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Kathrin Busch
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Georg Dickmann
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Maja Figge
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Felix Laubscher
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Jenny Baese
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Ulf Heidel
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James Hoff
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Marguerite Humeau
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Christopher Woebken
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Omer Fast
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Hanna Magauer
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Volker Ellerbeck
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Elisabeth Heyne
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Martin Beck
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Susanne Witzgall
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Ludger Schwarte
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Reinhard Wendler
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Johannes Paul Raether
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Joseph Vogl
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Armen Avanessian
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Anke Hennig
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Daniel Falb
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Lisa Großmann
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Ole Schwabe
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Malte Pelleter
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Monika Rinck
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Christina Deloglu-Kahlert
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Aaron Shoichet
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Spekulation ist ein riskantes Unterfangen. Als Wette auf unverfügbare Zukünfte, kommende Gegenwarten oder alternative Vergangenheiten ist sie geprägt vom Nicht-Wissen, auf das sie sich ausrichtet und von dem sie ihren Ausgang nimmt. Im Unterschied zu Ökonomie und Zukunfts-forschung, die dem Nicht-Wissen mit Strategien des Risikomanagements begegnen, erforschen die Künste Möglichkeitsräume jenseits von gesicherter Erfahrung und prognostischem Wert. Sie sind dem Ungewissen verpflichtet – also dem, was man (noch) nicht wissen, über das man jedoch spekulieren kann. Im ästhetischen Spekulieren vermögen die Künste gleichermaßen plausible und widersprüchliche Szenarien zu testen, Heterochronien zu erproben und andere Körper zu denken. Der Band fragt, welches andere Wissen die spekulativen Verfahren der Kunst freilegen. Wie wird Künftiges, Virtuelles oder Utopisches vorstellbar? Und wie lassen sich vor diesem Hintergrund Kategorien wie künstlerische Produktion, ästhetische Erfahrung oder der Wert des Kunstwerks neu bestimmen?
Speculation is a risky endeavour. As a wager on unavailable futures, presents to come or alternative pasts, it refers to a not-knowing from which it takes its point of departure and towards which it is oriented. While economics and futurology seek to face the state of not-knowing with risk-management strategies, it is especially the arts, in their constitutive openness, that call upon spaces of possibility beyond experience and prognostic value. Thus, art signifies an exposure to uncertainty; that which is not (yet) known, but about which it is possible to speculate. As counter-laboratories, the arts are capable of testing plausible and contradictory scenarios, probing heterochronies and imagining other bodies within the realm of fiction. The publication asks what other ways of knowing speculative approaches might uncover in the arts. How does the prospective, virtual or utopian become imaginable? How can categories such as artistic production, aesthetic experience or the value of art be redefined against this background?

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