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Charlotte Matter: Withdrawing (and Returning): Refusal in Art Around 1968
Withdrawing (and Returning): Refusal in Art Around 1968
(S. 67 – 92)

Charlotte Matter

Withdrawing (and Returning): Refusal in Art Around 1968

PDF, 26 Seiten

  • Rhetorik
  • Politik
  • Gegenwartskunst
  • Künstlerische Praxis
  • Widerstand
  • Globale Ökologie
  • Global South

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Charlotte Matter

Charlotte Matter is a postdoctoral researcher at the University of Zurich’s Institute of Art History, where she coordinates the specialized Masters program Art History in a Global Context. Her doctoral thesis, titled “The Politics of Plastics: Feminist Approaches to New Materials in Art, 1960s and 1970s,” explored how women artists and critics challenged sexist discourses in art and claimed plastics as feminist substances. Examining the works of Lea Lublin and Carla Accardi in particular, with further references to the practices of Nicola L, Margarita Paksa, Niki de Saint Phalle, and Alina Szapocznikow, the dissertation also considered the global boom of exhibitions on plastics and the discourse on these new industrial materials in art. Her teaching and research interests include feminist discourses, postcolonial and transcultural approaches, art and architecture in Latin America, and the history of exhibitions. She is the co-editor of Into the Wild: Art and Architecture in a Global Context (Munich: Edition Metzel, 2018) and has recently published essays on feminist withdrawals from art (in Texte zur Kunst, 2022) and Hélio Oiticica’s notion of Crelazer and the politics of leisure (in ORTO, Rome: Nero, 2020). During the academic year of 2019/2020, she was a research fellow at the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome and at the Istituto Svizzero di Roma. She is the co-initiator of the research project “Rethinking Art History through Disability” and a founding member of CARAH – Collective for Anti-Racist Art History.
Sara Alonso Gómez (Hg.), Isabel J. Piniella Grillet (Hg.), ...: NO Rhetoric(s)

This volume maps some of the territories where points of resistance can be located and where art’s resistant potential becomes relevant once again. "NO Rhetoric(s): Versions and Subversions of Resistance in Contemporary Global Art" focuses on a neuralgic issue which was intensely debated during the last three decades, but has rarely become a topic of its own. It offers an updated way which art presents itself as an agent of resistance, whether in a mere rhetorical stance or as an effective critical strategy. In the face of general discourse of revolt and insurrection that is highly fashionable today, it is necessary to ask whether the gesture of ‘negation’ still yields an emancipatory potential. Struggling between NO rhetoric and NO to rhetoric, the artistic and the political field permanently interfere with each other; sometimes they merely overlap, while at other moments they strongly insist on demarcating themselves. Nonetheless it remains to be seen more precisely of what their respective critical forces and agonality consist. In this sense, the book contributes to a deeper understanding of the different logics of resistance at play between art and the political, as expressed by Jacques Rancière in his distinction between “the politics of the becoming-life of art and the politics of the resistant form.”

 

This volume provides a diverse array of voices and essays from the academic and artistic field that present theoretical approaches as well as study cases. By juxtaposing them, it encompasses both the complexity and diversity of artistic practices within a global instituting framework that seems to capitalize on different political streams. The reader will find contributions on sexual dissidence, ecology and the Anthropocene, geopolitics of the digital age and institutional critique. The authors, artists and scholars from different disciplines share their desire to shed some light on how art approaches these urgent issues.

 

Contributors: Sara Alonso Gómez, Mieke Bal, Zach Blas, Katharina Brandl, Nancy Garín, Kendell Geers, Ben Grosser and Geert Lovink, Gelare Khoshgozaran, Federico Luisetti, Charlotte Matter, Isabel J. Piniella Grillet, Nadia Radwan, Fiona Siegenthaler, David Tenorio, and Jaime Vindel.

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