e-flux Journal #71

<p>The freeport method of art storage presents its critics with a problem. Is it something new? Or something old? What could be less surprising than an international aristocracy hiding treasures in a cave someplace? The CEO of the Geneva Freeport might have overcharged his Russian Oligarch, Dmitry Rybolovlev, by one billion dollars for thirty-five paintings, according to Sam Knight’s recent, riveting account. Rybolovlev had himself acquired a large slice of the collective ownership of the means of production in 1992, when he was twenty-nine, in the form of Uralkali, a mining company developed by the State Planning Committee of the USSR in 1926. He sold his stake for five billion dollars in 2010. These sums feel like numbers from a different era, when boys regularly played with liquid money made from melting down some residual kingdom…</p> <p><b>Editorial</b><br /> Editors</p> <p><b>The Truth of Art </b><br /> Boris Groys</p> <p><b>Agitprop!: A Conversation with Martha Rosler, Nancy Buchanan, and Andrea Bowers</b><br /> Saisha Grayson</p> <p><b>Freeportism as Style and Ideology: Post-Internet and Speculative Realism, Part I</b><br /> Stefan Heidenreich</p> <p><b>Big Business, Selling Shrimps: The Market as Imaginary in Post-Mao China</b><br /> Jane DeBevoise</p> <p><b>Geopolitics and Contemporary Art, Part II: The Nation-State as the Possible Container for Global Struggles</b><br /> Irmgard Emmelhainz</p> <p><b>The Cracked Ming Cup</b><br /> Luis Camnitzer</p> <p><b>Walid Raad’s Spectral Archive, Part II: Testimony of Ghosts</b><br /> Alan Gilbert</p> <p><b>Factories of Resurrection: Interview with Anton Vidokle</b><br /> Arseny Zhilyaev</p>