With the age of Enlightenment art comes paired with art criticism. Art criticism is both opponent and supporter. Demarcation trends are affecting the autonomy of art, but also function increasingly within the art itself as art critique. The concept of avant-garde art marks the inherent claim to exceed established norms of taste and corresponding bourgeois consumerist attitudes. Art forms that are especially critical assume therefore a central position.
From this perspective it is obvious, that art criticism cannot be an autonomous entity. It is not a science (even if it is based on scientific resources), and it is no mere translation, not just a trade, because it takes its own forms of aesthetic production and ideas into the game. Within the art system it plays a vital role by acting as a dialogue partner and a guarantor of reflexive levels, regardless of the vote, which it provides.
Examples of this relationship is to be presented on the basis of manifestos by artists and art critics. Manifests are a short form of art criticism: they demarcate existing positions and trends and highlight their own frontline.
The seminar conducted by Michael Hauffen attempted to create such a productive tension in the form of short manifestos, which refered to different levels of the art system and / of the participants own situation. The manifestos were discussed and edited in the workshop.