Umělec 1/2012 List of all editions.
"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."

American history is filled with stories about how to hide chauvinism and expansion behind lofty ideals of inevitable fate, of a manifest destiny to settle paradise; how to endlessly, shamelessly, and by force expand the boundaries of one’s garden. Joyce Hatto, too, had a nearly unbounded approach to reality, making nearly 120 recordings of piano concerts in her life. One of England’s greatest female pianists – or maybe not?

If the monstrous nature of capitalism calls for monstrous comparisons, perhaps our method of evaluation should be monstrous as well. Wouldn’t this be the least we could do, assuming that we are already living a nightmare? Or must we preserve our humility evening in the face of horror, not succumb to the delusions of well-fitting metaphors and not fight the devil with his own tools?

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Octavian Esanu looks at the acceptance and rejection of what is “American” in a non-American environment, against the backdrop of an unclear understanding of freedom and the historically growing confidence of American art, which quite possibly stands behind the seemingly universal concept of “contemporary art.” Where the colonization of the spirit through an emphasis on contemporaneity still encounters resistance, the attractiveness of American shoes perhaps presages the strongest export – packaging, boxes, frames and vehicles.

A nearly detective, but all archeological and art historical story about how one day the body of an attractive women was found by a river. Her name was Mary and she knew Kennedy. And Clement Greenberg. Somewhere among the complicated twists and turns of the ideological tensions of the Cold War, there may lie an answer – if not to the question of “Who is a murderer?” then at least as to how and why some realities meet and others pass each other by because – and thanks to – their origin in planes, spaces and points.

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