Introduction |
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1 | (14) |
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1 The fiction of the contemporary |
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15 | (22) |
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Three Periodizations of contemporary art - idea, problem, fiction, task |
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The Global transnational, or, the contemporary today |
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Fictionalization of artistic authority/collectivization of artistic fictions: a First Transnational |
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37 | (34) |
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Art versus aesthetics (Jena Romanticism contra Kant) |
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Perio-Dization as historical ontology: postconceptual art- a speculative proposition |
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An image of romanticism (Benjamin, Schlegel, Lewitt) |
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Information and series - process and project |
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3 Modernisms and mediations |
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71 | (28) |
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The double heritage of the modern in art |
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Artistic Modernisms: Aesthetic, specific, generic |
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Mediations after mediums: nominalism and genre, isms and series |
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Everything, everywhere? Polke and Richter |
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4 Transcategoriality: postconceptual art |
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99 | (18) |
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Smithson and medium (or, against `sculpture') |
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The `interminable avalanche of categories' |
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Ontology of materializations: non-site |
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Conceptual Abstraction and `pure perception' |
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5 Photographic ontology, infinite exchange |
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117 | (16) |
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The photograph: metonymic model of an imagined unity |
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Digitalization, art and the real (or, anxiety about abstraction) |
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The Visible, the invisible and the multiplication of visualizations |
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133 | (42) |
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Non-places and the textualization of art |
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Architecturalization: three questions |
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Construction and expression |
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Art as displaced urbanism: capitalist constructivism of the exhibition-form |
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Transnationalization: art industry |
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175 | (38) |
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Attention and distraction: boredom as possibility |
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Distracted reception (duration and rhythm) |
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Expectation as a historical category (critique of Koselleck) |
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Expecting the unexpected: puncturing the horizon |
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Acknowledgements |
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213 | (2) |
Notes |
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215 | (40) |
Bibliography |
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255 | (16) |
Image credits |
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271 | (2) |
Index |
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273 | |