“Since the politicians seem to have lost their heads, the army and capitalists are dictating what is to be done. The people, symbolized by the blinkered ass… simply eat what is put before them.”

George Grosz.



“Described by Kitaj himself in the 1994 retrospective exhibition as rather “graceless”, the painting takes as its subject the murder of the revolutionary marxist Rosa Luxemburg in 1919, in the aftermath of the failed uprising in Berlin by forces of counter-revolution acting in connivence with the Social Democratic government. It is not the subject of the painting that is interesting, but the various strategies, evident in the picture, involved in the attempt of producing a painting of a political subject which opens up the pictorial space to questions of history and meaning. The painting works to draw attention to the ways in which an event can act as a locus around which revolve a series of accounts and historical narratives. Such narratives and accounts, however, do not necessarily coexist peacifully but are mobilised to justify the interpretation advocated by any one party within the continuous contest of meaning that is the painitng’s discourse, which is not to argue for a form of cultural relativism, but merely a recognition of the struggle that takes place over interpretation. Part of the gracelessness of the picture, perhaps, is the visibility of the processes of construction and containment that for some are meant to remain effaced within an aestheticised realm.”

John Lynch, “The Murder of Rosa Luxemburg: monuments, documents, and meanings”, en Critical Kitaj: essay on the work of R.B. Kitaj.

“No nos podemos “reconocer” [reconnaître] (ideológicamente) en estas pinturas. Y es porque no podemos reconocernos [reconnaître] en ellas que podemos, en la forma específica que proporciona el arte, aquí la pintura, conocernos [connaître] en ellas… Cremonini, de este modo, prosigue la vía que fue abierta para los hombres por los grandes pensadores revolucionarios… que comprendieron que la libertad de los hombres pasa, no por la complacencia de su reconocimiento [reconnaissance] ideológico, sino por el conocimiento [connaissance] de las leyes de su servidumbre, y que la “realización” de su individualidad concreta pasa por el análisis y el dominio de las relaciones abstractas que los gobiernan. A su modo, a su nivel, con sus medios propios, y en el elemento no de la filosofía o de la ciencia, sino de la pintura, Cremonini ha tomado el mismo camino”

Louis Althusser, “Cremonini, Painter of the Abstract ”, en Lenin and Philosophy and Other Essays, trad. Ben Brewster, New York, 1971, pág. 230, cursiva en el original (trad. esp.: “El pintor de lo abstracto”, en Louis Althusser y otros, Para una crítica del fetichismo literario, selección e introducción Juan M. Azpitarte Almagro, Akal, Madrid, 1975).

Tomado del ensayo de Michael Sprinker “Relaciones Imaginarias: Althusser y la estética materialista”.


Here associations are more explicit, although that may have only to do with the fact that one’s information of the Dine family’s involvement with classic hardware tools —they had a store in Cincinnati—is both provocative and secure. It was the substantial factor in the family’s economy. The young artist worked occasionally in the store relating. Tools are both insistent and functional, suggest a complexly ranging physical environment and also keep the stability of ‘home,’ are familiar and strange.

He obviously thought about them a good deal and if the hearts were and are the emotional weather of his life, the robes the attempt to see oneself not only as others might see one but as that sight given back, then tools are somehow what one does and can do. Or, perhaps better, one can recognize things are done and these things do them. The occasional presence of a glove in the company, in “Untitled (1973),” for example, makes clear the transitional factor of agency, the who does what with what. The tools are forever. At times they are far more than what their function, taken literally, will provide for and two hammers with immensely elongated handles become “The Hammer Doorway.” How can one confidently propose this is simply a metaphor for what hammers can make, or a play on the visual suggestions of a hammer head, or even some threatening possibility there is to be violence ‘inside’?

At times the tools are codifying anchor for a reality—the artist’s whimsical and perceptive understanding of the powers of order—that includes a solid emphasis upon all manner of literal and abstract thing. “Five Feet of Colorful Tools,” crowding in all respects the top of this painting “with board and objects,” has as much practical density as people waiting for a subway and as curiously evident a sense of time as old coats hung in a closet. All the echoic layering is, one would think, a good deal more than simple memories. If “a place for everything and everything in its place” were ever to have a chance in this world, this painting would still come to haunt it. The act of hanging things up, putting things back, respecting things the way they were, is all wound in here in a way neither ironic nor pragmatic. Even who hung them up is very much a question.

Still the presence of tools is remarkably particular and common, even when they are in situations of transformation (“The Hammer Doorway”) or, in some sense, visually incomplete (“Untitled (Pliers)”). They also take place in the painting, drawing, assemblage, etc., in a very matter-of-fact way, upright, either sitting firmly on bottom margin or plane, or else hung in like manner. Clearly they are the things that do work and can, however various, echoing and unlocated one’s own relation to them may sometimes be.

Robert Creeley, “Jim Dine/Five Themes”, in The Collected Essays of Robert Creeley (University of California Press, 1989)

Una extraordinaria entrevista a Pierre Bourdieu en 1991. Dividida en cuatro secciones -el sistema educativo, la sociología como ciencia, los juicios del gusto, y masculino-femenino –  a lo largo de la entrevista Bourdieu va explicando los temas y conceptos principales de su obra.

Pongo aquí la primera parte, después se pueden buscar las partes restantes (son cinco en total):

Zaragoza Rebelde es un encomiable proyecto que se ha estado preparando desde hace bastante tiempo. Este jueves 26 de marzo, a las 8 de la tarde, en el Centro de Historia, se inaugura la exposición encuadrada en ese proyecto, que abarca otras muchas iniciativas y actividades. Copio y pego la explicación del mismo desde su website:

ZGZ Rebelde. Redes de los movimientos sociales y antagonismos.

Una web que esperamos eche a andar en abril de 2009 y donde te invitaremos a conocer nuestra ciudad como espacio ciudadano, laberinto de ilusiones, de proyectos comunes, de luchas solidarias, vidas a contracorriente… Pinceladas y latidos de historias que merece la pena contar, y merece la pena escuchar.

Si quieres compartir con nosotros materiales (fotografías, carteles, datos…) que puedan sumarse a la web no dudes en ponerte en contacto con nosotras.

El proyecto abarca además:

– Un libro: ZGZ Rebelde. Guía de los movimientos sociales y antagonismos. 1975-2000, organizado como una guía que te invita a recorrer, barrio por barrio, los movimientos ciudadanos que se han cocinado en nuestra ciudad a lo largo de las tres últimas décadas del siglo XX.

– Un documental: ZGZ Rebelde. Espejo de los movimientos sociales y antagonismos. Miradas rebeldes sobre los acontecimientos que han desgastado el asfalto de nuestras calles durante las décadas 80 y 90 del pasado siglo.

– Una exposición: ZGZ Rebelde. Laberinto de los movimientos sociales y antagonismos, se inaugurará a finales del mes de marzo de 2009 en diversos espacios de la ciudad y en la que participan los y las artistas de la ciudad que se han vinculado al proyecto y lo alientan.