From automated navigation to weather forecasts, data visualizations, and painting, abstraction has an undeniable presence in the contemporary world. Yet, it not only represents but also creates worlds. It is an operative concept that likewise possesses an imaginary thrust for perceiving things otherwise. As such, abstraction comes in many different forms: It is an aesthetic, a technology, an epistemology, and a practice. Therefore, it is also a political attitude, a mode of description, a tool of complexity reduction, and an instruction for intervention. Depending on its context and use, it can take on radically different connotations, ranging from dehumanizing to appealing, from affirmative to critical, from incorporated to autonomous.
Taking its cue from the different meanings and applications of abstraction, the international lecture series “Abstraction Today: The Real and the Imaginary” is designed as an interdisciplinary endeavor with a focus on visual media and digital culture. Most digital technologies (like networks, computer simulation or artificial intelligence) and correlated practices are closely connected to different forms of abstraction on different levels. To do justice to the complexity of the phenomenon, the series brings together a group of international scholars, artists, and curators who speak on abstraction today as it unfolds in fields such as art, photography, film, design, image science, visual culture studies, philosophy, and more. Grounding the inquiries into the contemporary conditions of abstraction are contributions focusing on its historical lineage, most importantly its emergence within the discourse of modernism to be understood in its global and postcolonial plurality.
With Presentations by Kim Albrecht, Crystal Campbell, Sabine Eckmann, Henning Engelke, David Getsy, Till Heilmann, Evan Hume, Raz Ion, Sven Lütticken, Birgit Schneider, Alberto Toscano, Isabel Wünsche.
Organized by Svea Braeunert (Media Studies, University of Applied Sciences Potsdam & University of Bonn), Birgit Mersmann (Art History, University of Bonn), Jens Schröter (Media Studies, University of Bonn).
With generous support from the Brandenburg Center for Media Studies (ZeM), the Gielen-Leyendecker-Foundation, and Studium Universale at University of Bonn.