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Abstract States: Modernism in Lebanon, Syria, and Turkey ARTMargins Pub Date : 2024-04-10 Gemma Sharpe
A decade after modernist art history's tentative embrace of postcolonial modernisms, a new crop of books are leveraging this disciplinary acceptance to examine hitherto shrouded aspects of the field. Anneka Lenssen's, Beautiful Agitation: Modern Painting and Politics in Syria (2020), Zeina Maasri's, Cosmopolitan Radicalism: The Visual Politics of Beirut's Global Sixties (2020) and Sarah-Neel Smith's
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“We Need a Lighthouse Philosopher”: Filipa César and Louis Henderson's Sunstone (2018) and the Portuguese Genealogy of Lens-Based Media ARTMargins Pub Date : 2024-04-10 Delinda Collier
This article discusses Filipa César's and Louis Henderson's digital film Sunstone (2018), situating it within a history of lenses and lighthouses in Portuguese conquest. It argues that Portugal has been overlooked as playing a key role in shaping the use and conceptual function of lenses in maritime conquest. In particular, the beaming of light from lenses has been overshadowed by the function of light
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Contributors ARTMargins Pub Date : 2024-02-01
Black Athena Collective, founded in 2015 by artists Heba Y. Amin and Dawit L. Petros, is a research and artistic laboratory for experimentation that engages political discourse and practices of spatial construction connected to the Red Sea region from Eritrea to Egypt through multidisciplinary perspectives, including geography, archaeology, and history.
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As the Nile Flows or the Camel Walks ARTMargins Pub Date : 2024-02-01 Dawit L. Petros, Black Athena Collective
Between 1884–1885, Britain requested a contingent of boatmen – “voyageurs” – from Canada to assist transport troops and supplies through the Nile's system of cataracts (rapids). The expedition's cross section of participants included Egyptians, Sudanese, roughly one hundred indigenous subjects from Canada and subjects from across Britain's empire. Primary sources authored by four participants are central
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Revolutionary Painting and the Palestinian Revolution ARTMargins Pub Date : 2023-11-29 Mohammed Chabaa
In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine
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“To Make Books Is to Multiply”: Artists' Books and Feminist Expression in Mexico ARTMargins Pub Date : 2023-11-29 Maggie Borowitz
In the late 1970s and early 80s, artist's books exploded in Mexico City. The impetus for this explosion has often been located in the artistic practice of the experimental artist Felipe Ehrenberg and the bookmaking workshops he offered beginning in 1976. While Ehrenberg was undoubtedly influential, this essay reexamines the history of this period—a so-called Golden Epoch of independent publishing in
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Revisiting Rasheed Araeen's Structures: 8bS at Manufactured Art, 1970 ARTMargins Pub Date : 2023-11-29 Kylie Gilchrist
In May 1970, Rasheed Araeen's work “8bS” appeared in Manufactured Art, a group exhibition dedicated to artistic engagements with industrial processes and advanced technology. Araeen's contribution, like many of his 1960–70s works, comprised lattice-like structures that engaged forms and techniques common to his professional training as a civil engineer. Like the Minimalist object, “8bS” deployed the
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Palestinian Artists and the Biennial, from “Baghdad 1974: A Summary of the First Arab Biennial of Fine Arts” ARTMargins Pub Date : 2023-11-29 Toni Maraini
In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine
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Bags of Stories: Thinking with Household Casebearers in the Anthropocene ARTMargins Pub Date : 2023-11-29 Tan Zi Hao
Household casebearers are a genus of moths primarily distinguished by the spindle-shaped cases they carry and live in throughout their larval life. The cases, woven from household dust, typically comprise an array of materials from textile fibers to dead insect parts. As they thrive in domestic spaces in tropical climates, they are commonly viewed as a domestic pest. Anthropocentrism as such has led
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Introduction to “Revolutionary Painting and the Palestinian Revolution,” by Mohammed Chabâa, and “Palestinian Artists and the Biennial,” from Toni Maraini's “Baghdad 1974: A Summary of the First Arab Biennial of Fine Arts” (Both 1974) ARTMargins Pub Date : 2023-11-29 Alessandra Amin
