, internet) determina l’esplosione delle immagini e il loro raffreddamento. Immagini vuote, in cui non c’è più niente da vedere. Il mondo è tornato a essere iconoclasta, dice Baudrillard, in una maniera profondamente diversa dall'iconoclastia familiare ai bizantini: la proliferazione delle immagini e l’estetizzazione del mondo uccidono l’estetica, la sensaz Auschwitz e Hiroshima segnano un punto di svolta nella storia della modernità: l’avvento dei mezzi di comunicazione fredda (radio, televisione, internet) determina l’esplosione delle immagini e il loro raffreddamento. Immagini vuote, in cui non c’è più niente da vedere. Il mondo è tornato a essere iconoclasta, dice Baudrillard, in una maniera profondamente diversa dall'iconoclastia familiare ai bizantini: la proliferazione delle immagini e l’estetizzazione del mondo uccidono l’estetica, la sensazione. Le immagini degradano a icone, perdono il loro valore estetico, la capacità di affettare la sensibilità. L’estetica muore, lascia il posto a una transestetica. A Bisanzio l’iconoclastia aveva il senso di nascondere la domanda sull'esistenza di Dio. Alla stessa maniera per l’uomo moderno l’estetizzazione del senso permette all’arte di sparire sotto i suoi occhi, dissolvendosi e disseminandosi nella quotidianità, degradandosi a merce tra le altre merci. Ora, l’arte contemporanea perpetua questo meccanismo, simula la sparizione di un’arte che, in verità, è sparita già da tempo. E da qui la domanda di Baudrillard: What are you doing after the orgy? Cosa si fa dopo l'orgia della modernità? Per quanto ancora l’arte continuerà a simulare la propria sparizione? "Molto più che la speculazione mercantile, bisogna temere la trascrizione di tutto in termini culturali, estetici, in segni museografici. Questo è la cultura, la nostra cultura dominante, l'immensa pretesa di stoccaggio estetico, di risimulazione e reprografia estetica di tutte le forme che ci circondano. Questa è la più grande minaccia, è ciò che io chiamerei il grado Xerox della cultura."

  2. 4 out of 5

    S©aP

    Descrive e definisce la vanificazione dell'Arte. È il testo di risposta a domande da me inseguite per anni. Ovviamente si tratta di una risposta, non della "Risposta". Ma per quanto mi riguarda dissipa ogni dubbio. Illustra. Spiega. Soddisfa. Completa vecchi studi aggiungendovi l'attualità. Il librino, minuscolo ma pesantissimo, richiede applicazione. Si compone di due saggi, trascrizione di due conferenze risalenti al 1997. Il discorso, pur chiaro, è concettuoso, filosofico, impegnativo, molto s Descrive e definisce la vanificazione dell'Arte. È il testo di risposta a domande da me inseguite per anni. Ovviamente si tratta di una risposta, non della "Risposta". Ma per quanto mi riguarda dissipa ogni dubbio. Illustra. Spiega. Soddisfa. Completa vecchi studi aggiungendovi l'attualità. Il librino, minuscolo ma pesantissimo, richiede applicazione. Si compone di due saggi, trascrizione di due conferenze risalenti al 1997. Il discorso, pur chiaro, è concettuoso, filosofico, impegnativo, molto serrato. Per chi fosse davvero interessato, illuminante e ricco di spunti di riflessione. Ha richiesto due letture, una esegetica e l'altra meditativa, attraverso la quale verificare le idee acquisite e immaginarne gli effetti sulla realtà. Perché si parla di Arte, è vero, ma si declinano fatalmente anche concetti sociologici di universale respiro e interesse. Un osservazione (che è anche un consiglio di lettura): personalmente avrei invertito l'ordine dei due saggi, nell'edizione. Il primo tra i due diviene molto più facilmente intellegibile, se letto dopo il secondo.

