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Performing European Memories
Asking whether a genuinely shared European memory is possible while addressing the dangers of a single, homogenized European memory, Gluhovic examines the contradictions, specificities, continuities and discontinuities in the European shared and unshared pasts as represented in the works of Pinter, Tadeusz Kantor, Heiner Muller and Artur Zmijewski.
Art Is Not What You Think It Is
Art Is Not What You Think It Is utilizes original research to present a series of critical incursions into the current state of debate on the idea of art, making manifest what has been largely missing or unsaid in those discussions. Links museology, history, theory, and criticism to the realities of contemporary social conditions and shows how they have structurally functioned in a variety of contexts Deals with divisive and controversial problems such as blasphemy and idolatry, and the problem of artistic truth Addresses relations between European notions about art and artifice and those developed in other and especially indigenous cultural traditions
From Museum Critique to the Critical Museum
Since the late nineteenth century, museums have been cited as tools of imperialism and colonialism, as strongholds of patriarchalism, masculinism, homophobia and xenophobia, and accused both of elitism and commercialism. But, could the museum absorb and benefit from its critique, turning into a critical museum, into the site of resistance rather than ritual? This book looks at the ways in which the museum could use its collections, its cultural authority, its auratic space and resources to give voice to the underprivileged, and to take an active part in contemporary and at times controversial issues. Drawing together both major museum professionals and academics, it examines the theoretical concept of the critical museum, and uses case studies of engaged art institutions from different parts of the world. It reaches beyond the usual focus on western Europe, America, and ’the World’, including voices from, as well as about, eastern European museums, which have rarely been discussed in museum studies books so far.
Communist Ghosts
This book explores post-communist thresholds as materializations of a specific crisis of modern European identity that was caused by the existence and sudden breakdown of Soviet-type communism. It shows how post-communist thresholds emerge where relics from the communist experience continue disrupting the routines and rhythms of a modern life and confront Europeans with cultural experiences, affects and material realities of the ‘enlightened world’ which they usually seek to repress or ignore. In exploring and writing through art projects which engage with the psychosocial fabric of such post-communist thresholds, this book finds ways of speaking and thinking through these transitory and paradox sites, and asks what we can say about other or new worlds, about new beginnings and endings as well as about decolonial and ethical ways of relating to the other when assessing the status quo of European modernity from within its liminal and crisis-driven sphere.
Edi Hila
"Hila was born in Shkodra in 1944, and lives and works in Tirana. During his studies in the 1960s he experimented timidly with deformation. In 1972 he painted "Planting of Trees", a pleasant picture rendered slightly unreal through the use of color, which because of its departure from the approved socialist realist doctrine, soon became a pretext for ordering him to work in a poultry processing plant, where his main task was hauling sacks. In the evenings he secretly created a series of drawings documenting the life of the workers (the "Poultry" series, 1975-76), harrowing in their raw realism. In the 1990s, seeking a path back to painting, Hila carefully observed life evolving after the fal...
Artificial Hells
This searing critique of participatory art—from its development to its political ambitions—is “an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, ‘Now that’s art!’ or ‘That’s art?’” (Library Journal) Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance t...
My Fair Ladies
The fantasy of a male creator constructing his perfect woman dates back to the Greek myth of Pygmalion and Galatea. Yet as technology has advanced over the past century, the figure of the lifelike manmade woman has become nearly ubiquitous, popping up in everything from Bride of Frankenstein to Weird Science to The Stepford Wives. Now Julie Wosk takes us on a fascinating tour through this bevy of artificial women, revealing the array of cultural fantasies and fears they embody. My Fair Ladies considers how female automatons have been represented as objects of desire in fiction and how “living dolls” have been manufactured as real-world fetish objects. But it also examines the many works ...
Contemporary Art
An engaging account of today’s contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. Features a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989 Each topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways Topics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship International in scope, bringing together over forty of the most important voices in the field, including Sofía Hernández Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan Verwoert A stimulating guide that will encourage polemical interventions and foster critical dialogue among both students and art aficionados
Plural and Multiple Geographies of Modern and Contemporary Art in East-Central Europe
This edited volume proposes a theoretical reflection on the different artistic geographies of East-Central Europe (ECE) from an interdisciplinary perspective found at the intersection of art history, art and politics, and critical geography. Contributors argue that this multiplicity is a defining feature of the region. At the same time, chapters employ the concept of “plural geographies” and call for an equal geography, based on solidarity and an equal distribution of capital, which could allow plural geographies to exist and be described. The “multiple geographies” of ECE consider the perspective of local conditions and emphasize how this region was part of successive empires with an important ethnic diversity and changing borders, giving it historical layers and multicultural characteristics. The book will be of interest to scholars working in art history, political studies, cultural studies, and geography.
