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Device Art in Japan and International Nano Art
Series: Image, 36
Nationale Erinnerungsmuseen in Chile und Peru
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Sarah M. Schlachetzki Fusing Lab and Gallery Image | Volume 36 Sarah M. Schlachetzki (Dr. phil.) is an art historian and has taught contempo- rary art history at the University of Zurich. Her research interests include general questions in art sociology, media art, and art’s significance in post- dictatorship Argentina. Sarah M. Schlachetzki Fusing Lab and Gallery Device Art in Japan and International Nano Art Published with support of the Swiss National Science Foundation (SNSF) Bibliographic

Grenzgänger des DDR-Theaters
Series: Theater, 111

). Groys, Boris, History Becomes Form. Moscow Conceptualism (MIT, Cambridge/ MA, 2010). Groys, Boris, The Total Art of Stalinism. Avant-Garde, Aesthetic Dictatorship and Beyond, trans. Charles Rougle (Princeton, New Jersey, 1992). Harris, Steven E., “Moving to the Separate Apartment: Building, Distributing, Furnishing, and Living in Urban Housing in Soviet Russia, 1950s–1960s”, PhD thesis, University of Chicago, 2003. Harrison, Mark, “Economic Growth and Slowdown”, in Edwin Bacon and M.A. Sandle (eds.), Brezhnev Reconsidered, pp. 38–67. Heiser, Jörg, “Moscow

lyrics outspo- ken against the military dictatorship and social inequality.35 De Andrade’s canni- balistic ideas were taken as a model. Tropicalismo deliberately focuses on the tropics, a region that before then was not considered a place of art. In a cultural landscape under European and American cultural hegemony, the tropical was con- ceived as a periphery and more asso- ciated with the art of so-called ‘Indians’ than with modern currents. Tropicá l ia was meant to develop a genuine Brazilian avant-garde: it “was important in the develop ment of Brazilian

Mythos, Köln Blazwick, Iwona 1996: »Work in Progress«, in: NowHere I, S. 72f. Bobbio, Norberto 1989: »The Great Dichotomy: Public/Private«, in: Ders. (Hg.), De- mocracy and Dictatorship: The Nature and the Limits of State Power, Cambridge, Mass., S. 1-21 Bonvicini, Monica 1999: What does your wife/girlfriend think of your rough and dry hands?, Kat. Los Angeles Bonvicini 2000: Monica Bonvicini, Kat. Galleria Civica d’Arte Moderna e Contem- poranea, Turin Bonvicini, Monica/Harris, Jane 2001: »Monica Bonvicini talks to Jane Harris about architecture and the iconology

, 2004, and implicit in Matthew Jesse Jackson, The Experimental Group. Ilya Kabakov, Moscow Conceptualism, Soviet Avant-Gardes (University of Chicago, Chicago, 2010), and in Alla Rosenfeld (ed.), Moscow Conceptualism in Context. 45 | Cf. Boris Groys, The Total Art of Stalinism. Avant-Garde, Aesthetic Dictatorship and Beyond, trans. Charles Rougle (Princeton, New Jersey, 1992), p. 93. Empty Action — Labour and Free Time in the Art of Collective Actions22 of history, i.e. fascism and Stalinism, and decided to turn back to the traditional role of the artist, namely

.08.2017). Literatur Adams, Jacqueline: Art Against Dictatorship. Making and Exporting Arpilleras Under Pinochet. Austin: University of Texas Press 2013. Adorno, Theodor: Was bedeutet: Aufarbeitung der Vergangenheit? In: Ders.: Kulturkritik und Gesellschaft II. Eingriffe. Stichworte. (Hrsg. von Rolf Tiedemann). Frankfurt am Main: Suhrkamp 1977. Agosín, Marjorie: Tapestries of Hope, Threads of Love. The Arpillera Move- ment in Chile. 2. Edition. Lanham: Rowman & Littlefield Publishers 2008. Agüero, José Carlos: Los Rendidos. Sobre el don de perdonar. Lima: IEP 2015

. Princeton 2001). 7 | Vgl. sämtliche Wörterbücher in romanischen und germanischen Sprachen, exemplarisch zum Beispiel Dudenredaktion (Hg.), Deutsches Universalwörterbuch, 5. überarbeitete Aufl., Mannheim u.a. 2003, S. 1241. 8 | Vgl. Norberto Bobbio, »The Great Dichotomy: Public/Private«, in: Ders. (Hg.), Democracy and Dictatorship: The Nature and the Limits of State Power, Cambridge, Mass. 1989, S. 1-21. 9 | Carole Pateman, »Feminist Critiques of the Public/Private Dichotomy«, in: Dies., The Dis- order of Women, Oxford 1989, S. 118. Aspek te der Begrif fsgeschichte des