Introduction to the Book "El Retorno Real" by Hal Foster

This section provides an introduction to the book "El Retorno Real" by Hal Foster, including its publication history and the author's background.

Background of Al Foster

• Al Foster is considered one of the most brilliant art theorists and critics of the second half of the 20th century.

• His texts combine insightful analysis of artworks with contemporary theories and critical discourse.

• Foster's writing style is both readable and academically rigorous.

Biography of Hal Foster

• Hal Foster was born in 1955 and studied at Princeton, Columbia, and New York University.

• He obtained his doctorate under the supervision of Rosalind Krauss, focusing on surrealism.

• Foster has worked for prestigious art magazines such as Artforum and Art in America.

• He has also held positions at institutions like the Whitney Museum of American Art and edited the journal October.

Key Works by Hal Foster

• In 1983, he edited a crucial volume titled "Antiestéticos: Ensayos sobre la cultura posmoderna," which included essays by influential thinkers such as Jean Baudrillard and Fredric Jameson.

• Another notable work is "Recordings" (1985), which explores the role of avant-garde movements within postmodernism.

• Foster has written numerous books, including "Compulsive Beauty: Belleza Compulsiva" (2004), which focuses on surrealism, and "Design and Crime" (2002), a collection of essays on design and architecture.

Overview of "El Retorno Real"

This section provides an overview of Hal Foster's book "El Retorno Real," discussing its main objective and its relation to Peter Berger's theory of the avant-garde.

Objective of "El Retorno Real"

• The main objective of "El Retorno Real" is to challenge Peter Berger's theory of the avant-garde, which suggests that neovanguardism is merely a repetition and leads to its failure.

• Foster proposes a different perspective, drawing on the concept of parallax and Freudian theories of deferred action or re-signification.

Other Works by Hal Foster

This section highlights some other notable works by Hal Foster, including "Compulsive Beauty" and "Design and Crime."

"Compulsive Beauty: Belleza Compulsiva"

• Published in 2004, this book offers Foster's interpretation of surrealism and its significance within art history.

• It is considered an excellent analysis of surrealism and its political implications.

"Design and Crime: (And Other Diatribes)"

• In this book, published in 2002, Foster explores various topics related to design and architecture.

• One essay examines the golden years of art criticism in Artforum magazine, while another discusses temporalities and synchronicities in understanding postmodernity.

Conclusion

Hal Foster is a highly regarded art theorist and critic known for his insightful analysis of artworks. His book "El Retorno Real" challenges existing theories on the avant-garde, offering new perspectives rooted in parallax and Freudian concepts. Additionally, his works such as "Compulsive Beauty" and "Design and Crime" further contribute to contemporary discourse on art, design, and architecture.

Post-War Art Movements

This section discusses the post-war art movements and the emergence of neo-avant-gardes.

Post-War Art Movements

• The first topic discussed is the post-war art movements that emerged after World War II.

• These movements marked a shift towards avant-garde and neo-avant-garde art.

• One of the conversations focuses on the fulfillment and vanguardism, while another recaps the current state of art in the 21st century.

Critique of Art History and Curatorial Works

This section explores the critique of art history and the growing influence of curatorial works.

Critique of Art History

• The discussion highlights a sense of failure or insignificance in art history and art criticism.

• It emphasizes how curatorial works have gained prominence over traditional art historical narratives.

• The book specifically criticizes Francesco Bonami's curation at the Venice Biennale, particularly his section called "Utopia Station."

Hal Foster's Perspective on Contemporary Art

This section focuses on Hal Foster's perspective on contemporary art.

Hal Foster's Views

• Among the four theorists mentioned, Hal Foster shows less animosity towards contemporary art developments.

• Foster has written several books, including one about pop culture titled "Prosthetic Gods" and another about architecture called "The Complexity of Architecture."

• He critically examines concepts like lightness and transparency as ideological or architectural discourses.

Foster's Writings on Architecture and Artists

This section discusses Hal Foster's writings on architecture and his analysis of artists like Richard Serra.

Foster's Writings on Architecture

• Foster's book on architecture, published by Princeton University Press, examines renowned architects and their works.

• He explores the relationship between contemporary art, architecture, and artists like Richard Serra.

• Foster also delves into the concept of "junkspace" and critiques notions of lightness and transparency in architecture.

Hal Foster's Published Works

This section highlights some of Hal Foster's notable published works.

Published Works

• Foster has written books such as "Design and Crime" and "The Art-Architecture Complex."

• His writings cover various topics, including pop culture, painting, subjectivity in art, and the works of artists like Warhol, Richter, and Ruscha.

• Some of his volumes have been translated into different languages and are highly regarded in the field of contemporary art history.

Academic Contributions of Hal Foster

This section focuses on Hal Foster's academic contributions to art history.

Academic Contributions

• Hal Foster has taught at multiple universities and delivered lectures on contemporary art.

• He is associated with institutions like Princeton University and Cornell University.

• His work is highly influential for art historians studying contemporary art.

Comparison Between Burger and Foster

This section compares the perspectives of Peter Burger and Hal Foster in relation to avant-garde theory.

Comparison Between Burger and Foster

• The discussion highlights the importance of Peter Burger's book "Theory of the Avant-Garde."