In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine
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Editorial Statement ARTMargins Pub Date : 2023-10-01
The writings in this issue all share a preoccupation with the silences, disappearances, and contradictions within historical archives. Across national, regional, and diasporic spaces, they attend to the deliberate acts of remembering and forgetting that accompanied the political, economic, and technological shifts of the postwar era. Often violent, sometimes incomplete, these shifts required and begat
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What Does Art History Have to Say About a Lebanese Sasquatch? The Body of Decolonial Struggle in Amanda Boulos's Art ARTMargins Pub Date : 2023-06-23 Tammer S. El-Sheikh
This paper focuses on several works by the Palestinian-Canadian painter Amanda Boulos that communicate the shared desire of both Palestinians in the diaspora and Indigenous peoples of Canada to move beyond the normative identities of settler colonialism. Through co-ordinated social historical, formalist and iconographical readings of Boulos's work, I propose a shift in the discourse on global contemporary
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Color Charts ARTMargins Pub Date : 2023-06-23 Bani Abidi
In the days before the arrival of the internet, Western art history education in Pakistan was mostly disseminated through black and white photocopies of original publications. The glossy pages of art books were transformed into rough copies in varying shades of gray. Rather than understanding this as a disadvantage, I propose, conversely, that this practice constituted a form of radical piracy—the
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Ch'ixi Epistemology and The Potosí Principle in the 21st Century ARTMargins Pub Date : 2023-06-23 Alexander Alberro
The author focuses on the project exhibition, “The Potosí Principle,” curated by Alice Creischer, Max Hinderer, and Andreas Siekmann Initially installed in Madrid in 2010 and then traveling to Berlin and La Paz, the show cut across the institutionally defined and often rigorously guarded boundaries between curatorial practice, aesthetic expression, and scholarly research to explore global capitalism's
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Southern Lights: Octavio Paz's “Glimpses of India” and the Art of Relation ARTMargins Pub Date : 2023-06-23 Sonal Khullar
This article analyzes the articulation of south-south relation in Octavio Paz's In Light of India (1995) and A Tale of Two Gardens: Poems from India, 1952-1995 (1997), works of prose and poetry that traverse the antipodes of Mexico and India. These works emphasize partial viewing, repeated comparison, and cultivated sense-perception. They model a poetics of the glimpse, an effect of the play of light
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Art, Signs, and Cultures: Iba Ndiaye and Jean Laude in Conversation with Roger Pillaudin ARTMargins Pub Date : 2023-06-23 Iba Ndiaye, Jean Laude
This document, translated from the original French, is an edited transcript of a conversation between the Senegalese painter Iba Ndiaye, the French art historian Jean Laude, and a moderator, Roger Pillaudin. It took place on the occasion of the Festival des arts et cultures africaines in Royan, France (March 1977), and was later broadcast on the radio channel France Culture. What stands out in the
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Introduction to “Art, Signs, and Cultures” (1977) ARTMargins Pub Date : 2023-06-23 Joshua I. Cohen
This document, translated from the original French, is an edited transcript of a conversation between the Senegalese painter Iba Ndiaye, the French art historian Jean Laude, and a moderator, Roger Pillaudin. It took place on the occasion of the Festival des arts et cultures africaines in Royan, France (March 1977), and was later broadcast on the radio channel France Culture. What stands out in the
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This Past Must Address Its Future: Uses of African Noncontemporaneity in Contemporary Art from the French Borderscape ARTMargins Pub Date : 2023-06-23 Jennifer Bajorek
In the last two decades, key sites in the European borderscape—the “jungle” of Calais, the dense patchwork of settlements around Melilla and Ceuta, myriad migrant or refugee camps along Europe's Mediterranean coastline and in the major train stations of its capital cities—have become art factories. In these spaces, artists from a range of backgrounds are making new work, much of which seeks to challenge
