download free sol invictus in the rain raritan

This talk is considering the processes of abstract painting as a process of choreographic knowledge. Within this process, the whole body that acts on the “canvas floor” was determined as the body of a dancer. Several painters of the postwar era have laid the canvas on the floor. Rather than viewing it as some “Art from the Arab world”, an excessively geopolitical and essentialist notion, I choose to use the ‘urūba (arabness) as a pivotal tool to comprehend these esthetics inside the world of contemporary art history. This spatial analysis, based on detailed field surveys, shows the conscious strategies shaping these paths.

This presentation will show the latest results of my study, using spatial humanities and georeferencing tools, allowing to highlight the life path of these artists (place of birth, education, residencies, awards, galleries) and to list their “futurist” artworks exhibited in the world (solo, group, biennial, art fair and festival). We would rather approach these Arab “futurist” esthetics by studying their circulations with an empirical method. It is a quite a difficult task to date and map this phenomenon using art historical standards, which are generally based on nationalism, the art market or more recently, reception theory. A look at the manifestations that arose in this “futurist” esthetic allows us to understand the Arab cultural malleability that takes its roots in the territorial complexities, the wide diaspora communities and transnational identities. An increasing degree of interactionism has appeared from artists and cultural actors such as Sophia al-Maria, Larissa Sansour, Rachel Dedman and Shumon Basar. From this moment onwards, artworks, writing and events emerged in the Arab Geocultural spaces all over the world. These representations aim to explore alternative realities, creating scenarios where imagination and science fiction play a central role. Saarbrückerstraße 33 | 10405 Berlin DE +49 0152 03566274 | and Art Histories: Diaspora, Decolonizing, and Praxis', panel chaired by Andrew Gayed and Chanda Carey, College Art Association, The Annual Conference, New York, 13 February 2019 Since the early 21th century, art production witnessed an emerging bunch of Arab “futurist” esthetics. In this paper I examine how the Commission’s racial aesthetics, its eugenic interests, and its “vernacular” politics of land, how its model housing and its infrastructures, contoured the aesthetics of the German garden city movement, the modernist housing estates of the interwar years, and the colonial planning culture of Germany’s overseas holdings. The Commission and its border villages-anchored, in Weber’s words, on the “absolute exclusion of the Russian-Polish workers from the German East”-were integrated almost seamlessly into the world of social housing reform by Weber and the Verein für Sozialpolitik, premised on a new politics of race articulated by Weber that took shape within the discourse of internal colonization.

The Commission was assembled in the wake of several mass expulsions, in 18, of non-citizen agricultural workers who hailed mainly from the Slavic East its objective was to enforce the decrees of the Settlement Law, an anti-migrant land-use policy of incentivized settlement and forced displacement, whose legal architecture, co-written by Max Weber’s father, introduced new economic weapons into the ethnic struggle taking place in what was dubbed Germany’s “wild East.” This paper contends that the 1886 Settlement Law, which provided an early juridical framework for the state exercise of land seizure by eminent domain, and the Commission’s building program are buried episodes in our histories of modern planning in Central Europe at the turn of the twentieth century.

Over a thirty-year span, in collaboration with the architectural offices of Paul Fischer, Building Commissioner for East Prussia, the Settlement Commission constructed over 600 of what its executive board of Ministers described as “model villages” along the contested eastern borderlands of the Prussian-Polish Provinces.

This paper will examine the Prussian Settlement Commission (1886-1918) and its program of “interior colonization” established by the German Ministry of Agriculture in 1886.

Download free sol invictus in the rain raritan