Edited by Christian Höller. Text by Inke Arns, Zdenka Badovinac, Bart de Baere, Charles Esche, Bartomeu Mari, Georg Schöllhammer, et al.
L’Internationale is a trans-institutional network of five major European museums and artists’ archives: Moderna Galerija Ljublana, Július Koller Society Bratislava/Vienna, MACBA Barcelona, Van Abbemusuem Eindhoven and MHKA Antwerp. With these five museums and their respective collections as a starting point, L’Internationale: Post-War Avant-Gardes Between 1957 and 1986 presents a range of case studies and historiographical and theoretical essays that reconsider a period in art history that was dominated by the art of Western Europe and North America. The publication instead portrays a more dispersed, multi-polar and interconnected neo-avant-garde, one that existed long before it became common to think in terms of globalization or trans-nationalism. In the process, this book questions how local narratives can be brought together in a new “rhizomatic” way, one that works to reshape our ideas of translocalism and internationalism.
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FORMAT: Pbk, 6 x 8.25 in. / 364 pgs / 16 color / 82 b&w. LIST PRICE: U.S. $29.95 LIST PRICE: CANADA $39.95 ISBN: 9783037643112 PUBLISHER: JRP|Ringier AVAILABLE: 3/31/2013 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ASIA AU/NZ AFR ME
L’Internationale Post-War Avant-Gardes Between 1957 and 1986
Published by JRP|Ringier. Edited by Christian Höller. Text by Inke Arns, Zdenka Badovinac, Bart de Baere, Charles Esche, Bartomeu Mari, Georg Schöllhammer, et al.
L’Internationale is a trans-institutional network of five major European museums and artists’ archives: Moderna Galerija Ljublana, Július Koller Society Bratislava/Vienna, MACBA Barcelona, Van Abbemusuem Eindhoven and MHKA Antwerp. With these five museums and their respective collections as a starting point, L’Internationale: Post-War Avant-Gardes Between 1957 and 1986 presents a range of case studies and historiographical and theoretical essays that reconsider a period in art history that was dominated by the art of Western Europe and North America. The publication instead portrays a more dispersed, multi-polar and interconnected neo-avant-garde, one that existed long before it became common to think in terms of globalization or trans-nationalism. In the process, this book questions how local narratives can be brought together in a new “rhizomatic” way, one that works to reshape our ideas of translocalism and internationalism.