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Art History, Postcolonialism, and the Global Turn ARTMargins Pub Date : 2023-06-23 Joshua I. Cohen, Foad Torshizi, Vazira Zamindar
When taken as a conglomerate, the postcolonial, the global, and the decolonial might signal a coordinated “decolonizing” action—one of breaking with the Eurocentric, patriarchal, and nationalist foundations of art history. Yet from a disaggregating perspective, these three terms and their respective domains cannot be seen as synonymous or entirely harmonious. What particularly demands scrutiny is the
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Counting Quality, Seeing Patterns ARTMargins Pub Date : 2023-06-23 Ijlal Muzaffar
What does it mean to see Third World “development” as a problem of untapped creativity? This paper argues that quick celebrations of ingenuity across the world has been part of a new mode securing expertise and legitimizing intervention that emerges after the Second World War. Propelled by architects and planners, this mode bypasses the quantitative and historical questions of colonial drain and global
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On the Aspirations of Architecture and Design in 20th-Century South Asia ARTMargins Pub Date : 2023-06-23 Vishal Khandelwal
This review compares The Museum of Modern Art's exhibition “The Project of Independence: Architectures of Decolonization in South Asia, 1947-1985” (2022) to Farhan Karim's Of Greater Dignity Than Riches: Austerity and Housing Design in India (2019). These two examples’ distinct approaches to architecture and design in twentieth-century South Asia are conditioned by their respective formats and scopes
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Erratum: The Persistence of Primitivism and The Debt Collectors ARTMargins Pub Date : 2023-06-01
Elizabeth Harney's “The Persistence of Primitivism and the Debt Collectors” (ARTM 11:3), p. 105-125 (https://doi.org/10.1162/artm_r_00327) contains an error. Joshua I. Cohen's The “Black Art” Renaissance: African Sculpture and Modernism across Continents (Oakland: University of California Press, 2020) is incorrectly titled The Black Renaissance: African Sculpture and Modernism across Continents. We
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Contributors ARTMargins Pub Date : 2023-06-01
Bani Abidi is a Pakistani visual artist living between Berlin and Karachi. Encompassing video, photography, and performance, Abidi's practice draws on everyday as well as historical events to explore issues of nationalism and state power. She has had solo shows at the Museum of Contemporary Art, Chicago, and Gropius Bau, Berlin, among others, and group shows at the 8th Berlin Biennial, the Guggenheim
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Barbad Golshiri's Acts of Alterity ARTMargins Pub Date : 2023-05-22 Sandra Skurvida
In his transdisciplinary practice, artist, writer, and translator Barbad Golshiri interprets from his viewpoint located in Iran the iconic pieces of the European art history, including paintings by Jan van Eyck, Jacques-Louis David, and Kazimir Malevich. Inserting his own artistically inscribed body into the material milieus of these artists, Golshiri activates the present via transfer of the past
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Chronological Dyslexia: Remembering/Representing/Performing Aids ARTMargins Pub Date : 2023-05-22 Amelia Jones
Exploring two major books on the visual and performance histories of the ongoing and historical AIDS crisis in the US and beyond—Brian Getnick's edited volume Final Transmission and Avram Finkelstein's firsthand account, After Silence—this review asks how we have come to contemplate and understand the intensities, losses, and absences of the AIDS catastrophe. Drawing on theories on death, dying, and
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Roundtable on John Clark's The Asian Modern ARTMargins Pub Date : 2023-05-22 Monica Juneja, Gao Minglu, Chaitanya Sambrani, Nora Annesley Taylor, Ming Tiampo
The book, The Asian Modern, by John Clark (with an Introduction by the Manila-based critic and curator, Patrick Flores) seeks to construct a “cross-Asian” account through a detailed historical and empirical focus on 30 artists spanning Southeast, East, and South Asia, as well as Australia. At the core of the book is the premise that the given place, “Asia,” is the locus for a critique of the normative
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Memory Zero ARTMargins Pub Date : 2023-05-22 Sean Smuda
