What is Iconoclash?
Bruno Latour, "What is Iconoclash? Or is There a World Beyond the Image Wars?"
Insert: Abraham and the Idol Shop of His Father Terah
Why Do Images Trigger So Much Furor?
Pema Konchok, "Buddhism as a Focus of Iconoclash in Asia"
Moshe Halbertal, "God Doesn't Live There Anymore"
William Pietz, "The Sin of Saul"
Olivier Christin, "The Idol King?"
Raymond Corbey, "Image-Breaking on the Christian Frontier"
Adam Lowe, "Gilded Silence: the King of Kosala's Sixteen Dreams"
Pierre Centlivres, "Life, Death, and Eternity of the Buddhas in Afganistan"
Luc Boltanski, "The Fetus and the Image War"
Michael Taussig, "Old Glory"
Gregor Jansen, "Berlin, Anno 1967"
Insert: Jean de LaFontaine: Le statuaire et la statue de Jupiter
Why are Images So Ambiguous?
Dario Gamboni, "Image to Destroy, Indestructible Image"
Lorraine Daston, "Nature Paints"
Brigitte Derlon, "From New Ireland to Museum: Opposing Views of the Malanggan"
Peter Geimer, "Searching for Something. On Photographic Revelations"
Jean-Marc Lévy-Leblond, "Galileo's Finger"
Dominique Linhardt, "All Windows Were Open, but Nothing Happened. Nothing? Well
... Except a Lot!"
Bruno Pinchard, "Tender Blasphemy: There States of the Image, Three States of
Love in the Renaissance"
Jerry Brotton, "Saints Alive. The Iconography of Saint George"
Miguel Tamen, "Theophilia"
Insert: Hans-Christian Andersen: The Emperor's New Clothes
Why Do Gods Object to Images?
Joseph Koerner, "The Icon as Iconoclash"
Pierre-Olivier Léchot, "》Idols Fall and the Gospel
Arises!《 The Farel Memorial in Neuchâtel: History of a
Paradox"
Jean François Clément, "The Empty
Niche of The Bamiyan Paradox"
Catherine Lucas, "The Hidden Imam"
Ramon Sarró, "The Iconoclash Meal: Destroying Objects
and Eating Secrets Among the Baga of Guinea"
John Tresch, "Did Francis Bacon Eat Pork? A Note on the Tabernacle in 》New
Atlantis《"
Patricia de Aquino, "No Freeze-Frame on God"
Insert: John Paul II on the Shroud
The Unbearable Image
Sophie Ristelhueber, "》Dévisager《 - Taking Images
on a Minefield. A Picture of Sophie Ristelhueber as seen by Bruno Latour"
Khalil Joreige and Joanna Hadjithomas, "A State of Latency"
Margit Rosen, "Shooting the Dead"
Insert: Herman Melville: More Light. And the Gloom of that Light. More Groom.
And the Light of that Gloom
The Unbearable Sound
Denis Laborde, "The Strange Career of Musicoclashes"
The Unbearable Movement
Boris Groys, "Iconoclasm as an Artistic Device. Iconoclastic Strategies in
Film"
Sabine Himmelsbach, "Addicted to Notise. On Video Installations by Candice
Breitz"
How Can an Image Represent Anything?
Peter Galison, "Images Scatter into Data, Data Gather into Images"
Marie José Mondzain, "The Holly Shroud. How
Invisible Hands Weave the Undecidable"
Christian Kassung and Thomas Macho, "Imaging Processes in the Nineteenth
Century Medicine and Science"
Insert: Richard Powers: Plowing the Dark
Why is Destruction Necessary for Construction?
Peter Sloterdijk, "Analytical Terror. Keyword for Avant-Gardism as Explicative
Force"
Hans-Ulrich Oblist, "Milano Triennale 68: A Case Study and Beyond Arata
Isozaki's Electronic Labyrinths a 》ma《 of Images?"
