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One can even say that it is anachronistic and filled with nostalgia and unexplainable longing for what has been recently alive and new in it.","ai_title_tag":"Exploring Anachronism in Contemporary Art"},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"low","language":"en","title":"HAUNTS: what haunts contemporary art?","broadcastable":true,"draft":false,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [1934801]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon'; window.userInChina = "false";</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":55298948,"attachmentType":"pdf"}"><img alt="First page of “HAUNTS: what haunts contemporary art?”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/55298948/mini_magick20220706-29520-626hf7.png?1657154104" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">HAUNTS: what haunts contemporary art?</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="1934801" href="https://amu.academia.edu/AndrzejMarzec"><img alt="Profile image of Andrzej Marzec" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/1934801/652084/20810388/s65_andrzej.marzec.jpg" />Andrzej Marzec</a></div><div class="ds-work-card--detail"><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">3 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 35437699; 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One can even say that it is anachronistic and filled with nostalgia and unexplainable longing for what has been recently alive and new in it.</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":55298948,"attachmentType":"pdf","workUrl":"https://www.academia.edu/35437699/HAUNTS_what_haunts_contemporary_art"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":55298948,"attachmentType":"pdf","workUrl":"https://www.academia.edu/35437699/HAUNTS_what_haunts_contemporary_art"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div><div class="ds-signup-banner-trigger-container"><div class="ds-signup-banner-trigger ds-signup-banner-trigger-control"></div></div><div class="ds-signup-banner ds-signup-banner-control"><div id="ds-signup-banner-close-button"><button class="ds2-5-button ds2-5-button--secondary ds2-5-button--inverse"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">close</span></button></div><div class="ds-signup-banner-ctas"><img src="//a.academia-assets.com/images/academia-logo-capital-white.svg" /><h4 class="ds2-5-heading-serif-sm">Sign up for access to the world's latest research</h4><button class="ds2-5-button ds2-5-button--inverse ds2-5-button--full-width js-swp-download-button" data-signup-modal="{"location":"signup-banner"}">Sign up for free<span class="material-symbols-outlined" style="font-size: 20px" translate="no">arrow_forward</span></button></div><div class="ds-signup-banner-divider"></div><div class="ds-signup-banner-reasons"><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Get notified about relevant papers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Save papers to use in your research</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Join the discussion with peers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Track your impact</span></div></div></div><script>(() => { // Set up signup banner show/hide behavior: // 1. 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data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"What about the other Face of Contemporary Art?","attachmentId":108222908,"attachmentType":"pdf","work_url":"https://www.academia.edu/110392478/What_about_the_other_Face_of_Contemporary_Art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/110392478/What_about_the_other_Face_of_Contemporary_Art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="80953869" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/80953869/Contemporary_Art_eventually">Contemporary Art, eventually</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="4949039" href="https://ucsj.academia.edu/gluna">gustavo luna</a></div><p class="ds-related-work--abstract ds2-5-body-sm">One of the major problems contemporary aesthetics has to deal with is to explain what would be understood by "contemporary art", given that the ways of production, diffusion (broadcast, spread) and consume of art in the last thirty years have varied so much that it is very complicated-and hardly justifiable-to apply traditional methods such as periodization by styles, trends or movements. An attempt has also been made to identify</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Contemporary Art, eventually","attachmentId":87163629,"attachmentType":"pdf","work_url":"https://www.academia.edu/80953869/Contemporary_Art_eventually","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/80953869/Contemporary_Art_eventually"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="1203041" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/1203041/On_the_Contemporary_and_Contemporary_Art_History">On the Contemporary - and Contemporary Art History</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1097947" href="https://oxford.academia.edu/AnthonyGardner">Anthony Gardner</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"On the Contemporary - and Contemporary Art History","attachmentId":25975152,"attachmentType":"pdf","work_url":"https://www.academia.edu/1203041/On_the_Contemporary_and_Contemporary_Art_History","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/1203041/On_the_Contemporary_and_Contemporary_Art_History"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="51827143" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/51827143/Art_to_come_histories_of_contemporary_art">Art