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In this essay, we will consider how censorship affects discourses of contemporary art in the Republic of Macedonia. To do so, we must first outline the cultural, political and social contexts in Macedonia; consider some differing standpoints on what constitutes contemporary art practice in the country; and, having done so, develop in detail two case studies which will allow the reader to gain an understanding of how censorship is deployed as a tactic in erasing, or in rendering illegitimate, critical contemporary art. Although, as we shall see, contemporary art occupies a marginal and, arguably, subterranean position in Macedonia, such censorial interventions are an acknowledgement of its potential to shape cultural debate in a different way.

Regimes of Invisibility in Contemporary Art, Theory and Culture -- Contents -- List of Tables and Figures -- 1 Introduction: Image, Racialization, History -- Part I Theoretical-Political Interventions -- 2 Racialized Bodies and the Digital (Financial) Mode of Production -- Introduction -- Part 1: From the Cinematic Image to… -- The Movement-Image-Indirect-Time Interval-Exteriority of Space-Organic Form -- The Time-Image-Direct-Time Interval-Anteriority of Space-Serial Form -- Time Through Space -- The Movement-Image-Indirect-Time Interval-Exteriority of Space-Organic Form -- The Time-Image-Direct-Time Interval-Anteriority of Space-Serial Form -- The Movement-Image-Indirect-Time Interval-Exteriority of Space-Organic Form-Nation -- The Time-Image-Direct-Time Interval-Anteriority of Space-Serial Form-Postwar Middle Class, A New Form Of Intellectual, The Bourgeoisie -- Shifts in the Space-Time Paradigm -- Part 2: In Cyberspace with the Virtual-Image -- Space Through Time -- The Virtual-Image-Real-Time Interval-Non-Space-Synthetic (Artificial, Simulated) Form -- The Virtual-Image-Real-Time Interval-Non-Space-Synthetic (Artificial, Simulated) Form-The Multitude, Swarms -- Part 3: In The Midst of The Trophy Image, or Europe's Forgotten History: From "Human Zoos" to "Human Trophies" Displayed in Colonial Museums -- Racialized Space and Time -- The Trophy-Image-Without Time-Erased Space-Racialized Form -- The Trophy-Image-Without Time-Erased Space-Racialized Form-The Wretched (The Superfluous and The Disposable) -- Notes -- 3 Politics and Aesthetics of Databases and Forensics -- Expanding the Visions of Governmentality Beyond the West and Back -- Database as Major Global Neoliberal Governmental Technology -- Practices and Forms of Knowledge Production and Visibility -- "The ICTY's Archive/database" -- Public Exhibition as a "Forum

History, Use Value, and the Contemporary Work or Labour of Art examines the relationships between our current conception of contemporary art practice as work or labour and situates this within a historical discourse of work or labour as Use Value (re-Marx, Das Kapital, vol.1, 1867) or, more specifically, the idea that art, as a form of non-alienated labour, can act as both an aesthetic and ethical rebuff to the physical and mental alienation and fractalization of insturmentalized labour under our present conditions of neo-liberal globalization. As such the essay seeks to re—examine the relationship of aesthetics to politics in Rancière's notion of a 'meta-politics of aesthetics' and to offer alternative ways of thinking through and beyond this binarism through a re-reading of ethical labour in Marx and Hegel's proposition of the 'Unhappy Consciousness' in 'The Phenomenology of Sprit' (1807). The book What's the Use? Consteallations of Art, History, and Knowledge: A Critical Reader, also contains articles by international writers John Ruskin, Adrian Rifkin, Georges Didi-Huberman, George Yúdice and artists Tania Bruguera and Liam Gillick.

"Through developing an ethical-methodological approach of 'radical care,' this book explores how critical artistic practice might contribute to the materialisation of more equal, more collectively fulfilling, possibilities of being. Chapters trace a set of interweaving lineages perpetuating inequalities: through labour, the body, and onto-epistemology. Art's all too frequent a-criticality, cooption, or even complicity amidst these lineages is observed, and radical care and the disruptive arttext are developed as twin aspects of an alternative, resistant framework. The book contributes to the critical understanding of inequitable, abstracting processes' growing determination of increasing parts of our world, and foregrounds art's position amidst these. It also functions as an interface, both extending the fertile current discourse around care to a contemporary art focus, and at the same time exploring how radical art practices might contribute to a politics rooted in an ethics of care. The book will be of interest to scholars working in art history, studio art, philosophy, and politics"--

En el ensayo La Exforma , Nicolas Bourriaud se pregunta por la relación entre el arte y la política en la contemporaneidad. En dicha relación, el autor observa una operación común que atraviesa todas las capas de la existencia: la expulsión. De este modo, el mundo se encuentra dividido entre: lo real y lo ideal. El primer concepto refiere a lo productivo, lo útil; el segundo, a lo no-rentable. Ahora bien, ¿qué se expulsa?, ¿quiénes determinan lo que se excluye? ; In the essay La Exforma [The exform], Nicolas Bourriaud asks about the relationship between art and politics in contemporaneity. In this relation the author observes a common operation that crosses all the layers of existence: the expulsion. In this way the world is divided between: the real and the ideal. The first concept refers to the productive, the useful; the second, to the non-profitable. Now, what is ejected? Who determines what is excluded? ; Reseña a Nicolas Bourriaud (2015). La exforma . Ciudad Autónoma de Buenos Aires, Argentina: Adriana Hidalgo, 142 páginas ; Facultad de Bellas Artes