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One effect of globalization is that encounters between different cultures, religions, and languages, as well as between different ethnic and national identities, have intensified. My own explanatory model starts from a theory of rewriting. This theory proceeds from the observation that liberal democratic terms such as integration and assimilation in fact center on the pair of terms inclusion/exclusion. The theory particularly concerns the West and one of its greatest inventions: modernity. The idea of rewriting is based on the assumption that every system consists of a finite number of elements and of a limited number of rules as to how these elements are connected and can be sequenced. How precisely these rewriting processes of cultures, economic systems, and states occur under pressure from globalization was an essential focus of the exhibition The Global Contemporary. Art Worlds after 1989 at the ZKM Center for Art and Media Karlsruhe, in 2011. This exhibition showed how historical, ethnic, and cultural characteristics are rewritten by the global cultural and economic transformations that are taking place. The world of art offers a glance at these global rewriting processes through a magnifying glass. ; Uno degli effetti della globalizzazione è l'intensificazione degli scontri tra culture, religioni, lingue e identità, etniche e nazionali, diverse. Il modello esplicativo di Peter Weibel si fonda su una teoria della riscrittura. La sua teoria nasce dall'osservazione che alcuni termini liberal-democratici, come integrazione e assimilazione, hanno origine dalla coppia di termini inclusione/esclusione. Questa teoria riguarda soprattutto l'Occidente e una delle sue più grandi invenzioni: la modernità. L'idea della riscrittura si basa sull'assunto che ogni sistema è costituito da un numero finito di elementi e di regole che normalizzano i rapporti tra questi e la possibilità di metterli in sequenza. La mostra intitolata The Global Contemporary. Art Worlds after 1989, allo ZKM Center for Art and Media Karlsruhe (2011), indagava il modo in cui si verificano questi processi di riscrittura, nelle culture, nei sistemi economici e negli stati, sotto la pressione della globalizzazione. Questa mostra ha illustrato inoltre come le caratteristiche storiche, etniche e culturali sono riscritte dalle trasformazioni culturali ed economiche globali. Il mondo dell'arte offre uno sguardo privilegiato su questi processi globali di riscrittura.

Résumé Birgit Jürgenssen introduit le féminisme dans le champ de l'art dès les années 1970. Elle se livre à une destruction en règle des assignations imposées aux femmes, celle en particulier de la « femme au foyer ». Échappant aux catégories du genre, s'inspirant du surréalisme et de l'ethnographie, elle met en lumière l'intersection entre divisions de classe, de race et de sexe. Le corps féminin devient dans ses dessins et photographies un territoire inconnu.

Die Verhältnisse zwischen Markt, Medien und Museum haben sich seit den 1980er Jahren verschoben. Für die Museen ist das Modell des Web 2.0, der "User Generated Content" von Bedeutung. Museen müssen von ihrer tradierten Orts- und Zeitgebundenheit befreit werden. Nicht das lokale gebundene Erlebnis in Raum und Zeit ist der Maßstab für das Leitbild des Museums der Zukunft, sondern das einer Plattform, auf der die Menschen unabhängig von ihrem physischen Aufenthaltsort über die Kunstwerke kommunizieren können. (ICE2)

Als das Porträt einer Randgruppe fordert dieses Buch zur Auseinandersetzung mit dem Phänomen Outcast heraus, indem es das vielfältige Material, das in zahlreichen Projekten künstlerischer Forschung mit weiblichen Drogenabhängigen in europäischen Gefängnissen und Therapieeinrichtungen entstanden ist, ordnet und in einen Zusammenhang bringt. Die Bedingungen, die sich in sozialen Prozessen strukturell verfestigt haben, werden so offengelegt und als öffentliche Angelegenheit wahrnehmbar gemacht. Inhaltlich und visuell umfassend dokumentiert werden die biografische und die künstlerische Arbeit mit den Gefangenen, die Briefwechsel, die Interventionen im isolierten, öffentlichen und kulturellen Raum, Protokolle, Reflexionen und Ergebnisse des interdisziplinären Austausches mit WissenschaftlerInnen. Ulrike Möntmann, studierte Visuelle Kommunikation und Bildende Kunst. Sie lebt und arbeitet in Amsterdam und Wien.

As the portrait of a fringe group, this book invites the reader to engage with the phenomenon of outcasts; it orders the rich material - which has grown out of numerous projects of artistic research with female drug users in European prisons and therapy institutions - and sets it into context. In this way, the conditions which have become structurally embedded in social processes are laid open and made perceptible as a matter of public concern. The biographical and artistic work with the inmates, the correspondence, the interventions in the isolated, public, and cultural sphere, the minutes, reflections, and results of the interdisciplinary exchange with scientists are comprehensively documented and illustrated. Ulrike Möntmannstudied visual communication and fine arts; she lives and works in Amsterdam and Vienna.