to come: histories of contemporary art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="668724" href="https://vsfs.academia.edu/JitkaCirklov%C3%A1">Jitka Cirklová</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Art to come: histories of contemporary art","attachmentId":69376539,"attachmentType":"pdf","work_url":"https://www.academia.edu/51827143/Art_to_come_histories_of_contemporary_art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/51827143/Art_to_come_histories_of_contemporary_art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="76234037" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/76234037/Anywhere_or_not_at_all_philosophy_of_contemporary_art">Anywhere or not at all: philosophy of contemporary art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="23114367" href="https://independent.academia.edu/peterosborne3">peter osborne</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Choice Reviews Online, 2014</p><p class="ds-related-work--abstract ds2-5-body-sm">In his joint biography of the French philosophers Gilles Deleuze and Félix Guattari, François Dosse tells the story of the meeting between Deleuze and the painter Francis Bacon, about whom Deleuze had recently written with much enthusiasm in his book Francis Bacon: Logic of Sensation. Bacon had apparently responded to the book with equal admiration: 'It's as if this guy were watching over my shoulder while I was painting.' 'What was supposed to be a great meeting', Dosse recounts, 'turned into a disaster.' Deleuze's editor, Joachim Vital, also a great admirer of Bacon, arranged the meeting. He described it as follows: The meal was awful, as awful as their discussion … They smiled at each other, complimented each other, and smiled again. We were flabbergasted by their platitudes. We tried to salvage the discussion, mentioning Egyptian art, Greek tragedy, Dogen, Shakespeare, Swinburne, Proust, Kafka, Turner, Goya, Manet, Van Gogh's letters to his brother Theo, Artaud, Beckett. Each one tried to take the ball and run with it alone, ignoring the other one. 1 This often happens when philosophy meets art. When philosophy meets contemporary art, the situation can be even worse. Contemporary art is badly known. To transform our distance from it into that 'unique appearance of a distance, however near it may be', 2 upon which experience of its art character depends, however -to use our ignorance as a spur to knowledge -is more difficult than is suggested by most of the writing that this situation provokes. To make contemporary art the object of some kind of reflective philosophical experience -in an affective engagement with the most fundamental claims made upon us by such art -seems, at times, almost impossible. This is ironic given the well-remarkedupon 'conceptual' character of so much contemporary art. Yet it is precisely this conceptual character that is most often the source of misunderstanding: the idea that such art requires no more than a conceptual interpretation, for example; or that such an understanding is purely or ideally linguistic, in the sense of being reducible to direct propositional expression. 'Straw conceptualism', as this might be called, is one means of sustaining ignorance about contemporary art (which does not mean that there are not some artists whose works are made of such straw). The alternative reduction of art to its aesthetic dimension -pure sensuous particularity -with which the projection of a straw conceptualism is often antithetically associated, is another. The idea that contemporary art is somehow exempt from historical judgement in the present, by virtue of its contemporaneity, is a third. Perhaps the greatest barrier to a critical knowledge of contemporary art, though, is the common-sense belief that the phrase 'contemporary art' has no critically meaningful referent; that it designates no more than the radically heterogeneous empirical totality of history of contemporary art -a genre dominated by second-generation October art historians -remains largely documentary and reconstructive in character. Its professional formation discourages art-critical judgement, although it often involves a documenting and reconstruction of critical positions held by artists and critics at the time: a kind of criticism by historical proxy. Studies in visual culture often appear closer to art-critical discourse than art-historical ones -indeed, they increasingly occupy institutional spaces of criticism -despite their even greater distance from questions of art judgement. However, this appearance covers over and hence helps to sustain the general absence of historically grounded criticism of contemporary art. The situation dates back to the failure of the project of a 'critical postmodernism' in the face of the problem of judgement, in the early 1980s. Hal Foster identified the problem early on, but made little headway with it theoretically. 6 Just how blocked it would become can be seen twenty years later in the October roundtable discussion, 'The Present Conditions of Art Criticism', in which the very idea of critical judgement caused consternation among the discussants, most of whom still associated it, exclusively, with a late Greenbergian notion of 'quality'. 