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Caroline Turner and Jen Webb

. Le’s art is related to collective memory and to history. Like Harsono he wishes to present a different view of history for the benefit of current and future generations but in a transnational context that includes US understandings of the Vietnam War. Born in 1968 in Vietnam, Le and his family went to the United States as refugees in 1979, escaping from the 1978 incursions of the Khmer Rouge into Vietnam. He graduated from the University of California, Santa Barbara, and then in 1992 was awarded a Masters of Photography from the School of Visual Arts, New York. Like

in Art and human rights
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Feminist aesthetics and ‘The Red Room for Vietnam’
Elodie Antoine

(Union of Marxist-Leninist Communist Youth, known as the UJC(ml)), was founded in Paris in 1966 at the École Normale Supérieure on rue d’Ulm. The union was directed by disciples of Louis Althusser, including Robert Linhart and Benny Lenny. Notable artists such as Zipora Bodek and Pierre Buraglio were part of this organisation. Nearly 300 students eventually joined it, especially in 1967 during the Vietnam War, remaining until its dissolution at the end of the 1968. Later, the Supports/Surfaces group (1970–72) also used Mao’s thought to consider pictorial and political

in Art, Global Maoism and the Chinese Cultural Revolution
Activist photography, self-reflection and antinomies
Antigoni Memou

circulated during May. CAL was created shortly before the May crisis as a combination of Comité Viêtnam de Base (CVB) and Comité Viêtnam National (CVN), both organisations opposing the Vietnam War.10 Most of the members of the CAL were ‘militants of far Left youth movements who had broken with young Communists because of the soft attitude of PCF towards the Vietnam War’.11 The Trotskyist part of the movement was represented by the monthly circulated journal L’ Avant Garde Jeunesse, which was the mouthpiece of the JCR, one of the two Trotskyist groups. The JCR exercised the

in Photography and social movements
Global days of action and photographs of resistance
Antigoni Memou

’s thinking about a ‘temporary autonomous zone’.5 The RTS slogan asks for creativity and festivity, which can be seen as a prolongation of the ‘constructed situations’ and the street theatre actions in the Parisian uprising of 1968. Similar festive elements can also be found in many past protest movements and countercultures of the 1960s, 1970s and 1980s, namely: the Guerrilla Theater of the Youth International Party (Yippies), the theatrical anti-Vietnam war demonstrations with ‘Bread and Puppet Theatre’ leading the way and the squatter battles in Germany or Italy in the

in Photography and social movements
Zeynep Devrim Gürsel

news photographers founded by Eddie Adams, an American photojournalist who made several iconic images of the Vietnam war.1 My final site of research was (6) Visa pour l’Image, the largest annual photojournalism festival, held in Perpignan, France. Specifically, this research investigated processes of decision-​making in an attempt to understand the step-​by-​step mechanics of worldmaking. By observing everyday moments of selection at critical sites, I observed the discourses of image brokering and myriad decision processes without having to intervene awkwardly and

in Image operations
Identity and community among migrant Latin American artists in New York c. 1970
Aimé Iglesias Lukin

Dominican communities – or responding to larger migration trends, but instead their travel responded to personal and professional trajectories and the search of professional growth in the centre of art power. Still, these Latin American artists arrived in a New York art scene that was undergoing important changes. First of all, it must be remembered that the entire social sphere was shaken by the 1968 revolts and widespread opposition to the Vietnam War and the fight for Civil Rights, and the New York art scene was in the midst of a very radicalised moment which resulted

in Art and migration
Colette Gaiter

anti-Vietnam War poster, 1965 1965 Chinese anti-Vietnam War poster shows an Asian man with a rifle held high over his head in battle (Illustration 5.4b). Liberation art at that time had a shared vocabulary of emotionally loaded visual signifiers, including people who were visibly angry and determined, male and female armed freedom fighters, serene scenes imagining ideal lives and communities, and heroes and leaders. Emory Douglas and the Maoist artists used opportunities to communicate both apparent and coded meaning even in the smallest gesture or word contained in

in Art, Global Maoism and the Chinese Cultural Revolution
Jane Roscoe and Craig Hight

programmes he watched on television, with a shot for each time the image on the screen changed. 3 The resulting montage is extremely dense, and, although some of the images can be identified only if the sequence is slowed down, most are familiar enough to be instantly identifiable. There are shots from a number of commercials featuring well-known products, glimpses of what appear to be news reports of civil rights protests and the Vietnam War, and

in Faking it
Conceptualism as political art
Nizan Shaked

subject of their work in order to examine how art was demarcated by its place within a broad system generated by the context of display, interpretation, and the philosophy of meaning. Throughout the 1970s conceptualists expanded their dialogue with a modernist avant-garde to contending with issues that have come out of Civil Rights or the protest of the Vietnam War, in response to the challenges marginalised groups posed to a discriminatory museum and gallery system and their criteria. Artists moved from a focus on a dialogue with formalism onto political subject matter

in The synthetic proposition