Liebe Klasse,
hier der Seminarplan für Hitos Seminar im kommenden Semester. Der Reader mit den Texten wird bald zum Herunterladen auf der Homepage zu finden sein.
Beste Grüße,

Dear class,
here for you the syllabus for Hito’s class next semester. The reader with the texts will soon be on the homepage to downlaod.

Documentary turn
Factography; conceptual documents; artistic research
Seminar Hito Steyerl
Wed 10-14h, room 4

What is the documentary turn?
This seminar will provide a historical background to the contemporary return of documentary forms into the artfield, which started around the mid-90es. A discussion of this phenomena has been much obscured by competing definitions of documentary and different historical evaluations of documentary forms both within art history and documentary film and photo theory. The seminar will investigate contradictory concepts of the documentary, starting from the use of the document within factography and productivism of the 1920es to the role of documents within conceptual art of the 60es and 70es as well as video essayism, and recent artistic research and knowledge production. The contemporary documentary turn thus opens up a field of contestation, where different concepts of truth, of art and reality clash with each other. An „aesthetics of administration“ (B. Buchloh) encounters a vital documentary politics of visuality.

The course is taught in international english. A reader will be available. Active participation and a presentation will be expected from students. Texts marked with an X are available in the reader.

16.4. Introduction: Documentary Forms as Liminal Sites.

23.4. Lecture: Politics of truth

XMichel Foucault: „Technologien der Wahrheit“. In: Foucault, Botschaften der Macht. Reader Diskurs und Medien. (Hg.)Jan Engelmann. Stuttgart: DVA, 1999. S133-144.

XJohn Rajchman: „Foucaults Kunst des Sehens“. In: Imagineering. Visuelle Kultur und Politik der Sichtbarkeit. (Hg.)Tom Holert. Köln: Oktagon 2000.

s.a. Toby Miller: Technologies of Truth. Cultural Citizenship and the popular Media. Minneapolis: University of Minnesota, 1998.

30.4. Lecture: Orientalism and the politics of truth

XEdward Said: „Introduction“. In: Orientalism, Vintage books, New York, 1979. S 1-30.

s.a. Aijaz Ahmad: „Orientalism and after“. In: Colonial discourse and postcolonial theory; Ed. Laura Chisman/Patrick Williams; New York: Columbia University Press, 1994. pp162-171.

Timothy Mitchell: „Orientalism and the exhibitionary order“. In: The Visual Studies Reader; Ed. Nicholas Mirzoeff, London/New York: Routledge, 1999; pp293-303.
Malek Alloula: „From the colonial harem“. Ibid. pp317-321.

7.5 Witness:

XJohn Ellis: „Witness – a new way of perceiving the world“ and „Witness through the 20th century“. In: Seeing Things. London/New York: I.B. Tauris, 2000. P 6-16 and 17-39.

XHito Steyerl: Können Zeugen sprechen? In: „Die Farbe der Wahrheit“, Wien: Turia und Kant, 2008.

Visual Material:
Bringing the war home Marta rosler

Film: Rashomon. Akira Kurosawa, J1950, 88min.

14.5 no session

21.5. Truth: Georges Didi-Huberman: Bilder trotz allem.

XThe version in the reader consists of a transcript of a talk in Vienna in 2003.
The extended version is published in: Georges Didi-Huberman: Bilder trotz allem. Freiburg: Fink, 2007.p15-80.

Alain Resnais: Nuit et brouillard, fr. 1960, 32min.
Or Michail Romm, Obyknovennyy fashizm (Ordinary fascism). 1965, 133min. (clip)

28.5 Factography:

XWalter Benjamin: „The autor as producer“; In: New Left Review I/62, July/August 1970.

XJohn Roberts: „Photography, the Everyday and the Russian Revolution“ In: The Art of Intervention. Manchester: Manchester University Press, 1998. p14-39.