  3. 5 out of 5

    I

    It's a great look into the always interesting, sometimes contradictory mind of Baudrillard. I mostly read art criticisms on a basic (read newspaper and magazine) level, so this is gives me an interesting perspective about the "sham" that is modern art. Though I disagree with some of his points (Warhol is a good artist, but he is hardly the pinnacle of modern art), I am intrigued by his questions about the durability of modern art, its role, and the hijacking of his ideas by the art world. He als It's a great look into the always interesting, sometimes contradictory mind of Baudrillard. I mostly read art criticisms on a basic (read newspaper and magazine) level, so this is gives me an interesting perspective about the "sham" that is modern art. Though I disagree with some of his points (Warhol is a good artist, but he is hardly the pinnacle of modern art), I am intrigued by his questions about the durability of modern art, its role, and the hijacking of his ideas by the art world. He also has many other articles on media, politics, the economy and aesthetics. I can't wait to finish it.

  4. 4 out of 5

    Fai Ahmed

    "Andy Warhol starts by eliminating the imaginary aspects of any image and turning into a pure visual product. Pure logic, unconditional simulacrum…. — One uses the machine to remake art, the other (Warhol) is a machine. Warhol is the true machinic metamorphosis." "Through images, through technical artifacts of all kinds, of which Wharhol’s artifacts are the modern “Idealtype.” the world imposes the world imposes its disconitiuny, its fragmentation, its stereophonic, its superficial instantaneity. "Andy Warhol starts by eliminating the imaginary aspects of any image and turning into a pure visual product. Pure logic, unconditional simulacrum…. — One uses the machine to remake art, the other (Warhol) is a machine. Warhol is the true machinic metamorphosis." "Through images, through technical artifacts of all kinds, of which Wharhol’s artifacts are the modern “Idealtype.” the world imposes the world imposes its disconitiuny, its fragmentation, its stereophonic, its superficial instantaneity. Evidence of the Warhol-machine, of this extraordinary machine for filtering the world in its material evidence: Warhol images are not banal because they would reflect a banal world but because there is no attempt by a subject to interpret it-his images manage to raise the image to a a state of pure figuration without the slightest transfiguration. " I've been always found Warhol overrated, but here Baudrillard made me understand him more and I *might* start to like him? Anyway, I really like this book and I think every artist should read it in order to understand why contemporary art is banal so we can move forward and change that.

  5. 4 out of 5

    Riclaz

    Fantastico. Dopo averlo letto ho guardato la data di pubblicazione: 1988. Ammirazione per quello che ha capito di ciò che era accaduto e di ciò che sarebbe accaduto poi nel mondo e nell'arte. Emozione per vedere scritte le cose che si pensano e non si è in grado di dire, proprio perchè non si ha la chiarezza necessaria, nè nelle idee nè nel linguaggio. Fantastico. Dopo averlo letto ho guardato la data di pubblicazione: 1988. Ammirazione per quello che ha capito di ciò che era accaduto e di ciò che sarebbe accaduto poi nel mondo e nell'arte. Emozione per vedere scritte le cose che si pensano e non si è in grado di dire, proprio perchè non si ha la chiarezza necessaria, nè nelle idee nè nel linguaggio.

  6. 4 out of 5

    Jennifer

    Best line "I don't know how to use a computer." Never change, Baudrillard, never change! Best line "I don't know how to use a computer." Never change, Baudrillard, never change!

  7. 5 out of 5

    Eric

    Baudrillard's most famous essay is presented along with various other essays and interviews. Some are extraordinarily prescient while others, perhaps most, are more performative than informative. He anticipated and lived the quippiness and insincerity of social media and was enamored of his own celebrity. You'll never meet anyone as fond of Warhol but only his early stuff... do not make a mistake there; he'd never forgive you. Though he'd have insisted that he does not care what you think. And r Baudrillard's most famous essay is presented along with various other essays and interviews. Some are extraordinarily prescient while others, perhaps most, are more performative than informative. He anticipated and lived the quippiness and insincerity of social media and was enamored of his own celebrity. You'll never meet anyone as fond of Warhol but only his early stuff... do not make a mistake there; he'd never forgive you. Though he'd have insisted that he does not care what you think. And repeated it six times just so, you know, you understand that it doesn't matter at all. Nope. Are we clear? That you care that he might care is an insight into how little he cares or perhaps the absence of the ability to care because the self-negation of the act of caring is so deeply ingrained into his not caring. So there.