7 Thierry de Duve attempted to break the impasse with his return to Kant after Duchamp, replacing the former's 'This is beautiful' with the latter's 'This is art', while insisting that the latter continue 'to be read as an aesthetic reflexive judgment with a claim to universality in the strictest Kantian sense', despite the accompanying claim that the term 'art' functions in the judgement as a 'proper name '. 8 Ultimately this foundered on philosophical confusions about both Kant and naming alike. Nonetheless it set a standard for the articulation of art-historical, art-critical and post-Kantian philosophical discourses to which little subsequent work has aspired. Meanwhile the general theories of representation, both epistemological and political, which predominate in studies of visual culture -usually, if unwittingly, semiotic culturalist variants of the liberal pluralism of US political science -have shown themselves to be singularly ill-suited to grasping the specific and deeply problematic character of the experience of contemporary art. The character and object-domain of the field remain plural and contested, their relations to art unresolved. But the situation is exacerbated, rather than mitigated, by the covert visual essentialism that has inadvertently but inevitably accompanied the formation of the new proto-discipline, in an ironic reprise of the terms of its original adversary, formalist modernism. 9 For the supplement of 'the visual' restores to cultural analysis an aesthetic idealism of vision at the very historical moment in which art's visuality, however pronounced, is its least distinguishing trait. Moreover, in so far as 'the visual' is the constituting focus of conceptual interest in visual culture, whether as a given or a construct, it is in principle indifferent to, and hence cuts across, the art/non-art distinction, which cannot be reduced to any particular visual regimes -notwithstanding Michael Fried's generalization of his optical reduction of Greenberg's medium-specific conception of modernist painting. 10 Fried's opticalism is currently enjoying a revival on the acknowledgement of inadequacy turned aggressively outwards into a judgement against its cause (namely, the claim of such artworks to the hallowed signifier 'art') and thereby ultimately against contemporaneity itself. Hence Danto's subsequent coinage of the term 'post-historical art'. Schaeffer returns this claim to its philosophical context when he argues that what he calls 'the speculative tradition' (which runs from Jena Romanticism to Heidegger) misunderstood art from the outset. In this respect, for Schaeffer, the legitimation crisis of contemporary art is the delayed effect of art's philosophical sacralization by Romanticism at the end of the eighteenth century. However, in so far as it derives from a claim for art's autonomy (by virtue of which it is able to usurp a certain philosophical function from philosophy itself), this sacralization is actually constitutive of 'art' in its modern sense. The aetiology, then, is broadly correct, yet the diagnosis and treatment Schaeffer proposes -a philosophical 'desacralization' of art, or what we might call metaphysical disinvestment -are precisely wrong. For, to the extent that there is a legitimation crisis of contemporary art (and one might be excused for believing it oversold, since the market provides sufficient legitimation of its own: 'creative industry'), it is actually a sign of the continuing, if problematic criticality of contemporary art -a sign of the fact that art's authority and critical function remain problems within contemporary culture, a problem for which art's continuing if uncertain critical and metaphysical dimensions are a conceptual condition. Danto and Schaeffer represent alternative variants of one primarily negative way in which late analytical philosophy has contributed to recent art-critical discourse. Each is a positivist of a different kind: an analytical-Hegelian positivist and a logical positivist, respectively. 18 However, far more significant has been the affirmative turn towards the conceptual resources of the post-Kantian European philosophical tradition, in the wake of the gradual diffusion of an interest in post-structuralism into Anglo-American art criticism. Heideggerian, Merleau-Pontean and a variety of post-phenomenological approachesassociated with Lyotard and Derrida, and more recently, Deleuze, Jacques Rancière and Alain Badiou -have all enjoyed sustained attention. This has revived interest in the place of art within the German idealist philosophies of the eighteenth and nineteenth centuries: Kant, Schiller, Hegel and the Romantics, but also Schelling, to a lesser degree Schopenhauer, and of course, Nietzsche. There is little doubt that this return to the post-Kantian European tradition has been, in part, a culturally conservative phenomenon, despite the radicalism associated with its more recent main French proponents. It is 'against Cultural Studies' (in its initial formation, at least) and against certain kinds of both 'difficult' and 'popular' contemporary art. But it has also performed a crucial critical function by raising theoretical issues associated with the idea of art in its distinction from other cultural forms of representation -issues that are literally dissolved by the semiotic reductionism and sociologism of most culturaltheoretical approaches. Furthermore, in its recent Rancièrean and (on occasion) Deleuzean of the 'aesthetic regime' of art, by which Rancière appears to believe art is still governed. 