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Four lead articles set the tone for the July-August 2010 issue:From Artistic Activism to Geocritique: Marc James Léger interviews Brian Holmes
Léger asks Holmes pointed questions about institutions, autonomy, and risk. This frank discussion tackles what real change and direct intervention can actually mean—and require—today. Under transnational capitalism, the old revolutionary models seem so quaint and ineffectual. “We need a concept and a practice of transnational, cross-class collaboration that go way beyond the old ‘intellectuals and workers’ model, but manifestly, neither is available.” Holmes reminds us that “resistance also means acquiring tools, capacities, and ideas,” and that “the important thing in the kind of direct intervention we’re talking about is the confrontation with members of the transnational capitalist class and the cognitive gains we make by trying to understand how they think and what kind of habitus they have—how it feels to be in their skin.”
Zoe Beloff’s Dreamland: The Intimate Politics of Desire
Zoe Beloff talks with Niels Van Tomme about Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972, which gives form to a working-class utopia where psychoanalysis mirrors socialism’s world-changing promise. She immerses us in the thoughts and processes that have accompanied the realization of this ambitious exhibition at the Coney Island Museum, which is, in part, an homage to the Jews of her grandparents’ generation. Dreamland also enlists the sort of identification called for by Holmes, revealed through the intricate fictionalized biographies of the Society’s members—sexual, societal or political outcasts who found protection in the emancipatory realm of psychoanalysis.
The Nazi Fetish: Ritual Violence and the Power of Cinema in Inglourious Basterds
Noah Simblist looks at the play of sex, violence, and power in Quentin Tarantino’s Inglourious Basterds to trace the evolution of the representation of Jewishness since the end of WWII. Overidentification, ritual, and transfer feature prominently in the process.
Invisible Materialities and Future Pedagogies: Nicolas Lobo
Gean Moreno discusses Nicolas Lobo’s sculptural practice as second-order representation of invisible materialities and intangible realities. Lobo’s objects, which Moreno defines as “instruments of a future pedagogy,” bring us right back to the future, and to the demands that Holmes implicitly made. They reveal instances of a world that now exceeds our old mapping tools. “His sculptures give us a future—a now—through which we will increasingly move, groping for its contours with burnt-out analogue nerve endings and antiquated representational strategies.”
CROSSROADS: TWO CRITICS’ ASSESSMENT
Shannon Anderson reviews Tacita Dean: Craneway Event in Toronto. David Ryan sees it from London.
REVIEWS
ATLANTA
Diana McClintock on Conor McGrady
Felicia Feaster on Andrew Moore
BOSTON
Silvia Bottinelli on Amy Ross
Kurt Ralske on August Ventimiglia
Daniel Fuller on Dr. Lakra
CHATTANOOGA, TN
Jean Hess on Nicholas Kahn + Richard Selesnick
CHICAGO
Alicia Eler + Beatrice Smigasiewicz on Jun Nguyen-Hatsushiba
DALLAS
Erin Starr White on Modern Ruin
DUBLIN
John Gayer on Anne Tallentire
FORT WORTH, TX
Charissa N. Terranova on Ben Jones
HARRISONBURG, VA
Paul Ryan on Dalya Luttwak
GLASGOW
Chris Fite-Wassilak on the Glasgow International Festival
HOUSTON
Noah Simblist on Emilie Halpern + Eric Zimmerman at Art Palace
MIAMI
Amanda Church on Elisabeth Condon
NEW YORK
Adam Thompson on Liam Gillick
Mimi Luse on Sam Durant
Will Corwin on Joanna Malinowska
PITTSBURGH
Grant Johnson on Haegue Yang + Martha Rosler
RICHMOND, VA
Andy Kozlowski on Daniel Calder
ST.LOUIS
Sam Watson on Sean Landers
SCARBOROUGH, CANADA
Earl Miller on John Sasaki
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