http://www.subcin.com/jod01.html

Here is a link to a revew of Dokumenta 12. I`m sorry it`s only in Norwegian.

http://www.billedkunstmag.no/Content.aspx?contentId=1026

"I write to you from a far-off country…" Christian François Bouche-Villeneuve writes about Chris Marker in "Senses of cinema": "Information regarding the early life of Chris Marker, photographer, filmmaker, videographer, poet, journalist, multimedia/installation artist, designer, and world traveler, is scarce and conflicting. The year to which his movies, videos, and multimedia projects are dated depends on which source you use, and in which country you live. Personal data is in a state of complete disarray: Derek Malcolm, writing about ¡Cuba Sí!

I. In 1917, during the tumultuous interregnum between the collapse of tsarism and the October revolution, Lenin stressed the unprecedented emergence of a wild anomaly in the panorama of political forms: dual power. As he remarked in Pravda, ". . . alongside the Provisional Government, the government of the bourgeoisie, another government has arisen, so far weak and incipient, but undoubtedly a government that actually exists and is growing—the Soviets of Workers’ and Soldiers’ Deputies" ("The Dual Power," April 9, 1917).

Based upon Walter Benjamin's seminal essay "The Author as Producer", a whole range of theorists have developed approaches towards an aesthetics of production. The texts of this issue investigate how Benjamin's arguments may serve as a ground for reflecting and theorizing current art practices.

Some links and references to Stephen Frears: "Dirty Pretty Things"

This is a collection of a few links to useful ressources, reviews and texts on Wim Wenders "The american friend"

On his homepage Andreas Broeckmann, director of the new media festival transmediale, has published the study "A Visual Economy of Individuals: The Use of Portrait Photography in the Nineteenth-Century Human Sciences". It is the revised version of the PhD thesis written for the
University of East Anglia, Norwich, England, 1995
http://isp2.srv.v2.nl/~andreas/phd/

In "Cut Together" Cara O’Connor, Stony Brook University, New York, reviews "The Ground of the Image" a recently published collection of essays by Jean-Luc Nancy: "This compilation of nine of Nancy’s recent essays on art and the image (dating from 1999-2004) does not offer a methodical rethinking of ‘social relation,’ ‘imagination,’ and ‘figuration.’ Instead it deepens, annexes, rephrases, and sometimes confuses the questions (and stakes) of such a rethinking by finding a variety of ways to contemplate the meaning of the image. The text is published by "Film Philosophy" v. 10, n. 2, pp. 55 – 66. http://www.film-philosophy.com/2006v10n2/o’connor.pdf

In "Notes on the Brave New World of Relational Aesthetics" published in "Texte zur Kunst" Nr. 59, Walead Beshty, a Los Angeles-based artist and critic picks up the debate around Nicolas Bourriauds "relational esthetics": "The conglomeration of strategies, and artists, that fit under the heading Relational Aesthetics indicate, if only for recent history’s lack of "movements," a pronounced shift in the topography of contemporary art, and the need for a realignment of critical terminology. Despite its amorphous set of conditions and tenets, as they are expressed by Nicolas Bourriaud in his 1997 book of the same title, it separates itself distinctly from early interventionist tactics (i.e.