Peter Geimer, "Dealing the Joker in Berlin"
Andrei Mogoutov and Arkadi Nedel, "No Place, no Matter: the Making Dense of
Utopia"
Are there Limits to Iconoclasm?
Hans Belting, "Beyond Iconoclasm. Nam June Paik, the Zen Gaze and the Escape
from Representation"
Caroline Jones, "Making Abstraction"
Nathalie Heinrich, "Baquié at Malpassé:
an 》Adventure《 in Contemporary Iconoclasm?"
Albena Yaneva, "Challenging the Visitor to Get the Image: on the Impossible
Encounter of an Adult and a Pig"
Hans Belting, "Invisible Movies in Sugimoto's 》Theaters《
Dörte Zbikowski, "Dematerialized. Emptiness and Cyclic
Transformation"
Can the Gods Cohabitate?
Heather Stoddard, "The Religion of Golden Idols"
Bruno Pinchard, "On a Suspended Iconoclastic Gesture"
Z. S. Strother, "Iconoclasm by Proxy"
Elisabeth Claverie, "Taking Pictures of Supernatural Beings?"
Anne-Christine Taylor, "The Face of Indian Souls: a Problem of Conversion"
Andreas Mayer, "The Fetish-Scientist, or Why Would Anyone Force Someone to Kiss
the Bust of Franz Josef Gall?"
Lydia Marinelli, "Freud's Fading Gods"
Tobie Nathan, "Breaking Idols ... a Genuine Request for Initiation"
Insert: Jagannath and His Saligram
But there is No Image Anymore Anyway!
Richard Powers, "The Artist's Bedlam"
Michel Jaffrennou, "Ceci n'est plus une image!"
Samuel Bianchini, "The Theater of Operations"
Noortje Marres, "May the true Victim of Defacement Stand Up! On Reading Network
Configurations of Scandal on the Web"
Norman M. Klein, "Instruments of Power: Notes on the Future of Media"
Can We Go Beyond the Image Wars?
Simon Schaffer, "The Devices of Iconoclasm"
Hans-Jörg Rheinberger, "Auto-Radio-Graphics"
Jörg Huber, "On the Credibility of World -Pictures"
Has Critique Ended?
Robert Koch, "The Critical Gesture in Philosophy"
Insert: Heinrich von Kleist: St. Cecilia, or, the Power of Music
What has Happened to Modern Art?
Adam Lowe, "To See the World in a Square of Black"
Insert: Orhan Pamuk: I Am a Murderer
Peter Weibel, "An End to the 》End of Art《? On the Iconoclasm of Modern Art"
Insert: Jorge Louis Borges: A Universal History of Infamy
Appendix
Lenders to the Exhibition
Works in the Exhibition
Biographies of the Authors
Index
会場：
ZMK(Zentrum für Kunst und Medientechnologie Karlsruhe)
キュレーター
ピーター･ギャリソン(Peter Galison)
ダリオ･ガンボーニ(Dario Gamboni)
ヨーゼフ･レオ･ケルネア(Joseph Leo Koerner)
ブルーノ･ラトゥール(Bruno Latour)
アダム･ロウィー(Adam Lowe)
ハンス=ウルリッヒ･オブリスト(Hans-Ulrich Obrist)
ピーター･ウィーベル(Peter Weibel)
諮問委員会(ADVISORY BOARD)
ハンス･ベルティング(Hans Belting)
ボリス･グロイス(Boris Groys)
ドゥニ･ラボルド(Denis Laborde)
マリー=ホセ･モンザイン(Marie-José Mondzain)
ヘアザー･ストッダード(Heather Stoddard)
講義ノート
イコノクラッシュ(iconoclash)：造語<=イコノクラスム(iconoclasm)=偶像破壊
展覧会のテーマ神性を人間像として表現することを否定する宗教思想に基づき、イコン(聖画像)の制作、礼拝を禁止し、作品を破壊すること。とくに八〜九世紀、ビザンティン帝国において起きた大規模な聖像破壊運動をさす。
イコンは、それ自体が、病気治療、戦闘勝利、祈願成就などの奇跡をもたらすと考えられ、イコンを聖堂内や家庭に安置したり、掲げて行進したりし、それに祈りをささげたり、触れたり、接吻したりすることが行われた。
七二六年ビザンティン皇帝レオン三世はコンスタンティノポリスの宮廷の門に掲げられていたキリスト像イコンの撤去を命じ、ついでイコン礼拝の禁止、イコンの破壊、イコン擁護派の弾圧、処刑を行った。･･･(中略)･･･八四三年には皇帝ミカエル三世の母テオドラにより復活され、イコノクラスムは最終的に終息した。
なお、ヨーロッパにおける美術の破壊運動としては、このほかに、ルネサンス期のフィレンツェでの修道士サヴォナローラによる美術品の破壊、宗教改革後のプロテスタント勢力によるカトリック美術の破壊、フランス革命後の一種の啓蒙思想によるカトリック美術の破壊などがある。
『世界美術大事典』第1巻、相賀徹夫編集著作出版、小学館、1988年12月 p.158
論文：Bruno Latour, "What is Iconoclash? Or is There a World Beyond the Image Wars?"より偶像破壊の快楽p.14 We cannot do without image
"Truth is image, but there is no image of truth."
