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Anne Ring Petersen

2 The politics of identity and recognition in the ‘global art world’ Identity politics informed by postcolonial critique dominated the discourses on the interrelations of globalisation, migration and contemporary art in the 1990s and the early 2000s. The previous chapter characterised the position from which the struggle for recognition of non-Western artists was launched, designating it the postcolonial position, in contradistinction to the migratory aesthetics position that gathered momentum in the 2000s. This second chapter examines the historical role and

in Migration into art
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Transcultural identities and art-making in a globalised world

Migration, understood as the movement of people and cultures, gives impetus to globalisation and the transculturation processes that the interaction between people and cultures entails. This book addresses migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art's critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The book also explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, and its representations of forced migration. Transculturality indicates a certain quality (of an idea, an object, a self-perception or way of living) which joins a variety of elements indistinguishable as separate sources. The topic of migration is permeated not only with political but also with ethical urgencies. The most telling sign of how profoundly the mobility turn has affected the visual arts is perhaps the spread of the term global art in the discourses on art, where it is often used as a synonym for internationally circulating contemporary art. The book examines interventions by three artists who take a critical de- and postcolonial approach to the institutional structures and spaces of Western museums. The book also looks at the politics of representation, and particularly the question of how aesthetics, politics and ethics can be triangulated and balanced when artists seek to make visible the conditions of irregular migration.

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Anne Ring Petersen

to explain how the work (or the artist) engages with these effects in an aesthetic, visual and conceptual register. The Introduction presented the three interwoven concerns pursued throughout this book: visibility and recognition, identity and belonging, and aesthetics and politics. Chapter 1 outlined how intensified globalisation and mobility have profoundly changed the discourses on art. I argued that the discourse on art and globalisation has primarily revolved around issues concerning globalisation-from-above, whereas the discourse on art and migration has

in Migration into art
Kimberly Lamm

demands, grotesque images, scatological humour, cutting sarcasm, and rough curses manifest in the distorted figures that move through the piece with their ravenously open mouths and thick, phallic tongues. Without directly corresponding to Artaud’s work, these monsters, dispersed across the collages, seem to act out his anguish, and the vast, blank spaces Spero has placed them within represent the silence that met his demands. Artaud demanded recognition, but he also wanted to make himself present in language.3 His oeuvre testifies to an exhaustive struggle against what

in Addressing the other woman
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Anne Ring Petersen

projects aimed at defending or denying the rights of the freedom of movement and negotiating the position, recognition, identity and representation of migrants in society. As W. J. T. Mitchell has noted, on the level of politics, the issue of migration is thus ‘structurally and necessarily bound up with that of images’. Not only do images move from one environment to another, making the ‘migration of images’ fundamental to the ontology of images and visual cultures as such; images also ‘go before’ the immigrant and the first encounter with the receiving country: ‘before

in Migration into art
Occultism and the metamorphic self in Florentine Futurism
Paola Sica

emphasised in order to gain more power and recognition.5 Citing Valeria’s work, I propose to show the cultural roots of a Adamowicz and Storchi, Back to the Furutists.indd 146 01/11/2013 10:58:45 Nocturnal itineraries 147 9.1  Illustration by Rosa Rosà in Bruno Corra’s Sam Dunn è morto: Romanzo sintetico con 6 illustrazioni di Rosa Rosà, Milan: Studio Editoriale Lombardo, 1917: 16. new type of metamorphic self (a type at times female, and at others gender neutral), and its political implications in the context of early twentiethcentury Italian society. Articles and

in Back to the Futurists
The American avant-garde and the Soviet Union
Author: Barnaby Haran

Watching the red dawn charts the responses of the American avant-garde to the cultural works of its Soviet counterpart in period from the formation of the USSR in 1922 to recognition of this new communist nation by USA in 1933. In this period American artists, writers, and designers looked at the emerging Soviet Union with fascination, as they observed this epochal experiment in communism develop out of the chaos of the Russian Revolution and Civil War. They organised exhibitions of Soviet art and culture, reported on visits to Russia in books and articles, and produced works that were inspired by post-revolutionary culture. One of the most important innovations of Soviet culture was to collapse boundaries between disciplines, as part of a general aim to bring art into everyday life. Correspondingly, this book takes an interdisciplinary approach by looking at American avant-garde responses to Soviet culture across several media, including architecture, theatre, film, photography, and literature. As such, Watching the red dawn considers the putative area of ‘American Constructivism’ by examining the interconnected ways in which Constructivist works were influential upon American practices.

Monarchy and visual culture in colonial Indonesia
Author: Susie Protschky

Photographic subjects examines photography at royal celebrations during the reigns of Wilhelmina (1898–1948) and Juliana (1948–80), a period spanning the zenith and fall of Dutch rule in Indonesia. It is the first monograph in English on the Dutch monarchy and the Netherlands’ modern empire in the age of mass and amateur photography.

This book reveals how Europeans and Indigenous people used photographs taken at Queen’s Day celebrations to indicate the ritual uses of portraits of Wilhelmina and Juliana in the colonies. Such photographs were also objects of exchange across imperial networks. Photograph albums were sent as gifts by Indigenous royals in ‘snapshot diplomacy’ with the Dutch monarchy. Ordinary Indonesians sent photographs to Dutch royals in a bid for recognition and subjecthood. Professional and amateur photographers associated the Dutch queens with colonial modernity and with modes of governing difference across an empire of discontiguous territory and ethnically diverse people. The gendered and racial dimensions of Wilhelmina’s and Juliana’s engagement with their subjects emerge uniquely in photographs, which show these two women as female kings who related to their Dutch and Indigenous subjects in different visual registers.

Photographic subjects advances methods in the use of photographs for social and cultural history, reveals the entanglement of Dutch and Indonesian histories in the twentieth century, and provides a new interpretation of Wilhelmina and Juliana as imperial monarchs. The book is essential for scholars and students of colonial history, South-east Asian and Indonesian studies, and photography and visual studies.

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Anna Dahlgren

centuries. This chapter is divided into two parts. First, it includes a critical survey of the writings on the history of photocollage between the 1970s and 2010s, focusing on the arguments and rationales for separation and forgetting, or acknowledging and linking, the photocollage practices of the nineteenth and the twentieth centuries. It thus includes examples of both amnesia and recognition. Second, it considers the agents and platforms for photocollage making in the nineteenth century as well as some particular images, that is, recurrent visual patterns, content and

in Travelling images
Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s
Author: Yulia Karpova

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.