Stephen Zepke – författare

The aim of this book is to understand what Deleuze and Guattari mean by art. Stephen Zepke argues that art, in their account, is an ontological term and an ontological practice that results in a new understanding of aesthetics. For Deleuze and Guattari understanding what art is means understanding how it works, what it does, how it becomes, and finally, how it lives. This book illuminates these philosophers' discussion of ontology from the viewpoint of art-and vice versa-in a thorough questioning of aesthetic criteria as they are normally understood.

The aim of this book is to understand what Deleuze and Guattari mean by art. Stephen Zepke argues that art, in their account, is an ontological term and an ontological practice that results in a new understanding of aesthetics. For Deleuze and Guattari understanding what art is means understanding how it works, what it does, how it becomes, and finally, how it lives. This book illuminates these philosophers' discussion of ontology from the viewpoint of art-and vice versa-in a thorough questioning of aesthetic criteria as they are normally understood.

Michel Foucault once suggested that the twentieth-century would be known as 'Deleuzian'; certainly, in the field of contemporary art, this prediction appears to have been accurate. But what, we might ask, is at stake in this take up of Deleuze and Guattari's thought? What are its limits and its possibilities? Deleuze and Contemporary Art addresses these questions in presenting a series of experimental and explorative inflections on the 'and' of the book's title.From those who explicitly address the political and the expanded 'aesthetic paradigm' of art practice today, to those more concerned with specific scenes and encounters or who rethink the question of technology in relation to art, this collection contains work at the cutting edge of this new area of enquiry. Containing essays by philosophers and artists, as well as writers from outside the Anglo-American world, this collection is an exercise in transversality - an intervention into the field of Deleuze and Guattari Studies and contemporary art.Contributors include Gustavo Chirolla Ospina, Suely Rolnik, Gerald Raunig, Stephen Zepke, Eric Alliez, Maurizio Lazzarato, Jussi Parikka, Johnny Golding, David Burrows, Robert Garnett, Simon O'Sullivan, Edgar Schmitz, Claudia Mongini, Elisabeth von Samsonow, Barbara Bolt, Neil Chapman and Ola Stahl.Stephen Zepke is an independent researcher. Simon O'Sullivan is a Senior Lecturer in Visual Cultures at Goldsmiths, University of London. They co-edited Deleuze, Guattari and the Production of the New (2008).

Stephen Zepke tracks the sublime art movement from its beginnings in Kant to its flowering in the late 20th and early 21st centuries. He shows that the idea of sublime art waxes and wanes in the work of Jean-François Lyotard, Gilles Deleuze and Felix Guattari, Jacques Derrida, Jacques Rancière and the recent Speculative Realism movement. With it, a visionary politics of art seeks to give it the most creative power possible: the power to overcome our conditions and embrace the unknown.

This is an exciting new collection of essays exploring the relevance of Deleuze and Guattari's work in contemporary aesthetics and political theory.Gilles Deleuze and Felix Guattari have arguably gone further than anyone in contemporary philosophy in affirming a philosophy of creation, one that both establishes and encourages a clear ethical imperative: to create the new.In this remarkable undertaking, these two thinkers have created a fresh engagement of thought with the world. This important collection of essays attempts to explore and extend the creative rupture that Deleuze and Guattari produce in the "Capitalism and Schizophrenia" project.The essays in this volume, all by leading thinkers and theorists, extend Deleuze and Guattari's project by offering creative experiments in constructing new communities - of ideas and objects, experiences and collectives - that cohere around the interaction of philosophy, the arts and the political realm."Deleuze, Guattari and the Production of the New" produces new perspectives on Deleuze and Guattari's work by emphasising its relevance to the contemporary intersection of aesthetics and political theory, thereby exploring a pressing contemporary problem: the production of the new.

The aim of this book is to understand what Deleuze and Guattari mean by art. Stephen Zepke argues that art, in their account, is an ontological term and an ontological practice that results in a new understanding of aesthetics. For Deleuze and Guattari understanding what art is means understanding how it works, what it does, how it becomes, and finally, how it lives. This book illuminates these philosophers'' discussion of ontology from the viewpoint of art-and vice versa-in a thorough questioning of aesthetic criteria as they are normally understood.

The aim of this book is to understand what Deleuze and Guattari mean by art. Stephen Zepke argues that art, in their account, is an ontological term and an ontological practice that results in a new understanding of aesthetics. For Deleuze and Guattari understanding what art is means understanding how it works, what it does, how it becomes, and finally, how it lives. This book illuminates these philosophers'' discussion of ontology from the viewpoint of art-and vice versa-in a thorough questioning of aesthetic criteria as they are normally understood.

Gilles Deleuze and Felix Guattari have arguably gone further than anyone in contemporary philosophy in affirming a philosophy of creation, one that both establishes and encourages a clear ethical imperative: to create the new. In this remarkable undertaking, these two thinkers have created a fresh engagement of thought with the world. This important collection of essays attempts to explore and extend the creative rupture that Deleuze and Guattari produce in the Capitalism and Schizophrenia project. The essays in this volume, all by leading thinkers and theorists, extend Deleuze and Guattari's project by offering creative experiments in constructing new communities - of ideas and objects, experiences and collectives - that cohere around the interaction of philosophy, the arts and the political realm. Deleuze, Guattari and the Production of the New produces new perspectives on Deleuze and Guattari's work by emphasising its relevance to the contemporary intersection of aesthetics and political theory, thereby exploring a pressing contemporary problem: the production of the new.

