Search Results

You are looking at 81 - 90 of 133 items :

  • "Political Art" x
Clear All

Speak: Doris Salcedo’s Political Art, Chicago: University of Chicago Press 2010. Bal 2013 Bal, Mieke: Thinking in Film: the Politics of Video Instal- lation According to Eija-Liisa Ahtila, London: Blooms- bury 2013. Bal 2016 Bal, Mieke: Long Live Anachronism, in: Lia Brozgal; Sara Kippur (Hg.): Being Contemporary: French Literature, Culture, and Politics Today, Liverpool: Liverpool Univer- sity Press 2016, S. 281–304. Bal 2017 Bal, Mieke: Intership: Anachronism Between Loyalty and the Case, in: Thomas Leitch (Hg.): The Oxford Hand- book of Adaptation Studies, New

- structed and medially constituted entity, sustained by a collective imagina- tion. Cultural-political art institutions such as the national pavilions at the Venice Biennial have a particularly high share in the media construction of national self-designs. It is the community of artists, architects and de- signers, assembled by the figure of the curator, who design collective imag- inations for the image-discursive construction (and also reconstruction) of national identity as an imagined community.2 THE TRANSNATIONAL BREAKTHROUGH OF THE GERMAN PAVILION To study the

works of art but of ›counter-environments‹ in which, to repeat, the workings of medium and process are the main point of focus. For McLuhan and Parker, it was principally via such engagements with the ›how‹ of communication that the real political potential of art- making and art-viewing was evident. This again may seem counter-intuitive, and at odds with then- and now- dominant understandings of the nature of political art as message-based. However, worth noting is that McLuhan’s media orientation and his under- standing of its cultural and political

/Blackwood, Maureen: „Black Women and Representation“, in: Brudson, Charlotte (Hg.), Films for Women, London: British Film Institute 1986, S. 202-208. 218 Andere Subjekte Augé, Marc: Orte und Nicht-Orte. Vorüberlegungen zu einer Ethnologie der Einsamkeit, Frankfurt a.M.: Fischer 1994. Babias, Marius: „Subject production and political art practice“, in: Afterall 9, (2004), S. 101-109. Bal, Mieke: „Working with Concepts“, in: Pollock, Griselda (Hg.), Conceptu- al Odysseys. Passages to Cultural Analysis, London/New York: I.B. Tauris 2007, S. 1-10. Balibar, Etienne: „Der

von Schlachtenmythen und der Heroisierung der Soldaten zu Kriegshelden Eingang in das kulturelle Gedächtnis […] finden konnte.“ C. Beil: Der ausgestellte Krieg, p. 282. (Translation by the author.) 44 | 45 | Atatürk images and quotes have always been used for legitimation by different groups, see, for instance, Özyürek: Public Memory as Political Battleground, in: Özyürek: Politics of Public Memory, pp. 14–137, and Walter B. Denny (1982): »Atatürk and Political Art in Turkey«, in: The Turkish Studies Association Journal 6 (2), pp. 17–23. As historical sources

were, of its ability to persist. While other initiatives with a political art agenda during that transi- tional period were scarcely more than fleeting episodes, this loosely woven association of artists from all walks of life—in 1923 it already had 120 members13—established itself in the 1920s as what was per- haps the most significant nationwide grouping of the avant-garde. It pursued a variety of activities and, apart from exhibitions, also put on concerts, film shows, and lecture evenings. Incidentally, its success was also due in part to the democratic

on the other hand it allows a distance to be created? Or is this paradox of distance and proximity precisely one of the characteristics of queer art? Recently, in an exhibition about London subculture and political art in the 1970s, I saw a photograph that documented a gay-lesbian hous- ing project from the time. It shows five people, all positioned frontally in relation to the camera. Three of them are looking more or less defi- antly directly into the camera. Two of them are looking at each other, although their gaze hardly expresses tenderness or belonging

, the 9. Cf. inter alia: Branislava Anđelković/Branislav Dimitrijević: »Ubistvo ili srećni ljudi [Murder or Happy People]«, in: Branislava Anđelković/Branislav Dimitrijević (eds.), Murder One. Catalogue of the Second Annual Exhibition of the Centre for Contemporary Art, Belgrade: Belgrade Fund for an Open Society – Center for Contemporary Arts 1997; Stevan Vuković: »Politika, umetost i problemi sa stvarnošću [Politics, Art and Problems with Reality]«, in: Balkan Umbrella 1 (2001), p. 19. 10. Walter Benjamin: »Pisac kao proizvođač [A Writer as Producer]«, in

connects the present with the hope of the future” (qtd. in Reitz 166). He states that a new reality can be realized by means of art: “Not political art, not politics as art, but art as the architecture of a free society” (qtd. in Reitz 170). Marcuse continues by stating that art can convey new forms of perception and understanding that let us discern and experience social reality differently (cf. “Art” 79). Thus he also stresses here and in his 82 Rainer Winter last book, The Aesthetic Dimension, the important significance and active power of the aesthetic form

political art and turned to photomontage particularly because she considered it a clear and unam- biguous language that would be more politically effective and compre- hensible to the viewer than abstract art. Lex believed the medium to be far more accessible to a general public of workers, farmers and soldiers than were traditional forms of high art.6 Her explanation of the origins of photomontage links the medium’s development directly to a focus on the working-class viewer: “[Die Fotomontage] wurde nicht erfunden, sondern sie entstand aus dem Willen der