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Before even opening The Object, Whitechapel Gallery and the MIT Presss latest installment in the
Documents of Contemporary Art series, the books title stares back, interpolates itself, asking
questions: What is an object? Which object? Aestheticized and spiritualized objects, like the artwork or
the idol? Or flotsam and jetsam, rejected objects and other dejecta? Can we consider imaginary things
objects dreams, concepts, others still more formless? And what about objects that, though dead or
lifeless, are nonetheless not mute, like fossils, glyphs, and other excavated objects, which can be
animated and made to speak across centuries? Indeed, how are we to think about this rapport
between objects and subjects? And what role does this subject play the one who apprehends,
dominates, and make use of the object?
The Object, edited by Antony Hudek, proliferates and attends to these kinds of questions. The books
aim is to defamiliarize the inquiry into the object, as well as expand the perception and experience of
the object in more everyday, playful, or artistic contexts. As Hudek writes in his introduction:
Objects are not reducible to the material, perceptible, and consumable goods we
commonly refer to as objects. The world of objects, however ordinary, is a trove of
disguises, concealments, subterfuges, provocations and triggers that no singular,
embodied, and knowledgeable subject can exhaust.
The books survey of the world of objects takes the reader through the domains of art (both its
practice and criticism), theory, science, politics, literature, as well as less rehearsed, more sui
generis engagements with the subject.
of anthologies, each one dedicated to the elaboration, interrogation, and illustration of a single theme,
such as memory, ruins, participation, dance, and failure. Each book is comprised of a number of texts
in the expanded sense: selections include essays, manifestos, artist statements, interviews, poems,
and other textual material like magazine clippings and transcriptions of performed events.
object, or in his words, the side of the object that is necessarily turned away from the subject.
Though its the dominant trend, the texts in this section dont exclusively study the object from so
abstract a perspective. Hito Steyerls A Thing Like You and Me, another highlight, proposes a
renewed consideration of the image as a material thing subject to contingent forces and energies,
rather than an idealized representation: [the] image is a thing simultaneously couched in affect and
availability, a fetish made of crystals and electricity, animated by our wishes and fearsa perfect
embodiment of its own conditions of existence.
The Object, edited by Antony Hudek, is available from the MIT Press.