Oona Lochner: “To Arlene on Wings of Love”:  Shared Forms of Life, Art, and Writing
“To Arlene on Wings of Love”: Shared Forms of Life, Art, and Writing
(S. 117 – 138)

Oona Lochner

“To Arlene on Wings of Love”: Shared Forms of Life, Art, and Writing

PDF, 22 Seiten

  • Ästhetik
  • Kritik
  • Philosophie

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Oona Lochner

is a research assistant at the Institute of Philosophy and Sciences of Art and a PhD candidate in the research training group “Cultures of Critique,” both at Leuphana University Lüneburg. Her PhD project focuses on forms of feminist art criticism since the 1960s, asking how writing about art can contribute to a negotiation of subjectivity. Together with Isabel Mehl, she founded the collaborative “From Where I Stand” which addresses the current conditions and possibilities of writing feminist art histories. She was an editor of Texte zur Kunst and writes about contemporary art.
Weitere Texte von Oona Lochner bei DIAPHANES
Sami Khatib (Hg.), Holger Kuhn (Hg.), ...: Critique: The Stakes of Form

Critique is a form of thinking and acting. It is determined by its objects, yet never accesses them immediately but is always mediated through its own forms of (re)presentation. Since the end of the 18th century, there has been a dynamization and fluidization of the understanding of form, as topoi such as the break, the marginalization, the tearing and opening indicate. However, these multifarious attempts to “build on the structure through demolition” (Benjamin) testify to the dependence of all articulation on the forms of (re)presentation [“Darstellung”]. As a philosophical problem, the question of form arises in critical theory from Marx to Adorno. Since the 1960s, literary practices have proliferated which generate their critical statements less argumentatively than through the programmatic use of formal means. At the same time, the writing self, along with its attitudes, reflections, affects and instruments, visibly enters the critical scene—whereas the theatrical scene as a stage of critique has been contested intensively during the 20th century. This volume examines how the interdependence of critique, object, and form translates into critical stances, understood as learnable, reproducible gestures, which bear witness to changing conditions and media of critical practice.