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2021; University of Chicago Press; Volume: 52; Linguagem: Inglês

10.1086/719777

2156-4914

Photography and Visual Culture

Previous articleNext article FreeContributorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreMATTHEW BARRINGTON is a researcher and curator based in London. He is currently working on his PhD at Birkbeck College, London which focusses on slow cinema. He is a film curator for the Barbican Centre, London manager of the Birkbeck Institute for the Moving Image, and a programmer for the Essay Film Festival and the London Korean Film Festival.PASCAL GIELEN is full Professor of Sociology of Culture and Politics at the Antwerp Research Institute for the Arts (University of Antwerp) where he leads the Culture Commons Quest Office (CCQO). Gielen is editor of the international book series Antennae–Arts in Society (Valiz). In 2016 he became laureate of the Odysseus grant for excellent international scientific research of the Fund for Scientific Research Flanders in Belgium. Gielen has published many books that are translated into Chinese, English, Polish, Portuguese, Russian, Spanish, Turkish and Ukrainian. His research focusses on creative labour, the common and urban and cultural politics. Gielen works and lives in Antwerp.HANNA B. HÖLLING is Associate Professor in the Department of History of Art, University College London and Research Professor at Bern University of the Arts, Switzerland. Her research, publications and teaching focus on the art and cultural developments since the 1960s and 70s and on aspects of time, change, materiality and archive in relation to how we conceive of artworks in terms of objects that endure. Among her books are Revisions-Zen for Film (2015) and Paik’s Virtual Archive: Time, Change and Materiality in Media Art (2017). She is editor of Object—Event—Performance: Art, Materiality and Continuity since the 1960s (2021), Landscape (with Johannes M. Hedinger, 2020) and The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures (with Francesca Bewer and Katharina Ammann, 2019).NIKITA KADAN was born in 1982 in Kyiv, where he lives and works. He graduated from the National Academy of Art and Architecture in Kyiv in 2007. He is a member of the artist group R.E.P. (Revolutionary Experimental Space) since 2004, and a co-founding member of Hudrada (artistic committee, 2008). His work has been exhibited nationally and internationally, recently including solo shows in mumok, Vienna and M HKA, Antwerp. Kadan was awarded the Pinchuk ArtCentre Prize in 2011, the Special Prize of the Jury of The Future Generation Art Prize in 2014 and the Kazimir Malevich prize in 2016. He exhibited at the Ukrainian Pavilion, 56th Venice Biennale (2015), 14th Istanbul Biennale (2015) and 9th Busan Biennale (2018).HYEONJOO KIM is Associate Professor of Art History at Chugye University for the Arts in Seoul. She received her Master’s degree in Art History at SUNY Buffalo and PhD at Ewha Woman’s University in Seoul. Her research interests include migration, diaspora and contemporary art by women of Korea and Asia. Her digital archiving of YUN Suknam, one of the foremost Korean feminist artists, has been supported by the Ministry of Culture, Sports and Tourism in Korea. She translated The Dream of the Audience: Theresa Hak Kyung Cha (Constance M. Lewallen, 2001) and is the main author of Pink Room, Blue Face – YUN Suknam’s Art World (2008). Her articles include ‘Historiography of Feminist Studies in Korean Contemporary Art History’ (2020), ‘Solidarity and Art Practice as Involvement of “Feminist Artists Group IPGIM”’ (2016), The Position of Women’s Art in the History of Korean Contemporary Art’ (2013) and ‘Feminist Art of 1980s in Korea: “Let’s Burst Out” Exhibition’ (2008).THOMAS (T.) JEAN LAX is a writer and an interlocutor and curator of media and performance at the Museum of Modern Art (MoMA), New York. He is currently preparing the exhibition ‘Just Above Midtown: 1974 to the Present’ with Linda Goode Bryant, scheduled for 2022. He was the inaugural recipient of the Cisneros Research Grant, travelling to Brazil in 2020 to research contemporary Black art. He worked with colleagues across the museum on a major rehang of the collection in 2019 and co-organised the exhibition ‘Judson Dance Theater: The Work is Never Done’ in 2018 with Ana Janevski and Martha Joseph. He has organised other projects at MoMA including ‘Unfinished Conversations’ (2017), ‘Maria Hassabi: PLASTIC’ (2016),’ Neil Beloufa: The Colonies (2016) and ‘Steffani Jemison: Promise Machine’ (2015). Previously, he worked at the Studio Museum in Harlem for seven years.SVEN LÜTTICKEN teaches art history at the Vrije Universiteit Amsterdam, where he coordinates the research master’s