• Hal Foster revisits Burger's theories in detail while also engaging with Benjamin Buchloh's ideas from October magazine.

Chapters in Hal Foster's Book

This section provides an overview of the chapters in Hal Foster's book.

Chapters in the Book

• The book consists of several chapters, including an introduction and four main chapters.

• The first chapter explores neo-avant-garde art movements.

• The second chapter focuses on minimalism, a movement that Foster is particularly interested in.

• The third chapter delves into the passion for signs in contemporary art.

• The fourth chapter examines cynical reason in art criticism, drawing from Peter Sloterdijk's concept of cynical reason.

The Artist as Ethnographer and What Happened to Modernity

In this section, the speaker discusses the chapter titled "The Artist as Ethnographer" and "What Happened to Modernity." These chapters explore the concepts of postmodernism and its effects on art and culture.

The Chapter "The Artist as Ethnographer"

• Hal Foster's book "The Anti-Aesthetic: Essays on Postmodernism" addresses the cultural effects of postmodernism, specifically focusing on what he calls a "postmodernism of resistance."

• Foster revisits the ideas of postmodernism in his introduction to the volume, exploring its connection to modernity.

• He divides his analysis into three temporal periods: the 1930s, 1960s, and 1990s.

Excuses and Partial Perspectives

• Foster acknowledges that his perspective is limited to a North American viewpoint.

• He mentions that there are certain topics he does not address in his book, such as feminism.

• This leads to a controversy between Douglas Crimp and Hal Foster regarding their interpretations of sexual identity in Warhol's work.

Genealogies and Transformations

• Foster emphasizes the importance of establishing specific genealogies in art and theory.

• He aims to trace innovative perspectives through transformations in art history.

• Foster critiques what he calls the false pluralism of museums, markets, and post-historical academia.

Neovanguardia: Debating Specific Conditions

• Foster explores neovanguardia (the new vanguard) art movements from the 1960s that reinterpreted avant-garde inventions for contemporary purposes.

• He engages with Fort de Burger's thesis that neovanguardia represents a complete institutionalization and regression from avant-garde transgressions.

• However, Foster argues that this view needs nuance since historical returns are foundational in art history.

Changing Criteria and Questioning Limits

• Foster discusses the shift from a disciplinary criterion of quality to the notion of interest specific to the vanguard.

• He highlights the need for questioning institutional limits and redefining the concept of artwork.

The Importance of Historical Returns in Art History

In this section, the speaker emphasizes the significance of historical returns in art history, drawing parallels with the study of ancient art during the Renaissance. They also discuss how criteria for evaluating art have evolved over time.

Historical Returns and Canon Formation

• The return to historical styles and techniques is a fundamental aspect of art history.

• The study of ancient art during the Renaissance serves as an example of canonical returns.

• Hegelian conceptions and Schlegel's idea that art progresses like a screw or spiral are mentioned.

Quotes from Clement Greenberg and Michael Fried

• Clement Greenberg's statement from 1961 asserts that modernity never meant a rupture with the past.

• Michael Fried's remark from 1935 suggests that visual arts have been engaged in a dialectic process for over a century.

Shifting Disciplinary Criteria

• Foster explores how disciplinary criteria, such as Grimbert's emphasis on quality, have been modified.

• He introduces the notion of interest as a specific value associated with avant-garde movements.

• Foster argues for questioning institutional boundaries and reevaluating artistic practices.

Reconnecting Practices: Neovanguardia and Modernity

In this section, the speaker discusses Hal Foster's exploration of neovanguardia (the new vanguard) movements and their relationship to modernity. They also touch upon disciplinary criteria and institutional limitations in defining artworks.

Neovanguardia: Reinterpreting Avant-Garde Inventions

• Neovanguardia refers to artistic movements in the 1960s that reinterpreted avant-garde inventions for contemporary purposes.

• Foster aims to engage in a debate about the specific conditions and perspectives of neovanguardia art.

The Failure of Avant-Garde or Nuanced Interpretation?

• Foster challenges Fort de Burger's view that neovanguardia represents a complete failure and regression from avant-garde transgressions.

• He argues that this perspective needs nuance and highlights the importance of historical returns in art history.

Disciplinary Criteria and Institutional Boundaries

• Foster discusses the shift from disciplinary criteria based on quality to the notion of interest associated with avant-garde movements.

• He emphasizes the need to question institutional boundaries and redefine what constitutes an artwork.

Questioning Limits: Artistic Practices and Art History

In this section, the speaker explores Hal Foster's examination of disciplinary criteria, institutional limitations, and the questioning of artistic practices within art history. They also touch upon concepts such as quality, interest, and redefining artworks.

Shifting Disciplinary Criteria

• Foster examines how disciplinary criteria have evolved over time, moving away from notions of quality towards ideas of interest specific to avant-garde movements.

• He emphasizes the importance of questioning institutional boundaries when defining artworks.

Redefining Artistic Practices

• Foster argues for a reevaluation of artistic practices beyond traditional conceptions.

• He encourages a critical examination of limits imposed by institutions on what can be considered art.

The transcript provided is in Spanish. The summary has been translated into English while maintaining its essence.

The Importance of Indexing in Books

In this section, the speaker discusses the importance of proper indexing in books and highlights a specific example where indexing was not done carefully.

