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MY MOTHER'S TALES
The tales in this book were told to the renowned author and academic Aziza Jafarzade by her mother "Grandmother Boyukhanim" when she was a child in Azerbaijan in the first half of the last century. In later life she faithfully wrote them down and preserved them for posterity in the collection "My Mother's Tales" published in Baku in 1982. They are a joy to read. Influenced by fairy tales and folklore they are rich in mysticism, metaphor, allegory and magic. With dragons and serpents, speaking animals, flying horses and other strange creatures, every story has a strong moral element to it. Good usually triumphs over evil, but not always, for - like all good fairy tales - there is a dark side to them. All aspects of human life are addressed with consummate skill and these stories will appeal to both children and adults alike. This universal appeal and timelessness is best summed up by Professor Maharramova: "She used the language of the marvellous to mirror the hopes and fears of our own world".
The Violence of Participation
Is Europe a place, a space, or a temporary community of shared interests? As a political space, Europe is as conflictual as its debated constitution. It is a construct that must be continuously negotiated, and its longing for an architecture of strategic encounters parallels an increasing economical power of the private sector, while the sovereignty of European nation states attenuate. This book, edited by London-based architect and author Markus Miessen, marks an extension of the discursive space he has produced as contribution to the 2007 Lyon Biennial. He has pulled together a heterogeneous group of interlocutors to lead conversations on alternative notions of participation, the inconsistence between democratic concepts, and what it means to live in Europe today"--Publisher's website.
Taking the Matter Into Common Hands
Taking the Matter into Common Hands maps out the issues surrounding collaborative art from a practitioner's perspective. With contributions from Marion von Osten, Nav Haq, 16 Beaver, Copenhagen Free University, Maria Lind and Lars Nilsson, it examines the working relations between artists and other producers of culture, and explores the future of collective action in the art world. In recent years, the art world has shown a renewed interest in collective work and activity. Collaborations between artists and artists, artists and curators, and artists and outside professionals have begun to rival the traditional focus on the individual artist. This type of collaboration has called into question how we view works of art that are not the voice of a single individual, and how that impacts on the concept of art as a means of self-expression. Taking the Matter Into Common Hands is essential for both academics, practitioners and lay audiences alike 47 colour & b/w illustrations
The Nightmare of Participation
Including an introduction by Eyal Weizman, a conversation with Chantal Mouffe, an interview by Hans Ulrich Obrist, and post-scripts by Bassam El Baroni, Jeremy Beaudry, and Carson Chan. Welcome to Harmonistan! Over the last decade, the term "participation" has become increasingly overused. When everyone has been turned into a participant, the often uncritical, innocent, and romantic use of the term has become frightening. Supported by a repeatedly nostalgic veneer of worthiness, phony solidarity, and political correctness, participation has become the default of politicians withdrawing from responsibility. Similar to the notion of an independent politician dissociated from a specific party, this third part of Miessen's "Participation" trilogy encourages the role of what he calls the "crossbench practitioner," an "uninterested outsider" and "uncalled participator" who is not limited by existing protocols, and who enters the arena with nothing but creative intellect and the will to generate change.
On the Style Site
This book takes its cue from a simple observation. During the last 30 years or so, the term style has all but disappeared from art critical or art historical terminology. For new art history it was an increasingly problematic term, associated with the taxonomist and historicist concerns of "old" art history, not to speak of its fixation on the figure of the great artist. For contemporary art criticism the term seemed simply irrelevant: Faced with artistic activities that challenged traditional ideas of the work of art and its relation to aesthetics itself, new critical paradigms had to be invented. As interventions in social reality, an art of actions and events, replaced preoccupations with...
Under Deconstruction
The publication by Libia Castro and Ólafur Ólafsson on the occasion of the exhibition at the Icelandic pavilion at Venice Biennale 2011 is conceived as a first comprehensive overview / in depth analysis of more than ten years of their artistic practice--leading up to their most current works. Four essays by internationally renowned writers approach Castro/Ólafsson's work from different angles, while a conversation with the exhibition curator, Ellen Blumenstein, meanders through the book, takes up the artists own perspective on their work, and focuses on the production of the new projects while digging into recent social and political developments in Iceland. Contributors Maurizio Lazzarato, Susanne Leeb, Halldór Björn Runólfsson, Simon Sheikh Conversation with the artists by Ellen Blumenstein
Improvisation and Social Aesthetics
Addressing a wide range of improvised art and music forms—from jazz and cinema to dance and literature—this volume's contributors locate improvisation as a key site of mediation between the social and the aesthetic. As a catalyst for social experiment and political practice, improvisation aids in the creation, contestation, and codification of social realities and identities. Among other topics, the contributors discuss the social aesthetics of the Association for the Advancement of Creative Musicians, the Feminist Improvising Group, and contemporary Malian music, as well as the virtual sociality of interactive computer music, the significance of "uncreative" improvisation, responses to ...
