e-flux Journal #57

<p>Francis Fukuyama, and even his mentor Alexandre Kojève before him, warned of boredom, stasis, and homogeneity being characteristics of the “universal homogenous state” that would mark the end of history. As Fukuyama put it: in the post-historical period there will be neither art nor philosophy, just the perpetual caretaking of the museum of human history. And indeed, the phase of contemporary art has also been characterized in discussions over recent years as a reformatting of time into a perpetual present. The contemporary is the now that never ends, the art that circles itself at the tail end of history looking back on defunct ideologies, archiving and polishing them for a future that never arrives…</p> <p><b>Editorial—“The End of the End of History?” Issue Two</b><br /> Julieta Aranda, Brian Kuan Wood, Anton Vidokle</p> <p><b>The Places of History</b><br /> Arseny Zhilyaev</p> <p><b>To Make a World, Part I: Ultranationalism and the Art of the Stateless State</b><br /> Jonas Staal</p> <p><b>“A Monster Was Born”: Notes on the Rebirth of the “Corrupt Intellectual”</b><br /> Hassan Khan</p> <p><b>Why Neue Slowenische Kunst in German?</b><br /> Miran Mohar</p> <p><b>Democrisis: Notes on the Capitalist Imaginary of Europe</b><br /> Sotirios Bahtsetzis</p> <p><b>Red Berets and Economic Accomplices</b><br /> Eduardo Cachucho</p> <p><b>The Dead Afghani before the Camera and before Death</b><br /> Bilal Khbeiz</p> <p><b>Ágalma: The ‟Objet Petit a,” Alexander the Great, and Other Excesses of Skopje 2014</b><br /> Suzana Milevska</p> <p><b>On the False Democracy of Contemporary Art </b><br /> Keti Chukhrov</p> <p><b>Nationalism: Persistence and Political Upkeep</b><br /> Knut Åsdam</p> <p><b>Vigorous Flagging in the Heart of Europe: The Hungarian Homeland under the Right-Wing Regime</b><br /> Edit András</p> <p><b>Hope in a Hopeless Situation</b><br /> Ilya Budraitskis</p>