Suchergebnisse

In this essay, we will consider how censorship affects discourses of contemporary art in the Republic of Macedonia. To do so, we must first outline the cultural, political and social contexts in Macedonia; consider some differing standpoints on what constitutes contemporary art practice in the country; and, having done so, develop in detail two case studies which will allow the reader to gain an understanding of how censorship is deployed as a tactic in erasing, or in rendering illegitimate, critical contemporary art. Although, as we shall see, contemporary art occupies a marginal and, arguably, subterranean position in Macedonia, such censorial interventions are an acknowledgement of its potential to shape cultural debate in a different way.

What is at stake for contemporary art in the take up of Deleuze and Guattari's thought? What are the limits and possibilities of this take up? To address these questions, this book presents a series of inflections that explore the connection between these two fields. The topics studied range from the political and the expanded 'aesthetic paradigm' of art practice today, to specific scenes and encounters and the question of technology in relation to art. These essays have been written by philosophers and artists working at the cutting edge of this new area, including writers from outside the Anglo-American tradition. The contributors include Gustavo Chirolla Ospina, Suely Rolnik, Gerald Raunig, Eric Alliez, Maurizio Lazzarato, Jussi Parikka, Johnny Golding, David Burrows, Robert Garnett, Edgar Schmitz, Claudia Mongini, Elisabeth von Samsonow, Barbara Bolt, Neil Chapman and Ola Stahl

Torn between a revival of aesthetics and the persistence of conceptualism, critical writing about contemporary art has once again come to focus on differing views of its aesthetic dimension. The context and character of these debates has, however, shifted markedly since the 1960s, with changes in art practices, institutions, political contexts, and theoretical paradigms-and in particular, with the global extension of the Western art world since 1989. This inter- and transdisciplinary collection of essays by philosophers, artists, critics, and art historians, reconsiders the place of the aesthetic in contemporary art, with reference to four main themes: aesthetics as 'sensate thinking'; the dissolution of artistic limits; post-autonomous practices; and exhibition-values in a global artworld

Cover -- Half Title -- Title Page -- Copyright Page -- Table of contents -- Figures -- Contributors -- Acknowledgements -- Chapter 1 Introduction -- Aims and rationale -- A complex relationship -- Scope and approach -- Part I: Reimagining heritage -- Part II: Alternative histories -- Part III: Disciplinary dialogues -- Part IV: Liminal spaces -- Notes -- Part I Reimagining heritage -- Chapter 2 Mapping contemporary art in the heritage experience -- Introduction -- Museological origins for contemporary art in heritage practice -- A new 'commissioning' industry? -- Reimagining audiences through contemporary art in heritage -- Conclusion -- Notes -- Chapter 3 Making cities: Place, production, and (im)material heritage -- Emily Hesse -- Neil Brownsword -- Conclusion -- Notes -- Chapter 4 Gestured by Brass Art: Gestures, ambiguity, and material transformation at Chetham's Library -- Introduction -- An embodied approach to the archive -- Molten and interior geologies | the erupting body -- Absent women return -- Spectral whispers -- Re-presenting the space -- A fantasy hovers -- Notes -- Part II Alternative histories -- Chapter 5 Making the invisible visible in Capability Brown's lost landscapes -- Introduction -- Developing the project -- Pinatopia and Mount Folly -- Harewood House -- Gustav Metzger -- The garden and/as artwork -- Giles Bailey: Out of a Morass -- Ruth Lyons: Pilot Light -- Amelia Crouch: Nor Stamp Hard on the Ground, Neither -- Lead, Threads, and Petals -- Conclusion -- Notes -- Chapter 6 A room of one's own: Strategies of feminist arts interventions -- Introduction -- Context: the National Trust and the Challenging Histories programme -- Why feminism and heritage -- A framework of feminist strategies -- Feminist artist interventions -- Complaint, risk, and loss -- Conclusion -- Notes.

What role might art exert in light of the challenges posed by climate change, resource depletion, and the diverse political and cultural crises our societies face in the twenty-first century? The hypothesis guiding this book is born of Félix Guattari's claim that in confronting the multi-faceted problems of our global political economy we need to develop a more complex analysis of nature, culture and technology, shifting from catastrophic, end-of-the world narratives to productive, generative, trans-species alliances for the sake of the sustainability of life on the planet. Because capitalism is no longer understood merely as a mode of production but as a system of semiotization, homogenization, and of transmission of forms of power over goods, labour and individuals, only the emergence of other relational subjective formations would be able to counteract the fixation of desire towards capital and its diverse crystallizations of power. New social practices, new aesthetic practices and new practices of the self in relation to the other are summoned to undertake an ethical-political reinvention of life. As Guattari argues, it is about reappropiating universes of value and paving the way for the emergence of processes of singularization involving a mutating subjectivity, a mutating socius, and a mutating environment. This book is engaged in thinking about the conjunction of the ecological turn in contemporary art and the attention given to matter in recent humanist scholarship as a way of exploring how new configurations of the world suggest new ways of being and acting in that world. Contributors investigate the means by which art can act as an existential catalysist, providing ways of changing our modes of relation beyond traditional modes of representation and, in doing so, instituting transformation.

This will be the first ever book on contemporary art in Bosnia & Herzegovina, in any language. The book derives from a period of three years of research and participatory observation around the differing art activities in BiH. In a challenging contextual essay, the key drivers of contemporary art in the country are considered. The main themes discussed are the legacy of the 1992-95 war, the collapse of infrastructure, informality, futavizam, art activism and politics, art and the environment, Yugoslavism, and diaspora. In addition to fleshing out these broader themes, the book will consider key works of contemporary art in grater detail, in order to open out the complex interplay of these themes in individual works. Lavishly illustrated, the book will provide a key starting point both for the general and the academic reader, and will stand as a guide to BiH art for many years to come.

In this article, Healoha Johnston considers how five contemporary artists describe the interconnectivity of the environment and aloha ʻāina through their work. Recent installations and exhibitions featuring artwork by Bernice Akamine, Maile Andrade, Sean Browne, Imaikalani Kalahele, and Abigail Romanchak engage issues of sustainability, articulate genealogical connections to ʻāina, and decribe the possibilities for regenerative relationships to ʻāina through materials, form, and content. This essay considers the impact of the 1970s Hawaiian Renaissance as a cultural and political movement that re-centered the relationship between Kānaka and ʻāina, and catalyzed Hawaiʻi's contemporary art scene with a political dimension that visualized Kanaka ʻŌiwi resurgence.