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ICONOCLASH: Beyond the Image Wars in Science, Religion and Art [Bruno Latour, Peter Weibel] on *FREE* shipping on qualifying offers. For instance, Bruno Latour argues that scientific iconoclasms–which he terms iconoclashes so as to highlight their contestation –differentiate facts (scientific. Exhibition view “Iconoclash” Website: ; Credits. Peter Weibel (Curator); Bruno Latour (Curator); Peter Galison (Curator); Adam Lowe.

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Tags What are tags? The concept of iconoclasm entails a contestation over—and destruction of—images coinciding with a belief in the fallacious nature of their representation. This theory attacks material objects—commodities—as being the recipient of a fallacious belief on the part of capitalist society, epitomized in the monetary system that has no value whatsoever outside of exchange.

Public Secrecy and the Labor of the Negative. Then set up a personal list of libraries from your profile page by clicking on your user name at jconoclash top right of any screen. Open to the public ; The project consists of two abstract expressionist paintings that from afar iconiclash remind the viewer of a Kazimir Malevich or a Barnett Newman, ,atour that are actually made purely of candy. One final point that needs some further explication here is that the destruction of images is always linked to an opposition to certain practices and individuals.

Iconoclasme dans l’art — Expositions. This book is a most comprehensive anthology about the image wars, as it joins for the ifonoclash time different cultures from West to East, different epochs from Middle Ages to modernism, different practices from science to art, in the search for an understanding of the nature of the image.

This emphasis on public performativity may reveal the basis for the prejudice against visual images often associated with iconoclasm, since verbal and auditory media cannot be subjected to a visual spectacle in this manner.

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Iconoclash | ZKM

Art and science — Exhibitions. Open to the public Includes bibliographical references and index. Beyond the larour wars in science, religion, and art. Through many works of ancient, modern and contemporary arts, through many scientific instruments, the show will fathom that quandary which has been so important for the self-understanding of the Western world.


What is Iconoclash ? or Is there a world beyond the image wars ? |

Publishing house, place MIT Press, Cambridge, Massachusetts Year Content This book is a most comprehensive anthology about the image wars, as it joins for the first time different cultures from West to East, different epochs from Middle Ages to modernism, different practices from science to art, in the search for an understanding of the nature of the image. Edith Cowan University Library. But to me it will be much more interesting if this intriguing story ends like the beautiful poem by Giuseppe Ungaretti: Art, Modern — Themes, motives.

Skip to content Skip to search. As a matter of fact, Buch hopes that over the coming months, perhaps years, the two paintings will appear, unannounced, in various art collections all over the world: Thus latout in the efficacy of science—and in particular its demystification of nature—corresponded to an assault on the images of religion in general, rather than specific uses of religious images.

The semantic range of the term iconoclasm increased during the years of rise of Protestantism and the Catholic Reformation.

Iconoclash. Beyond the Image Wars in Science, Religion, and Art

Image wars are everywhere, latojr the Taliban destruction of the Buddhas to the doubts about scientific imagery, through the debunking of media powerful manipulations. Hiding the name and location of the collection in which the paintings will appear, the artist wilfully decided not to iconocladh who, when, for how long and how many visitors will end up licking — or not — the piece, relegating its fate or doom to a series of uncontrollable variables and circumstances.

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The first injunction is an appeal to get rid of all images, to become an iconoclast; the second is an appeal to respect images as our only possible mediation, to become an iconophile. Beuno of being valued for its utility, Marx argues that the commodity becomes valuable only insofar as it contains the objective products of labor as value, thus imbuing commodities with the social relations of individuals see CapitalVol.

Laura Mulvey, Mark Lewis: Art, Modern — 20th century — Themes, motives — Exhibitions. Stanford University Press, Reynolds Roberto Kutcher W. By linking the three domains of theology, art and science all at once, the aim is not to increase the critical mood or to reinforce disbelief and irony.


It aims at moving beyond the image wars by showing that behind this dramatic history of destruction of images, something else has always been going on: Perhaps the most iconoclasn example of this interrelation can be seen in ancient Israel, in which the name for idolatry also designated trading agreements between Israel and foreign nations Halbertal rbuno Margalit, 5. ZKM Media Museum, ground floor. This single location in Tasmania: It is significant to note in this regard that the Eucharist was seen as one of these idolatrous elements; indeed, the Eucharist and the crucifix were two of the most hotly debated issues during these years of religious unrest.

Art Gallery of New South Wales. Art and religion — Exhibitions. A History of the Iconoclastic Controversy. The interaction lqtour political and religious thematics in iconoclashes, for one, has been present in brino all of these conflicts.

Some images attract our rage, spite, and suspicion; others, on the contrary, are deemed beyond dispute; still others leave us indifferent. The best specialists in each of those many domains have been brought together to provide, thanks to a beautiful layout, a powerful visual and intellectual experience on how different civilizations have answered the strictures of the Second Commandment.

The general lator that is being set in the book is the sort of double bind in which we are put by two contradictory injunctions: The work thus becomes the site of a private rendezvous, where the feelings of respect for the piece of art and desire of licking it and thus participating in its destruction chase each other.