Summary
82
Spectacle
Fall 2014
Are we living in a time when capitalism holds total sway over art production? Is the spectacle synonymous with alienation of the individual? Are there any positive aspects to this spectacularization of culture to compensate? The next issue of esse examines new forms of the spectacle by observing its different manifestations on today’s society, and particularly in the contemporary art field, in which the appeal of the spectacular is increasingly unrelenting.
Editorial
Feature
Toward a Critical Mode of Spectacularity: Thoughts on a Terminological Review
Spectacle, Communication, and the End of Art
GirlsGirlsGirls
Hennessy Youngman and the New Art Criticism
Spectacularization in Contemporary Aboriginal Art
Exhausting the Spectacular in Nicolas Boone
In the Shadows Of the Floodlights: DARE-DARE at Quartier Des Spectacles
Off-Features
Columns
Reviews
Young Critics
Current Issue
Abstractions
Spring Summer 2025
Yet what about abstraction today? Long confined to formalist and self-referential imperatives, abstraction has gradually freed itself from the modernism yolk to recapture its evocative power. This issue proposes to turn away from the dogma of Abstraction as a historical genre to consider its various plastic and semantic avenues. In this invitation to explore abstractions, we wish to re-establish a dialogue between content and form, between the political and the poetic, by engaging with works that evoke reality differently. Whether they are qualified as abstract, non-figurative, or non-objective, these works certainly tell us stories.