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Kuba Szreder

roam the networks in search of opportunities, have to be understood not as private individuals, but as components of multifaceted assemblages whose exploits are enabled and regulated by social apparatuses underpinning artistic circulation. Thus, the critique of political economy of the projectariat involves a rigorous analysis of the apparatuses that bring it into being. In a famous passage from A Thousand Plateaus , Gilles Deleuze and Felix Guattari analyse a nomadic war machine, an assemblage composed from the human body of a nomadic warrior

in The ABC of the projectariat
Fanny Lopez

nomad machine, territorialization, deterritorialization and reterritorialization ran throughout Mille plateaux , and more specifically the “Traité de nomadologie: la machine de guerre [“Treatise of nomadology: the war machine”].” 30 The authors formulated a “science of nomadism” that resonated with the projects mentioned above. Though no architect previously cited used the term ‘deterritorialization,’ it nonetheless has a stimulating evocative power for the analysis that concerns us here. This link is justified by the historical period itself: in the late 1960s

in Dreams of disconnection
Abstract only
Corpse or chrysalis
Elza Adamowicz

more playful parody of the prosthetic body. The prints of Krüppelmappe, consequently, were compared by contemporary reviewers to Goya’s macabre Horrors of War, and received as a powerful anti-war protest, deploring the damage to soldiers’ bodies and minds in wartime and their subsequent impotence and alienation in post-war society. They are critical of the war machine which amputated body-parts and mangled minds, and of the post-war industrial machine which exploited prosthetic surgery to transform them into an efficient, mindless workforce. It was in this vein that

in Dada bodies
Abstract only
Marc James Léger

a teleological development nor are thought to be permanent. Addressing Gustave Courbet’s participation in the Paris Commune, Raunig develops the concept of a sequential practice, wherein the artist abandons his practice as an artist and so defies the idea of a dialectical synthesis of art and life – presumably the defining ambition of twentieth-century avant-garde practice – in order to participate as a political activist in the 1871 Commune, which Raunig defines as a ‘war machine’ that experimented with constituent power through

in Vanguardia
Regina Lee Blaszczyk

Beckett went to work at Netherfield Mill after moving from Staffordshire to Yorkshire. ‘In those days, there were loads of mills’, he recalled. ‘You could get a job anywhere.’ At age eighteen, Brian started in the weaving shed, which was under the general oversight of Albert Holmes, now production manager, and the direct supervision of weaving manager Arthur Leach. The shed was outfitted with 124 power looms, including pre-war machines made by George Hodgson in Bradford and postwar equipment by George Hattersley & Sons in Keighley. There was no formal apprenticeship

in Fashionability
Kimberly Lamm

suburbs; racial prejudice. In her extensive catalogue of the damage patriarchal culture has caused, Solanas gives war a prominent position. It is clear she has the Vietnam War in mind; late in the manifesto she refers to ‘LBJ’ and ‘McNamara’ giving orders that ‘servicemen’ have to carry out.56 Solanas is unequivocal about exposing the modern war machine and connecting it to the anxious emptiness at the core of male sexuality. Solanas writes: ‘The male’s normal compensation for not being female, namely, getting his Big Gun off, is grossly inadequate, as he can get it off

in Addressing the other woman
Patricia Allmer

[Nazi] party […]. Confiscated artworks were often saved for private Nazi and German collections, while some pieces were sold to buyers through neutral countries like Switzerland to raise capital for purchasing additional art pieces and to purchase materials for the Nazi war machine. Additionally, Switzerland offered a large market to sell off ‘degenerate art’. 43 Oppenheim’s relocation to Basel needs to be understood in the context of such pre-war events and of

in The traumatic surreal
Conceptualism as political art
Nizan Shaked

an activist organization.22 AWC, and the splinter groups it inspired, worked to expose the complicity of the art system with the war machine and capitalist oppression, finding the parallels between the issue of artist rights and the ways in which museums The synthetic proposition: conceptualism as political art trustees were invested in enterprises that supported war industries and oppressive regimes internationally. Documenting their activities, they left for posterity a record of the position of museum governance.23 However, AWC was lacking in several respects

in The synthetic proposition
My memoir of Leonora Carrington
Gabriel Weisz Carrington

otherworldly domain to avoid being shoved around or having to suffer poisonous, bigoted remarks. I felt impotent, unable to communicate the atrocities my family had experienced during the war; memories one didn’t ever want to summon because they were a reminder of death, humiliation, and mutilation, of relatives killed on death marches, or by an army of butchers, or by incomprehensible, intelligence-defying forms of racism. There were children who admired that herd of fanatical racists and a war machine fed by stupid discipline and violence. I often wanted to say something

in The invisible painting