Chris Marker: Fr 1971 Le train en marche 32min; or: Tombeau d´alexandre 1992, 120min

4.6 Conceptual documents

Presentation: Hito Steyerl

XJohn Roberts: „Photography, Iconophobia and the Ruins of Conceptual Art“
In: The impossible document: Photography and Conceptual Art in Britain 1966-1976, Ed. John Roberts.London: Camerawork, 1997. P 7-46.

XLucy Soutter “The photographic idea: reconsidering conceptual photography”. Afterimage. March-April 1999. 13 Feb. 2008.

Benjamin Buchloh: „Conceptual Art 1962–1969: From the Aesthetics of Administration to the Critique of Institutions“, in: October 55, 1990, 105–143.

Catherine Moseley: History of an infrastructure. In: ed. Moseley Conception – The Conceptual Document 1968-1972, Norwich: Norwich Gallery 2001. P 154-167.

XMaria Teresa Gramuglio, Nicholas Rosa: Tucuman burns. In: Conceptual Art, a critical anthology. Ed. Alexander Alberro, Blake Stimson. Cambridge, Mass.: MIT Press, 1999. P76-79.

Jeff Wall: Marks of indifference. Aspects of Photography in or as conceptual Art. In: Reconsidering the object of art: 1965-1975. Eds. Anne Goldstein and Ann Rorimer, Museum of Contemporary Art Los Angeles. Mit Press, Cambridge/Massachussetts 1995.

Robert Morris: Document – Statement of aesthetic withdrawal.
Films: David Lamelas ; A study of the relationships between inner and outer space, 1969, 20min.
Joseph Kosuth: Photography.

11.6 Postconceptual documents

XMartha Rosler: „Drinnen, Drumherum und nachträgliche Gedanken (zur Dokumentarfotographie“. Martha Rosler, Positionen in der Lebenswelt. (Hg.)Sabine Breitwieser. Wien: Generali Foundation, 1999. P?

XAlan Sekula: „Documentary and Corporate Violence“. In: Conceptual art. Ed. Alex Alberro, Blake Stimson. Cambridge, Massachussetts: MIT Press, year? P. 360-365.

XBuchloh: Allegorische Verfahren. Über Appropriation und Montage in der Gegenwartskunst. In: Art after conceptual art. Ed Alex Alberro, Sabeth Buchmann. Köln: Walter König 2006. p31-58.

Marta Rosler: Semiotics of the kitchen US 1975, 5min; Vital Statistics of a Citizen US 1977, 40min.

18.6 The Artist as Ethnographer

XHal Foster: „The Artist as Ethnographer“. In: The Traffic in Culture: Refiguring Art and Anthropology, Ed. G.Marcus/F.Myers, Berkeley: California University Press, 1995. P?
XTrinh T. Minh-ha: The totalising quest of meaning; in: Michael Renov (Hg.), Theorizing Documentary, New York, London 1993, S.90-107.

Critical art ensemble: Video and resistance: Against documentaries:

Trinh T. Minh-Ha; Reassemblage, 40min. (clip)
and other clips.

25.6 The Artist as Global Citizen

XOkwui Enwezor: Documentary/Verité: Biopolitics, Human Rights and the Figure of Truth. In: Australian and New Zealand Journal of Arts, 2003, vol5, part 1, p: 11-42.

As the text is so long, there is no screening.

2.7 The Artist as Journalist:

XStefan Jonsson; Facts of aesthetics and Fictions of journalism

Amar Kanwar. A season outside, In 1997, 30min.
Katya Sander: Televised I: the Anchor, the I, and the Studio, 2006 multichannel video.

Jeanne Nouhaim: Control Room, US 2004, 84min

9.7. The Artist as Researcher
XDieter Lesage: The artist as researcher. Online at: http://sum

Material: presentation of students project.

16.7 The Artist as Researcher II
XHenk Slager: Methododicy. In: Lien en boog, Nr. 18, p12-14.
XMultiplicity: Frequently asked questions. In: Multiplicity, Uncertain states of Europe. Milan: Skira Editore, p. 14-27.

Material : presentation of project, tbd.

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