Stephen J. Collier: Post-Soviet Social: Neoliberalism, Social Modernity, Biopolitics (2011)

The Soviet Union created a unique form of urban modernity, developing institutions of social provisioning for hundreds of millions of people in small and medium-sized industrial cities spread across a vast territory. After the collapse of socialism these institutions were profoundly shaken–casualties, in the eyes of many observers, of market-oriented reforms associated with neoliberalism and the Washington Consensus. In Post-Soviet Social, Stephen Collier examines reform in Russia beyond the Washington Consensus. He turns attention from the noisy battles over stabilization and privatization during the 1990s to subsequent reforms that grapple with the mundane details of pipes, wires, bureaucratic routines, and budgetary formulas that made up the Soviet social state.

Drawing on Michel Foucault’s lectures from the late 1970s, Post-Soviet Social uses the Russian case to examine neoliberalism as a central form of political rationality in contemporary societies. The book’s basic finding–that neoliberal reforms provide a justification for redistribution and social welfare, and may work to preserve the norms and forms of social modernity–lays the groundwork for a critical revision of conventional understandings of these topics.

Publisher Princeton University Press, 2011
ISBN 0691148317, 9780691148311
320 pages

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Marshall Berman: All That Is Solid Melts Into Air: The Experience of Modernity (1982–) [EN, ES]

The political and social revolutions of the nineteenth century, the pivotal writings of Goethe, Marx, Dostoevsky, and others, and the creation of new environments to replace the old-all have thrust us into a modern world of contradictions and ambiguities. In this fascinating book, Marshall Berman examines the clash of classes, histories, and cultures, and ponders our prospects for coming to terms with the relationship between a liberating social and philosophical idealism and a complex, bureaucratic materialism.From a reinterpretation of Karl Marx to an incisive consideration of the impact of Robert Moses on modern urban living, Berman charts the progress of the twentieth-century experience. He concludes that adaptation to continual flux is possible and that therein lies our hope for achieving a truly modern society.

First published by Simon & Schuster, Inc., 1982
This edition with a new preface published in Penguin Books, 1988
ISBN 0140109625, 9780140109627
383 pages

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All That Is Solid Melts Into Air: The Experience of Modernity (English, 1982/1988)
Todo lo solido se desvanece en el aire: La experiencia de la modernidad (Spanish, trans. Andrea Morales Vidal, 3rd ed., 1988/1989, added on 2014-6-2)

Minglu Gao: Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art (2011)

“To the extent that Chinese contemporary art has become a global phenomenon, it is largely through the groundbreaking exhibitions curated by Gao Minglu: ‘China/Avant-Garde’ (Beijing, 1989), ‘Inside Out: New Chinese Art’ (Asia Society, New York, 1998), and ‘The Wall: Reshaping Contemporary Chinese Art’ (Albright-Knox Art Gallery, 2005) among them. As the first Chinese writer to articulate a distinctively Chinese avant-gardism and modernity—one not defined by Western chronology or formalism—Gao Minglu is largely responsible for the visibility of Chinese art in the global art scene today.

Contemporary Chinese artists tend to navigate between extremes, either embracing or rejecting a rich classical tradition. Indeed, for Chinese artists, the term “modernity” refers not to a new epoch or aesthetic but to a new nation—modernity inextricably connects politics to art. It is this notion of “total modernity” that forms the foundation of the Chinese avant-garde aesthetic, and of this book.

Gao examines the many ways Chinese artists engaged with this intrinsic total modernity, including the ’85 Movement, political pop, cynical realism, apartment art, maximalism, and the museum age, encompassing the emergence of local art museums and organizations as well as such major events as the Shanghai Biennial. He describes the inner logic of the Chinese context while locating the art within the framework of a worldwide avant-garde. He vividly describes the Chinese avant-garde’s embrace of a modernity that unifies politics, aesthetics, and social life, blurring the boundaries between abstraction, conception, and representation. Lavishly illustrated with color images throughout, this book will be a touchstone for all considerations of Chinese contemporary art.”

Publisher MIT Press, 2011
ISBN 0262014947, 9780262014946
409 pages

Reviews: Craig Clunas (Artforum, 2011), David Carrier (artCritical, 2011).

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