Umělec 1/2012 List of all editions.
Author dreaming of a future without censorship we have never got rid of. It seems, that people don‘t care while it grows stronger again.

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"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."

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Post-Fordist working conditions wear a mask of openness, flexibility, and individual freedom. Criticism thus finds all the more difficult to achieve its objectives when it is literally attracted by institutions. Under such conditions, is it even possible to make art that is not part of the culture industry? Just like Kenneth Goldsmith in the opening text to this issue, these two British critics ponder the opposing tactics that, instead of attacking the concept of institutions, overpower it. Perhaps even art itself is built of nothing more than inertia.

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In the evening, after an entire day spent scanning official documents and with his fingers trembling from all that dematerialization, a person might, as he his falling asleep, slap his forehead in the realization that he would feel better if, in the morning, he stopped doing his job and refused to wipe the dust of the scanner’s glass surface. Only the dusty bits of cellulose on his nasal membranes now remind him satisfactorily that, even though he is easily lost, he can just as easily still find himself.

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Fritz Lang’s oceanic journey in the autumn of 1924 culminates in the same way as for many immigrants before him: with a view of the Statue of Liberty and the Manhattan skyline – in other words, the future. Starting from this point in space and time, Jan Wollner goes in search of the origins of the architectural aesthetics of Lang’s most famous film, Metropolis.

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The catalogue was published for Redas Dižrys' project "Let's Be Part of the System" in Bilina's town hall tower.
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Vázaná kniha v grafické úpravě Petra Koláře vyvažuje výběr fotografií z mezioborového cyklu Martina Zeta. Doprovodné texty...
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