The repression of memory as a result of trauma from war and social divisions is often an experience that obscures or intensifies personal histories. This is especially true between generations. The Memory Zero project is an attempt to bridge this gap through drawn impressions from intergenerational family stories collaged with image and text searches to locate their approximate times and places. Together
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Art of the Counter-Archive: Rosângela Rennó's Books and the Secret Files of the Dictatorship ARTMargins Pub Date : 2023-05-22 Marina Bedran
This article examines Brazilian artist Rosângela Rennó's books 2005–510117385–5 and A01 [COD.19.1.1.43] – A27 [S | COD.23], which engage with photographs stolen from public collections in Rio de Janeiro. Both books triggered a conversation about institutional precarity and its effects on national memory and cultural heritage—one that took place a few years before the 2018 fire at Rio de Janeiro's Museu
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Contributors ARTMargins Pub Date : 2023-02-01
Marina Bedran teaches in the Department of Modern Languages and Literatures at Johns Hopkins University and is a faculty affiliate of the Center for Advanced Media Studies and the Program in Latin American, Caribbean, and Latinx Studies.
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From The Editors ARTMargins Pub Date : 2023-02-01 Katarzyna Pieprzak
Several of the texts and projects in this new issue of ARTMargins underscore the role of photography and performance in rendering visible our “ways of seeing” and what they occlude: forms of imagining and inhabiting urban space that are suppressed by official discourse, clandestine archives that simultaneously register and obfuscate the humanitarian crimes of the last Brazilian dictatorship, and deaths
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The Persistence of Primitivism and the Debt Collectors ARTMargins Pub Date : 2023-02-01 Elizabeth Harney
As the discipline of Art History increasingly aims to decolonize the gaze, questions have become paramount around cross-cultural influence and indebtedness, the traffic and translation of forms and ideas in the colonial modern era, and the mechanisms of postcolonial retrospection. Harney addresses these questions and the resonances of aesthetic primitivism in scholarship on African and diasporic modernisms
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Lend Me Your Eyes ARTMargins Pub Date : 2023-02-01 Gina Ferreira
The introductory text situates the therapeutic practices of Gina Ferreira and Lula Wanderley in relation to the work of Brazilian modernist artist Lygia Clark. Ferreira is a social psychologist who uses the arts—for instance, photography and film—for the socialization and treatment of psychiatric patients. Wanderley is an artist who brings creativity into the realm of psychiatric care. Both have significantly
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The Silence That Words Hold ARTMargins Pub Date : 2023-02-01 Lula Wanderley
The introductory text situates the therapeutic practices of Gina Ferreira and Lula Wanderley in relation to the work of Brazilian modernist artist Lygia Clark. Ferreira is a social psychologist who uses the arts—for instance, photography and film—for the socialization and treatment of psychiatric patients. Wanderley is an artist who brings creativity into the realm of psychiatric care. Both have significantly
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Introduction: Art's Histories Without Art History ARTMargins Pub Date : 2023-02-01 Kaira Marie Cabañas
The introductory text situates the therapeutic practices of Gina Ferreira and Lula Wanderley in relation to the work of Brazilian modernist artist Lygia Clark. Ferreira is a social psychologist who uses the arts—for instance, photography and film—for the socialization and treatment of psychiatric patients. Wanderley is an artist who brings creativity into the realm of psychiatric care. Both have significantly
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Sadism to Solidarity: Notes on Art, Philosophy, and the Algerian War ARTMargins Pub Date : 2023-02-01 Alberto Toscano
This essay considers a range of artistic and intellectual responses to the Algerian War of Independence that foregrounded the problem of extreme violence. It homes in on the suggestive nexus between anti-colonial solidarities in the metropole and the obsessive concern of artistic, literary, and philosophical avant-gardes with the thought of the Marquis de Sade. It explores how the returns to and of
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Degraded Objects, Harrowed Bodies: Roman Stańczak and Shock Therapy in Poland, 1990–96 ARTMargins Pub Date : 2023-02-01 Dorota Jagoda Michalska