Gilles Deleuze and Felix Guattari have arguably gone further than anyone in contemporary philosophy in affirming a philosophy of creation, one that both establishes and encourages a clear ethical imperative: to create the new. In this remarkable undertaking, these two thinkers have created a fresh engagement of thought with the world. This important collection of essays attempts to explore and extend the creative rupture that Deleuze and Guattari produce in the Capitalism and Schizophrenia project. The essays in this volume, all by leading thinkers and theorists, extend Deleuze and Guattari's project by offering creative experiments in constructing new communities - of ideas and objects, experiences and collectives - that cohere around the interaction of philosophy, the arts and the political realm. Deleuze, Guattari and the Production of the New produces new perspectives on Deleuze and Guattari's work by emphasising its relevance to the contemporary intersection of aesthetics and political theory, thereby exploring a pressing contemporary problem: the production of the new.

Stephen Zepke tracks the sublime art movement from its beginnings in Kant to its flowering in the late 20th and early 21st centuries. He shows that the idea of sublime art waxes and wanes in the work of Jean-François Lyotard, Gilles Deleuze and Felix Guattari, Jacques Derrida, Jacques Rancière and the recent Speculative Realism movement. With it, a visionary politics of art seeks to give it the most creative power possible: the power to overcome our conditions and embrace the unknown.

This book explores the historical and contemporary connections between art and politics in Colombia. These relations are unique because of the ways in which they are saturated by violence, as the country has passed through conquest, struggles for Independence, fighting between political factions, civil war, paramilitaries, narco-traffickers and state violence. This seemingly unending stream of violence gives art in Colombia one of its main themes. The lavishly illustrated essays, written by Colombian authors, examine Colombian visual arts, music, theatre, literature, cinema, indigenous arts, popular culture, militant publications and recent protest movements, analysing them with tools drawn from contemporary philosophy and theory. Approaches include decolonisation theory, cosmopolitics, anthropology after the ontological turn, Colombian philosophy, feminism, and French theory. The essays all offer powerful understandings of how art has not only been complicit in perpetuating political violence in Colombia, but also how it has been a vital form of analysis and resistance.

This book explores the historical and contemporary connections between art and politics in Colombia. These relations are unique because of the ways in which they are saturated by violence, as the country has passed through conquest, struggles for Independence, fighting between political factions, civil war, paramilitaries, narco-traffickers and state violence. This seemingly unending stream of violence gives art in Colombia one of its main themes. The lavishly illustrated essays, written by Colombian authors, examine Colombian visual arts, music, theatre, literature, cinema, indigenous arts, popular culture, militant publications and recent protest movements, analysing them with tools drawn from contemporary philosophy and theory. Approaches include decolonisation theory, cosmopolitics, anthropology after the ontological turn, Colombian philosophy, feminism, and French theory. The essays all offer powerful understandings of how art has not only been complicit in perpetuating political violence in Colombia, but also how it has been a vital form of analysis and resistance.

Though Gilles Deleuze and Felix Guattari were not strictly art historians, they reinvigorated ontological and formal approaches to art, and simultaneously borrowed art historical concepts for their own philosophical work. They were dedicated modernists, inspired by the German school of expressionist art historians such as Riegl, Woelfflin, and Worringer and the great modernist art critics such as Rosenberg, Steinberg, Greenberg, and Fried. The work of Deleuze and Guattari on mannerism and Baroque art has led to new approaches to these artistic periods, and their radical transdisciplinarity has influenced contemporary art like no other philosophy before it. Their work therefore raises important methodological questions on the differences and relations among philosophy, artistic practice, and art history. In Art History after Deleuze and Guattari international scholars from all three fields explore what a `Deleuzo-Guattarian art history' could be today.ContributorsEric Alliez (Kingston University, Universite Paris VIII), Claudia Blumle (Humboldt Universitat zu Berlin), Jean-Claude Bonne (Ecole des Hautes Etudes en Sciences Sociales), Ann-Cathrin Drews (Humboldt Universitat zu Berlin), James Elkins (School of the Art Institute of Chicago), Sascha Freyberg (Max Planck Institute for the History of Science), Antoine l'Heureux (independent researcher), Vlad Ionescu (Hasselt University), Juan Fernando Mejia Mosquera (Pontificia Universidad Javeriana), Gustavo Chirolla Ospina (Pontificia Universidad Javeriana), Bertrand Prevost (Universite Bordeaux Montaigne), Elisabeth von Samsonow (Akademie fur bildende Kunste Wien), Sjoerd van Tuinen (Erasmus University Rotterdam), Kamini Vellodi (Edinburgh College of Art), Stephen Zepke (independent researcher)

La obra del investigador neozelandés Stephen Zepke es una de las principales fuentes de consulta, en lengua inglesa, sobre estética y filosofía política contemporánea, y particularmente sobre los trabajos de Gilles Deleuze y Félix Guattari. Adicionalmente, el autor es reconocido por su prolífica labor de crítica artística, acompañando con sus escritos algunas exposiciones y catálogos de reconocidos artistas actuales. Los doce ensayos que componen este libro son una muestra de esa intuición única, que recorre la obra entera de Stephen Zepke. Por un lado, abordan la discusión conceptual sobre los modos contemporáneos de producción de subjetividad y, por el otro, el reto de un diálogo directo con obras de arte singulares, en este caso, con los trabajos de las artistas contemporáneas Anita Fricek, Clemencia Echeverri, Rosario López y Eulalia de Valdenebro.