Filed under book | Tags: · art theory, commons, contemporary art, geopolitics, glossary, history, politics, subjectivation, subjectivity, theory
The Glossary of Common Knowledge is a research project by MG+MSUM, Ljubljana, in the frame of L’Internationale, aiming to negotiate various positions, contexts and local narratives about contemporary art. The glossary entries were produced through six seminars (2014-17), each focusing on one selected referential field: historicization, subjectivization, geo-politics, other institutionality, and commons. The resulting website now functions as an open platform accepting new contributions.
Fields and terms:
Historicization: archive, constellation, emancipation, temporally embodied sound, estrangement, heterochronia, humanism, intuition, pathological fracture, phantom (pain), reconstruction, self-historicization, temporalities, tendencies in art, the contemporary.
Subjectivization: creleasure, dancing as insurrectional practice, decolonize, evidence, fragility, interest, kapwa, loser, over-identification, radical imagination, self-determination, self-representation, on subjectivization, the subject, travesti, unrest.
Geo-politics: agitational visual language, alignment, catastrophe, eurasia, event, global resistance, institutional geopolitical strategies, migrancy, non-aligned movement, pandemic, postsocialism, south, tudigong, god of the land, white space.
Constituencies: agency, autonomy, biotope, bureaucratisation, collaboration / co-labour, construction, the continuity-form and counter-continuity, de-professionalization, intervenor, labour, ñande / ore, the eternal network / la fête permanente, the rest is missing.
Commons: to baffle, basic income, the brotherhood & unity highway, constituent power of the common, corrected slogan, data asymmetry , friendship, heterotopian homonymy, institution, noosphere, palimpsest, rog, self-management, solidarity, theft.
Other institutionality: a residual, adab, alternating, conspiratory institutions?, dark room, deviant, family, global crowd, interdependence, lobbying, reflexive / reflexivity, stultifera navis, the sustainable museum, the art hypothesis, translation.
Curated by Zdenka Badovinac, Bojana Piškur and Jesús Carrillo (MNCARS) in collaboration with L’Internationale, et al
Publisher MG+MSUM, Ljubljana, 2017
Filed under book | Tags: · 1960s, 1968, 1970s, history, media, non-aligned movement, politics, protest, resistance
“Abandoning the usual Cold War–oriented narrative of postwar European protest and opposition movements, this volume offers an innovative, interdisciplinary, and comprehensive perspective on two decades of protest and social upheaval in postwar Europe. It examines the mutual influences and interactions among dissenters in Western Europe, the Warsaw Pact countries, and the non-aligned European countries, and shows how ideological and political developments in the East and West were interconnected through official state or party channels as well as a variety of private and clandestine contacts. Focusing on issues arising from the cross-cultural transfer of ideas, the adjustments to institutional and political frameworks, and the role of the media in staging protest, the volume examines the romanticized attitude of Western activists to violent liberation movements in the Third World and the idolization of imprisoned RAF members as martyrs among left-wing circles across Western Europe.”
Edited by Martin Klimke, Jacco Pekelder and Joachim Scharloth
Publisher Berghahn Books, New York, 2011
Protest, Culture, and Society series, 7
ISBN 9780857451064, 0857451065
Reviews: Caroline Hoefferle (J Study of Radicalism, 2012), Benoît Challand (Memory Studies, 2013), Rosemary H.T. O’Kane (Political Studies Rev, 2013), Sarah Žabić (Peace&Change, 2013), Matthias Dapprich (J Cold War Studies, 2014), Francis D. Raška (European Legacy, 2016).Comment (0)
Filed under journal | Tags: · art criticism, art history, catastrophe, contemporaneity, history, theory
“This issue of The Nordic Journal of Aesthetics addresses the question of art’s ability to give form to the catastrophic events of the 20th century, primarily World War II and the atomic bomb, but on the way it – necessarily – broadens the scope of the enquiry to include the question of the relationship between art, remembrance and history today. The articles all contribute to the discussion of that complex relationship asking how art can call attention to past and present historical events of a catastrophic character with a view to changing the present (and the past). History – as Walter Benjamin has taught us – is always written from the present and ‘official history’ thus always has a very selective framing of the victims of history preferring to exclude and ‘invisibilize’ certain subjects and groups in order to naturalize the present order.”
Essays by Gene Ray, Sven Lütticken, Gavin Grindon, Mikkel Bolt Rasmussen, Ernst Van Alpen, Jacob Lund, Terry Smith, and Peter Osborne.
Edited by Mikkel Bolt and Jacob Lund
Publisher Thales, Stockholm, 2015