Jeremy Matthew Glick: The Black Radical Tragic: Performance, Aesthetics, and the Unfinished Haitian Revolution (2016)

10 October 2019, dusan

“As the first successful revolution emanating from a slave rebellion, the Haitian Revolution remains an inspired site of investigation for a remarkable range of artists and activist-intellectuals in the African Diaspora.

In The Black Radical Tragic, Jeremy Matthew Glick examines twentieth-century performances engaging the revolution as laboratories for political thinking. Asking readers to consider the revolution less a fixed event than an ongoing and open-ended history resonating across the work of Atlantic world intellectuals, Glick argues that these writers use the Haitian Revolution as a watershed to chart their own radical political paths, animating, enriching, and framing their artistic and scholarly projects. Spanning the disciplines of literature, philosophy, and political thought, The Black Radical Tragic explores work from Lorraine Hansberry, Sergei Eisenstein, Edouard Glissant, Malcolm X, and others, ultimately enacting a speculative encounter between Bertolt Brecht and C.L.R. James to reconsider the relationship between tragedy and revolution. In its grand refusal to forget, The Black Radical Tragic demonstrates how the Haitian Revolution has influenced the ideas of freedom and self-determination that have propelled Black radical struggles throughout the modern era.”

Publisher New York University Press, New York, 2016
America and the Long 19th Century series
ISBN 9781479844425, 147984442X
xiii+266 pages

Reviews: Slavoj Žižek (LA Review of Books, 2016), Marina Sofia Magloire (Women & Performance, 2017), Paige A. McGinley (TDR, 2017).

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Notes sur les mouvements (2013-2014) [French/English]

10 October 2019, dusan

A free publication edited by Romana Schmalisch during her residency at Les Laboratoires d’Aubervilliers.

“The first issue analyses the conjunction of dance with Labour Movements of the 1930s (New Dance Group) as well as its use in the industry to enhance efficiency (Laban/Lawrence); it looks at the vague image that we have from various professions, researches the value of the performance of a work and its equivalence in the wage, and considers different forms of abstractions (notations and graphics) and training methods.”

“The second issue focuses on the question of education. In an interview, sociologist Anne Querrien discusses social norms and the school system. In her text, the London-based writer Marina Vishmidt revisits an earlier essay which considered the relationship between contemporary dance and the de-materialization of labour. What changes about this relationship as all employment becomes more and more of a brutal hypothesis in our post-crisis conditions?”

“The last, third, issue deals with what is at stake when one learns a job, with relationships between teachers and students, with various methods of education, and with the way these systems reflect certain social norms.”

Edited by Romana Schmalisch
Publisher Les Laboratoires d’Aubervilliers, Aubervilliers, 2013-2014
Open access
24 pages per issue

Publisher

Issue 1 (September 2013)
Issue 2 (March 2014)
Issue 3 (September 2014)

Mike Kelley: Foul Perfection: Essays and Criticism / Minor Histories: Statements, Conversations, Proposals (2003-2004)

14 September 2019, dusan

Collected writings Los Angeles artist Mike Kelley. The first volume contains his critical writings and commentary, the latter focuses on his own work.

“The work of artist Mike Kelley (1954-2012) embraced performance, installation, drawing, painting, video, and sculpture. Drawing distinctively on high art and vernacular traditions, including historical research, popular culture, and psychology, Kelley came to prominence in the 1980s with a series of sculptures composed of craft materials. His more recent work offered dialogues with architecture and with repressed memory syndrome, and a sustained inquiry into his own aesthetic and social history. The subjects on which Kelley wrote are as varied as his artistic media. They include the work of fellow artists, sound, caricature, the uncanny, UFOlogy, and gender-bending.

While the first volume, Foul Perfection, contains thematic essays and writings about other artists; the second collection concentrates on Kelley’s own work, ranging from texts in ‘voices’ that grew out of scripts for performance pieces to expository critical and autobiographical writings.”

Edited by John C. Welchman
Publisher MIT Press, 2003 and 2004
Writing Art series
ISBN 9780262112703, 0262112701 (1), 9780262112772, 0262112779 (2)
xx+238 and xxv+431 pages

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Volume 1
Volume 2