Suchergebnisse

"Memory Art in the Contemporary World discusses with the ever-expanding field of transnational memory art, which has emerged from a political need to come to terms with traumatic historical pasts, from the Holocaust to apartheid, colonialism, state terror and civil war. It focuses on the work of several contemporary artists from beyond the Northern Transatlantic, including William Kentridge, Vivan Sundaram, Doris Salcedo, Nalini Malani and Guillermo Kuitca, all of whom reflect on historical situations specific to their own countries but in work which has been shown to have a transnational reach. Andreas Huyssen considers their dual investment in memories of state violence and memories of modernism as central to the affective power of their work. This thought-provoking and highly relevant book reflects on the various forms and critical potential of memory art in a contemporary world which both obsesses about the past, in the building of monuments and museums and an emphasis on retro and nostalgia in popular culture, and simultaneously fosters historical amnesia in increasingly flattened notions of temporality encouraged by the internet and social media."--

Pretéritos presentes : medios, política, amnesia - Escapar de la amnesia : los museos como medio de masas - Anselm Kiefer : el terror de la historia y la tentación del mito - El Holocausto como historieta. Una lectura de Maus de Spiegelman - Monumental seducción : Christo, Speer, Wagner - El vacío rememorado : Berlín como espacio en Blanco - Miedo al ratón : las transformaciones de Times Square - Palimpsesto 1968 : Estados Unidos/Alemania - Recuerdos de la utopía

The contemporary arts contain and nurture the social lives of European memory, both in Europe and abroad. But European memory cannot be fortressed. It must include memories of Europe as they circulate elsewhere in the world. The lecture will focus on three contemporary artists (Doris Salcedo, William Kentridge, and Vivan Sundaram) whose work engages with memories of political violence in aesthetic forms imaginatively appropriated and transformed from the legacies of European and Transatlantic modernism.

Discusses the issue of national identity in the context of the postunification Federal Republic of Germany. The question of German identity had already begun to emerge in intellectual debates in the mid-1980s, before the process of unification. Unification is therefore understood not as the fulfillment of a historical trajectory, but as a sharpening of the persistent question of national identity. This question has been approached in national debates in terms of 19th-century notions of autonomy. It is suggested that a more profitable direction for these discussions might be motivated by a definition of the nation as a negotiated heterogeneity rather than a homogeneity imposed from above. The intellectual Left is encouraged to participate in this revised national debate to guide discussions about nationalism in directions that do not end in misery for Germany's foreign-born populations. A discussion ensues regarding Huyssen's views of national identity. D. M. Smith

Es geht um die Entwicklung der Bedeutung von Postmoderne in den Bereichen Architektur, Tanz, Theater, Malerei, Film und Musik seit ihrer Entstehung in den fünfziger und sechziger Jahren in den USA und um die internationale Weiterentwicklung bis in die achtziger Jahre. Mit Bezug auf vorhandene Literatur beschreibt der Autor die Postmoderne als Reaktion auf die Moderne mit sowohl revolutionären als auch rezeptiven Elementen. Einen deutlichen Unterschied zwischen Postmoderne und Moderne sieht er in der grundsätzlichen und neuen Problematisierung der Erhaltung kultureller Traditionen durch die Postmoderne, deren Bedeutungsinhalt bis Anfang der achtziger Jahre noch keine eindeutige Definition, aber eine Abgrenzung des Begriffs der Moderne zuläßt. (HD)