Aprire Plexus Black Box è cominciare un viaggio alla scoperta di Plexus International: eventi, happenings, conferenze, mostre, performances, e stravaganze che hanno collegato per più di 25 anni le arti e la vita. Una collaborazione di voci che insieme da New York, Dakar, Roma, Amsterdam, Cagliari, analizzano la separazione dell'artista dalla comunità e resistono alla riduzione dell'Arte al Mondo dell'arte. Una tesi provocatoria, scritta in inglese, in cui Sandro Dernini prende spunto da Jacques Deridda, scrive le sue considerazioni ai margini e si muove dentro i limiti accademici imposti alla sua indagine.
With radical changes happening in arts over the past two decades, this book brings us up to date with the social and economic contexts in which the arts are produced. Influential and knowledgable leaders in the field debate how arts education - particularly in visual art - has changed to meet new needs or shape new futures for its production and reception. Opening up areas of thought previously unexplored in arts and education, this book introduces students of visual culture, peformance studies and art and design to broad contextual frameworks, new directions in practice, and finally gives detailed cases from, and insights into, a changing pedagogy.
Art criticism is spurned by universities, but widely produced and read. It is seldom theorized and its history has hardly been investigated. The State of Art Criticism presents an international conversation among art historians and critics that considers the relation between criticism and art history and poses the question of whether criticism may become a university subject. Contributors include Dave Hickey, James Panero, Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis, Irit Rogoff, Guy Brett and Boris Groys.
A global mindset is 'a set of individual attributes that enable an individual to influence individuals, groups, and organizations from diverse socio/cultural/institutional systems'. This book intends to explore the content of a global mindset, how it is developed, when and how it should be applied, and what its consequences are.
Newly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann’s groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as an inventive response to the emergence of new technologies, and as an historical shift from a text-based culture to a new media age of image and sound. Engaging with theoreticians of 'drama' from Aristotle and Brecht, to Barthes and Schechner, the book analyzes the work of recent experimental theatre practitioners such as Robert Wilson, Tadeusz Kantor, Heiner Müller, the Wooster Group, Needcompany and Societas Raffaello Sanzio. Illustrated by a wealth of practical examples, and with an introduction by Karen Jürs-Munby providing useful theoretical and artistic contexts for the book, Postdramatic Theatre is an historical survey expertly combined with a unique theoretical approach which guides the reader through this new theatre landscape.
An investigation into gentrification and displacement, focusing on the case of Portland, Oregon's systematic dispersal of black residents from its Albina neighborhood. Portland, Oregon, is one of the most beautiful, livable cities in the United States. It has walkable neighborhoods, bike lanes, low-density housing, public transportation, and significant green space—not to mention craft-beer bars and locavore food trucks. But liberal Portland is also the whitest city in the country. This is not circumstance; the city has a long history of officially sanctioned racialized displacement that continues today. Over the last two and half decades, Albina—the one major Black neighborhood in Portland—has been systematically uprooted by market-driven gentrification and city-renewal policies. African Americans in Portland were first pushed into Albina and then contained there through exclusionary zoning, predatory lending, and racist real estate practices. Since the 1990s, they've been aggressively displaced—by rising housing costs, developers eager to get rid of low-income residents, and overt city policies of gentrification. Displacement and dispossessions are convulsing cities across the globe, becoming the dominant urban narratives of our time. In What a City Is For, Matt Hern uses the case of Albina, as well as similar instances in New Orleans and Vancouver, to investigate gentrification in the twenty-first century. In an engaging narrative, effortlessly mixing anecdote and theory, Hern questions the notions of development, private property, and ownership. Arguing that home ownership drives inequality, he wants us to disown ownership. How can we reimagine the city as a post-ownership, post-sovereign space? Drawing on solidarity economics, cooperative movements, community land trusts, indigenous conceptions of alternative sovereignty, the global commons movement, and much else, Hern suggests repudiating development in favor of an incrementalist, non-market-driven unfolding of the city.