The Significance of Indexing

• Proper indexing is crucial for readers to easily locate information within a book.

• The speaker emphasizes the importance of an index that accurately reflects the content of the book.

• A poorly constructed index can lead to frustration and difficulty in finding specific references.

Example of Inadequate Indexing

• The speaker mentions a book by Peter Burger and points out that his name is not properly indexed.

• Despite being referenced throughout the book, Burger's name is only mentioned twice in the index.

• This lack of attention to detail in indexing makes it challenging for readers to find relevant information about Burger's ideas.

Common Issue with Spanish Editions

• It is noted that some Spanish editions of books often have indexes that do not align with the final pagination or layout.

• This discrepancy can cause confusion and frustration when trying to locate specific references or information.

Recommendations for Publishers

• The speaker suggests that publishers should thoroughly review and revise indexes to ensure they accurately reflect the content of the book.

• Attention to detail in indexing is essential for providing a seamless reading experience for readers.

Coordinating Diachronic and Synchronic Axes in Art Theory

In this section, the speaker introduces Hal Foster's book on art theory and discusses its focus on coordinating diachronic and synchronic axes.

Introduction to Hal Foster's Book

• Hal Foster's book addresses the coordination between diachronic (historical) and synchronic (social) axes in art theory.

• The speaker highlights Foster's emphasis on understanding how these axes intersect within artistic practices.

The Notion of Parallax

• Foster introduces the concept of parallax, which refers to the apparent displacement of an object caused by the real movement of the observer.

• This notion emphasizes that our perspectives on the past are influenced by our positions in the present.

• The speaker mentions Slavoj Žižek's book "The Parallax View" as a reference to this concept.

Shifting from Transgressive Logic to Constructive Displacement

• Foster argues for a shift from transgressive logic to constructive displacement in understanding artistic practices.

• This shift is more suitable for contemporary art and its transformative nature.

Textual Turn and Institutional Framework

• Foster explores the importance of the textual turn and its relationship with institutional frameworks in art theory.

• He examines how we frame and modify our understanding of the past from a present perspective.

• The speaker also mentions the concept of deferred action, derived from Freudian theory, which plays a role in signifying avant-garde events.

Parallax and Deferred Action in Art Theory

In this section, the speaker delves deeper into Hal Foster's concepts of parallax and deferred action in relation to avant-garde events.

Significance of Parallax and Deferred Action

• Parallax and deferred action reactivate clichés about neovanguardia (neo-vanguards) without dismantling them.

• These concepts allow for both retrospection and reversion, analyzing historical vanguards from a neovanguard perspective.

Retroaction and Retroversion

• There is a structural analysis as well as deconstruction of what occurred within vanguards when viewed through neovanguard lenses.

• The speaker highlights that this process involves not only retroaction but also retroversion.

Importance of Remarking Parallax and Deferred Action

• Foster emphasizes the significance of these theories in understanding artistic ruptures and ideological or paradigmatic discontinuities.

• The 1960s witnessed important contributions to the analysis of such ruptures and discontinuities.

• Foster references Thomas Kuhn's theory of scientific paradigms, Louis Althusser's concept of epistemological rupture, and Gaston Bachelard's and George Lukács' ideas on discontinuities.

Reflexivity in Artistic Practices

• Some artists and critics aspire to achieve epistemological reflexivity, understanding artistic transformations from a paradigmatic perspective rather than a technological one.

• Foster's book explores these concepts and their implications for artistic practices.

Paradigmatic Transformations in Art Theory

In this section, the speaker discusses the importance of paradigmatic transformations in art theory as highlighted by Hal Foster.

Acknowledging Paradigmatic Shifts

• Foster emphasizes the significance of considering paradigmatic shifts in art theory.

• He suggests moving away from technological perspectives and focusing on understanding artistic transformations through a paradigmatic lens.

Influential Theories

• Foster references Peter Berger's book "The Structure of Scientific Revolutions" (1932) as an important contribution to understanding scientific paradigms.

• He also mentions Louis Althusser's concept of epistemological rupture and Gaston Bachelard's and George Lukács' ideas on discontinuities.

Reflexivity in Artistic Practices

• Artists and critics are encouraged to engage with epistemological reflexivity, recognizing the importance of paradigmatic frameworks in shaping artistic transformations.

• This approach moves beyond technological considerations to explore deeper conceptual shifts within art theory.

The Expansion of Revolutionary Historical Spectrum

In this section, the speaker discusses the dissemination and expansion of the revolutionary historical spectrum. They draw connections to the vanguardist manifesto of the 1960s and its genealogies, as well as the writing of a book in the 1990s that explores how the vanguard and neovanguards are modified in the context of late postmodern discourse.

Moment of Diffusion and Expansion

• The speaker refers to a moment of diffusion and expansion of the revolutionary historical spectrum.

• This moment is compared to the vanguardist manifesto of the 1960s.

• Genealogies are being traced during this period.

• The speaker mentions that they are writing a book during this time.

Parallax and Deferred Action

• The concept of parallax and deferred action is introduced.

• It explores how the vanguard modifies itself and how neovanguards are affected by late postmodern discourse.

• The speaker highlights that they are writing their book in this context.

Perspective on Globalization and Inertia

• The perspective on globalization and inertia at the end of the 20th century is discussed.

