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Defiant Muses
This publication explores the intersection between the histories of cinema, video and feminism in France. Focusing on the emergence of video collectives in the 1970s, the exhibition proposes to reconsider the history of the feminist movement in France through a set of media practices and looks at a network of creative alliances that emerged in a time of political turmoil.00Exhibition: Museo Nacional Reina Sofia, Madrid, Spain (25.09.2019 - 23.03.2020).
Radicalizing Care
Critical theoretical essays, case studies, and manifestos offer insights from diverse contexts and geographies of feminist and queer care ethics. What happens when feminist and queer care ethics are put into curating practice? What happens when the notion of care based on the politics of relatedness, interdependence, reciprocity, and response-ability informs the practices of curating? Delivered through critical theoretical essays, practice-informed case studies, and manifestos, the essays in this book offer insights from diverse contexts and geographies. These texts examine a year-long program at Schwules Museum Berlin focused on the perspectives of women, lesbian, inter, non-binary and tran...
Cluster
La 1ère de couverture porte: "Cluster is a network of eight contemporary visual art organizations that are all located in residential areas situated on the peripheries of European cities, extending to the Middle East with one member in Holon, Israel. Each organization is highly invested in engaging with its particular locality. Cluster was formed in Summer 2011 with the goal of facilitating knowledge exchange in relation to how the organizations operate, particularly in relation to their local contexts, as well as with the specific expectations of funders and the media. This is the first network of this kind."
With Other Eyes
With Other Eyes demonstrates how feminist, postcolonial, and antiracist concerns can successfully be incorporated into the study of art.
MIRIAM CAHN
A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn’s diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn’s reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the “#metoo” movement. Miriam Cahn: I as Human examines different facets of the artist’s prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Bühler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and .
Promises of the Past
Twenty years after the fall of the Berlin Wall, The Promises of the Past examines the former opposition between Eastern and Western Europe by reinterpreting the history of the Communist Bloc countries through art. Challenging the idea that art history is somehow linear and continuous, this transnational and multigenerational project features works by more than 50 artists, many of them from Central and Eastern Europe, including: Marina Abramovic, Yael Bartana, Dimitrije Basicevic (Mangelos), Tacita Dean, Liam Gillick, Sanja Ivekovic, Július Koller, Jirí Kovanda, Edward Krasinski, David Maljkovic, Marjetica Potrc and Monika Sosnowska. Accompanying an exhibition at the Centre Pompidou in Paris, this publication features previously unpublished archival documentation, as well as historic essays by Slavoj Zizek, Igor Zabel and others.
Picturing History at the Ottoman Court
Traces the simultaneous crafting of political power, the codification of a historical record, and the unfolding of cultural change
Active Withdrawals
Active Withdrawals is an anthology of essays addressing the institutionalisation of artistic practices and the act of withdrawal--a seeking out of places of contemplation and retreat--that is often adopted in Eastern art. The book critiques the growing desire for museums and galleries to become recognised as places of artistic institutions and exposes concerns surrounding the institutionalisation of artist's work, covering artistic practices across Scandinavia, Eastern Europe, China and South East Asia. Drawing from a seminar that took place in July 2013, the book challenges the institutional structure that has become prominent within the art world and often drives and defines its output. Including writings from some of the world's most prominent curators, including Biljana Ciric, Maria Lind and Lina Dzuverovic, a large focus of this anthology explores issues beyond a Western context and avoids a geographical grouping to the writers' concerns. Instead, the publication is structured in such a way that the voice of each writer resonates throughout, combining to create a thoughtful and significant commentary on a largely neglected topic.
(Re)imagining African Independence
Cover -- Contents -- List of Figures -- Acknowledgements -- Foreword (Lúcia Nagib) -- Colonial Reflections, Post-Colonial Refractions: Film and the Moving Image in the Portuguese (Post- )Colonial Situation (Maria do Carmo Piçarra and Teresa Castro) -- Part I The Birth [through Images] of African Nations -- 1"Ruy Duarte: A Cinema of the Word Aspiring to Imagine Angolanness (Maria do Carmo Piçarra) -- 2"Between the Visible and the Invisible: Mueda, Memória e Massacre by Ruy Guerra and the Cultural Forms of the Makonde Plateau (Raquel Schefer) -- 3"Clear Lines on an Internationalist Map: Foreign Filmmakers in Angola at Independence (Ros Gray) -- 4"The Many Returns to Wiriyamu: Audiovisual T...
Artist at Work, Proximity of Art and Capitalism
The main affirmation of artistic practice must today happen through thinking about the conditions and the status of the artist's work. Only then can it be revealed that what is a part of the speculations of capital is not art itself, but mostly artistic life. Artist at Work examines the recent changes in the labour of an artist and addresses them from the perspective of performance.
