Artists Remake the World
The Series

The Series : « Aspects of contemporary art criticism worldwide »

Whether they are articles published at the end of an AICA symposium or produced by Switch (on Paper) following an international call for papers, the texts in this dossier bear witness to the diversity, singularity and permanence of an art critic whose place remains more than ever necessary to grasp the issues at stake in the world, placing artists and culture at the heart of the debate. A partnership that materializes a community of spirit and the active support of Switch (on Paper) for art critics, whose status and future are the subject of in-depth reflection.

With the support of the Emerige Endowment Fund and Région Sud within the framework of Manifesta 13 Marseille.

The Author

The Author : Julien Verhaeghe

Biography
Julien Verhaeghe holds a doctorate in Aesthetics from the University of Paris 8 and a DNSEP diploma from the Beaux-Arts de Paris-Cergy. His research has focused on the relationship between aesthetics and the contemporary, allowing him to question the proximity between aesthetics and other fields such as sociology, history or anthropology. He is particularly interested in practices involving the notions of cartography, the collective and displacement. A work entitled Art & Flux. Un portrait du contemporain was published in 2014, and Photography, Media and Capitalism in 2009, co-directed with François Soulages. For several years now, he has been developing his activity as a critic and curator, notably by creating the review Possible, in 2018, devoted to the practice of art criticism and setting up events to put this into practice. In 2019 he was nominated for the AICA-France Art Critics Prize, presenting the work of the duo Galerie Rezeda. He teaches aesthetics at the Université Catholique de l'Ouest in Angers and at the École Camondo in Paris.
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26 November 2020

Lawrence Abu Hamdan, Sound Modernity

Lawrence Abu Hamdan’s work shows how sound devices are liable to condition individuals and establish power relationships. Sounds, noises and voices are part of what can be called “sound modernity” that the artist submits to a critical gaze. From this perspective, the artist shows true commitment. Yet, by focusing on specific situations, by adopting a position that is both specific and partial, his approach is not quite comparable to that of the so-called “engaged” artist, who asserts a position and delivers messages, nor to that of the “universal” intellectual, who speaks in the name of all.

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