Hylla
Personnamn
Titel och upphov
Utgivning, distribution etc. Lukas & Sternberg , New York ; 2009 : cop. 2009
Utgivningsår
SAB klassifikationskod
Fysisk beskrivning
Term
ISBN 1-933128-42-9 1-933128-42-9 978-1-933128-42-9 978-1-933128-42-9
Antal i kö:
*00001018nam a22003497a 4500
*00127351
*007|||||||||||||||||||||||
*008110824s2009 xxu | 000 0 eng c
*020 $a1-933128-42-9
*020 $a1-933128-42-9
*020 $a978-1-933128-42-9
*020 $a978-1-933128-42-9
*035 $a(Ko)31485
*084 $aIaa
*084 $aM:d
*1001 $aBourriaud, Nicolas
*24514$aThe radicant /$cNicholas Bourriaud ; [translation: James Gussen, Lili Porten]
*260 $aNew York ;$a2009 :$bLukas & Sternberg ,$ccop. 2009
*300 $a188 s.
*650 4$aKonst
*650 4$ateori, filosofi
*650 4$aKulturell mångfald
*650 4$ateori, filosofi
*697 $cKonstteori och konstestetik
*697 $cEtnografi, socialantropologi och etnologi: teori, filosofi
*7001 $aGussen, James$4trl
*7001 $aPorten, Lili$4trl
*8520 $hKONST - Iaa
^
Det finns inga omdömen till denna titeln.
Klicka här
för att vara den första som skriver ett omdöme.
¿In ordinary language, `modernizing¿ has come to mean reducing cultural and social reality to Western formats. And today, modernism amounts to a form of complicity with colonialism and Eurocentrism. Let us bet on a modernity which, far from absurdly duplicating that of the last century, would be specific to our epoch and would echo its own problematics: an altermodernity whose issues and features this book seeks to sketch out.¿ In his most recent essay, Nicolas Bourriaud claims that the time is ripe to reconstruct the modern for the specific context in which we are living. If modernism was a return to the origin of art or of society, to their purification with the aim of rediscovering their essence, then our own century¿s modernity will be invented, precisely, in opposition to all radicalism, dismissing both the bad solution of re-enrooting in identities as well as the standardization of imaginations decreed by economic globalization. To be radicant: it means setting one¿s roots in motion, staging them in heterogeneous contexts and formats, denying them any value as origins, translating ideas, transcoding images, transplanting behaviors, exchanging rather than imposing. The author extends radicant thought to modes of cultural production, consumption and use. Looking at the world through the prism of art, he sketches a ¿world art criticism¿ in which works are in dialogue with the context in which they are produced.