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As Soon as I Open My Eyes I See a Film
In the late 1960s and '70s, artists in Yugoslavia rejected the official language of expression licensed by the regime, abstract art, and replaced it with "anti-art"--works on the borderline of the form that balanced between amateurism and professionalism and breached modernist conventions. These artists seized upon the opportunities to disseminate their art offered by film clubs--public institutions that brought together amateur artists and served as enclaves of freedom. As Soon as I Open My Eyes I See a Film explores the crucial period in the Yugoslav art scene and situates it in the broader cultural context of Central and Eastern Europe.
Is the Living Body the Last Thing Left Alive?
The choreographic turn in the visual arts from 1958 to 1965 can be identified by the sudden emergence of works created by very different visual artists in very different placesartists such as Allan Kaprow, Carolee Schneeman, and Robert Rauschenberg in the United States; Lygia Pape and Hlio Oiticica in Brazil; the Gutai group in Japan; and Yves Klein in france. each explicitly or implicitly used dance or choreographic procedures to reinvent and reimagine the practice and its history. Dedicated to the renewed encounter between dance and performance, Is the Living Body the Last Thing Left Alive? is a collection of essays and writings taken from the 2014 conference organized by Para Site, Hong Kong. Thirty contributors, coming from a broad field of discourse, joined together to rethink performance as more than a medium but rather as a series of questions and reflections about how art mediates social relations among people. Contributors include Belkis Ayn, Claire Bishop, Boris Buden, Amy Cheng, Bojana Cvejic, Patrick D. flores, and Simryn Gil, and Yangjiang Group, among many others.
The Persistence of Dance
There is a category of choreographic practice with a lineage stretching back to mid-20th century North America that has re-emerged since the early 1990s: dance as a contemporary art medium. Such work belongs as much to the gallery as does video art or sculpture and is distinct from both performance art and its history as well as from theater-based dance. The Persistence of Dance: Choreography as Concept and Material in Contemporary Art clarifies the continuities and differences between the second-wave dance avant-garde in the 1950s‒1970s and the third-wave starting in the 1990s. Through close readings of key artists such as Maria Hassabi, Sarah Michelson, Boris Charmatz, Meg Stuart, Philip...
Judson Dance Theater: the Work Is Never Done
An exploration of Judson Dance Theater's radical influence on postwar American art history and its lasting impact on contemporary artistic discourse. Taking its name from the Judson Memorial Church, a socially engaged Protestant congregation in New York's Greenwich Village, Judson Dance Theater was organized as a series of open workshops from which its participants developed performances. Redefining the kinds of movement that could count as dance, the Judson participants - Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith Dunn, David Gordon, Alex Hay, Deborah Hay, Fred Herko, Robert Morris, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann and Ela...
Agents of Abstraction
The aesthetics of a non-Soviet form of socialism, drafted by four Yugoslav artists in the 1950s. As the cold war gained momentum in Europe, Tito's break with Stalin led to Yugoslavia's expulsion from the Eastern bloc in 1948. Confronted with this new reality, the Yugoslav government decided to bridge the indeterminacy of its cultural politics through a creative strategy: it commissioned young artists and architects to draft the aesthetics of a non-Soviet form of socialism. Agents of Abstraction frames the liaison of socialist cultural politics and modernist artistic practice by interlinking ideas of decentralization, experiments in state-funded arts and architecture, nonrepresentational forms, and self-reliance. The cultural and geopolitical contexts are accompanied by rare visual material, much of which appears in print for the first time.
The Bodies of Others
The Bodies of Others explores the politics of gender in motion. From drag ballerinas to faux queens, and from butoh divas to the club mothers of modern dance, the book delves into four decades of drag dances on American stages. Drag dances take us beyond glittery one-liners and into the spaces between gender norms. In these backstage histories, dancers give their bodies over to other selves, opening up the category of realness. The book maps out a drag politics of embodiment, connecting drag dances to queer hope, memory, and mourning. There are aging étoiles, midnight shows, mystical séances, and all of the dust and velvet of divas in their dressing-rooms. But these forty years of drag dances are also a cultural history, including Mark Morris dancing the death of Dido in the shadow of AIDS, and the swans of Les Ballets Trockadero de Monte Carlo sketching an antiracist vision for ballet. Drawing on queer theory, dance history, and the embodied practices of dancers themselves, The Bodies of Others examines the ways in which drag dances undertake the work of a shared queer and trans politics.
East Central European Art Histories and Austria
The specific role of the Austro-Hungarian Empire and the later nation of Austria within the formation of regional art histories in East Central Europe has received little attention in art historical research so far. Taking into account the era of the Dual Monarchy as well as the period after 1989, the contributions analyze and critically scrutinize the imperial legacies, transnational transfer processes and cultural hierarchies in art historiographies, artistic practices and institutional histories. Consisting of 17 texts, with new commissions and one reprint, case studies, monographic essays and interviews grouped thematically into two sections, the anthology proposes a pluriversal narrative on regional, cultural and political contexts.
A Slow Burning Fire
Yugoslavia's diverse and interconnected art scenes from the 1960s to the 1980s, linked to the country's experience with socialist self-management. In Yugoslavia from the late 1960s to the late 1980s, state-supported Student Cultural Centers became incubators for new art. This era's conceptual and performance art--known as Yugoslavia's New Art Practice--emerged from a network of diverse and densely interconnected art scenes that nurtured the early work of Marina Abramovi&ć, Sanja Ivekovi&ć, Neue Slowenische Kunst (NSK), and others. In this book, Marko Ili&ć offers the first comprehensive examination of the New Art Practice, linking it to Yugoslavia's experience with socialist self-management and the political upheavals of the 1980s.
A Journal of the Plague Year
Expanded from a touring exhibition originated at Para Site in 2013, this book critically analyzes historical and contemporary imaginations and politics of fear in the face of disease and the specter of contamination in society and culture. Scholars, artists, novelists, and journalists depart from Hong Kong's history of epidemic--the most recent being the SARS outbreak of 2003, shortly followed by the tragic death of pan-Asian pop icon Leslie Cheung, and tackle the galvanizing power and the varied perceptions of contagion in the context of lingering histories, myths, anxieties, and memories across geographies. While composing a complex picture of the Hong Kong psyche, these contributions speak from a humanistic and global perspective, pointing to the intersections of urban environments and post-colonial psychology, popular culture and racism, public health and migration, national identity and art. Copublished with Para Site, Hong Kong Contributors Michael Berry, Natalia S. H. Chan, Cosmin Costinas, Dung Kai-cheung, Inti Guerrero, James T. Hong, Austin Ming-han Hsu, Zuni Icosahedron, Finnouala McHugh, Pak Sheung Chuen, Lawrence Pun, Shih Shu-ching, Xiaoyu Weng
Producing and living the high-rise: New contexts, old questions?
The purpose of the book is to assess the process of urban verticalization in different contexts through time, to provide insight into the relationships between highrise design and the way inhabitants negotiate them in their everyday lives, to assess how planners, politicians, and designers negotiate residential highrises in the strategies they develop for building the city and to introduce urban narratives and cartographies. Verticalization, although not new, currently takes place in a very different context than post-1945. Today, highrise residential buildings are more than architectural solutions: they are commodities in a global market where capital flows are fixed by developers and munic...
