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#GGSB: Kunst --- Kunst
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It may be hard to believe, but there actually was a time when the postcard image was not a cliché. To reach it, you'll have to set your clock back to the end of the nineteenth century, when an Act of Congress allowed Americans to mail a card for just one cent. A few years later, Kodak introduced an easy-to-use and affordable folding camera that put postcard power into the hands of ordinary citizens, setting off a craze. Real Photo Postcards is a collection of the most outlandish and idiosyncratic, beautiful and even occasionally bizarre images of this early postcard period. Painstakingly assembled from the collection of Harvey Tulcensky, one of the world's most avid collectors of these original postcards, Real Photo Postcards includes images of natural phenomena (floods, storms, fires), Main Street America, rural life, political parades, and wacky "exaggeration" cards (such as a photographically manipulated giant rabbit!). Together these cards show an oddly personal and intimate perspective of America at the turn of the 20th century.
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This book draws on extensive first-hand material to provide a fresh and detailed analysis of a decade that was highly significant in shaping the new perceptions of Chinese contemporary art at home and abroad. Written in a language that is both poetic and philosophically insightful, it offers a meaningful exploration of a language of criticism indigenous to the Chinese art community, which won Zhu Zhu, the author, the 2011 CCAA Art Critic A.
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"This book sharply reveals the impotence of critical art in the face of neoliberalism, highlighting art workers' increasingly compromised role as agents of the very system of their own oppression. Importantly, the authors skilfully expand the scope for overidentification beyond its customary use of irony and performative excess, by demonstrating how such practices destabilise normative structures and exclusionary mechanisms. Through critical analyses of historical and contemporary artists' projects, this exciting and expansively researched book draws on political theory, post-Marxist critiques of labour, subculture studies and contemporary art theory, providing us with a measured optimism in the face of the demise of art's revolutionary potential." -Lina Džuverović, Curator and Lecturer in Arts Policy and Management, Birkbeck University "Pil and Galia Kollectiv expose the fake criticality of contemporary art, showing us how in many cases today's art declares itself as critical, whereas in reality it is only an official style (socialist realism) of neoliberalism." - Miran Mohar, member of IRWIN and New Collectivism Contemporary art relies on an expansionist, modernist ideal and still progresses through a critique of earlier forms of democratisation. But beneath this democratic drive, lurks a creeping crisis. Under neoliberalism, criticality has become a zone of value production. A self-deprecating irony, exposing and re-enacting this position of impotence, is one of the few gestures left in the arsenal of critical art. Against irony, this book pits overidentification. The term has been taken to mean a kind of parodic mimicry of institutional power. The authors differentiate this from bad faith flirting with taboo aesthetics by focusing on practices grounded in a genuine identification with power that ushers the kind of excess implied by overidentification. Staging forms of critique not so readily absorbed into the structure of the present, these subversive performances herald a future beyond the democratic paradox. Pil and Galia Kollectiv are artists, writers and curators working in collaboration. They lecture in Art at the University of Reading, Royal College of Art and University of the Arts London.
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