• The understanding of history emphasizes a perspective on current events rather than just contemporary support.

• A commitment to art, theory, and politics in relation to the present is deemed essential.

Commitment to Artistic, Theoretical, and Political Engagement

• The speaker emphasizes that a commitment to art, theory, and politics in relation to the present is crucial.

• However, it does not mean blindly accepting everything happening in one's era but rather taking a position against or for it.

Intempestive Attitude towards Contemporaneity

• An intempestive attitude towards contemporaneity is advocated.

• This perspective challenges conventional notions of what is contemporary.

• The speaker refers to the concept of "contemporaneity" as formulated by Jacques Rancière.

Influence and Angelic Figures

• The influence of past figures, such as Marcel Duchamp and Andy Warhol, is discussed.

• The speaker mentions their own research on Andy Warhol and Marcel Duchamp.

• They highlight the importance of revisiting Duchamp's legacy in the context of the 20th century.

Engagement with Semiotics and Textual Model

In this section, the speaker discusses their engagement with semiotics and the textual model in relation to art and criticism. They mention the influence of Roland Barthes' texts and Simon Marchan Fiz's book on contemporary art history.

Proximity to Critical Theory and Semiotic Turn

• The speaker states that they are at a distance from modern art but close to critical theory.

• They specifically mention being influenced by the semiotic turn in art and criticism during the late 1970s.

• The power of semiotics is highlighted, including its impact on genetic structuralism.

Importance of Simon Marchan Fiz's Work

• Simon Marchan Fiz's work is considered significant for understanding this period.

• His book on contemporary art history in the early 1970s is praised for its theoretical, political, and analytical importance.

• It is compared favorably to Peter Berger's theory of vanguardism.

Revisiting Duchampian Legacy

• The speaker emphasizes their interest in revisiting Marcel Duchamp's legacy.

• They mention their own research on Duchamp, including his influence on new realism, fluxus, minimalism, conceptual art, etc.

• The centennial celebration of Duchamp's urinal in 2017 is referenced as a moment for reflection.

The Postmodern Sensibility and Simon Marchan Fiz

In this section, the speaker discusses the postmodern sensibility and its connection to Simon Marchan Fiz's work. They highlight Marchan's revision of contemporary art history and his engagement with vanguardism and architecture.

Simon Marchan Fiz's Contribution

• Simon Marchan Fiz is seen as a continuation of the debate on vanguardism.

• His work is marked by a strong influence of semiotics, similar to the speaker's own perspective.

• The political changes in Spain since the democratic transition are mentioned as influencing Marchan's views.

Focus on Vanguardism and Architecture

• Marchan dedicates a significant portion of his research to vanguardism and architecture.

• His writings are considered important for understanding this period.

• The speaker suggests that revisiting Marchan's work will be relevant for their exploration of vanguardism.

Foster's Interest in Critical Theory

In this section, the speaker discusses Richard Foster's interest in critical theory. They mention Foster's attraction to Roland Barthes' texts but also express a different level of interest in critical theory.

Foster's Attraction to Roland Barthes

• Richard Foster finds Roland Barthes' texts highly attractive.

• Barthes' writings continue to be appealing even today.

Different Level of Interest in Critical Theory

• The speaker acknowledges that they have a different level of interest in critical theory compared to Foster.

• While they share an appreciation for certain aspects, their focus diverges when it comes to critical theory.

This summary provides an overview of the main points discussed in the transcript. It does not include every detail or example mentioned.

Hal Foster's Path and Approach

In this section, the speaker discusses Hal Foster's artistic and theoretical background, highlighting the difference in their paths.

Hal Foster's Background

• Hal Foster's path is a journey from art historical formation to theory and society, while the speaker's path is the opposite, starting from theory and graphics towards the history of art.

Defense of Critical Theory

• Both the speaker and Hal Foster share a defense of critical theory as not just a conceptual tool but also as a symbolic form. They emphasize its importance since the 1970s as a secret continuation of modernity after the decline of painting and sculpture.

The Role of Theory in Art

• The speaker mentions Tom Wolfe's book "The Painted Word" to illustrate how theory has taken on an artistic position after student revolts in 1968 and political regression. It compensates for failed activism by addressing sign structures, subject constitution, institutional location, and other aspects.

Intersections between Artistic Practices and Theory

• There are specific relationships between artistic practices in the 1960s and 1970s with theoretical developments such as geology in minimalism, phenomenology, structuralist analysis of signs, genealogy of pop art with psychoanalysis, fetishism analysis, critical methods, and constructive processes.

Importance of Theory Critique

This section explores how theory critique plays a crucial role in questioning cynicism within appropriationist art.

Linking Artistic Practices and Theory

• The speaker highlights the connections between artistic practices in the 1960s and 1970s and theoretical developments. They discuss the importance of analyzing the geology of minimalism, phenomenology, structuralist analysis of signs, genealogy of pop art with psychoanalysis, fetishism analysis, critical methods, and constructive processes.

Crisis in Contemporary Theory

• The speaker mentions that contemporary theory finds itself at a crossroads and dismantlement in the 1990s. They refer to Foster's statement on how current crises are not only due to neglecting the historicity of art but also to difficulties in maintaining spaces for critique and contestation.

