In advance of our December issue — "The Individual" #104, out Dec. 5 — we are publishing three texts from our archive: “Truth” by Rosalind E. Krauss, “Community” by Nicolás Guagnini, and “Autonomy” by Benjamin H. D. Buchloh. These essays, originally printed as part of issue #66 (which took the pose of an art world “short guide”), now stand as a telling record of the discourse circa 2006-07 and in turn, how it has developed in the decade since. It is with this historical vantage that our upcoming issue’s theme is engaged, checking in on neoliberalism’s key protagonist, “the individual," now post-social media, post-exhaustion, and post-fact. Published here is Benjamin Buchloh’s 2007 essay “Autonomy.”

In advance of our December issue — "The Individual" #104, out Dec. 5 — we are publishing three texts from our archive: “Truth” by Rosalind E. Krauss, “Community” by Nicolás Guagnini, and “Autonomy” by Benjamin H. D. Buchloh. These essays, originally printed as part of issue #66 (which took the pose of an art world “short guide”), now stand as a telling record of the discourse circa 2006-07 and in turn, how it has developed in the decade since. It is with this historical vantage that our upcoming issue’s theme is engaged, checking in on neoliberalism’s key protagonist, “the individual," now post-social media, post-exhaustion, and post-fact. Published here is Nicolás Gaugnini’s 2007 essay “Community.”

In advance of our December issue — “the Individual," out Dec. 5 — we are publishing three texts from our archive: “Truth” by Rosalind Krauss, “Community” by Nicolás Guagnini, and “Autonomy” by Benjamin Buchloh. These essays, originally printed as part of issue #66 (which took the pose of an art world “short guide”), now stand as a telling record of the discourse circa 2006-07 and in turn, how it has developed in the decade since. It's with this historical vantage that our upcoming issue’s theme is engaged, checking in on neoliberalism’s key protagonist, the individual, now post-social media, post-exhaustion, and post-fact. Published here is Rosalind Kraus’s 2007 essay “Truth.”

It’s hard to write of momentous events in the hot, crispy, pan-fried moment in which events are momentous. But I know that the events of this week are just a part of stranger, larger things that are coming. During my lifetime there’s always been something sacrosanct about the American Presidency. Not anymore. Yes, it will still be the office of a chief executive with atomic bombs and a huge military and spy apparatus. But it’s no longer the lay Papacy for a unipolar superpower. Like other aspects of the digital landscape, the Presidency is just up for grabs.

Of the many ways artists have sought to intervene into conversations that surround what they do, the open letter is perhaps the most Janus-faced, in that it is a form of making-public that seeks to call out the machinations of the art world. But how can an artist publish one without inviting suspicion that she or he is also, and perhaps even primarily, using this ostensibly non-artwork, open-access form to air her or his artist-profile by other means?

As I wrote this I was listening to x on iTunes, friend x called, we read x quote from theory, I had sad memory x while at x gallery, where I came to conclusion x about x sensibility. Then I proposed and defined an x+1 sensibility, using timid caution, as apology and alibi to put forward cluster of x+1 artists, including me. . .

Mit "Lissmann in Wien" hat der 1979 geborene Künstler Friedrich Lissmann eine offenbar in verschiedener Hinsicht unzeitgemäße Ausstellung der (eigenen) Künstlerpersönlichkeit realisiert. Die Wiener Kuratorin Melanie Ohnemus blickt auf das Verhältnis von Selbstdarstellung und Ausdeutung, sowie die affektiven Werte, die sich bei aller ironischen Brechung dennoch bieten.

Die letzte Spielzeit der Volksbühne unter der Leitung von Frank Castorf hat soeben begonnen. In der auf blogs, in öffentlichen Diskussionen und im Feuilleton geführten Debatte um die neue Leitung des Theaters und die local mentality der gegen diese Leitung protestierenden Berliner Kulturschaffenden, meldet sich hier noch einmal Guillaume Paoli polemisch zu Wort.