  8. 4 out of 5

    Cwpper David

    Un libro para coger con pinzas. Lleno de ideas caóticas y pretenciosas muy bien engalanadas. Habla de arte morderno. Habla de obras plásticas que se parodian y vomitan a sí mismas. Habla de Warhol como gran fundador de la modernidad que al mismo tiempo destruyó la idea de arte moderno. Habla de Warhol introduciendo la nada en el corazón de la imagen. Warhol logrando el vacío. Warhol alcanzando el nivel cero. Warhol como el alfa y el omega. El gran simulador al que todos simulan. Warhol como el a Un libro para coger con pinzas. Lleno de ideas caóticas y pretenciosas muy bien engalanadas. Habla de arte morderno. Habla de obras plásticas que se parodian y vomitan a sí mismas. Habla de Warhol como gran fundador de la modernidad que al mismo tiempo destruyó la idea de arte moderno. Habla de Warhol introduciendo la nada en el corazón de la imagen. Warhol logrando el vacío. Warhol alcanzando el nivel cero. Warhol como el alfa y el omega. El gran simulador al que todos simulan. Warhol como el acabose. En definitiva, un libro corto para coger con pinzas. Tal vez su parte más amena sea el contrapunteo final de preguntas y respuestas donde los reporteros simulan entender las respuestas de Baudrillard y replican con nuevas preguntas como si le entendieran algo. Link de Descarga: http://losmenosprecie.blogspot.com/20...

  9. 5 out of 5

    Blair

    Good overview of Baudrillard's theories on Hyperreality and the state of art in today's society. Good overview of Baudrillard's theories on Hyperreality and the state of art in today's society.

  10. 5 out of 5

    Luke

    Andy Warhol is Baudrillard's favorite artist because he admits he's a machine. The machinery of the real world. The picture of the Campbells soup can symbolizes the death of art because meaning has become dissolved into everything. Warhol's soup can is as real as any other kind of art. There is nothing left to retaliate against. The art industry, hijacked by the same manufacturers of everything else, have either killed art or have at least put an end to the final cultural retaliation. There is t Andy Warhol is Baudrillard's favorite artist because he admits he's a machine. The machinery of the real world. The picture of the Campbells soup can symbolizes the death of art because meaning has become dissolved into everything. Warhol's soup can is as real as any other kind of art. There is nothing left to retaliate against. The art industry, hijacked by the same manufacturers of everything else, have either killed art or have at least put an end to the final cultural retaliation. There is too much information. “we live in a world of simulation, a world where the highest function of the sign is to make reality disappear and to mask this disappearance at the same time.” This book shows how powerful Baudrillard's philosophy can be in any facet of society at a given time. His sociological understanding goes way beyond literally anyone else's throughout history. Not just in a theoretical way but in a practical way. Architects, painters, photographers, economists, psychologists, and sure philosophers too, are all inspired by him when they can understand how his theory connects to reality and hyperreality. The death of contemporary art is not some way for Baudrillard to make waves and get his photography noticed, it's a way for him to explore the manifestation of culture throughout the economy and its effects on our humanity...because it's not banal.

  11. 4 out of 5

    Vincent Perrone

    Art is a form. A form is something that does not exactly have a history, but a destiny. Nullity, virtuality, conspiracy, and illusion. Baudrillard is at his best retreading his concepts through new pathways. This time his concepts of simulacrum and simulation are filtered through Warhol, Duchamp, Jarry, and Artraud. His voice is piercing as ever, cutting straight through the metaphysical to the pataphysical—turning the world on its side to reveal the unreality that has and continues to take place Art is a form. A form is something that does not exactly have a history, but a destiny. Nullity, virtuality, conspiracy, and illusion. Baudrillard is at his best retreading his concepts through new pathways. This time his concepts of simulacrum and simulation are filtered through Warhol, Duchamp, Jarry, and Artraud. His voice is piercing as ever, cutting straight through the metaphysical to the pataphysical—turning the world on its side to reveal the unreality that has and continues to take place. His writing on Le Pen and the War on Terror are terribly prescient. He knows that the events of our reality and unreality will continue to repeat themselves. He criticizes Faucalt, praises Baudelaire, all underline all notions with contradictions. Through all liberation, he expresses, we have made ourselves null. A weird, riveting, and often confusing ride—it is best I think to submerge yourself fully in Baudrillard if you hope to come out with anything.