Loss of Critical Spaces

• There is a discourse lamenting the loss of critical spaces and a perceived decline or burial of criticism. However, these laments do not lack legitimacy as they express anxiety over the loss of function and power.

The Role of Criticism in Visual Culture

This section delves into Hal Foster's inquiry about the role of criticism within visual culture dominated by artistic agents and an affirmative political culture.

Challenges Faced by Criticism

• Hal Foster questions the place of criticism in a visual culture perpetually administered by dominant artistic agents with little need for critique. He also addresses an eternally affirmative political culture that leads to right-wing threats and left-wing uncertainty.

Urgency for Critique Services

• The speaker emphasizes that despite these challenges, there is an ongoing urgency for old critique services that mediate between cultural groups lacking open debate platforms. These services question both political-economic status quo and build a critical public sphere.

Obstacles to Art Criticism

• The speaker mentions that art criticism faces obstacles defended by museums and tolerated by the market. Some critics have retreated to academia, while others have joined the cultural industry, media, and fashion. This shift has led to an abandonment of critique and a superficial approach that lacks authenticity.

Importance of Critical Role

• Despite the challenges faced by art criticism, it remains essential for questioning political-economic status quo and mediating between cultural groups. It also contributes to constructing a critical public sphere and challenging the dominance of academic or promotional approaches in art discourse.

Theoretical Critique of Art and Autonomy

In this section, the speaker discusses the theoretical and critical dimension of art and the relative autonomy of aesthetics as a critical resource. The importance of not prematurely denigrating the avant-garde is emphasized.

The Role of Vanguardism in Critique

• The speaker argues that while the avant-garde can be problematic, it should not be prematurely dismissed or denigrated.

• Peter Berger's theory on vanguardism is mentioned, highlighting its hermetic or elitist nature but also its potential for resistant and alternative artistic-political articulations.

Importance of Not Abandoning Vanguardism

• Hal Foster asserts that the left cannot abandon the avant-garde without proper argumentation or frivolity.

• The concept of "work" in bourgeois and non-bourgeois art is discussed as a means to question the limits of artistic institutions.

• Foster emphasizes that vanguardism has relevance in political disputes and cultural wars, both historically and in contemporary times.

Cultural Wars and Right-wing Influence

• Foster points out that right-wing forces have dominated cultural wars, associating art with pornography and academia with indoctrination.

• He criticizes how the right-wing has shaped public perception by linking art and academia to wasteful use of taxpayer money.

• Foster highlights the need to reclaim critical spaces from conservative strategies through redefinition, cultural terms rearticulation, and political positioning.

Recovering Critical Practices

This section focuses on recovering critical practices interrupted by neo-conservatism in the 1980s. It highlights the importance of dismantling conservative strategies while advocating for ethical and political positions within contemporary art.

Strategies Used by Conservatives

• Conservatives denounce vanguardism and popular cultures as hedonistic, blaming them for the negative effects of capitalism.

• They celebrate traditional and authoritarian cultures as ethical, using them to gain support for rapacious capitalism.

• Foster acknowledges the cleverness of conservative positions in cultural wars but questions why many people fall for their tactics.

The Work of Articulation and Critique

• Foster emphasizes the need to critique cynical reason and dismantle conservative strategies.

• He mentions that this topic will be further explored in a chapter titled "The Art of Cynical Reason."

• The introduction serves as a rich promise, offering important perspectives on neo-vanguardism, contemporary art, and deferred action parallax.

Impression and Recommendation

In this section, the speaker expresses admiration for Hal Foster's book and its relevance to understanding contemporary art. The book is recommended as essential reading for anyone interested in contemporary art.

Fascination with Hal Foster's Book

• The speaker expresses immense pleasure in re-reading Hal Foster's book.

• Despite occasional disagreements with interpretations, the book offers critical perspectives and ethical-political positions that are crucial for comprehending contemporary art.

Importance of Hal Foster's Work

• The speaker believes that Hal Foster's book provides valuable insights into understanding contemporary art.

• It is recommended as an exceptional resource that will enhance discussions on vanguardism and non-vanguardism within the field of contemporary art.

Timestamps have been associated with relevant bullet points based on their chronological order in the transcript.

Best Art Critics in the World

The speaker discusses their opinion on the best art critics in the world and mentions several names.

Top Art Critics

• One of the best art critics according to the speaker is Al Foster.

• The speaker also admires Rosalind Krauss and finds Pamela M. Lee's work interesting, although it leans more towards art history than art criticism.

• Ticio Escobar's work is highly regarded by the speaker, particularly his focus on Paraguay.

• Cuauhtémoc Medina is mentioned as a critic with international projection and has written some of the most interesting texts on contemporary art, according to the speaker.

• Critics associated with October, such as Walter Benjamin and Craig Owens, are considered by the speaker as figures of great interest.

• Aris Zafra from Buenos Aires is also mentioned as a brilliant theorist and art critic.

Criticism Analysis and Philosophical Foundations

The speaker discusses shortcomings in certain critics' analysis and highlights the importance of understanding philosophical foundations.

Analysis and Philosophical Foundations

• The speaker points out that some critics lack a comprehensive analysis of specific artworks and a historical dialectic approach. They also criticize biases against neovanguardism without proper examination.

