’internationale

L'Internationale. Post-War Avant-Gardes Between 1957 and 1986

Edited by Christian Höller

Graphic Design: New Collectivism

2015
ISBN 978-3-03764-311-2
pdf
epub

Contents

  1. 1.
    OPEN
  2. 2.
    Museum of Parallel Narratives, Museu d’Art Contemporani de Barcelona (MACBA), Barcelona (2011)
    Zdenka Badovinac
  3. 3.
    Museum of Affects, Moderna galerija, Ljubljana (2011/12)
    Bart de Baere, Bartomeu Marí, Leen De Backer, Teresa Grandas, Bojana Piškur
  4. 4.
    Prologue: L’Internationale
    Zdenka Badovinac, Bart de Baere, Charles Esche, Bartomeu Marí, Georg Schöllhammer
  5. 5.
    METHODOLOGY
  6. 6.
    Writing History Without a Prior Canon
    Bartomeu Marí
  7. 7.
    Histories and Their Different Narrators
    Zdenka Badovinac
  8. 8.
    Approaching Art through Ensembles
    Bart de Baere
  9. 9.
    An Exercise in Affects
    Bojana Piškur
  10. 10.
    What If the Universe Started Here and Elsewhere
    Steven ten Thije
  11. 11.
    Age of Change
    Christian Höller
  12. 12.
    CIRCUMSCRIBING THE PERIOD
  13. 13.
    Connect Whom? Connect What? Why Connect? The World System after 1945
    Immanuel Wallerstein
  14. 14.
    Recycling the R-waste (R is for Revolution)
    Boris Buden
  15. 15.
    Art as Mousetrap: The Case of Laibach
    Eda Čufer
  16. 16.
    Should Ilya Kabakov Be Awakened?
    Viktor Misiano
  17. 17.
    Forgotten in the Folds of History
    Wim Van Mulders
  18. 18.
    Is Spain Really Different?
    Teresa Grandas
  19. 19.
    CASE STUDIES
  20. 20.
    A. ARTISTS
  21. 21.
    KwieKulik / Form is a Fact of Society
    Georg Schöllhammer
  22. 22.
    Július Koller / Dialectics of Self-Identification
    Daniel Grúň
  23. 23.
    Gorgona / Beyond Aesthetic Reality
    Branka Stipančić
  24. 24.
    OHO / An Experimental Microcosm on the Edge of East and West
    Ksenya Gurshtein
  25. 25.
    Jef Geys and Marinus Boezem / Taking Care of the Frame
    Steven ten Thije
  26. 26.
    Paul De Vree and Toon Tersas / Hysteria Makes History
    Lars Bang Larsen
  27. 27.
    Grup de Treball and Vídeo-Nou / Two Collective Projects in 1970s Spain
    Teresa Grandas
  28. 28.
    Retroavantgarde
    Inke Arns
  29. 29.
    B. MONUMENTS
  30. 30.
    “A Huge Amusement-Park Exhibition” / Vision in Motion (1959)
    Jan Ceuleers
  31. 31.
    Overcoming Alienation / New Tendencies 1961–1973
    Armin Medosch
  32. 32.
    The Furor of the Festival / Los Encuentros de Pamplona (1972)
    José Díaz Cuyás
  33. 33.
    The Avant-Garde, Sots-Art and the Bullldozer Exhibition of 1974
    Vitaly Komar
  34. 34.
    Works and Words (1979) in the Shadow of I AM (1978)
    Marga van Mechelen
  35. 35.
    A European Institutional Effort / Art in Europe after ‘68 (1980) and Chambres d’Amis (1986)
    Jan Hoet
  36. 36.
    ARRAYS OF INTERNATIONALISM
  37. 37.
    Southern–Eastern Contact Zones
    Cristina Freire
  38. 38.
    From the International to the Cosmopolitan
    Piotr Piotrowski
  39. 39.
    “Global” Art
    Nancy Adajania
  40. 40.
    CLOSE
  41. 41.
    Spirits of Internationalism, Van Abbemuseum, Eindhoven / Museum van Hedendaagse Kunst Antwerpen (M HKA), Antwerpen
    Charles Esche, Steven ten Thije, Bart de Baere, Jan De Vree, Anders Kreuger
  42. 42.
    Contributors
  43. 43.
    Colophon

Taking as its starting point the five founding museums of L’Internationale and their collections, L'Internationale – Post-War Avant-Gardes between 1957 and 1986 presents a wide range of case studies, historiographic and theoretical essays to newly consider a period in art history that, according to the established canon, has been almost exclusively dominated by Western Europe and North America. In questioning this canon the publication works to acknowledge the existence of and explore a dispersed, multi-polar, and at times interconnected neo-avant-gardist field that existed (long) before it became common to think according to frameworks of globalization or trans-nationalism. In the process this collection of compelling contributions puts many a central question on the table: To what extent has a common international language existed in art over these three decades, while at the same time local terminologies and approaches might have differed significantly? How were such dispersed forms of knowledge and experience situated in their respective social contexts? What parallels of artistic method appeared across different regions, even continents? Finally, can such local narratives be brought together in a new rhizomatic way, one that works to reshape our ideas of trans-localism and internationalism?