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Global days of action and photographs of resistance
Antigoni Memou

and space for the effectuation of latent possibilities for another world. The participatory nature of the street party is inevitably lost in the photographic document. During the RTS street parties, the road became a stage for a participatory festival, in which no division between the performer and the audience existed. The experience is based on the spirit of face-to-face comradeship, avoiding any mediation. The medium of photography brings back the collapsed division between the performers and the viewers, but it keeps alive the pleasure emerging from collectivism

in Photography and social movements
Sculpture, sport and the nation at the Crystal Palace, 1854–1918
Kate Nichols

was more on the cultural ties that emerged through physical competition (suggested by the emphasis on a shared language), than on the details of individual physical appearance and their correlation to the ideals of Greek sculpture as it had been at Sandow’s School. Australian reportage emphasised the bonds formed among dominions by the undertaking, a demonstrable ‘comradeship in Empire’.55 It also stressed the 1911 games as the starting point for future collaboration that looked beyond – perhaps even dissolved – national boundaries. The games were officially closed

in After 1851
Profits or perks?
Helena Chance

and club membership, including comradeship, contentment and satisfaction, management experience and training (to run the club), leadership and sportsmanship, fellowship with management who participated in club activities, and preferment and promotion.69 As at Vauxhall, elected committees of employees ran the three athletic clubs at Cadbury (Men’s, Girls’ and Youths’) and the senior management was only represented on the governing bodies of the men’s and girls’ clubs. This democratic system of organisation seemed to work up to a point. Edward Cadbury tells us that at

in The factory in a garden
French paintings of rugby
Bernard Vere

Bordelais had already prepared Giacardy to take charge of a military company.71 Stade Bordelais was, of course, Lhote’s home team, and Rugby dates both to the year of Giacardy’s death and the year that Lhote returned to artistic production.72 There need not be a specific connection between the event and the picture, as at the time that Lhote painted Rugby the game was being presented as the ultimate sport of sacrifice. For its advocates, rugby’s players took the lessons learnt on the pitch about comradeship, working towards a common goal, bravery, and persistence even in

in Sport and modernism in the visual arts in Europe, c. 1909–39
Dominic Johnson

’s actions function as ‘metaphors of self-activity’ in the spirit of Freire’s pedagogy. Who is the oppressed class in Trengove’s set-ups, including the Passage? In his struggle, does the artist metaphorise the embattled constituent of an oppressed class, on ‘the frontier between being and being more human’ (1996: 83); or the teacher striving towards conversion to the people, digging through the foundation of the institution to come to ‘comradeship with the oppressed’? (1996: 43). Is the audience – embedded in dialogical, horizontal relations – imagined here as standing in

in Unlimited action
Machine art and architecture at The Little Review exhibitions
Barnaby Haran

Constructivism. However, unlike the theatre and film groups discussed in the next two chapters, these exhibitions diverged from Soviet analogues at the point of political intent. Heap, the curator of both shows, had limited comradeship with the Revolution, and importantly promoted Constructivism in the United States as ‘machine art’, minimizing its revolutionary contingency. This was because her conception of machine art derived mostly from her dialogue with Theo van Doesburg, the leader of De Stijl and a pioneer of ‘International Constructivism’. Indeed, the importation of

in Watching the red dawn
Abstract only
Amy Bryzgel

’s project demonstrates a shift from body and performance art to biopolitics, meaning, from the discourse of the body to the discourse of the artist’s life. 72 Comparing the works of Kele and Ostojić, Hock observes that the responses Kele received from her ad were mainly from men offering her their help ‘out of what might be called leftist comradeship and that, rather than requesting a photo of the future bride inquiring about her looks or any other personal details, the respondents communicated their political affiliation and views on the project of socialism’. 73 By

in Performance art in Eastern Europe since 1960