• Adorno, Benjamin, Lukács are mentioned as philosophers whose foundations should be better understood by critics.

• The speaker claims to have identified flaws in argumentation during sessions dedicated to aesthetic theory, particularly regarding Adorno's ideas presented by Peter Burger.

Simplifying Critical Theory

The speaker discusses the possibility of simplifying critical theory for a broader audience.

Simplification of Critical Theory

• While it is possible to generate simplified statements of critical theory, there is a risk of oversimplification that may obscure the specific terms and arguments used.

• Foster's writing style is considered clear and less confusing compared to Peter Burger's academic prose.

Fracaso: Power vs. Potency

The speaker explores the concept of failure in relation to power and potency.

Failure and Power

• The relationship between power and potency, as discussed by Giorgio Agamben, is seen as a matter of perspective rather than a game. Failure can be viewed from institutional, critical, and artistic genealogical perspectives.

• The speaker suggests revisiting the concepts of power, potency, energy, and technique for a deeper understanding. They recommend watching their video on Giorgio Agamben for further exploration.

Self-perception as an Art Critic

The speaker reflects on their self-perception as an art critic.

Self-perception

• When asked if they consider themselves the best art critic, the speaker responds that they have a positive view of their academic and professional work but do not claim superiority over others.

Reflection on Artistic Work

In this section, the speaker reflects on their artistic work and discusses the level of quality and precision they strive for. They mention some works that they consider to be at a high level, while acknowledging others that may not have been as refined.

Evaluating Artistic Work

• The speaker expresses satisfaction with certain investigations, books, and catalogs that they would sign today without making any changes.

• They believe these works are of a very high standard.

• However, they also acknowledge other works that were more circumstantial and not as finely tuned as they should have been.

• Despite this, the speaker emphasizes their commitment to developing their work with maximum seriousness while also trying to enjoy the process.

Kitsch Aesthetics in Contemporary Capitalism

In this section, the speaker discusses the role of kitsch aesthetics in contemporary capitalism. They explore how kitsch contributes to hedonistic capitalism and its relationship with other aesthetic forms.

Kitsch in Capitalism

• The speaker mentions a video available online where they discuss kitsch aesthetics in conferences held in Gijón.

• They argue that contemporary capitalism not only relies on kitsch aesthetics but also on neo-academicism and a reheated form of academic realism.

• Various aesthetic forms such as pretentiousness and politically-themed art (which the speaker refers to as subsidized radicalism) are also utilized by capitalism and neoliberalism.

Vanguard Movements and Pictorial Traditions

In this section, the speaker challenges the notion that all vanguard movements ultimately become part of pictorial traditions. They highlight different vanguard movements' relationships with painting.

Vanguard Movements and Painting

• The speaker disagrees with the idea that all vanguard movements end up becoming part of pictorial traditions.

• They argue that some vanguard movements, like Cubism and Expressionism, had significant contributions to painting.

• However, there are also vanguard movements where painting was not a fundamental aspect, such as Dada.

• The speaker emphasizes that there are numerous vanguard movements with different approaches and levels of importance placed on painting.

Decline of Criticism in Art

In this section, the speaker discusses the decline of art criticism and its limited presence in academia and professional spaces. They highlight the lack of space for teaching and practicing criticism.

Lack of Space for Criticism

• The speaker notes that art criticism is scarce and poorly paid, making it unattractive as a profession.

• They mention the limited space for teaching criticism in universities and the lack of professional opportunities for critics.

• This decline in space for criticism has been ongoing since the 1990s.

• The speaker cites an example of confusion between comments made by different critics, emphasizing the need for more precise understanding and discussion within critical discourse.

Anodine Criticism and Lack of Engagement

In this section, the speaker criticizes anodine (insipid) criticism that lacks engagement or meaningful analysis. They discuss how certain practices have reduced art criticism to a mundane activity devoid of interest or controversy.

Insipid Criticism

• The speaker criticizes insipid forms of criticism such as superficial descriptions, anti-interpretative approaches to artworks, direct reproduction of gallery press releases, etc.

• These practices have led to a reduction in critical discourse that lacks interest or engagement with controversial topics.

• The speaker mentions their own video series where they highlight and value certain Spanish and Spanish-speaking critics, aiming to elevate the quality of critical discourse.

Challenges in Art Criticism

In this section, the speaker discusses the challenges faced by art criticism, including limited space for teaching and professional development. They emphasize the need for critical understanding and reflection.

Challenges in Art Criticism

• The speaker acknowledges that there is little space for teaching art criticism in universities.

• They also note a lack of professional opportunities for critics, leading to a decline in the field.

• The speaker highlights the importance of critically understanding and reflecting on what is being said within critical discourse.

• They argue that if individuals are unable to engage critically with ideas, then criticism becomes meaningless.

Misinterpretation and Critical Understanding

In this section, the speaker addresses misinterpretation and emphasizes the importance of critical understanding when engaging with artistic ideas. They discuss how misinterpretation can hinder meaningful dialogue.

Misinterpretation and Critical Understanding

• The speaker responds to confusion between comments made by different critics regarding Mona Hatoum's expulsion from an exhibition.

• They stress the need for careful reading and comprehension of critical efforts before jumping to conclusions or perpetuating preconceived notions.

• The speaker encourages active engagement with critical ideas rather than dismissing them based on personal biases or misunderstandings.