  12. 4 out of 5

    Polilecto

    El autor se traga el espejo donde se simula su imagen y se nos muestra trasparente, como diría él mismo, antropológicamente sin valor, nulo, un pseudofilósofo. Da tumbos de cielo a tierra en retórica que se siente tediosa, más cuando el texto se torna en un panegírico sosamente grandilocuente a Warhol. Rescatar quizá a modo de advertencia el "delito de iniciados" en el complot. El autor se traga el espejo donde se simula su imagen y se nos muestra trasparente, como diría él mismo, antropológicamente sin valor, nulo, un pseudofilósofo. Da tumbos de cielo a tierra en retórica que se siente tediosa, más cuando el texto se torna en un panegírico sosamente grandilocuente a Warhol. Rescatar quizá a modo de advertencia el "delito de iniciados" en el complot.

  13. 4 out of 5

    Carlos Torres

    This review has been hidden because it contains spoilers. To view it, click here. Un ensayo muy interesante y aún vanguardista acerca del arte por parte de Baudrillard. La premisa consiste en la idea de la crisis de valores que han llevado al arte a la nulidad. El libro remata, luego de la tesis, con algunas entrevistas hechas al autor con respecto al tema.

  14. 4 out of 5

    Arthur

    https://www.liberation.fr/tribune/199... https://www.liberation.fr/tribune/199...

  15. 5 out of 5

    rapairu

    Qué viaje.

  16. 5 out of 5

    Barbs

    I have never encountered more bull than in postmodernism. Note to self: never engage in a philosophy that's defined by the negation of something real. Entropy is easy! Construction is hard. I have never encountered more bull than in postmodernism. Note to self: never engage in a philosophy that's defined by the negation of something real. Entropy is easy! Construction is hard.

  17. 5 out of 5

    Eric Phetteplace

    I must've been seduced by the semiotexte packaging on this one as I do not remember the purchase impetus and a quick scan through reveals it's mostly interviews, always a bad sign. This is one of those closet-clearing collections of essays and interviews of an important thinker who elsewhere articulates his/her ideas in a much superior form. As such, it suffers from severe redundancy, the same topics handled in different essays, and at least 2 entire pages are duplicated in their entirety. That s I must've been seduced by the semiotexte packaging on this one as I do not remember the purchase impetus and a quick scan through reveals it's mostly interviews, always a bad sign. This is one of those closet-clearing collections of essays and interviews of an important thinker who elsewhere articulates his/her ideas in a much superior form. As such, it suffers from severe redundancy, the same topics handled in different essays, and at least 2 entire pages are duplicated in their entirety. That said, there are probably 3 sections which are truly excellent: "Pataphysics" an essay from 1952 which is incredible, "Radical Thought" which is maybe the best manifesto he ever authored, and then "The Violence of Indifference" is pretty good too. I think the former two are available for free online though, Pataphysics is on CTheory.net, so this is a fairly superfluous book.

  18. 5 out of 5

    Gytis Dovydaitis

    Ok, so that's the deal - I'm working in contemporary art field. And I love Baudrillard. Now I know that all my work is pointless, because contemporary art claims to be null (what you can easily notice by its' urge to eliminate aesthetics and concept), and it actually is null (what is hidden by a tricster-like dance of commercial value, pretentious appreciation of intellectuals, and many more). How do I feel? Perplexed. This paradoxical effect of forcing you to reconceptualize your view of societ Ok, so that's the deal - I'm working in contemporary art field. And I love Baudrillard. Now I know that all my work is pointless, because contemporary art claims to be null (what you can easily notice by its' urge to eliminate aesthetics and concept), and it actually is null (what is hidden by a tricster-like dance of commercial value, pretentious appreciation of intellectuals, and many more). How do I feel? Perplexed. This paradoxical effect of forcing you to reconceptualize your view of society is what Baudrillard is brilliant at. His ideas here are sharp and concentrated as always, but the book itself is compiled rather poorly. It feels like Semiotext(e) just tried to make a bit more money of this famous author by stacking up a bunch of essays and interviews in one place, what resulted in a book where most of the contents are not too interesting.