track Critical Studies in Art and Culture. Among his books are Objections: Forms of Abstraction. vol. 1 (2022), Cultural Revolution: Aesthetic Practice after Autonomy (2017) and History in Motion: Time in the Age of the Moving Image (2013). He is editor of the Afterall critical reader Art & Autonomy (forthcoming).IRENOSEN OKOJIE is a Nigerian British author whose bold, experimental works create vivid narratives that play with form and language. Her debut novel Butterfly Fish and short story collections Speak Gigantular and Nudibranch have won and been shortlisted for multiple awards. Her work has been optioned for the screen. A fellow and vice chair of the Royal Society of Literature, Irenosen is the winner of the 2020 AKO Caine Prize for her story, ‘Grace Jones’. She was awarded an MBE for services to literature in 2021.NATALIA DE LA ROSA is a Mexican curator and art historian. Her interests cover modern and contemporary art in Mexico, muralism, public art and avant-garde theory in the Americas. Her work establishes an analysis of the relationships between art, politics and the economy, and her approaches propose a way to rethink existing networks among artists, critics, theorists and cultural institutions in the hemisphere. She was a curator of the collection of the Museum of Modern Art, New York (2014–16) and collaborated as an Associate Postdoctoral fellow at Duke University, Durham, NC (2016-18). De la Rosa is co-founder and member of Yacusis. Grupo de Estudios Sub-Críticos and a Fellow at the Philological Research Institute, National Autonomous University of Mexico, in the Postdoctoral Program.CHARLES STANKIEVECH is an artist, writer and curator. His award-winning body of work explores the notion of ‘fieldwork’ in the embedded landscape, the military-industrial complex and geopolitics. He is Associate Professor in the Faculty of Architecture, Landscape and Design at the University of Toronto. He is an editor of Afterall Journal and in 2011 co-founded the art and theory press, K. in Berlin. In 2007 he was a founding faculty member of the Yukon School of Visual Arts in Dawson City, Canada (under joint governance by the Indigenous sovereign nation of Tr’ondëk Hwëch’in).KIM WEST is a critic, researcher and editor, based in Stockholm. His research focusses on the contemporary development of critical aesthetic thinking, the cultural history of popular avant-gardes and the institutional and technological transformations of art’s forms of mediation. Recent and upcoming publications include essays on Peter Weiss’s The Aesthetics of Resistance, Simone Weil’s Factory Journal and Asier Mendizabal’s critique of/through sculpture. West is a founding member of the independent research group Agentur, which recently concluded the research project The Aesthetics of the Popular Fronts (see agentur.ooo). He holds a PhD in Aesthetics from Södertörn University where he is currently a researcher and directs the research project Autonomy, Culture, Action: On Culture’s Spheres of Political Action in the Neoliberal Welfare State (2021–24). Together with Gustav Strandberg he is a founding editor of the publishing house 1|21 Press, which launched in 2021 with titles by and about Marc Bernard and the anti-fascist organization Contre-Attaque.ELVAN ZABUNYAN, contemporary art historian and art critic based in Paris, is professor at University of Rennes. She works across issues of race and feminism, as well as on the political and cultural history of the United States in relationship to artistic practices since the 1960s. Her book Black Is a Color: A History of African American Contemporary Art published in French and in English won the SAES/AFEA research prize in 2005. She contributes to national and international publications, she is the author of several monographies (including Theresa Hak Kyung Cha-Berkeley-1968, 2013) and numerous articles in periodicals and essays in books and exhibition catalogues including Ellen Gallagher (WIELS, 2019), LaToya Ruby Frazier (Mudam, 2019) and Adrian Piper (Museum of Modern Art, 2018). She recently co-edited the special issue Decolonizing Colonial Heritage. New Agendas, Actors and Practices in and beyond Europe (Routledge, 2021), the special issue ‘Experimenting History with Contemporary Arts’ for the journal Slaveries and Post-Slaveries (2020) and the anthology Constellations subjectives, pour une histoire féministe de l’art (2020). Previous articleNext article DetailsFiguresReferencesCited by Afterall Volume 52Autumn/Winter 2021 Published by Central Saint Martins, University of the Arts London Article DOIhttps://doi.org/10.1086/719777 © 2022 Central Saint Martins College of Art and Design, University of the Arts London. All rights reserved.PDF download Crossref reports no articles citing this article.