{"id":3790,"date":"2016-03-28T20:57:29","date_gmt":"2016-03-28T18:57:29","guid":{"rendered":"http:\/\/www.worldofart.org\/current\/?p=3790"},"modified":"2018-02-28T11:07:58","modified_gmt":"2018-02-28T09:07:58","slug":"thijs-lijster-the-crisis-of-criticism-and-towards-an-espacement-of-criticism","status":"publish","type":"post","link":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/3790","title":{"rendered":"Thijs Lijster: The Crisis of Criticism and Towards an \u201cEspacement\u201d of Criticism"},"content":{"rendered":"

Together with The Igor Zabel Association for Culture and Theory<\/a><\/b> we cordially invite you to the presentation of the analysis Where Has Art Criticism Gone?<\/i> by Maja Breznik. The presentation and the analysis are part of the programme How Critical Is the Condition of Critical Writing?<\/em><\/a><\/strong>.<\/p>\n

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Thijs Lijster<\/strong>: The Crisis of Criticism
\nTuesday, 29 March 2016, 2.40\u20134.20 p.m., Faculty of Arts (room 343), A\u0161ker\u010deva 2, Ljubljana<\/strong><\/p>\n

What is the \u201ccrisis of criticism\u201d, which has been the subject of so many debates during the past decade, and what are its origins? Can we even speak of a crisis, if criticism is virtually omnipresent? This lecture will begin with a brief historical overview of art criticism, followed by discussions on the function of the critic (e. g. interpretation, judgment, connecting the work to the socio-historical context), the use and misuse of criticism, and ways out of the crisis. I will argue that the critic has still an important role to play in the democratic public sphere.<\/p>\n

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Thijs Lijster:<\/strong> Towards an \u201cEspacement\u201d of Criticism
\nWednesday, 30 March 2016, 6 p.m., Project Room, SCCA\u2013Ljubljana, Metelkova 6, Ljubljana<\/strong><\/p>\n

In this lecture I will relate contemporary developments in art criticism to the \u201ctime-space compression\u201d that characterizes modernity. The shift from modern to contemporary art in the 1980s comes with both a de-historicization and de-territorialisation of criticism. Although I consider this development critically, I argue that new theoretical sources might generate a discourse that allows us to step out of the expert field of traditional criticism, thus creating a new space for criticism.<\/p>\n