20 Badiou's 'inaesthetics', on the other hand, while apparently the opposite of aesthetics, is actually just a paradoxical, alternative...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Anywhere or not at all: philosophy of contemporary art","attachmentId":83975557,"attachmentType":"pdf","work_url":"https://www.academia.edu/76234037/Anywhere_or_not_at_all_philosophy_of_contemporary_art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/76234037/Anywhere_or_not_at_all_philosophy_of_contemporary_art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="113094097" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/113094097/Artists_Haunts_Late_Artists_Revisiting_Their_Work_Beyond_Their_Time">Artists' Haunts - Late Artists Revisiting Their Work Beyond Their Time</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="14233324" href="https://radboud.academia.edu/RudievanLeeuwen">Rudie van Leeuwen</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Retrospection and Revision in Modern and Contemporary Art, Literature and Music, 2024</p><p class="ds-related-work--abstract ds2-5-body-sm">This contribution describes the unusual phenomenon of artist-mediums who claim to paint under the influence of the spirit of deceased artists. It discusses a wide range of so-called spirit or mediumistic art from the nineteenth to the twenty-first centuries, including psychic automatism and precipitated art, attributed to “revenant artists” posthumously revisiting their art and artistic “haunts.” Although hoaxes, hallucinations, mental disorders, and pseudo-perception pass in review, the aim of this contribution is not to assess whether the phenomenon of spirit art is real or pretend, but to identify its origins, different forms and cultural contexts. It establishes that spirit art often follows a pattern of obsessive behavior among unsung, wronged, and failed (self-taught) artists who turn to spirit art in desperation and find their lives overtaken by a supernatural force. Since the revenant artist seems to revive (and revise) himself by draining the life energy of the artist-medium, it is reminiscent of the phenomenon of “aesthetic vampirism,” according to which art is understood as ironically parasitic on life/nature.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Artists' Haunts - Late Artists Revisiting Their Work Beyond Their Time","attachmentId":110145478,"attachmentType":"pdf","work_url":"https://www.academia.edu/113094097/Artists_Haunts_Late_Artists_Revisiting_Their_Work_Beyond_Their_Time","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/113094097/Artists_Haunts_Late_Artists_Revisiting_Their_Work_Beyond_Their_Time"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="40374150" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/40374150/After_Contemporary_Art_Actualization_and_Anachrony">After Contemporary Art: Actualization and Anachrony</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="28134912" href="https://sh.academia.edu/DanKarlholm">Dan Karlholm</a></div><p class="ds-related-work--metadata ds2-5-body-xs">The Nordic Journal of Aesthetics, 2016</p><p class="ds-related-work--abstract ds2-5-body-sm">abstract Departing from a critical assessment of the most widespread and initiated definitions of Contemporary Art from the last decade and a half, sustaining a world-wide discourse on contemporary art and contemporaneity, this article will deal with two aspects of an immodest proposal captured by the keywords actualization and anachrony. While current discussions on contemporary art are arguably reproducing modernist assumptions on the primacy of innovation, bolstered by a veiled avant-garde logic, the proposal to regard contemporary art as actualized art upsets not only ideas on what art after postmodernism might mean, but the whole edifice of historicist historiography. An anachronic perspective, a bi- or polychronic situatedness of the work of art, could be used to liberate art from being defined according to its unique descent, and to embrace, instead, a chronologic open to art’s continuous “life” through its successive aesthetic accessions and actualizations in time. keywords Contemporary art, Conceptualism, Postmodern, Actualization, Anachrony</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"After Contemporary Art: Actualization and Anachrony","attachmentId":60622726,"attachmentType":"pdf","work_url":"https://www.academia.edu/40374150/After_Contemporary_Art_Actualization_and_Anachrony","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/40374150/After_Contemporary_Art_Actualization_and_Anachrony"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":55298948,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":55298948,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_55298948" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. You can download the paper by clicking the button above.</p></div></div></div></div><div class="ds-sidebar--container js-work-sidebar"><div class="ds-related-content--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="0" data-entity-id="71695261" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/71695261/On_the_Historical_Representation_of_Contemporary_Art">On the Historical Representation of Contemporary Art</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="28134912" href="https://sh.academia.edu/DanKarlholm">Dan Karlholm</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2011</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline 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