Welcome to Monoskop, a wiki for collaborative studies of the arts, media and humanities.
This page shows a selection of the latest additions to the website. For more detailed overview see the Recent, Contents, Index and Media library sections. Updates are also being posted on Twitter and Facebook.
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“Dead Pledges is the first book to explore the ways that U.S. culture—from novels and poems to photojournalism and horror movies—has responded to the collapse of the financialized consumer credit economy in 2008. Connecting debt theory to questions of cultural form, this book argues that artists, filmmakers, and writers have re-imagined what it means to owe and to own in a period when debt is what makes our economic lives possible. Encompassing both popular entertainment and avant-garde art, the post-crisis productions examined here help to map the landscape of contemporary debt: from foreclosure to credit scoring, student debt to securitized risk, microeconomic theory to anti-eviction activism. A searing critique of the ideology of debt, Dead Pledges dismantles the discourse of moral obligation so often invoked to make us repay. Debt is no longer a source of economic credibility, it contends, but a system of dispossession that threatens the basic fabric of social life.”
Publisher Stanford University Press, 2016
Post ’45 series
ISBN 9780804799058, 0804799059
Reviews: Brian Whitener (The New Inquiry, 2017), Sofia Cutler (LA Review of Books, 2017), Julian Murphet (Affirmations, 2017), Davis Smith-Brecheisen (Mediations, 2017), Arne De Boever (boundary2, 2017), Laura Finch (Journal of Cultural Economy, 2018).
“A novel account of the relationship between postindustrial capitalism and postmodern culture, this book looks at American poetry and art of the last fifty years in light of the massive changes in people’s working lives. Over the last few decades, we have seen the shift from an economy based on the production of goods to one based on the provision of services, the entry of large numbers of women into the workforce, and the emergence of new digital technologies that have transformed the way people work. The Work of Art in the Age of Deindustrialization argues that art and literature not only reflected the transformation of the workplace but anticipated and may have contributed to it as well, providing some of the terms through which resistance to labor was expressed. As firms continue to tout creativity and to reorganize in response to this resistance, they increasingly rely on models of labor that derive from values and ideas found in the experimental poetry and conceptual art of decades past.”
Publisher Stanford University Press, 2017
Post ’45 series
ISBN 9780804796415, 0804796416
“This is the first interdisciplinary analysis of performance art in East, Central and Southeast Europe under socialist rule. By investigating the specifics of event-based art forms in these regions, each chapter explores the particular, critical roles that this work assumed under censorial circumstances.
The artistic networks of Yugoslavia, Hungary, Latvia, Lithuania, Poland, Romania, East Germany and Czechoslovakia are discussed with a particular focus on the discourses that shaped artistic practice at the time, drawing on the methods of Performance Studies and Media Studies as well as more familiar reference points from art history and area studies.”
Publisher Routledge, New York & London, 2018
ISBN 9781138723276, 1138723274
Interview with editors (ARTMargins, 2014)
“With humor, rage, and confessional detail, Virginie Despentes—in her own words “more King Kong than Kate Moss”—delivers a highly charged account of women’s lives today. She explodes common attitudes about sex and gender, and shows how modern beauty myths are ripe for rebelling against. Using her own experiences of rape, prostitution, and working in the porn industry as a jumping-off point, she makes the bold, stinging point that when it comes to sex today, everyone’s getting screwed.”
First published in French as King Kong théorie, Grasset, 2006.
Translated by Stéphanie Benson
Publisher The Feminist Press, City University of New York, New York, 2010
ISBN 9781558616578, 1558616578
Review: Rebecca Seal (The Guardian, 2009).
“This volume presents papers based on the presentations held at the conference Local Contexts / International Networks – Avant-Garde Magazines in Central-Europe (1910-1935) held at the Kassák Museum in September 2015. The Museum is the only Hungarian museum devoted entirely to the avant-garde and its documents. It launched a programme centred around the presentation of archives and private collections, contemporary reflections on the avant-garde, and a reconsideration of Kassák’s oeuvre.
The avant-garde journal was arguably the most important medium of communication for progressive literature and visual arts in the region during World War I and the interwar period. The conference brought together researchers of different disciplines and approaches to analyse the multifaceted nature of the avant-garde journal. It aimed to draw attention to the tensions between national/local and international/cosmopolitan and offer possible answers to the question: how did the different cultural and historical characteristics affect the local avant-gardes of Central Europe?” (from Introduction)
With texts by Gábor Dobó and Merse Pál Szeredi, Eszter Balázs, Jindřich Toman, Gábor Dobó, Piotr Rypson, Michalina Kmiecik, Przemysław Strożek, Klára Prešnajderová, Sonia de Puineuf, Michał Wenderski, Dušan Barok, György C. Kálmán and András Kappanyos, and Irina Denischenko.
Edited by Gábor Dobó and Merse Pál Szeredi
Publisher Petőfi Literary Museum & Kassák Museum, Kassák Foundation, Budapest, 2018
The Avant-Garde and Its Journals series, 2
Creative Commons Licence Attribution-NonCommercial-ShareAlike 2.5 Generic License