Roman Stańczak's artistic practice can be seen as a symptomatic expression of the multi-layered processes of degradation as experienced in some Polish regions with the advent of capitalism and the country's entry into the global market at the turn of the 1990s. The neoliberal reforms in Poland brought about dramatic social consequences, leading to an exponential increase in income inequality, unemployment
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Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art ARTMargins Pub Date : 2023-02-01 Lara Ayad
On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment
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Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization ARTMargins Pub Date : 2023-02-01 Matthew J. Mason
In recent decades, the popularity of Australian Aboriginal dot painting overseas has exploded, with works by some of Australia's leading artists selling for millions of dollars at auction, as well as featuring in major international exhibitions like the Venice Biennale and documenta. While this carries with it the risk of Aboriginal art and culture becoming diluted or commodified, this essay explores
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Contributors ARTMargins Pub Date : 2022-10-01
Lara Ayad is an independent researcher and art historian. She is the author of “The ‘Negress’ of Alexandria: African Womanhood in Modern Egyptian Art” (African Arts, Winter 2020). She currently hosts the television show AHA! A House for Arts on WMHT public media.
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From the Editors ARTMargins Pub Date : 2022-10-01
The struggle for freedom does not give back to the national culture its former value and shapes; this struggle which aims at a fundamentally different set of relations among men cannot leave intact either the form or the content of the people's culture. After the conflict there is not only the disappearance of colonialism but also the disappearance of the colonized man.1
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More Phemes ARTMargins Pub Date : 2022-10-01 Slavs and Tatars
A reading of Hurufism, a Sufi movement based on the science and mysticism of letters, the authors consider a range of affective, performative becomings in this unlikely Persian and Anatolian movement. Hurufism sees multiples of 14 and 28 (from the Perso-Arabic alphabet) in the corresponding hairs of the human face. Accordingly, Slavs and Tatars consider the implications for gender variation and fluidity
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Between the Personal and the Political: On Marianne Wex's Let's Take Back Our Space ARTMargins Pub Date : 2022-06-27 Judith Rodenbeck
From 1972 to 1977 the West German artist Marianne Wex (1937-2020) undertook an extensive photographic research project that eventually was published as a book: Let's Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures (1979). Both visual analysis and homeopathic demonstration of the patriarchal state's performative effect on somatic physical expression, the
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The Heresy of Didactic Art ARTMargins Pub Date : 2022-06-01 Sven Spieker, Tom Holert
Note: This double issue of ARTMargins consists of two sections. First comes a special issue, edited by Sven Spieker and Tom Holert (“The Heresy of Didactic Art”), followed by a section where we offer four new research articles on topics aligned with other editorial priorities (pp. 126-225).
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In The Vortex of Institutional Lives ARTMargins Pub Date : 2022-06-01 Annette Krauss, Ferdiansyah Thajib
Following from a series of conversations that have been taking place sporadically between us11 in the past years, the current contribution serves as another opportunity to address ways of living multiple institutional lives. In our respective contexts, these pertain to different types of institutions, ranging from art school/academy, to university, to art or cultural organization/collective. Here we
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Hidden Green by Miklós Erdély ARTMargins Pub Date : 2022-06-01 Eszter Bartholyì, Katalin Orbán
Erdély spread hay over approximately four-fifths of the 12 × 5 m floor of the Budaörs Cultural Center. He left the remaining one-fifth near the entrance uncovered. The door, illuminated by a spotlight, was painted black along with the adjacent area in order to prevent reflections of the spotlight. The space was dominated by a homogeneous green light.
