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Rana, Rashid --- Gupta, Shilpa --- Mazzotta, Martina --- Ginwala, Natasha

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Riots are extraordinary events that have been recurring with increasing frequency and that occupy a highly controversial space in the political imagination. Despite their often negative portrayals, it is undeniable that riots have played a pivotal role in the confrontation between authority and dissent. Recently, with the deepening crises of capitalism, racial violence, and communal tension, an "age of riots" has powerfully begun. As master fictions of the sovereign nation-state implode and the hegemonic silencing of the dispossessed reveals the cracks in governability, 'Nights of the Dispossessed' brings together artistic works, political texts, critical urban analyses, and research projects from across the world in an endeavor to "sense," chronicle, and think through recent riots and uprisings-evoking a phenomenology of the multitude and surplus population.00With contributions from Asef Bayat, Joshua Clover, Vaginal Davis, Zena Edwards, Nadine El-Enany, Dilip Gaonkar, Gauri Gill, Natasha Ginwala, Natascha Sadr Haghighian, Louis Henderson, Satch Hoyt, Hamid Khan, Gal Kirn, Josh Kun, Leopold Lambert, Margit Mayer, Vivek Narayanan, Oana Parvan, Elizabeth A. Povinelli, Thomas Seibert, Niloufar Tajeri, Chandraguptha Thenuwara, Dariouche Tehrani, and Ala Younis.

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Abondamment illustrée, cette monographie offre pour la première fois un aperçu complet des œuvres de l'artiste libanais réalisées depuis plus d'une décennie, et analyse un vocabulaire formel caractérisé par l'esthétique du son et du langage.A l'occasion de l'exposition de Lawrence Abu Hamdan au Bonniers Konsthall de Stockholm en 2021, un groupe d'auteurs a été invité à analyser un ensemble de ses œuvres et les idées sous-jacentes. Abu Hamdan considère l'espace de l'art comme un site où l'on peut attirer l'attention sur des conditions sociopolitiques réelles afin de remettre en question les structures qui les sous-tendent. L'artiste repousse ainsi les limites de ce qui constitue un témoignage. Le titre « Dirty Evidence » vient de la définition que donne Abu Hamdan de la preuve, dans laquelle une valeur de vérité est dérivée de son inadmissibilité même devant la loi. C'est précisément la dimension « impropre » figurative de la preuve qui contribue à la production de la vérité.

Art --- installations [visual works] --- performance art --- Abu Hamdan, Lawrence

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Law --- Art --- polyfonie

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The current discussion on art seems to increasingly focus on a research-based and research-orientated discourse. How does this influence the concept of experiment that, in the past century, has been so crucial for an ever-innovating art practice? Did the discourse on artistic research and its methodologies redefine our ideas regarding experiments and experimentality? Does current research generate new types of methodologies reassessing the nature of experimentation? The first Research Pavilion (Venice Biennale 2015) approached these issues from an institutional point of view: What are the consequences of a new perspective on experimentality for the current situation of art education and the development of topical curatorial strategies? Is it time for rethinking the very concept of laboratory? Or should this concept intrinsically signify novel connections between science, aesthetics and politics in the concetxt of artistic research?

experimentation --- Art --- 7.01 --- Kunst ; theorie, filosofie, esthetica --- kunst --- philosophy of art --- art [fine art] --- Aesthetics (Modern) --- Art. --- Onderzoek in de kunst --- art [discipline]