Markus Klammer

 

M.Klammer_BildEvidenz_Fellowship 2017_Profilbild

Prof. Dr. Markus Klammer

Schaulager-Professor of Art Theory
Co-Director, eikones NFS Bildkritik
University of Basel

In Residence

February – May 2017

Research Project

The project investigates the status of artistic work under the conditions of highly developed technical production. Starting from Bertolt Brecht’s dictum that the real structures of power and production cannot be seen in a photograph of a factory, during my stay in Berlin I will investigate the visual evidence of late capitalist conditions of production and the residues of manufacturing processes related to the body in contemporary art. On the one hand the project assumes a genealogical perspective; on the other hand, it is dedicated to a series of paradigmatic case studies. Building on a general and historical foundation of the relationship between art and technology, it concentrates on their reconfiguration in late modern and contemporary art, which takes places under technological conditions and is informed by a confrontation with automated and scientifically-supported manufacturing processes on an industrial scale. Detailed investigations are dedicated to the relationship of film and painting, and to the work of Charles Ray, Seth Price, Mathias Poledna and Klaus Mosettig.

Research Interests

  • Art Theory and Aesthetics
  • Image Theory
  • Art and Technology

Publications

»Bergsonscher Platonismus. Gregory J. Markopoulos’ ›Gammelion‹ (1968)«, in: Markus Klammer & Maja Naef (eds.): Kino der Zukunft. Gregory J. Markopoulos, München 2017, pp. 131–164.

edited with Maja Naef: Kino der Zukunft. Gregory J. Markopoulos, München 2016.

»Kommentar zu ›Der Rahmen der Repräsentation und einige seiner Figuren‹ von Louis Marin«, in: Zeitschrift für Medien- und Kulturforschung 7/1 (2016), pp. 99–108.

»The Body as Commodity and Utopia«, in: Bernhard Mendes Bürgi (ed.): Sculpture on the Move 1946-2016, exh.-cat. Kunstmuseum Basel, Ostfildern 2016, pp. 102–111.

with Stefan Neuner: »Field as Gaze. Figuring Abstraction in Jackson Pollock«, in: Nina Zimmer (ed.): The figurative Pollock, exh.-cat. Kunstmuseum Basel, München/New York 2016, pp. 39–63.

»Mimicry, Ekphrasis, Construction. ›Reading‹ in Freudian Psychoanalysis«, in: Aisthesis 9/2 (2016), pp. 139–151.

Figuren der Urszene. Material und Darstellung in der Psychoanalyse Freuds, Wien 2013.