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Contributors ARTMargins Pub Date : 2022-06-01
Greg Burris teaches at the American University of Beirut and is the author of The Palestinian Idea: Film, Media, and the Radical Imagination (2019). His other writings on film, culture, and politics have appeared in such publications as Bright Lights Film Journal, CineAction, Cinema Journal, Film International, The Guardian, Jadaliyya, Journal of Islamic and Muslim Studies, Quarterly Review of Film
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From The Editors ARTMargins Pub Date : 2022-06-01
The articles in the second section of our double issue focus on art practices from Eastern Europe, the former Soviet Union, and Palestine. Each in their own way, these authors discuss art and film practices that complicate the process by which we establish genealogies, trace histories, and narrate historical developments, intervening in linear trajectories and pointing to possible alternatives.
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Erratum: Introduction to Jalal Al-e Ahmade “To Mohassess, for the Wall” ARTMargins Pub Date : 2022-06-01
Mohammadreza Mirzaei's “Introduction to Jalal Al-e Ahmad's “To Mohassess, For the Wall’ “ (ARTM 10:2), p. 120 (https://doi.org/10.1162/artm_a_00296) contains an error. The line “For example, neither the work of Behjat Sadr nor Mohsen Vaziri Moghadam's Sand Paintings …” should read, “For example, the work of Behjat Sadr as well as Mohsen Vaziri Moghadam's Sand Paintings… .” We regret the mistake.
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Madness as a Form of Knowledge: Pavel Ivanovich Karpov's Creativity of the Mentally Ill ARTMargins Pub Date : 2022-06-01 Branislav Jakovljević
Within the span of only four years, two books on the same subject and with almost identical titles were published on two sides of Europe: Hans Prinzhorn's Artistry of the Mentally Ill (Berlin, 1922) and Pavel Ivanovich Karpov's Creativity of the Mentally Ill (Moscow, 1926). Whereas the first book was recognized as one of the key steps in the “discovery” of the psychotic art and its eventual mainstreaming
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Learning on the Run: From Psycho-Modernism to Fugitive Sociality ARTMargins Pub Date : 2022-06-01 Tim Ridlen
Two exhibition and research projects, Creativity Exercises and Back to the Sandbox, are united by the history of reform pedagogy, Friederich Fröbel, and the legacy of the Bauhaus. The books related to the projects explore didactic and participatory art, questioning how to teach art, how to reform or radicalize education, and what participatory art practices share with pedagogy. The centerpiece of the
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Dreams/Cinema/Palestine: Unoccupied Spaces in The Dream and My Love Awaits Me by the Sea ARTMargins Pub Date : 2022-06-01 Greg Burris
This article explores the connections between dreams, cinema, and Palestine. Drawing upon the work of Ghassan Hage, the author argues that dreams and cinema should not be valued only for their connection to resistance and that these phenomena can sometimes reveal unoccupied spaces, even in occupied Palestine. The author then turns to two documentary films: Mohammad Malas’ The Dream (1987) and Mais
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The Notebook ARTMargins Pub Date : 2022-06-01 Dora García
This short text is structured in two parts. The first one defines a significant part of my artistic practice as finding a way to represent thought, to transmit the action of thinking, this being done by means of short notes, diagrams, drawings, and sketches in a notebook. The second part defends an idea of art as accessible and necessary for everyone, pedagogical not in the sense that it “should” transmit
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Miklós Erdély, Ernst Bloch, Kurt Gödel, and Hidden Green ARTMargins Pub Date : 2022-06-01 Sándor Hornyik
The introductory text interprets Eszter Bartholy's article about Miklós Erdély's exhibition Hidden Green. Bartholy's article is based on an interview with Erdély, and contain direct and indirect quotes from one of the most significant Hungarian neo-avant-garde artist. The introductory text describes how Erdély's own interpretation of his exhibition Hidden Green is present in Bartholy's article. Bartholy's
