Book launch of Vols. 12 and 13 of the Publication Series of the Academy of Fine Arts Vienna
Occasion for the event is the re-launch of the Academy's Publication Series with a new publishing house, namely Sternberg Press - and the arrival of the first two volumes with Sternberg. The volumes in the series comprise collected contributions on subjects that are the focus of discourse in terms of art theory, cultural studies, art history, and research at the Academy of Fine Arts Vienna and form the quintessence of international study and discussion taking place in the respective fields. Each volume is published in the form of an anthology edited by staff members of the Academy of Fine Arts Vienna. Authors of high international repute are invited to write contributions dealing with the respective areas of emphasis. Research activities such as international conferences, lecture series, institute-specific research focuses, or research projects serve as the points of departure for the individual volumes.
The publication series is edited by the Rectorate of the Academy of Fine Arts Vienna, Eva Blimlinger, Andrea B. Braidt and Karin Riegler.
Vice-Rector for Art and Research, Andrea B. Braidt
Model House Research Group (ed.)
Transcultural Modernisms (Sternberg Press, 2013)
with representatives of the editorial group "Model House Research Group"
Carola Dertnig, Felicitas Thun-Hohenstein (eds.)
Performing the Sentence. Research and Teaching in Performative Fine Arts (Sternberg Press, 2014)
with the editors
About the books:
Model House Research Group (ed.).
Publication Series of the Academy of Fine Arts Vienna vol. 12.
Berlin: Sternberg Press, 2013.
Authors: Fahim Amir, Zvi Efrat, Eva Egermann, Nádia Farage, Gabu Heindl, Moira Hille, Rob Imrie, Monica Juneja, Christian Kravagna, Christina Linortner, Duanfang Lu, Marion von Osten, Anoma Pieris, Vikramāditya Prakāsh, Susan Schweik, Felicity D. Scott, Chunlan Zhao
Transcultural Modernisms is based on the findings of an interdisciplinary research project with focus on modernist architectural projects realized in the era of decolonization. It maps out the network of encounters, transnational influences, and local appropriations of an architectural modernity manifested in various ways in housing projects in India, Israel, Morocco, and China that served as exemplary standard models, not only for Western societies. The emphasis in Transcultural Modernisms is on the exchanges and interrelations among international and local actors and concepts, a perspective in which "modernity" is not passively received, but is a concept in circulation, moving in several different directions at once, subject to constant renegotiation and reinterpretation. Modernism is not presented as a universalist and/or European project, but as marked by cultural transfers and their global localization and translation.
Carola Dertnig, Felicitas Thun-Hohenstein (eds.).
Performing the Sentence Research and Teaching in Performative Fine Arts.
Publication Series oft he Academy of Fine Arts Vienna vol. 13.
Berlin: Sternberg Press, 2014.
Authors: Philip Auslander, Sabeth Buchmann, Margarit von Büren, Barbara Clausen, Carola Dertnig, Andrea Fraser, Sabine Gebhardt Fink, Simone Forti, Sabina Holzer, Amelia Jones, Carrie Lambert-Beatty, Marie-Luise Lange, Suzana Milevska, Lilo Nein, Susanne Neuburger, Yvonne Rainer, Constanze Ruhm, Dietmar Schwärzler, Stefanie Seibold, Felicitas Thun-Hohenstein, Mechtild Widrich, Martha Wilson
Performing the Sentence brings into dialogue the ways that "performative thinking" has developed in different national and institutional contexts, within different disciplines in the arts, and the conditions under which it has devel- oped in experimental art schools. The anthology collects 21 essays and conver- sations that weave in and out of the two key areas of research and teaching within performative fine art. They bring to light the conventions involved in the production, presentation, reception and historicization of performance art, as well as the specific cultural and political implications. The various contributions also show how these conventions are produced through or within each artwork, independent from their specific contexts, offering ways of thinking beyond their usual frames of reference. At the same time they recognize the substantial work carried out by artists, critics, and theorists who have built the meanings, references, and implications since the beginning of the "performative turn."
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