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Futurist Depero
Y focusing on the life and work of Fortunato Depero (Fondo, Trento, 1892 – Rovereto, 1960) it will aim to offer a new assessment of what has been termed "the Avant-garde of avant-gardes": Italian Futurism.0This visual and literary movement, which was launched with the Manifesto published by Filippo Tommaso Marinetti on 20 February 1909 in the French newspaper Le Figaro, has found its place in history due to the radical nature of its ideas: abolishing all references to the art of the past (considered to be pure "passatismo"), exalting dynamism, the machine, speed and war, freeing words from grammatical structure and multiplying viewpoints in order to express the dynamic interaction of the m...
Zóbel: The Future of the Past
This catalogue is published in conjunction with the Asian premiere of Zóbel: The Future of the Past, exhibited at Ayala Museum from September 14, 2024 to January 26, 2025.
History Becomes Form
An insider's account of the art and artists of the most interesting Russian artistic phenomenon since the Russian Avant-Garde. In the 1970s and 1980s, a group of “unofficial” artists in Moscow—artists not recognized by the state, not covered by state-controlled media, and cut off from wider audiences—created artworks that gave artistic form to a certain historical moment: the experience of Soviet socialism. The Moscow conceptualists not only reflected and analyzed by artistic means a spectacle of Soviet life but also preserved its memory for a future that turned out to be different from the officially predicted one. They captured both the shabby austerity of everyday Soviet life and ...
Genealogies of Art, Or the History of Art As Visual Art
How artists, historians and theorists have diagrammed art's lineages, from the Middle Ages to Fluxus Genealogies of Art analyzes the visual representations of art history made by artists, critics, designers, theorists and poets alike, from the genealogical trees of the 12th through the 15th centuries and the Renaissance to more recent information graphics, including paintings, sketches, maps, plans, prints, drawings and diagrams. The conceptual core of the book is the famed chart that Alfred H. Barr, first director of the Museum of Modern Art, composed for the cover of his landmark exhibition Cubism and Abstract Art in 1936, which sought to trace the origins of abstract art from 1890 to 1936...
Transition in Post-Soviet Art
"With an abridged translation of the Dictionary of Moscow Conceptualism."
Collective Body
A study of the Socialist Realist aesthetic focusing on the artist Aleksandr Deineka. Dislodging the avant-garde from its central position in the narrative of Soviet art, Collective Body presents painter Aleksandr Deineka’s haptic and corporeal version of Socialist Realist figuration as an alternate experimental aesthetic that, at its best, activates and organizes affective forces for collective ends. Christina Kiaer traces Deineka’s path from his avant-garde origins as the inventor of the proletarian body in illustrations for mass magazines after the revolution through his success as a state-sponsored painter of monumental, lyrical canvases during the Terror and beyond. In so doing, she ...
Political Censorship of the Visual Arts in Nineteenth-Century Europe
In this comprehensive account of censorship of the visual arts in nineteenth-century Europe, when imagery was accessible to the illiterate in ways that print was not, specialists in the history of the major European countries trace the use of censorship by the authorities to implement their fears of the visual arts, from caricature to cinema.
Uruk
This abundantly illustrated volume explores the genesis and flourishing of Uruk, the first known metropolis in the history of humankind. More than one hundred years ago, discoveries from a German archaeological dig at Uruk, roughly two hundred miles south of present-day Baghdad, sent shock waves through the scholarly world. Founded at the end of the fifth millennium BCE, Uruk was the main force for urbanization in what has come to be called the Uruk period (4000–3200 BCE), during which small, agricultural villages gave way to a larger urban center with a stratified society, complex governmental bureaucracy, and monumental architecture and art. It was here that proto-cuneiform script—the ...
Modernity as Exception and Miracle
Translated from the Spanish De lo extraordinario: Nominalismo y Modernidad, this book argues that a defining aspect of modernity is an ever-increasing pursuit of, and need for, what Eduardo Sabrovsky calls "the extraordinary," a term that encompasses both the exception and the miraculous. Sabrovsky shows the degree to which Robert Musil's novel The Man without Qualities functions as a paradoxical paradigm of the extraordinary, and he extends the theoretical insights drawn from Musil's magisterial work through a series of inquiries into cardinal elements of modern literature, material culture, historiography, physical science, psychoanalysis, and political theory. Sabrovsky demonstrates how the extraordinary condition of modernity emerges from the debates conducted by the last representatives of medieval scholasticism in which nominalism defeated realism, and he resituates the results of this triumph of nominalism in the writings of Friedrich Nietzsche, Theodor Adorno, Walter Benjamin, and Georges Bataille, among others.
Postsocialist Memory in Contemporary German Culture
Scholarship on Eastern Europe after 1989 often focuses narrowly on the socialist past as authoritarian, dictatorial, or totalitarian. This collection, by contrast, illuminates an additional dimension of post-socialist memory: it traces the survival of hopes and dreams born under socialism and the legacy of the unrealized alternative futures embedded within the socialist past. Looking at contemporary German-language literature, film, theater, and art, the volume analyzes reflections on everyday socialist realities as well as narratives of opposition and dissent. The texts discussed here not only revisit the past, but also challenge the present and help us imagine alternative futures. Rather than framing the unrealized futures envisioned in the pre-1989 era as failures, this collection probes post-socialist memory for its future-oriented potential to rethink issues of community, equity and equality, and late-stage capitalism. Foregrounding the complexities of Eastern European legacies also helps us reimagine the relationship between East and West both in Germany and in Europe as a whole.
