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Küba pp 96-101 | Cite as

All One Knows

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Abstract

While I write this essay, Renata Poljak’s work All One Knows is still in the pro cess of being realized, and in this situation of uncertain outcome, in which the interpretative projection of the artist’s desire interlocks with the projec tion of my desire, I try to persuade myself that we are moving over the same terrain. But All One Knows actually troubles me with the doubt of claiming the opposite-that in the field of ideology, which is especially concerned with the production of meaning and the field of the symbolic, nothing is to be taken for granted.

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Literatur

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    Niklas Luhmann, Love as Passion: The Codification of Intimacy, Polity Press, Cambridge, 1986Google Scholar
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    Raslko Močnik, Tri teorije: institucija, nacija, država (Three theories: institution, nation, slate), p. 16, CSUb, Belgrade, 2003.Google Scholar
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    Griselda Pollock, Vision and Difference, p. 50, Routledge, London and New York, 2003.Google Scholar
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    Michel Foucault, “Friendship as a way of life”, in: Hatred of Capitalism, A Semiotext(e) Reader, ed: Chris Kraus, Sylvére Lotringer, p. 299, Semiotext(e), Los Angeles, 2001.Google Scholar

Copyright information

© Thyssen-Bornemisza Art Contemporary, Vienna 2006

Authors and Affiliations

  1. 1.Zagreb

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