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K̇ayçu-Yuxe
The words on the cover of Aslan Gaisumov's first monograph are names of places no longer inhabited. The tens of thousands of people who used to live in the mountainous Galain-Chaz district of southern Chechnya were deported by the Soviet authorities in the winter of 1944, wrongly accused of having collaborated with Nazi Germany. One of these words, Kayçu-Yuxe or Keicheyuhea, names the birthplace of Zayanu Khasueva, the artist's maternal grandmother. It is also the title of his film from 2017, in which Khasueva returns to the site of her ancestral village for the first time in seventy-three years. The monograph features Gaisumov's recent work (including photographs of the previous settlements of the Galain-Chaz district that have not been shown elsewhere) and contains new essays by the researchers Aleida Assmann, Georgi Derluguian and Madina Tlostanova and the curator Anders Kreuger. Contributors Aleida Assmann, Georgi Derluguian, Anders Kreuger, Madina Tlostanova Published with support from the Han Nefkens Foundation, Barcelona; Kohta, Helsinki; Galerie Zink, Waldkirchen; and Emalin, London
Postcolonialism and Postsocialism in Fiction and Art
This book tackles the intersections of postcolonial and postsocialist imaginaries and sensibilities focusing on the ways they are reflected in contemporary art, fiction, theater and cinema. After the defeat of the Socialist modernity the postsocialist space and its people have found themselves in the void. Many elements of the former Second world experience, echo the postcolonial situations, including subalternization, epistemic racism, mimicry, unhomedness and transit, the revival of ethnic nationalisms and neo-imperial narratives, neo-Orientalist and mutant Eurocentric tendencies, indirect forms of resistance and life-asserting modes of re-existence. Yet there are also untranslatable differences between the postcolonial and the postsocialist human conditions. The monograph focuses on the aesthetic principles and mechanisms of sublime, the postsocialist/postcolonial decolonization of museums, the perception and representation of space and time through the tempolocalities of post-dependence, the anatomy of characters-tricksters with shifting multiple identities, the memory politics of the post-traumatic conditions and ways of their overcoming.
Postcolonial Europe? Essays on Post-Communist Literatures and Cultures
This collective monograph analyzes post-1989 Central and Eastern Europe through the paradigm of postcoloniality. Based on the assumption that both Western and Soviet imperialism emerged from European modernity, the book is a contribution to the development of a global postcolonial discourse based on a more extensive and nuanced geohistorical comparativism. It suggests that the inclusion of East-Central Europe in European identity might help resolve postcolonialism’s difficulties in coming to terms with both postcolonial and neo-colonial dimensions of contemporary Europe. Analyzing post-communist identity reconstructions under the impact of transformative political, economic and cultural experiences such as changes in perception of time and space (landscapes, cityscapes), migration and displacement, collective memory and trauma, objectifying gaze, cultural self-colonization, and language as a form of power, the book facilitates a mutually productive dialogue between postcolonialism and post-communism. Together the studies map the rich terrain of contemporary East-Central European creative writing and visual art, the latter highlighted through accompanying illustrations.
What Does It Mean to Be Post-Soviet?
In What Does It Mean to Be Post-Soviet? Madina Tlostanova traces how contemporary post-Soviet art mediates this human condition. Observing how the concept of the happy future—which was at the core of the project of Soviet modernity—has lapsed from the post-Soviet imagination, Tlostanova shows how the possible way out of such a sense of futurelessness lies in the engagement with activist art. She interviews artists, art collectives, and writers such as Estonian artist Liina Siib, Uzbek artist Vyacheslav Akhunov, and Azerbaijani writer Afanassy Mamedov who frame the post-Soviet condition through the experience and expression of community, space, temporality, gender, and negotiating the demands of the state and the market. In foregrounding the unfolding aesthesis and activism in the post-Soviet space, Tlostanova emphasizes the important role that decolonial art plays in providing the foundation upon which to build new modes of thought and a decolonial future.
Tangentes - Raaklijnen - Tangents
Where do the tangents between past and present, or between I and our fellow man, lie? The MSK invited nine contemporary artists to work around this grey zone. Using a variety of media, they sketched an animated world in which (human) relationships were once again central. In doing so, the artists questioned our world view in a globalized, seemingly limitless society. With works by Edith Dekyndt, Aslan Gaisumov, Monika Grzymala, Tim Knowles, Maria Laet, Sarah Sze, Pieter Vermeersch, Gosia Wlodarczak and John Wolseley. Exhibition: MSK Ghent, Belgium (10.10.2015 - 05.03.2016).
A New Political Imagination
The book presents the case for the making of a new political imagination by offering a critique of existing political institutions, philosophy and practices that are unable to provide the thinking, means and leadership to deal with the complexity and crises of specific locales and the world at large. The authors make clear that there is a fundamental disjuncture between the complexity of the combined critical conditions that are now putting life on Earth at risk, and the divisions and theories of knowledge that are dominantly and instrumentally trying to understand the situation. In response, this work makes the case for the need for a new political imagination that rejects the sufficiency o...
One Place after Another
A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of s...
89plus : curating the future. New artists and creatives, born in or after 1989.
A fast-paced introduction to the designers, artists, and creatives shaping tomorrow's world. Curators Simon Castets and Hans Ulrich Obrist join forces to ask an important question: How will the world be different when its most influential creatives are born into a universally accessible Internet? This international project tracks the changing modes of production, concerns, aspirations, and projects of 100 protagonists born in or after 1989. Illustrated profiles include artists, writers, architects, filmmakers, musicians, designers, scientists and technologists, and many who elide two or three genres, as they were once known. 89+ is essential reading for all who would understand the creative force of a generation whose voices are only starting to be heard, yet which accounts for almost half of the world's population.
Mengele's Skull
In the aftermath of World War II, two notorious Nazi villains were exposed in different ways. Adolf Eichmann was tried in Jerusalem in 1960, beginning the ''era of the witness'' in the prosecution of human rights abuses. Josef Mengele escaped Germany and lived out his life hidden in Argentina. After Mengele's death in 1985, his body was identified on an examining table in a morgue by a group of forensic scientists in Brazil. This book, based on a presentation by the authors, explores the emergence of the object in human rights, the conditions of its presentation, and the aesthetic operations involved in deciphering the ''speech of things.''
Giving Voices
Giving Voices features four of Erkan Özgen's video works dealing with war, violence, and trauma--beyond the boundaries of the political, within the dimension of the private and the human. By deciding not to show images of violence and war, Özgen gives a voice to individuals and objects. Witnessing becomes a way of understanding and also resetting memory. How can we feel the realities of war, conflict, and violence? What are the cultural and social implications of war and violence, and how does society respond to war? These are some of the questions raised by Özgen's work and addressed here by social anthropologist Rik Adriaans, psychologist Jan Ilhan Kizilhan, curator Özge Ersoy, as well as writer Han Nefkens, and in conversations between the artist and Hans Ulrich Obrist, artistic director of the Serpentine galleries, and curator Hilde Teerlinck. Published with support from the Han Nefkens Foundation, Barcelona Contributors Rik Adriaans, Özge Ersoy, Jan Kizilhan, Han Nefkens, Hans Ulrich Obrist, Erkan Özgen, Hilde Teerlinck
