@book {alberro_conceptual_2003,
	title = {conceptual art. and the politics of publicity},
	year = {2003},
	note = {THE 48},
	publisher = {The MIT Press},
	organization = {The MIT Press},
	abstract = {

An examination of the origins and legacy of the conceptual art movement.

Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro{\textquoteright}s central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub{\textquoteright}s role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising.

Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub{\textquoteright}s most material and least ephemeral contributions, the Artist{\textquoteright}s Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist{\textquoteright}s rights, the Agreement unwittingly codified the overlap between capitalism and the arts.

Inhalt:

The Contradictions of Conceptual Art
Art, Advertising, Sign Value
Art as Idea
Primary and Secondary Information
Locations, Variables, and Durations
The Linguistic Turn
Dematerialization
Artists{\textquoteright} Rights and Product Management
The Xerox Degree of Art
The Siegelaub Idea
},
	keywords = {Carl Andre, Christine W{\"u}rmell, Dan Graham, Douglas Huebler, Duane Michaels, Joseph Kosuth, Klartext Berlin, Lawrence Weiner, Mel Bochner, Robert Barry, Seth Siegelaub, Sol LeWitt, Vassilakis Takis},
	author = {Alexander Alberro}
}
@book {derrida_dem_1997,
	title = {Dem Archiv verschrieben. Eine Freudsche Impression},
	year = {1997},
	note = {THE 41},
	publisher = {Brinkmann + Bose},
	organization = {Brinkmann + Bose},
	address = {Berlin},
	abstract = {Jacques Derrida (1930-2004) diskutiert die zentrale Frage nach der Zukunft des Archivs, dem Ged{\"a}chtnis der Menschheit unter multimedialen Bedingungen. Das Archiv dehnt sich aus und ist doch bedroht. Denn der Todestrieb setzt das Archiv durch die M{\"o}glichkeit der Wiederholung der Zerst{\"o}rung aus. Mal d{\textquoteright}archiv. Das Leiden am Archiv - Dem Archiv verschrieben oder das B{\"o}se des Archivs muss mitgedacht werden bei der Notwendigkeit der Bejahung der Zukunft.

In einem weiteren Schritt geht es um das Verh{\"a}ltnis von Psychoanalyse und Judentum. {\guillemotright}Messianizit{\"a}t{\guillemotleft}, aber nicht als die Auserw{\"a}hltheit des j{\"u}dischen Volkes; an Stelle des Einzigen setzt Derrida {\guillemotright}Eines, das sich von sich unterscheide!{\guillemotleft}. Zukunft und Vergangenheit sind verbunden durch eine Leidenschaft f{\"u}r das Ged{\"a}chtnis.
Textauszug

(...) Fangen wir nicht mit dem Anfang an und schon gar nicht mit dem Archiv. Sondern mit dem Wort {\guillemotleft}Archiv{\guillemotright} - und mit dem Archiv eines derma{\ss}en vertrauten Wortes. Arch{\'e}, entsinnen wir uns, benennt zugleich den Anfang und das Gebot. Dieser Name f{\"u}hrt augenscheinlich zwei Anfangsgr{\"u}nde zusammen zu einem: den Anfangsgrund nach Ma{\ss}gabe der Natur bzw. der Geschichte, da, wo die Dinge ihren Anfang haben - als physischer, historischer oder ontologlscher Anfangsgrund -, aber auch den Anfangsgrund nach Ma{\ss}gabe des Gesetzes, da, wo Menschen und G{\"o}tter gebieten, da, wo die Autorit{\"a}t, die soziale Ordnung geltend gemacht wird, an jenem Ort, von dem her die Ordnung gegeben" wird - der nomologische Anfangsgrund. Da, wo, haben wir gesagt, und an jenem Ort. Wie ist dieses da zu denken? Und dieses Statt haben oder dieses Platz nehmen der arch{\'e}? (...)},
	keywords = {Christine W{\"u}rmell, Klartext Berlin},
	author = {Jacques Derrida}
}
@book {lippard_six_1997,
	title = {Six Years. The dematerialization of the art object},
	year = {1997},
	note = {THE 47},
	publisher = {University of California Press},
	organization = {University of California Press},
	abstract = {In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents{\textemdash}including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists{\textemdash}a historical survey and essential reference book for the period.

Six Years: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consist-ing of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vague-ly designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones), edited and annotated by Lucy R. Lippard. 

Table of Contents:

Escape Attempts
Author{\textquoteright}s Notes
Preface
1966
1967
1968
1969
1970
1971
Postface
Index
},
	keywords = {Christine W{\"u}rmell, Klartext Berlin},
	author = {Lucy R. Lippard}
}
@book {deleuze_negotiations._1995,
	title = {Negotiations. 1972 - 1990},
	year = {1995},
	note = {THE 46},
	publisher = {Columbia University Press},
	organization = {Columbia University Press},
	address = {New York},
	abstract = {Negotiations traces the intellectual journey of a man widely acclaimed as one of the most important French philosphers. A provocative guide to Deleuze by Deleuze, the collection clarifies the key critical concepts in the work of this vital figure in contemporary philosphy, who has had a lasting impact on a variety of disciplines, including aesthetics, film theory, psycho-analysis, and cultural studies.Gilles Deleuze

Inhalt:

Part I. From Anti-Oedipus to A Thousand Plateaus
Letter to a Harsh Critic
Gilles Deleuze and Felix Guattari on Anti-Oedipus
On A Thousand Plateaus
Part II. Cinemas
Three Questions on Six Times Two
On The Movement-Image
On The Time-Image
Doubts About the Imaginary
Letter to Serge Daney: Optimism, Pessimism, and Travel
Part III. Michel Foucault
Breaking Things Open, Breaking Words Open
Life as a Work of Art
A Portrait of Foucault
Part IV. Philosophy
Mediators
On Philosophy
On Leibniz
Letter to Reda Bensmaia, on Spinoza
Part V. Politics
Control and Becoming
Postscript on Control Societies
Translator{\textquoteright}s Notes},
	keywords = {Christine W{\"u}rmell, Klartext Berlin},
	author = {Gilles Deleuze}
}