p.15 Questions
Why have images attracted so much hatred?
Why do they always return again, no matter how strongly one wants to get rid of them?
Why have the iconoclasts' hammers always seemed to strike sideways, destroying something else that seems, after the fact, to matter immensely?
How is it possible to go beyond this cycle of fascination, repulsion, destruction, atonement, that is generated by the forbidden-image worship?p.15 Suspending, pause and rest
"... this is not an iconoclastic exhibition: it is about iconoclasm. It attempts to suspend the urge to destroy images, requires us to pause for a moment, to leave the hammer to rest."
p.15 Worship of iconoclasm
"... it is the worship of iconoclasm itself which, in turn, is interrogated and evaluated."
論文：Boris Groys, "Iconoclasm as an Artistic Device. Iconoclastic Strategies in Film"よりp.282 Old gods have lost their power
"... the desecration of ancient idols is performed only in the name of other, more recent gods. Iconoclasm's purpose is to prove that the old gods have lost their power and are subsequently no longer able to defend their earthly temples and images."
p.282 Religion of Reason
"... all kinds of Christian churches were wrecked in the name of the religion of Reason"
p.284-285 Material superiority
"... shifted its focus from the message to the medium."
"... he means painting in its pure, material form in its superiority over the spirit."
"... the artistic avant-garde can be said to have celebrated the victory of the powerful―qua material―artistic media over the powerless zero medium "spirit,"..."p.290 Latest religion: Globalization
"... the earth itself, currently acting as the icon of the latest religion of globalization, is destroyed by forces from outer space."
p.291 Icons of civilization
"The destruction of icons of civilization such as the City of Paris primarily illustrates the material transience of all human civilizations and their iconographies."
p.292 Inhumane evil
"... the iconoclastic gesture is now inevitably seen as the expression of radical, inhumane evil, the work of pernicious aliens, vampires, and deranged humanoid machines."
p. 293 Beneath the real world
"... as if it were a long-running "reality show" produced using quasi-cinematographic techniques in some otherwordly studio hidden beneath the surface of the real world."
p.294 Conjunctive contemplation
"They can interrupt their examination of a picture at any time and return to it later on to resume contemplation of the work at exactly the same point as they left it. For the entire period of the viewer's absence the immobile picture will remain in an identical state and is thus constantly available for repeated contemplation."
p.294 Two cultural models
"In our culture we have two fundamentally different models at our disposal that give us control over the time we spend looking at an image: the immobilization of the image in the museum or the immobilization of the viewer in the movie theater."
p.294 Strategy of shortness
"... one widespread strategy has been to make the individual video or film sequences as short as possible so as to ensure that the time a viewer spends in front of a work does not substantially exceed the time a viewer might on average be expected to spend in front of a "good" picture in a museum."