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  • Peter Gidal

    Andy Warhol. Blow Job

  • Merlin Carpenter

    Relax It's Only a Bad Cosima von Bonin Show

  • Jesko Fezer, Matthias Heyden

    Hier entsteht. Strategien partizipativer Architektur und…

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    The Vice Photo Book

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    SpaceCraft. Fleeting Architecture and Hideouts

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    The State of Art Criticism

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    Words to Be Looked at. Language in 1960s Art

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    Yona Friedman. The Conversation Series (7)

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    Studio and Cube. On The Relationship Between Where Art is…

  • Guy Debord

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    Micro: Very Small Buildings

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    How to Build an Igloo and Other Snow Shelters

  • Michel de Certeau

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    Die Kunst, die Natur vorzustellen: Die Ästhetisierung der…

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    New Media, 1740-1915 (Media in Transition)

  • Bernhard Siegert

    Passage des Digitalen

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  • Slava Gerovitch

    From Newspeak to Cyberspeak. A History of Soviet…

  • Alex Steffen

    Das Handbuch der Ideen für eine bessere Zukunft.…

  • Lisa Diedrich (Hg.)

    Territories. Agence Ter. Die Stadt aus der Landschaft…

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    Recovering Landscape. Essays in Contemporary Landscape…

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  • Daniela Colafranceschi

    Landscape + 100 words to inhabit it

  • Gilles Clement, Philippe Rahm

    Environ(ne)ment. Approaches for Tomorrow

  • Clare Cumberlidge, Lucy Musgrave

    Design and Landscape for People

  • Jutta Nachtwey, Judith Mair

    Design Ecology! Neo-grüne Markenstrategien

  • Duncan McCorquodale

    Recycle. The Essential Guide

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    Green Homes. New Ideas for Sustainable Living

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  • Marina Alberti

    Advances in Urban Ecology: Integrating Humans and…

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    Gone Tomorrow. The Hidden Life of Garbage

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    Nature and Landscape. An Introduction to Environmental…

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    When Species Meet

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    Die Neuerfindung der Natur. Primaten, Cyborgs und Frauen.

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    Architextiles

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    Clothing as Material Culture

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    AV 115. Materiales de Construccion. Building Materials

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    Nanomaterialien

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  • Henri Lefebvre

    Writings on Cities

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    Folk Archive. Contemporary Popular Art from the UK

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    Picnic Magazine 3

Godard Boomerang. Artists on Godardian Conceptualism

This publication is the late outcome of a small symposium that took place in 2013 at the subject area time and space arts at the Academy of Fine Arts at Uniarts Helsinki. It presented research and analysis of conceptual traces in Godard’s oeuvre and its relation to contemporary art practices. Beyond the invited contributors from this symposium, the project expanded into a larger collection of writings by contemporary artists and curators on Godardian references, influences and (re-)discoveries, centering around a particular phenomenon – what we call the “Godard Boomerang” is a set conceptual strategies deeply rooted in 20th century art cinema, propelling towards the future practices in moving image art. Gareth James, one of the contributors, reminds us that contemporary art still lacks some crucial pedagogy in this regard. In his text he asks, “what capacities might contemporary art need to possess in order to be capable of registering the objective historical achievements of Jean-Luc Godard?”
So, why still Godard? A question we heard many times in the course of editing this book.
And further: “Wouldn’t this be an appropriate moment in history to pass the torch?”
Most likely there is no more torch to pass. If there is a thing to pass (a merit, a philosophy, an attitude), the questions would still remain: Passing it on to whom? To an individual? A collective? An entire movement? The latter would fit so much better into a time that has begun to successfully diversify and cross-reference contemporary thought, refusing to follow isolated key thinkers by de-magnetizing their rocky islands of ideology. Needless to mention, contemporary efforts to contest gender and geopolitical dominances also complicate any attempt to simply “return” to Godard.
The recent chain of power shifts, uprisings, in the Middle East and Eastern Europe, migration movements from war-torn North African nations and armed conflicts all over the world have brought forth new moving-image practices many of which have drawn from Godard’s militant filmmaking period. In recent years, the latter has been rediscovered and analyzed more thoroughly than ever before. Almost a third of the contributions in this book are resonating with these efforts.
Most of the texts were written in the time right before Godard himself turned to the precise topics of the aforementioned research. His most recent works, "Adieu Au Language" and especially "Le Livre d’Images" return to precisely topics of his Militant Cinema period. A distinct divide between two opposing groups of Godard scholarship has therefore become more apparent – those who praised Godard’s narrative filmmaking and those who are solely interested in his documentaries and collage essay films. However, this collection of writing does not belong to either of them. The authors working from the perspective as artists that always relate the given topics to their own practice. This reflection through a separate faculty enables a triangulations, by entering in further dialogues with other Others, which, in this case are: Edward Said, Jorge Luis Borges, Guillermo Gomez-Peña, Hito Steyerl, Eija-Liisa Ahtila , FEMEN, Birgit Hein, Laura Mulvey, Peter Wollen, Kaja Silverman and Harun Farocki.


Caspar Stracke (Ed.)
Godard Boomerang. Artists on Godardian Conceptualism
University of the Arts Helsinki, 2020, 978-952-353-401-8
20,00 €