  19. 4 out of 5

    Lindsay

    When I first this book I was just entering the world of post-modernism, and more critical art theory. I love his writing style. It is completely embellished and pretentious, but it is almost as if you are reading a play and you need to approach it from a similar standpoint to that. There are some really affecting concepts that changed the way I think about art. I am an artist through and through, but it is good to question the place and function that art has in the world. A good lead to further exp When I first this book I was just entering the world of post-modernism, and more critical art theory. I love his writing style. It is completely embellished and pretentious, but it is almost as if you are reading a play and you need to approach it from a similar standpoint to that. There are some really affecting concepts that changed the way I think about art. I am an artist through and through, but it is good to question the place and function that art has in the world. A good lead to further exploration in Baudrillard, art theory and post-modern concepts

  20. 4 out of 5

    Michael

    This book has lots of filler, but there are a few articles and essays that make it more than worth your while. "Radical Thought" is essential Baudrillard, as is "Aesthetic Illusion and Disillusion." "Towards the Vanishing Point of Art" and "The Violence of Indifference" are also good reads. Like a lot of Baudrillard, this book is sometimes brilliant, sometimes way over the edge; my advice would be to skip a chapter if it starts making you want to blind yourself. This book has lots of filler, but there are a few articles and essays that make it more than worth your while. "Radical Thought" is essential Baudrillard, as is "Aesthetic Illusion and Disillusion." "Towards the Vanishing Point of Art" and "The Violence of Indifference" are also good reads. Like a lot of Baudrillard, this book is sometimes brilliant, sometimes way over the edge; my advice would be to skip a chapter if it starts making you want to blind yourself.

  21. 4 out of 5

    Monika

    Jean Baudrillard jest filozofem i socjologiem znamym niewątpliwie, ale dla mnie bohaterkami tej książki są panie, których wywiady z autorem zamieszczono na końcu: Francoise Gaillard, Genevieve Breerette i Catherine Francblin i Ruth Scheps. To sztuka zadawać inteligentne pytania takiej osobie, rozumieć odpowiedzi i jeszcze zgrabnie ripostować. Zdecydowanie najciekawsza część lektury.

  22. 4 out of 5

    Marcella

    a little too catholic on it's point of view. but you get to find baudrillard's "dirty" past involving artaud. basically the artists that count in his opinion are warhol and bacon. he also doesn't understand the first thing about art using digital mediums. a little too catholic on it's point of view. but you get to find baudrillard's "dirty" past involving artaud. basically the artists that count in his opinion are warhol and bacon. he also doesn't understand the first thing about art using digital mediums.

  23. 4 out of 5

    Mills College Library

    306.47 B342 2005

  24. 5 out of 5

    Mira

    Straight to the point critique.

  25. 4 out of 5

    Denton McCabe

    You bastard.

  26. 4 out of 5

    Curtis Bozif

    This book makes you want to kill yourself if you're an artist. This book makes you want to kill yourself if you're an artist.

  27. 4 out of 5

    Trinity Pi

    in the family: Saussure, Lefebvre and Derrida

  28. 5 out of 5

    Romano

    ¿Hay para el arte contemporáneo una mirada que no sea la que el medio artístico se dirige a sí mismo?.

  29. 5 out of 5

    Nam Pham

    After half of the book, I decided to stop. I still want to practice art and this book, albeit an awesomely thought-provoking one, is quite 'destructive'. After half of the book, I decided to stop. I still want to practice art and this book, albeit an awesomely thought-provoking one, is quite 'destructive'.

  30. 5 out of 5

    Mari

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