L'Internationale. Post-War Avant-Gardes Between 1957 and 1986
Edited by Christian Höller
Graphic Design: New Collectivism
Contents
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1.OPEN
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2.Museum of Parallel Narratives, Museu d’Art Contemporani de Barcelona (MACBA), Barcelona (2011)
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3.Museum of Affects, Moderna galerija, Ljubljana (2011/12)
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4.Prologue: L’Internationale
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5.METHODOLOGY
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6.Writing History Without a Prior Canon
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7.Histories and Their Different Narrators
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8.Approaching Art through Ensembles
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9.An Exercise in Affects
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10.What If the Universe Started Here and Elsewhere
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11.Age of Change
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12.CIRCUMSCRIBING THE PERIOD
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13.Connect Whom? Connect What? Why Connect? The World System after 1945
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14.Recycling the R-waste (R is for Revolution)
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15.Art as Mousetrap: The Case of Laibach
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16.Should Ilya Kabakov Be Awakened?
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17.Forgotten in the Folds of History
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18.Is Spain Really Different?
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19.CASE STUDIES
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20.A. ARTISTS
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21.KwieKulik / Form is a Fact of Society
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22.Július Koller / Dialectics of Self-Identification
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23.Gorgona / Beyond Aesthetic Reality
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24.OHO / An Experimental Microcosm on the Edge of East and West
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25.Jef Geys and Marinus Boezem / Taking Care of the Frame
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26.Paul De Vree and Toon Tersas / Hysteria Makes History
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27.Grup de Treball and Vídeo-Nou / Two Collective Projects in 1970s Spain
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28.Retroavantgarde
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29.B. MONUMENTS
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30.“A Huge Amusement-Park Exhibition” / Vision in Motion (1959)
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31.Overcoming Alienation / New Tendencies 1961–1973
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32.The Furor of the Festival / Los Encuentros de Pamplona (1972)
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33.The Avant-Garde, Sots-Art and the Bullldozer Exhibition of 1974
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34.Works and Words (1979) in the Shadow of I AM (1978)
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35.A European Institutional Effort / Art in Europe after ‘68 (1980) and Chambres d’Amis (1986)
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36.ARRAYS OF INTERNATIONALISM
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37.Southern–Eastern Contact Zones
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38.From the International to the Cosmopolitan
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39.“Global” Art
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40.CLOSE
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41.Spirits of Internationalism, Van Abbemuseum, Eindhoven / Museum van Hedendaagse Kunst Antwerpen (M HKA), Antwerpen
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42.Contributors
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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?