Anita Fricek: Contemporary Painting as Institutional Critique
Anita Fricek: Contemporary Painting as Institutional Critique
This chapter explores the work of Anita Fricek as a critical practice in Friedrich Nietzsche's sense, one that uses painting to re-value the institutionalised forces-sensations circulating in the semio-economy. It argues that this notion extends Gilles Deleuze's rejection of Immanuel Kant's transcendental conditions of possible experience to Clement Greenberg's account of modernist abstraction, and develops a painted sensation whose real conditions go beyond the aesthetic to become directly political. The chapter suggests that Fricek's work expresses and constructs the vitality of content and finds a way in which photographic representations and the regulation and equalisation of sensation they produce can be critically evaluated and transformed.
Keywords: Anita Fricek, Friedrich Nietzsche, painting, semio-economy, Gilles Deleuze, Immanuel Kant, Clement Greenberg, modernist abstraction, painted sensation
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