Importance of Critical Thinking

In this section, the speaker emphasizes the significance of critical thinking in understanding artistic concepts. They caution against relying solely on preconceived notions without making an effort to comprehend complex ideas.

Importance of Critical Thinking

• The speaker highlights that thinking quickly based on immediate reactions is insufficient when it comes to comprehending complex ideas.

• They urge for a thoughtful and coordinated approach to understanding and categorizing concepts.

• The speaker emphasizes the need for critical reflection and analysis rather than blindly accepting preconceived notions or repeating ingrained prejudices.

Cultural References and Invitation

In this section, the speaker briefly discusses cultural references and responds to an invitation from a viewer.

Cultural References and Invitation

• The speaker mentions that "chicha" in their region refers to filets, not specifying what exactly is meant by "chicha."

• They recall childhood memories of being served filets that were not particularly good.

• The speaker acknowledges an invitation to have coffee or chat in Gijón but does not provide further details.

Jovellanos and Artistic Works

The speaker discusses their involvement with Jovellanos, a study on the funds of the museum Casa Natal Jovellanos. They mention giving a presentation and having a conversation with an artist from Asturias who is based in New York. They also mention upcoming conferences on art and catharsis at the Museo Piñole.

Notable Artistic Works

• The speaker considers their best work to be the book "El Texto Íntimo Kafka Read," which they have not been able to surpass.

• They mention other books they have written that are considered "strange" or deviate from academic norms, such as "Fast en City Bell" and "Estética Golpe del Like."

• However, they express concern about not being able to maintain the same level of writing and essayistic quality in their subsequent works.

• The speaker emphasizes that their current work is always their best work, as they are passionate about what they are currently writing.

Philosophy of Selling Art

The speaker responds to a question about the philosophy of selling art and mentions that they also engage in selling their own work. They discuss the concept of cultural wars and how it relates to attacks on politically critical art.

Cultural Wars and Attacks on Political Art

• The speaker refers to cultural wars as discussed by Robert Hughes in his book on dilemmas of American culture.

• They mention Hilton Craner's constant attacks on political art and criticism, highlighting tensions surrounding politically correct debates, feminist positions, and general questioning of art and culture.

• There is a reference to debates about contemporary culture, museums, democratization, and accusations of a cultural conspiracy against the masses.

Changes in Art Criticism and Journalism

The speaker responds to a comment about the decline of art criticism in newspapers. They discuss the shift from print to digital media and the crisis faced by newspapers and journalism.

Changes in Art Criticism and Journalism

• The speaker acknowledges that there has been a change in art criticism due to the decline of newspapers.

• They mention that newspapers still publish art criticism, but there has been a shift in how it is presented due to changes in the medium.

• The crisis faced by newspapers and journalism is seen as more significant than the crisis of art criticism itself.

• The disappearance of readership and the emergence of digital platforms have contributed to this shift.

Crisis of Newspapers and Journalism

The speaker continues discussing the crisis faced by newspapers and journalism, emphasizing its impact on art criticism.

Crisis of Newspapers and Journalism

• The speaker highlights that the crisis of newspapers and journalism has had a greater impact than just on art criticism.

• They mention Javier Moreno's study on the history of critical opinion, which delves into the changes brought about by digitalization.

• The disappearance of newspapers, readership decline, and cultural shifts have all contributed to this ongoing crisis.

The Decline of Newspaper Reading

In this section, the speaker discusses their personal experience with newspaper reading and how it has changed over time.

Changes in Newspaper Reading Habits

• The speaker belongs to a generation where parents used to buy newspapers, but they themselves were not avid readers.

• They mention that their grandfather was an avid newspaper reader.

• The speaker used to buy newspapers primarily for the cultural supplements and literary criticism.

• However, over time, their interest in newspapers has declined significantly.

• They now only buy newspapers on Saturdays to read their own contributions and those of their colleagues.

Shift in Interest towards Cultural Criticism

In this section, the speaker reflects on the changing landscape of cultural criticism and its impact on their own interest in newspaper reading.

Decreased Interest in Cultural Criticism

• The speaker, who is highly interested in art criticism and cultural journalism, admits that even they have lost interest in reading newspapers for cultural content.

• They attribute this decline to a change or shift that has occurred within the field of journalism itself.

Speaking Engagements and Book Recommendations

In this section, the speaker shares information about upcoming speaking engagements and discusses the concept of evaluating books or works of art.

Speaking Engagements

• The speaker mentions several upcoming speaking engagements at different locations.

• They invite someone named Carlos to attend one of these events.

Evaluating Books or Works of Art

• When asked about identifying the best book by a writer or artist, the speaker suggests that it is possible to evaluate them based on various criteria such as structure, composition, conceptual penetration, use of materials, etc.

• They also emphasize the importance of self-critique and the ability to judge one's own work.

Difference between the Real and the True

In this section, the speaker briefly discusses the difference between what is real and what is true.

The Real and the True

• The speaker declines to delve into ontological or metaphysical discussions about the difference between what is real and what is true.

• They mention that they do not want to get into those philosophical debates at that moment.

Knowledge of Central American Art

In this section, the speaker talks about their knowledge and experience with Central American art.

Knowledge of Central American Art

• The speaker states that they have studied and written about art in various countries in Central America.