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Scenes of Access, Politics of Difference ARTMargins Pub Date : 2022-06-01 Pujan Karambeigi
Since the passing of the Americans with Disabilities Act in 1990, museum reformers have struggled to comply with the federal codes for accessibility. This essay accounts for the ambitions and limitations of these debates around access in the museum that were caught in the double bind between public expectation and private market forces, ultimately giving rise to a particular type of bottom-up reform
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Reassessing Moscow Conceptualism: The View from the Nest ARTMargins Pub Date : 2022-06-01 Mary A. Nicholas
This essay argues for a radical reassessment of Moscow Conceptualism to incorporate the underappreciated Nest, the group of artists Gennady Donskoy, Mikhail Roshal, and Victor Skersis active in Moscow from 1974 to 1979. The Nest's emphasis on models of shared artistic investigation, audience autonomy, and unconstructed aesthetic response helped reshape Moscow Conceptualism in the late 1970s and early
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Art under Neoliberalism ARTMargins Pub Date : 2022-02-17 Arjun Appadurai, Johanna Bockman, Nathalie Heinich, Martijn Konings, Leigh Claire La Berge, Geert Lovink, Ignacio M. Sánchez Prado, Willy Thayer
Apart from the longstanding and much-debated problem of art's commodification, how does neoliberalism transform and determine the conditions of artistic practice? Further, if neoliberalism is a substantially distinct stage in the history of capitalism, and not merely its intensification, what are the implications of this new condition for the practice and criticism of contemporary art? What does it
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Art and Class Struggle ARTMargins Pub Date : 2022-02-17 Jacques Lezra, José María Durán, Nico Baumbach, Steven Marsh, Alberto Toscano, Marina Vishmidt, Genevieve Yue
What do we need to know about “art” or “class struggle” before considering their relation to one another? Could you describe a specific work or text that might serve as an illustration of class struggle or as an exploration of the problem of representing it? Let us say that visual art, broadly speaking, does express the worldview of the dominant class. What kind of art then expresses the worldview
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What is Radical? ARTMargins Pub Date : 2022-02-17 Alexander Alberro, Homi Bhabha, Alejandra Castillo, Keti Chukhrov, T. J. Demos, Keyna Eleison, Irmgard Emmelhainz, Darby English, Patrick Flores, Jennifer A. González, Boris Groys, Tom Holert, Andreas Huyssen, Amelia Jones, David Joselit, Joan Kee, Nicholas Mirzoeff, Peter Osborne, John Roberts, Nizan Shaked, Terry Smith, Kristine Stiles, Ming Tiampo, Anne M. Wagner
What does it mean to think and act radically, and how does this relate to forms of radicalism connected to earlier moments, for example, in the 20th century? What can be the role of radical art and scholarship under the conditions of late capitalism? More generally, how can art and artists serve the ongoing struggle for social justice and the agendas of emancipatory social change? Finally, what kinds
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The Ghosts of Past Events in the Hall of Mirrors ARTMargins Pub Date : 2022-02-17 Anna Boghiguian
The heads of states met at the end of World War I to sign the Versailles treaty in 1919 in the Palace's hall of mirrors. This was at the time when Europe was infected with the Spanish flu pandemic that lasted until 1922. The project is a visual narration of the conjunction of these two historical events that have uncanny reverberations in the present: the Versailles treaty has charted the path towards
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From the Editors ARTMargins Pub Date : 2022-02-15
Ten years ago, the printed version of ARTMargins joined its sister publication, ARTMargins Online. The idea of the three founding editors— Sven Spieker, Angela Harutyunyan, and Octavian Esanu—was to create an innovative art historical journal with a broad remit that would offer some measure of correction to the euphoria surrounding globalized art at the time, and that would include contributions from