Afterall: Autumn Winter 2010, Issue 25 by Nuria Enguita Mayo, Pablo Lafuente, Dieter Roelstraete

By Nuria Enguita Mayo, Pablo Lafuente, Dieter Roelstraete

"Afterall" is a magazine of artwork, context, and inquiry that provides in-depth attention of the paintings of up to date artists from world wide, in addition to essays that set the paintings in a broader context. Articles on paintings background and significant thought utilized to paintings around out each one quantity. "Afterall" is written by means of students - yet with an eye fixed towards the overall reader who's attracted to the placement of artwork and artists in our global. factor 25 is equipped round examinations of how of taking a look and commemorating. The essays on artists during this factor deal with the images of Zoe Leonard, the items and video clips of Judith Hopf, the movies of Yugoslavian Black Wave director Zelimir Zilnik, and the paintings of Lebanese artist Rabih Mroue, whereas broader items examine the cultured dimensions of protest and commemoration below the Argentine dictatorship, the good fortune of 'project exhibitions' within the Nineties, and the sculptural poetry of Karl Homqvist.

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Extra info for Afterall: Autumn Winter 2010, Issue 25

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See A. ’, in Tony Bennett and Elizabeth B. 186—99; A. 97—114. See M. ), Be Creative! ch/becreative (last accessed on 4 July 2010). See Nikolas Rose, ‘The Death of the Social? 395—424. ‘Be Creative! Der kreative Imperativ’, Museum für Gestaltung, Zurich, 2003. Initiated by M. von Osten and B. ch/becreative (last accessed on 29 June 2010). Contexts: Project Exhibitions | 65 The project observed the demand for cognitive abilities that are assigned terms such as creativity and intelligence, and brought attention to the boom in training manuals for a wide variety of professions.

Ettore Scola’s Una giornata particolare (A Special Day, 1977), starring Sophia Loren and Marcello Mastroianni, takes place over the course of a single day in the spring of 1938, when Adolf Hilter pays a visit to Benito Mussolini in Rome. Loren plays Antonietta, a beautiful but long-suffering housewife, married to a card-carrying fascist and limited in her worldview. Antonietta’s entire family has Kaelen Wilson-Goldie surveys the issues of adaptation, theatrical convention and contemporary politics that have fuelled Rabih Mroué’s collaborative practice over the last two decades.

Instead, we are speaking of the practice of travelling across a variety of things: theory production, design, political and cultural self-organisation, forms of collaboration, paid and unpaid jobs, informal and formal economies, temporary alliances, project-related working and living. 154—55. 23—25. KpD are Brigitta Kuster, Isabell Lorey, Katja Reichard and Marion von Osten. ', 1988, organised by Martha Rosler. Installation view, Dia Art Foundation, 77 Wooster Street, New York. Courtesy Dia Art Foundation Art Work In his groundbreaking essay ‘Other Criteria’ (1968), Leo Steinberg argued that art of the 1960s no longer understood itself as art, but rather as labour, as work.

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