By Nuria Enguita Mayo, Pablo Lafuente, Dieter Roelstraete
"Afterall" is a magazine of paintings, context, and inquiry that gives in-depth attention of the paintings of latest artists from around the globe, in addition to essays that set the paintings in a broader context. Articles on artwork historical past and important concept utilized to artwork around out every one quantity. "Afterall" is written by means of students - yet with a watch towards the final reader who's attracted to the location of paintings and artists in our international. factor 25 is outfitted round examinations of how of taking a look and commemorating. The essays on artists during this factor tackle the images of Zoe Leonard, the gadgets and video clips of Judith Hopf, the movies of Yugoslavian Black Wave director Zelimir Zilnik, and the paintings of Lebanese artist Rabih Mroue, whereas broader items examine the cultured dimensions of protest and commemoration lower than the Argentine dictatorship, the good fortune of 'project exhibitions' within the Nineties, and the sculptural poetry of Karl Homqvist.
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Additional info for Afterall: Autumn Winter 2010, Issue 25
Peter Demetz, trans. 220—38. See Hannah Arendt, The Human Condition, Chicago: University of Chicago Press, 1990. This essay forms part of Afterall's collaboration with FORMER WEST, a long-term international research, education, publishing and exhibition project that aims to reflect upon the changes introduced to the world (and thus to the so-called West) by the political, cultural, artistic and economic events of 1989. This series of texts, commissioned by Afterall's editors, will develop lines of investigation and areas of interest that emerge throughout the project.
Photographs: Sarmad Louis. Previous spread: Rabih Mroué, The Inhabitants of Images, 2009, still from a lectureperformance. Courtesy the artists The Body on Stage and Screen: Collaboration and the Creative Process in Rabih Mroué’s Photo-Romance — Kaelen Wilson-Goldie The premise behind Photo-Romance (2009), a ninety-minute performance by Rabih Mroué and Lina Saneh, is the adaptation of a ﬁlm that is never mentioned by name and only obliquely referenced on stage. Ettore Scola’s Una giornata particolare (A Special Day, 1977), starring Sophia Loren and Marcello Mastroianni, takes place over the course of a single day in the spring of 1938, when Adolf Hilter pays a visit to Benito Mussolini in Rome.
The project was constituted by a ‘multitude’ that was transversal to established job hierarchies in the university and constructed a new public sphere for concrete critique. ’ attempted to show, the term ‘creativity’ has not only left behind its shadowy existence but also its innocent reception; moreover, it has broadened the perspective of a common understanding of design processes. A current examination of notions of creativity calls not only for reﬂection on the methods of creation in art and design, but also for creation to be used as a description of a social process that has a political and cultural dimension.
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