Summary
62
Fear II
Winter 2008
In questioning diverse artistic practices that either have recourse or attempt to neutralize fear, this second issue dedicated to this theme endeavours to reflect on the feeling of fear experienced in day to day life. In addition to cinema and video (which we are more likely to associate spontaneously with fear), this issue also addresses painting, the installation, performance, and web art.
Editorial
Feature
Uncanny: A Dimension in Contemporary Art
I Fear, Therefore I Live
Rational and Irrational Fears in the Age of Religious Fundamentalisms
Comrade Fear: A Strategy for Shifting Truths
Fear in Slovenian Film: Vinko Möderndorfer’s Predmestje
Adonis Flores: Between Archetype and Heresy
Societies under the Influence
Off-Features
L’inclusion par l’informe : documenta 12, Kassel
Dédales, fatras, dépouilles : quelques trajets dans la 52e Biennale de Venise
Un bilan prospectif : Skulptur Projekte Münster, 2007
Dispositif à action : sur les huit personnages d’un drame psychologique
Quelques pratiques en musique contemporaine vues à travers la lorgnette du FIMAV
Columns
Reviews
Current Issue
Crip
Spring Summer 2026
While “handi” (short for the term “handicapé” in French) and “crip” (derived from “cripple,” meaning “disabled”) are diminutive forms of stigmatizing terms, the meaning we ascribe to them is by no means reductive. On the contrary, they carry a political weight that provides those who embrace them with a powerful tool for empowerment, offering disabled artists non-normative ways for articulating the strange temporalities of disabled experience and alternative ways for navigating an ableist art world. In this issue, we are interested precisely in this work of social, political, and cultural transformation, and we focus on the ways in which crip authors and artists address the different challenges they face.
Cover: Hac Vinent
Accident, exhibition view, Fundació Joan Miró, Barcelona, 2024.
Photo: Roberto Ruiz, courtesy of the artist & ADN Galeria, Barcelona