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Feminism and Art in Postwar Italy
A renowned art critic of the 1960s, Carla Lonzi abandoned the art world in 1970 to found Rivolta Femminile, a pioneering feminist collective in Italy. Rather than separating the art world luminary from the activist, however, this book looks at the two together. It demonstrates that even as Lonzi refused art, she articulated how feminist spaces and communities drew strength from creativity. The eleven essays in this book document the artistic and feminist circles of postwar Italy, a time characterised both by radical protest and avant-garde aesthetics, using primary and archival sources never before translated into English. They map Lonzi's deep connections to the influential Italian Arte Povera movement, and explore her complicated relationship with female artists of the time, such as Carla Accardi and Suzanne Santoro. Carla Lonzi's written work and activism represents a crucial, but previously overlooked, feminist intervention in traditional art history from beyond the Anglo-American canon. This book is a timely and urgent addition to our understanding of radical politics, separatist feminism and art criticism in the postwar period.
Critical Poetics of Feminist Refusals
Critical Poetics of Feminist Refusals renders a vivid portrait of the intergenerational and intersectional dialogue between influential feminist writers on how to say no to the conditions of oppression, exclusion, and exploitation imposed by patriarchal and systemically racist capitalist societies. The book provides today’s readers and writers access to the powerful inventory of concepts and techniques that two generations of feminists have assembled for refusing domination and constituting fugitive forms of sociability and writing. Drawing on examples from feminist thinkers, Audre Lorde, Carla Lonzi, Hélène Cixous, Hortense Spillers, Alexis Pauline Gumbs, Anne Boyer and Simone White, the book focuses on how the power dynamics of recognition tie the uses of language to the material conditions of discrimination in everyday life.
Theorising the Artist Interview
Reflecting on the relationship between artists and their audiences, this book examines how artists have presented themselves publicly through interviews and sought to establish a critical voice for themselves. Considering the interview as a form of cultural production, contributors explore the criteria for determining the artist interview as a distinct field of research in relation to other cultural fields. Structured in four parts, ‘History and Historiography’, ‘Subverting the Biographical Model’, ‘Interviews as Practice’ and ‘Materiality and Technology’, the book takes an interdisciplinary approach that encompasses the fields of art history, fine art, oral history, curating, media studies and museum conservation. By theorising the artist interview as a form of cultural production and embracing it as a co-constructed critical practice, this volume aims to show and encourage an approach to art history which dismantles old hierarchies in favour of valuing dialogue and collaboration. The book will be of interest to scholars working in art history, museum studies, oral history and historiography.
An Introduction to Transitional Justice
The Second Edition of An Introduction to Transitional Justice provides a comprehensive overview of transitional justice judicial and non-judicial measures implemented by societies to redress legacies of massive human rights abuse. Written by some of the leading experts in the field, it takes a broad, interdisciplinary approach to the subject, addressing the dominant transitional justice mechanisms as well as key themes and challenges faced by scholars and practitioners. Using a wide historic and geographic range of case studies to illustrate key concepts and debates, and featuring discussion questions and suggestions for further reading, this is an essential introduction to the subject for students.
Sustainable Resilience in Women's Film and Video Organizations
This book illustrates a distinctive lineage of critical interventions in moving image culture and in the public sphere through the trajectories of a small number of film and video organizations established between the 1970s and the early 1980s in Western Europe and North America mainly by women and still operative today. The six case studies examined (Drac Màgic, Women Make Movies, Groupe Intervention Vidéo, Leeds Animation Workshop, bildwechsel, Centre Audiovisuel Simone de Beauvoir) have maintained a discrete yet continuing presence within an audiovisual industry and a cultural system dominated by institutionalized and corporate forms of production and distribution. Their longevity – quite a rarity in the independent circuit – makes a strong case for the sustainability of feminist/LGBTQ media activism in the public sphere, in spite of its low-key profile. This volume will be of interest to academicians of history and communication studies, feminist and LGBTQ topics, and gender-related cinematic culture.
Self-portrait
Recorded and transcribed throughout the 1960s, Carla Lonzi's Self-portrait ruptures the linear tradition of art-historical writing. Lonzi first abolishes the role of the critic, her own, seeking change over self-preservation by theorising against the act of theorising. This is the voice of feminist experimentalism in Italian art and literature, and here Lonzi speaks for herself in English. Self-portrait montages her verbatim conversations with fourteen prominent artists working at the time, all men except one. Lonzi's vital feeling that it was impossible to respond professionally to the political and existential problems embedded in the production and distribution of artworks drives the book's contingent structure. Artmaking struck Lonzi as the invitation to be together in a humanly satisfying way. This first English translation brings Lonzi's final work of criticism before her break with 'art' to an international audience. Her uncompromising enactment and pragmatic drop-out discontinues the narration of postwar modern art in Italy and beyond.
Curating as Feminist Organizing
What makes curating feminist organizing? How do curators relate to contemporary feminist concerns in their local conditions and the globalized artworld? The book brings together twenty curatorial case studies from diverse regions of the globe. Reflecting their own curatorial projects or analyzing feminist-inspired exhibitions, the authors in this book elaborate feminist curating as that which is inspired to challenge gender politics not only within but also beyond the doors of the museum and gallery. Connecting their wider feminist politics to their curatorial practices, the book provides case studies of curatorial practice that address the legacies of racialized and ethnic violence, includi...
Female Cultural Production in Modern Italy
This book is the first critical interdisciplinary examination in English of Italian women’s contributions to intellectual, artistic, and cultural production in modern Italy. Examining commonalities and diversities from the country’s Unification to today, the volume provides insight into the challenges that Italian women engaged in cultural production have faced, and the strategies they have deployed in order to achieve their objectives. The essays address a range of issues, from women’s self-identification and public ownership of their professional roles as laborers in the intellectual and cultural realm, to questions about motherhood and financial remuneration, to the role of creative...
The Eye of the Master
A social history of AI that finally reveals its roots in the spatial computation of industrial factories and the surveillance of collective behaviour. What is AI? A dominant view describes it as the quest "to solve intelligence," a solution supposedly to be found in the secret logic of the mind or in the deep physiology of the brain, such as in its complex neural networks. The Eye of the Master argues, to the contrary, that the inner code of AI is shaped not by the imitation of biological intelligence, but the intelligence of labour and social relations, as it is found in Babbage's "calculating engines" of the industrial age as well as in the recent algorithms for image recognition and surve...
LapTopRadio. La Radio Siamo Noi
In the context of a revived interest in the medium of radio, the collective and self-organized project LapTopRadio explored the possibilities and the limits of an irregularly, unexpectedly and sporadically broadcasting internet radio in the perspective of fine arts with a specific approach-the studio followed the participants, musicians and events, and not the other way round. It thereby created a new basis with a as yet hardly known potential, which the project intended to probe. This was made possible thanks to the co-operation of all the participants and co-producers, speakers, interviewers and authors of the texts published here. Delphine Bedel, Francesco Bernardelli, Donatella Bernardi, Yann Chateigné, Alfredo Cramerotti, Nadia EL-Imam, Jonathan Frigeri, Kenneth Goldsmith, Lars Bang Larsen, Quinn Latimer, Andrea Marioni with Franco "Bifo" Berardi, Federica Martini, Ceel Mogami de Haas, Angelo Plessas, Laurent Schmid, Joël Vacheron with Tex Royale and Alexis Milne, Willem van Weelden, Giovanna Zapperi.
