by Cosima Rainer


all footnotes

[1] For more on the subject, see Diedrich Diederichsen’s essay in the exhibition catalogue, which uses examples to analyze the canon of exhibitions on image and sound.

[2] See Friedrich Schlegel, Philosophical Fragments, (trans.) Peter Firchow, Minneapolis, University of Minnesota Press, 1991, p. 31 (Fragment 116): Romantic poetry is a progressive, universal poetry. Its aim isn’t merely to reunite all the separate species of poetry and put poetry in touch with philosophy and rhetoric. It tries to and should mix and fuse poetry and prose, inspiration and criticism, the poetry of art and the poetry of nature; and make poetry lively and sociable, and life and society poetical; poeticize wit and fill and saturate the forms of art with every kind of good, solid matter for instruction, and animate them with the pulsations of humor.

[3] The term Gesamtkunstwerk was first employed by the writer and philosopher Eusebius Trahndorff in his Ästhetik oder Lehre von der Weltanschauung und Kunst (Aesthetics, Or the Theory of the World View and of Art, 1827). It reappears in 1849 in Richard Wagner’s essay Art and Revolution.

[4] Klaus Lankheit in his documentary edition of Wassily Kandinsky and Franz Marc (eds.), The Blaue Reiter Almanac, New York, Viking, 1974, p. 35.

[5] Thomas Kellein, “Intermediäre Tendenzen nach 1945,” in: Karin von Maur (ed.), Vom Klang der Bilder. Die Musik in der Kunst des 20. Jahrhunderts, exh. cat., Staatsgalerie Stuttgart, 1985, p. 439.

[6] Rosalind Krauss, “Sculpture in the Expanded Field,” in: October, vol. 8 (Spring 1979), p. 42.

[7] See Helmut Draxler, Gefährliche Substanzen. Zum Verhältnis von Kritik und Kunst, Berlin, polypen, 2007.

[8] Gert Loovink and Sabine Niederer (eds.), Video Vortex Reader: Responses to YouTube, Amsterdam Institute of Network Cultures, 2008.

[9] Compare the discrediting of the theatrical by the American art critic Michael Fried in his essay Art and Objecthood (1967).

[10] Unshadowed, white, clean, artificial—the space is devoted to the technology of esthetics. […] Indeed the presence of that odd piece of furniture, your own body, seems superfluous, an intrusion. The space offers the thought that while eyes and minds are welcome, space-occupying bodies are not […]. Brian O’Doherty, Inside the White Cube: The Ideology of the Gallery Space, Santa Monica, CA, Lapis Press, 1986, p. 15.

[11] Brian O’Doherty, Inside the White Cube: The Ideology of the Gallery Space, 1986, p. 49.

[12] On the question of what it is that one actually hears when one hears sound in a museum, see Helmut Draxler’s essay in the exhibition catalog.

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