Bøger udgivet af VALIZ & ANTENNAE SERIES

The work of Belgian-Moroccan choreographer Sidi Larbi Cherkaoui (born 1976) and British-Bengali choreographer Akram Khan (born 1974), two of today's most prolific choreographers, has in many ways defined the first decade of 21st- century dance. Both choreographers have extensively discussed identity as a significant concern, and both artists have positioned themselves biographically and in practice as working between dance cultures. Critic Guy Cools, who has followed the careers of both choreographers since their emergence, explores Cherkaoui and Khan's work in this volume within larger critical debates about postmodern and post-migrant identity. Connecting the dancer's awareness and knowledge of the body to the overdetermined identity of the "migrant body," Cools offers in-depth readings of some of Cherkaoui and Khan's most iconic dance pieces as critical engagements with the choreographers' migratory experiences.

Every kind of change belongs to a form of community art¿, stelt de Italiaanse filosoof Antonio Negri. Het is de omkering van het gebruikelijke adagium dat community art een deel kan zijn van gewenste maatschappelijke veranderingen. Negri stelt niet alleen de community art, haar voorstanders en critici voor een uitdagende verantwoordelijkheid, maar iedereen in de samenleving die verandering wil teweeg brengen op sociaal, politiek, economische, technologisch of ecologisch vlak. Artistiek én collectief denken gaan hand in hand. In Community Art denken zowel artiesten als theoretici over artistieke en maatschappelijke bewegingen en blokkades in westerse en niet-westerse samenlevingen, op lokaal en mondiaal niveau, en in concrete artistieke praktijken en in concepten. Het resultaat is geen sluitend theoretisch model, maar een nieuwe en kritische herformulering van community art in de samenleving.

Can art express questions about justice? Could art, perhaps, even create justice? In Aesthetic Justice, sociologist Pascal Gielen and curator Niels Van Tomme invite a variety of artists and critical thinkers--including Zoe Beloff, Arne De Boever, Mark Fisher, Matt Fraser, Tessa Overbeek, Kerry James Marshall, Viktor Misiano, Carlos Motta, Nat Muller, Julie Atlas Muz, Gerald Raunig, Dieter Roelstraete, Hito Steyerl, Julia Svetlichnaja, Hakan Topal, Samuel Vriezen and Christian Wolff--to reflect on new futures for the notion and practice of justice. The book offers thought-provoking views on the ways in which art may confront and potentially redirect social and political futures. Incorporating analyses of contemporary artworks that challenge the social, political or economic status quo, as well as interviews with artists and theoretical reflections, Aesthetic Justice considers the liberating potential of aesthetic frameworks and suggests alternatives for a more just future.

Equated with notions of public interaction, the term "participation" is often used very loosely, especially within the contexts of new media and innovation research. Among a recent generation of artists and designers working in new media, there is an increasing need to work across disciplines and domains in ways that enable end users to contribute content, form and structure. These artists are currently developing new parameters in creative collaboration and participation in order to meet the specific working methods and processes required by new media. Participation Is Risky illustrates how interesting participative practices and results are typically characterized by the "risky" confrontation between the differences of disciplines and perspectives. While their work will have no fixed form, Participation Is Risky proposes that artists who engage in participative practices must take the risk of abandoning their traditional roles and evolve through participatory collaboration.

In this third edition of The Murmuring of the Artistic Multitude, art sociologist Pascal Gielen's hypothesis that the globalized art scene is an ideal production entity for economic exploitation is updated with the author's latest insights into the political dimensions of art, autonomy and the relationship between art, ethics and democracy.In the glow of creative cities and creative industry, governments embrace the post-Henry Ford work model and link it to the neoliberal market economy. How can the art world preserve its own dynamic and freedom? The Murmuring of the Artistic Multitude attempts to provide alternatives to the current model of economic exploitation, exploring places of intimacy and "slowability" in the hectic global flow of artistic events and artistically minded trends.