Georg W. Bertram: Benjamin and Adorno on Art as Critical Practice
Benjamin and Adorno on Art as Critical Practice
(S. 127 – 144)

Georg W. Bertram

Benjamin and Adorno on Art as Critical Practice

PDF, 18 Seiten

The article sets out from a debate between Theodor W. Adorno and Walter Benjamin about how to conceive of the critical and liberating function of art. First, it reconstructs Adorno’s critique of Benjamin’s conception of art in the age of its technical reproducibility as dialectically insufficient and as ignorant of the primacy of the object that is always implied in aesthetic experience. Second, it revisits Benjamin’s conception itself and argues that one can find elements in it for a notion of critical art that is more consistent than Adorno’s purely negative aesthetics. Third, against this background it develops two different notions of critique, and shows why only one of the two can be thought consistently. Finally, the article turns to Hegel’s aesthetics as the common background of Adorno’s and Benjamin’s positions, and outlines the conceptual requirements for a new understanding of art as critical practice.

  • Kunst
  • Dichtung
  • Walter Benjamin
  • Marcel Duchamp
  • Kunsttheorie
  • Ästhetik
  • Theodor W. Adorno
  • Zeitlichkeit
  • Gegenwartskunst
  • Politik
  • Theater
  • Kunstkritik

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Deutsch, Englisch, Französisch

Georg W. Bertram

Georg W. Bertram

ist Professor für Philosophie mit den Schwerpunkten Ästhetik und theoretische Philosophie am Institut für Philosophie der Freien Universität Berlin und leitet dort das Teilprojekt C13 im Sonderforschungsbereich 626 »Ästhetische Erfahrung im Zeichen der Entgrenzung der Künste«. Seine Arbeitsschwerpunkte liegen im Bereich der Kunstphilosophie, Sprachphilosophie, Erkenntnistheorie, Sozialontologie und Philosophie des Selbstbewusstseins.

Frank Ruda (Hg.), Jan Völker (Hg.): Art and Contemporaneity

Frank Ruda (Hg.), Jan Völker (Hg.)

Art and Contemporaneity

Broschur, 176 Seiten

PDF, 176 Seiten

Although art always takes place in time, its manifestations – actual works of art – can be characterized by the specific and close connection they maintain between contemporaneity and timelessness. Their relation to time must be differentiated in a twofold manner: on the one hand, there is the relation to the time in which they are embedded, and, on the other, the relation to the time that they themselves create. In particular historical conditions a specific temporality of the artwork emerges. Both temporalities are superimposed on by one another, namely as a timelessness of artworks as such. The book assembles a variety of thinkers that confront one of the most crucial questions when dealing with the very definition, concept and operativity of art: How to link art to the concept of the contemporary?