Memories of Europe in the Art From Elsewhere

The contemporary arts contain and nurture the social lives of European memory, both in Europe and abroad. But European memory cannot be fortressed. It must include memories of Europe as they circulate elsewhere in the world. The lecture will focus on three contemporary artists (Doris Salcedo, William Kentridge, and Vivan Sundaram) whose work engages with memories of political violence in aesthetic forms imaginatively appropriated and transformed from the legacies of European and Transatlantic modernism

Políticas de memória no nosso tempo

Esta coleção de ensaios apresenta o trabalho que Andreas Huyssen tem vindo a desenvolver em torno de várias problemáticas que se interligam, e das quais se destacam questões relacionadas com o estudo do modernismo, do pós-modernismo, dos fenómenos ligados à memória cultural histórica, do papel dos intelectuais na sociedade, e, mais recentemente, com a análise de diferentes aspectos da corelação entre os discursos contemporâneos sobre a memória e os direitos humanos. Ao longo do conjunto de ensaios reunidos neste livro, o autor analisa os impactos políticos e culturais de diferentes realidades espacial e temporalmente situadas, apresentando uma perspectiva sobre a globalização do modernismo (em contraponto aos discursos sobre um modernismo global único) enquanto fluxo gerador de múltiplas formas de globalização cultural que simultaneamente impulsionam e são impulsionadas por políticas de memória.info:eu-repo/semantics/publishedVersio

The “Background Conditions” of the Hedge Fund in General Electric’s Schenectady: Reconsidering the “History of Capitalism”

This article applies Nancy Fraser’s theory of capitalism’s “background conditions” to a grassroots case study: the formative influences of Progressive-Era Schenectady’s social relations on the socialist who created the hedge fund, Alfred Winslow Jones. In showing how “capitalist” background conditions also depended on and cultivated socialist subjectivities that contributed to Jones’s creation of the hedge fund, it illustrates both value and limits in Fraser’s theory and the “history of capitalism” framework.Cet article applique la théorie de Nancy Fraser concernant les « conditions de possibilité d’arrière-fond » (background conditions of possibility) du capitalisme à une étude de cas géographiquement et historiquement située : il s’agit d’analyser la manière dont l’enfance et la jeunesse du socialiste à l’origine de la création des fonds spéculatifs (hedge funds), Alfred Winslow Jones, fut influencée par les relations sociales qui existaient dans le Schenectady (État de New York) de l’époque progressiste. L’article montre que les conditions de possibilité d’arrière-fond « capitalistes » de Schenectady ont aussi encouragé une subjectivité socialiste chez Jones qui a contribué à son élaboration du fond spéculatif. Ce faisant, l’article illustre à la fois la valeur, mais aussi les limites de la théorie de Fraser et du cadre conceptuel qui sous-tend « l’histoire du capitalisme »

Berlínské proluky

Asi neexistuje jiné důležité západní město, které nese stopy historie 20. století tak intenzivně a rozpačitě jako Berlín. Text tohoto města Berlína psán, vymazáván a znovu přepisován po celé násilné 20. století a jeho čitelnost závisí ve stejné míře na konkrétní realitě staveb jako na obrazech a vzpomínkách potlačených a zpřetrhaných traumatickými událostmi. Centrální Berlín poloviny 90. let je do takové míry gigantickým staveništěm, dírou v zemi, prolukou, že je naprosto legitimní tuto jeho charakteristiku vnímat jako převažující nad charakteristikou Berlína, který se stává. Představa Berlína jako proluky je více než metaforou. A nejde jen o přechodný stav, nýbrž o představu, která s sebou nese reálné historické konotace. Proluky kladené vedle sebe v této eseji jsou zásadně odlišné povahy. Jedna je otevřeným městským prostorem vzešlým z války, destrukce a série následných historických událostí; druhá je architektonickým prostorem, vědomě konstruovaným a v jádru sebe-reflektivním. Oba prostory rozvíjejí paměť, ale čí paměť

