How to Inform Without Informing
Distributed for Intellect Ltd
Addressing a growing area of focus in contemporary art, Aesthetic Journalism investigates why contemporary art exhibitions often consist of interviews, documentaries, and reportage. Art theorist and critic Alfredo Cramerotti traces the shift in the production of truth from the domain of the news media to that of art and aestheticism—a change that questions the very foundations of journalism and the nature of art. This volume challenges the way we understand art and journalism in contemporary culture and suggests future developments of this new relationship.
by Sally O’Reilly
Art and Journalism: A Perspective Shift of Meaning
by Andrei Siclodi
Chapter 1: ONE THING Among Many
Chapter 2: WHAT is Aesthetic Journalism?
The crisis of traditional journalism
Chapter 3: WHERE is Aesthetic Journalism?
Chapter 4: WHEN did Aesthetic Journalism Develop?
A few scenarios of the past…
…and some closer to the present
Art as self-documentation
Art as social criticism
Art as reporting
Grupo de artistas de vanguardia
Chapter 5: HOW shall we Read Aesthetic Journalism?
Subjectivity at play
Chapter 6: WHO produces Aesthetic Journalism Today? From Which Position?
Artist and projects
Multiplicity: Border Device(s)/ The Road Map (2003)
Lukas Einsele: One Step Beyond – The Mine Revisited (2001-2004)
Laura Horelli: Helsinki Shipyard/Port San Juan (2002-2003)
Renzo Martens: Episode 1 (2001-2003)
Alfredo Jaar: The Rwanda Project (1994-2000)
Reneé Green: Partially Buried in Three Parts (1996-1999)
The Atlas Group/Walid Raad: Hostage: The Bachar Tapes (1999-2001)
Bruno Serralongue: Risk Assessment Strategy (2002)
Chapter 7: WHY is Aesthetic Journalism Relevant, Now and in Perspective?
Witnessing: making time
Interactivity: removing the visible, adding the meaningful
Hijacking: on art and journalism
Disclosing: playing with mechanisms
Chapter 8: REFERENCES and Niceties
by Irit Rogoff