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Dafydd Jones

’s heartburn, if not its burning heart. Almost everywhere we look in Dada, Futurism repeats in stances indebted to the terms of cultural engagement and visibility initiated by the Italians; the manifesto form in particular, that which announced Futurism to the world in 1909 – and in which the later Dadaist Walter Serner invested such venom during the Zurich Dada phase, having previously already denounced Futurism in essays that dismissed some of the movement’s painters from the realm of art – finds itself at the centre of the expanse of cultural-linguistic activities in

in Back to the Futurists
Creations of diasporic aesthetics and migratory imagery in Chinese Australian Art
Birgit Mersmann

, curators and critics in the late 1980s and early 1990s was mainly oriented towards the West, i.e. the European countries, the United States, and Australia after it had reinforced its regional economic and cultural engagement with East Asia and the Asian-Pacific. The reasons for the massive exodus of Chinese mainland artists were two-fold. While some left their home country in response to the Tiananmen Square massacre in 1989 and the subsequent suppression of pro-democracy expressions, others took advantage of the global opening of the contemporary art scene, the global

in Art and migration
Paisid Aramphongphan

lifestyle choices that are too often seen simply as expressions of free will in his analysis of social classifications as refracted through cultural engagement and the bodily hexis: “In the ordinary situations of bourgeois life,” he writes, “banalities about art, literature or cinema are inseparable from the steady tone, the slow, casual diction, the distant or self-assured smile, the measured gesture, the well-tailored suit and the bourgeois salon of the person who pronounces them.” 30 And, much like in the use of language that signifies social classes, “the same

in Horizontal together
Abstract only
Histories, documents, archives
Declan Long

engagement with uncanny, spectral and occult images and themes; as Lars Bang Larsen has written, ‘many artists have recently been turning to the unseen as a means of short-​circuiting the spectacle, searching out occult gaps in modernity to evoke an acute sense of historical space’.2 Larsen seeks to distinguish between the use of spectral tropes and more thoroughly counter-​cultural engagements with occultist practices:  the former, he suggests, indicates an interest in the non-​substantial quality of images, while​ the latter guides us ‘towards the embodied notion of

in Ghost-haunted land