For too long, Tove Jansson's lesbianism has been ignored or written out of history. But scratch the surface, and the true impact of her queerness on her work becomes apparent.
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The first book to focus specifically on the late German artist Christoph Schlingensief's theatre work, it subversively merges art, politics and everyday life to imbue his productions both inside and outside the theatre with a re-energized concept of the political in art. Scheer traces Schlingensief's artistic lineage as a filmmaker with no formal training in theatre, whose work does not correspond to theoretical frameworks such as postdramatic theatre, Regietheater, or established categories of political theatre such as Brechtian, community, and agit-prop theatre. She explores how his work instead draws upon the highly performative gestures of the historical and post-Cold War avant-gardes as well the happenings and event-based practices of the sixties. Comprehensive case studies of six diverse theatrical and activist events are offered to demonstrate both the immediacy of Schlingensief's response to contemporary social and political events and his use of a range of artistic influences and different genres: Rocky Dutschke '68 (1996), Save Capitalism: Throw the Money Away! (1999) The Berlin Republic - or the Ring in Africa (1999) Hamlet (2001), Atta Atta - Art Has Broken Out! (2003) and the Church of Fear (2003). Key questions such as how his theatre functions as a provocation, and how an artist can insert themselves into the powerful flows of imagery produced by the perpetual global news cycle, form a coherent line of enquiry throughout each of the chapters. The significance of Schlingensief's artistic legacy of politicized theatre-making that pioneers new modes of active, aesthetic and public engagement in the political realm remains pertinent to topical socio-political debates and is of relevance to an international audience across a diversity of disciplines.
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In Black Trans Feminism Marquis Bey Offers A Meditation On Blackness And Gender Nonnormativity In Ways That Recalibrate Traditional Understandings Of Each. Theorizing Black Trans Feminism From The Vantages Of Abolition And Gender Radicality, Bey Articulates Blackness As A Mutiny Against Racializing Categorizations; Transness As A Nonpredetermined, Wayward, And Deregulated Movement That Works Toward Gender's Destruction; And Black Feminism As An Epistemological Method To Fracture Hegemonic Modes Of Racialized Gender. In Readings Of The Essays, Interviews, And Poems Of Alexis Pauline Gumbs, Jayy Dodd, Venus Di'khadija Selenite, And Dane Figueroa Edidi, Bey Turns Black Trans Feminism Awa
»And what has been before and will pass later has found a place here and in me between words.« ... writes Claire, known on Instagram as: @wortwandel, in her foreword to this book of poems by Moritz Russ. I love, I submit. Moritz Russ uses the German language very precisely: he gives his verses radicality and sensuality at the same time. The first volume of poetry: "Notes", by the twenty-year-old Berlin writer, is the result of over two years of intensive writing work: "In the evening In the evening of every day I imagine, what it would be like if you to me, like me to you, in the evening one every day think thoughts would." On a total of 114 pages, which the volume of poetry: "Notes" comprises, there are 70 poems, sometimes shorter and sometimes longer, and some handwritten notes by Moritz Russ, as well as illustrations by the visual artist Chanelle Rundel, as well as four portraits of the author, which were taken by the Photographer: Bernardo, were taken. "Wine. With Me. I was with bare feet stepped on glass; the shards of the broken wine glass pushed themselves under my skin and the spilled sip of red wine colored blood red." The unusual, graphic design of the cover by artist Bo Vogt ensures a special eye-catcher in the bookcase. Instagram: @moritzruss
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Completed in 2014 in Utrecht, The NetherlandsThe so-called Muziekpaleis is a spectacular endeavour. When we first learnt about the project we could hardly believe its radicality. The project is...
The fragrance for the free-spirit men that dare to be themselves. <>/p> D embodies Diesel’s fearless attitude. The desire to express yourself with unapologetic confidence. The first fragrance overseen by Fashion Creative Director Glenn Martens, D is a celebration of uniqueness, radicality and optimism. Marked by the originality within, D is the representation of the youthful spirit of freedom and fun. D gives the audacity to men to create their own stories and leave their mark. The radical sensual scent that lasts. D by Diesel is an addictive and sensual scent that leaves an unforgettable mark. The note unleashes first the energy of spicy ginger followed by the comforting freshness of aromatic lavender from Provence, France. Full of contrasts the scent evolves into a more sensual, warmer facet, with Bourbon vanilla infusion from Madagascar. Alluring and dynamic, it fits and sublimates your skin leaving a long-lasting trail. Top Note: Spicy Ginger Heart Note: Fresh Lavender Bottom Note: Addictive Vanilla An invitation to leave your mark. D by Diesel bottle’s design evokes the iconic ‘Diesel For Successful Living’ logo crushed and twisted in your hand — literally: leaving your mark. With the iconic D logo, the cap is inspired by the rivets on a pair of distinctive Diesel jeans. Keep it and reuse it, for the first time, all formats of the bottle are refillable. Unique and impactful D by Diesel represents the change that lasts.
Piazza virtuale by the group of artists known as Van Gogh TV was not only the biggest art project ever to appear on television, but from a contemporary point of view the project was also a forerunner of today's social media. The ground-breaking event that took place during the 100 days of documenta IX in 1992 was an early experiment with entirely user-created content. This is the first book-length study of this largely forgotten experiment: It documents the radicality of Piazza virtuale's approach, the novel programme ideas and the technical innovations. It also allows, via QR codes, direct access to videos from the show, which until now have been inaccessible.