• They have also worked with artists from these regions and curated exhibitions featuring their works.

• They express familiarity with important figures in Central American art scene such as Bic, Pérez Ratton, Federico Herrero, Priscilla Monge, Regina José Galindo, Aníbal López, etc.

• Additionally, they have invited critics from Central America to participate in events or exhibitions.

Extensive Experience with Latin American Art

In this section, the speaker highlights their extensive experience with Latin American art beyond just Central America.

Experience with Latin American Art

• The speaker mentions having written extensively on Brazilian, Paraguayan, Chilean, Cuban, Dominican Republic artists.

• They have curated thematic exhibitions featuring Mexican, Puerto Rican artists as well.

• Their curiosity has led them to study and stay updated on various artistic contexts within Latin America.

Understanding Beauty and Art Criticism

In this section, the speaker discusses the concept of beauty and its subjective nature. They mention their expertise in art criticism and theory, as well as their writings on Panamanian artists.

Opinions on Beauty and Art Criticism

• The speaker states that determining what is beautiful is subjective and based on individual feelings.

• They mention their expertise in art criticism and theory, having taught these subjects for many years.

• The speaker recommends various art magazines such as Foster October Art Forum for further reading on art criticism.

• They express disagreement with Gustavo Bueno's opinion that wars are the highest expression of human culture.

Writings on Panamanian Artists

• The speaker has written about the situation of art in Panama, including graphic art and Panamanian artists living abroad.

• They have written an extensive essay on Julio Zachrisson, a Panamanian artist whose work was exhibited at the Museum of Art in Madrid.

• The speaker suggests checking out volumes dedicated to Fernando Prats and Bernardo Oyarzún for more writings on Chilean artists.

Reading, Remembering, and Finding Texts

In this section, the speaker discusses the importance of reading, remembering, and finding texts related to art. They also provide recommendations for finding their own writings on Chilean art.

Importance of Reading and Remembering

• The speaker emphasizes the importance of reading, remembering, and thinking about texts related to art.

• They suggest that it is not necessary to remember as much as they do but rather focus on what interests each individual.

• The speaker mentions that there are things that are better forgotten or not worth remembering.

Finding Texts on Chilean Art

• The speaker recommends looking for their texts on Chilean art in various sources, including a double volume on Chilean art and a book dedicated to Fernando Prats.

• They mention an unpublished catalog essay on Bernardo Oyarzún and suggest contacting the University of Chile's Faculty of Fine Arts for more information.

Finding Texts and Interviews on Art

In this section, the speaker provides additional information on finding their writings and interviews related to art. They mention specific books, magazines, and interviews where their work can be found.

Finding Texts on Art

• The speaker suggests looking for their writings in a book called "Naufragios y otros derroteros del arte contemporáneo" published by the University of Chile's Faculty of Fine Arts.

• They mention that the book is not commercially available but can potentially be obtained from the faculty.

• The speaker also mentions that there are likely PDF versions of their writings available online.

Interviews and Discussions

• The speaker mentions an interview conducted in Chile with a well-known journalist about their book "Naufragios" and their perspective on Chilean art.

• They acknowledge that there were some controversies surrounding the interview but state that it is part of the role of art and criticism to provoke discomfort.

Due to limitations in the provided transcript, some parts may be missing or incomplete.

Ways to Free Ourselves from Influence

In this section, the speaker discusses different ways to free ourselves from influence.

Ways to Free Ourselves from Influence

• The speaker mentions that in recent greetings, Matías Urbina thanks Halcón Theron for being alive and Carlos sends greetings to Riccardo and Rafael Bravo. The speaker wonders if there is anyone who has read more books than him.

• The speaker acknowledges that there are people who have read and continue to read books at a faster pace than him, such as his son Manuel. He emphasizes that reading is his main occupation.

• While doing other activities like gardening, the speaker realizes that he should prioritize his fundamental task of reading. He mentions Diana Uribe as a great historian but admits not being familiar with her work.

• The speaker mentions Juan Manuel Rodríguez Amaro's admiration for his ability as a critic and writer who takes care of his back. Pablo Blázquez asks if he has explored the works of sculptor Juan Muñoz for radio.

• The speaker explains that he was friends with Juan Muñoz and has written about him on several occasions. He refers to a small book about Juan Muñoz's works for radio and expresses admiration for him as one of the greatest artists he has known.

• The speaker greets Maikel Mendoza and hopes to fulfill the old precept of teaching while delighting. He also admits that doing these sessions brings him personal satisfaction by verbalizing his thoughts on books and topics of interest.

Purpose of the Sessions

In this section, the speaker reflects on the purpose behind conducting these sessions.

Purpose of the Sessions

• The speaker states that conducting these sessions brings him pleasure and serves as an extension of his academic and critical activities. He believes that these sessions can provide something valuable to the viewers.

• The speaker acknowledges that he also does these sessions out of intellectual selfishness, as they allow him to verbalize his thoughts and share his interests with others.

• The speaker emphasizes that the function of this modest channel is to share knowledge and insights, hoping it will be of interest to the viewers.

• The speaker greets Francis Hernández and Gonzalo Mijhail Laurent, wishing them a good afternoon.

The transcript provided does not contain enough content for additional sections.