VERDENSBYER – URBANE FORESTILLINGSVERDENER

The article is an edited version of the article “Introduction: World Cultures, World Cities” in Andreas Huyssen, ed. Other Cities, Other Worlds: Urban Imaginaries in a Globalizing Age. Durham, N.C.: Duke University Press, 2008. The article was translated into Danish by Morten Visby

Le théâtre d’ombres : un instrument de la mémoire dans l’art contemporain

Ces dernières décennies ont connu l’émergence d’un art de la mémoire différent de celui présenté dans l’ouvrage de référence L’Art de la mémoire de Frances Yates. Les questions de mémoire politique, en particulier les cas traumatisants, ont été abordés dans les arts visuels et la littérature partout dans le monde et dans des contextes très divers. Il n’est pas surprenant de voir que les débats sur la Shoah et sa représentation artistique ont joué un rôle majeur dans la façon dont les artistes..

Memórias da Europa na arte de outros lugares

As artes contemporâneas contêm e nutrem as vidas sociais da memória Europeia, tanto dentro quanto fora da Europa. Mas a memória Europeia não pode ser fortalecida. Deve incluir memórias da Europa, uma vez que estas circulam em outras partes do mundo. A palestra se concentrará em três artistas contemporâneos (Doris Salcedo, William Kentridge e Vivan Sundaram), cujo trabalho envolve memórias de violência política em formas estéticas imaginativamente apropriadas e transformadas a partir dos legados do modernismo Europeu e transatlântico.Abstract The contemporary arts contain and nurture the social lives of European memory, both in Europe and abroad. But European memory cannot be fortressed. It must include memories of Europe as they circulate elsewhere in the world. The lecture will focus on three contemporary artists (Doris Salcedo, William Kentridge, and Vivan Sundaram) whose work engages with memories of political violence in aesthetic forms imaginatively appropriated and transformed from the legacies of European and Transatlantic modernism

Music production in the intercultural sphere: challenges and opportunities

As a South African composer working in a culturally, politically and ecologically heterogeneous environment, I deliberately refer to musical ‘differences’ in many of my works. The artistic vision developed in these works finds expression in the fusion of ‘differences’ and often highly disparate materials into unified forms of expression. In this article I respond to Kofi Agawu’s contestation of ‘difference’ from a complexity perspective indebted to Edgar Morin’s reflections on diverse systems and Paul Cilliers’s interpretation of non-foundational complexity. I use informed performance practice to respond to the overarching topic of this volume – translation – and offer a discussion of my composition The Songs of Madosini (2002) as an instance of cultural translation

Heinrich von Huyssen, "Der vierte Brieff": Eine Beschreibung der Stadt Florenz (1698), aus: [Heinrich von Huyssen]: Curieuse und vollständige Reiß=Beschreibung von gantz Italien (Freiburg 1701) (FONTES 44)

Heinrich von Huyssen’s "Curieuse und vollständige Reiß-Beschreibung von gantz Italien" [Curious and Complete Travel-Description of All of Italy] of 1701 was described by Ludwig Schudt as a turning point in the German literature on Italy ("Italienreisen im 17. und 18. Jahrhundert", 1959). Huyssen eschewed the more or less uncritical listing of objects of interests and events. He attempted instead to create a image of the country, its people, and its intellectual life. Indeed, Huyssen provides a vivid picture of the political, economic, social, and scholarly context in which works of art were created, collected, studied, and evaluated. He became closely acquainted with many of the greatest scholars in Italy, and his work is informed by his discussions with them in libraries and academies. Huyssen’s twenty-two letters, extending over more than five hundred pages, provide an unusually solid basis for the study of the monuments and works of art, and for a renewed consideration of them. His "Fourth Letter", on the city of Florence, treats the works of art, churches, and palaces of the city. At the same time it reveals much concerning the manifold social institutions in Florence as well as the customs of its citizens, life at court, in the palace, in the library and on the public piazza. Despite the attention drawn by Schudt to Huyssen’s work and to its importance for the history of art, Huyssen’s "Reiß-Beschreibung" has generally been neglected. A digistised edition of Huyssen’s work in the University Library of the University of Heidelberg is available (URL: http://digi.ub.uni-heidelberg.de/diglit/huyssen 1701)