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[NÃO FINALIZADA] ❦ 𝕮𝖍𝖊𝖗𝖗𝖞 era uma boa garota, mesmo cometendo pequenos furtos diariamente devido sua condição de vida. Geralmente, garotas assim, tendem a se submeter à condições extremas para conseguir no mínimo uma refeição ao dia, mas para Cherry, as coisas foram muito diferentes. Uma garota de sorte, é o que diriam. Muita sorte. ❦ | Iniciada originalmente em: 25/05/2021; 🥇 | 1° lugar na #ManjiroSano (05/07/2022) 🥇 | 1° lugar na #TokyoRevengers (26/07/2021) 🥇 | 1⁰ lugar na #SanoManjiro (02/02/2023) 🥇 | 1° lugar na #Baji (09/08/2021) 🥇 | 1° lugar na #Chifuyu (20/09/2021) 🥇 | 1⁰ lugar na #Revengers (03/02/2023) 🥈 | 2° lugar na #Mikey (21/07/2022) 🥉 | 3⁰ lugar na #TokyoManji (04/02/2023) 🥉 | 3° lugar na #Anime (29/07/2021) Publicada somente na plataforma Wattpad. Plágio é crime!
The fragrance for the free-spirit men that dare to be themselves. <>/p> D embodies Diesel’s fearless attitude. The desire to express yourself with unapologetic confidence. The first fragrance overseen by Fashion Creative Director Glenn Martens, D is a celebration of uniqueness, radicality and optimism. Marked by the originality within, D is the representation of the youthful spirit of freedom and fun. D gives the audacity to men to create their own stories and leave their mark. The radical sensual scent that lasts. D by Diesel is an addictive and sensual scent that leaves an unforgettable mark. The note unleashes first the energy of spicy ginger followed by the comforting freshness of aromatic lavender from Provence, France. Full of contrasts the scent evolves into a more sensual, warmer facet, with Bourbon vanilla infusion from Madagascar. Alluring and dynamic, it fits and sublimates your skin leaving a long-lasting trail. Top Note: Spicy Ginger Heart Note: Fresh Lavender Bottom Note: Addictive Vanilla An invitation to leave your mark. D by Diesel bottle’s design evokes the iconic ‘Diesel For Successful Living’ logo crushed and twisted in your hand — literally: leaving your mark. With the iconic D logo, the cap is inspired by the rivets on a pair of distinctive Diesel jeans. Keep it and reuse it, for the first time, all formats of the bottle are refillable. Unique and impactful D by Diesel represents the change that lasts.
“Perhaps one did not want to be loved so much as to be understood.” ― George Orwell, 1984
Writing in fragments is often held to be one of the most distinctive signature effects of Romantic, modern, and postmodern literature. But what is the fragment, and what may be said to be its literary, philosophical, and political significance? Few writers have explored these questions with such probing radicality and rigorous tenacity as the French writer and thinker Maurice Blanchot. For the first time in any language, this book explores in detail Blanchot's own writing in fragments in order to understand the stakes of the fragmentary within philosophical and literary modernity. It attends in detail to each of Blanchot's fragmentary works (Awaiting Forgetting, The Step Not Beyond, and The Writing of the Disaster) and reconstructs Blanchot's radical critical engagement with the philosophical and literary tradition, in particular with Hegel, Nietzsche, Heidegger, Heraclitus, Levinas, Derrida, Nancy, Mallarmé, Char, and others, and assesses Blanchot's account of politics, Jewish thought, and the Shoah, with a view to understanding the stakes of fragmentary writing in Blanchot and within philosophical and literary modernity in general. Â
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Canon van de Moderne Kunst – Venster 43 In de Canon van Moderne Kunst geeft Vensters een overzicht van de […]
&ldquo Exploring the experimental roots, the radix, of radical pedagogies that emerged globally from the 1930s to the 1980s, this book&mdash a timely, informative intervention on the importance of inventive education&mdash plants the seeds for future pedagogic ecologies. The architectural histories of the 1960s and 1970s foregrounded here, which uprooted the environmental, material, political, and technological status quo, have much to teach us. It is a history lesson for the present, when pedagogic radicality faces new challenges.&rdquo &mdash Giuliana Bruno, Emmet Blakeney Gleason Professor of Visual and Environmental Studies, Harvard University "Without Radical Pedagogies demonstrating how far it's possible to re-think what education could and should be, the Graduate School of Architecture in Johannesburg would have remained a pipe dream, and there would be no African Futures Institute.&rdquo &mdash Lesley Lokko, Professor and Founder & Director, African Futures Institute, Accra &ldquo In an impressive collection of a hundred and fourteen chapters written by some of the most exciting architectural thinkers today, Radical Pedagogies provincializes universalizing accounts of twentieth-century architectural education by weaving together histories from around the globe&mdash from Ife to Tucumá n, from Delft to Mexico City, from Warsaw to Havana, from New York City to Johannesburg. The result is a remarkably polysemous account of architecture&rsquo s epistemological ambitions in the twentieth century and its claims to radical politics. Particularly striking is the role played by architectural education in postcolonial contexts. The volume not only throws light on hitherto unacknowledged actors, media, and tactics but also provides much-needed historical context for some of the discipline's most urgent debates today.&rdquo &mdash Zeynep Ç elik Alexander, Associate Professor, Art History and Archaeology, Columbia University.
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