Review: Unexpected Encounters
2020; The Visual Studies Workshop; Volume: 47; Issue: 2 Linguagem: Inglês
10.1525/aft.2020.472014
ISSN2578-8531
Autores ResumoBook Review| June 01 2020 Review: Unexpected Encounters Unexpected Encounters: Arsenāls Fine Arts Museum, organized by the Latvian Centre for Contemporary Art. Riga, Latvia: December 13, 2019–Feb 23, 2020. Jacquelyn Davis Jacquelyn Davis Jacquelyn Davis is an American-Swedish writer and independent curator based in Stockholm. She is the founder of valeveil and The Lottery Project. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2020) 47 (2): 77–81. https://doi.org/10.1525/aft.2020.472014 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Jacquelyn Davis; Review: Unexpected Encounters. Afterimage 1 June 2020; 47 (2): 77–81. doi: https://doi.org/10.1525/aft.2020.472014 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search The short stories written by brothers Arkady and Boris Strugatsky confront issues such as differences between civilizations and the complexity of human encounters with diverse, far-flung species. The group exhibition Unexpected Encounters, organized by the Latvian Centre for Contemporary Art, took its title from a story collection by the Strugatskys and drew attention to concepts such as the “stalker” and the “zone,” among other science fiction concepts, appropriated from their once-banned novel Roadside Picnic (1971). This show primarily drew attention to the sociopolitical history of the literary community in Latvia and neighboring regions during the twentieth century, where the state and certain publishers were known to censor works or drastically edit the content of works before they reached the public. Yet, despite this general climate of censorship, literary science fiction publishers in Latvia and the Soviet Union were often successful in producing and supporting works that revolved around the... You do not currently have access to this content.
Referência(s)