Practising Art Internationally aims to detach the notion of international art practice from a rhetoric of globalization and an exclusive focus on the contemporary. It traces a new genealogy of trans-local practices and methods, presenting the visual arts as part of a longer history of contact between individuals motivated by shared struggles, friendship and solidarity. The publication explores what it means to "practice internationally" in a series of case studies: an artists' assembly from the 1990s organized against an art fair, an artist's alliance with migrant workers, a class-based critique within international feminism, transcultural ways of life developed in the LGBTQ community, an analysis of work conditions in cultural institutions, early 20th-century cosmopolitanism in India and pan-Africanism in the second half of the 20th century. These examples show how artistic practices can generate new encounters, ways of life and historical narratives across borders.
Learning is the accumulation of knowledge, skills and behavior; it is often progress-oriented and institutionally driven. In contrast, unlearning is directed toward embodied forms of knowledge and the unconscious operation of ways of thinking and doing, in order to actively, critically investigate normative structures and practices. Assembled by the authors of Grand Domestic Revolution Handbook, this book is an account of the process of unlearning, taking art institutions as potential sites for unlearning. The publication shares a set of "unlearning exercises" as propositions to be adapted within other institutional contexts, ranging from daily practices like "Cleaning Together" to more difficult negotiations around issues of collective authorship and fair wage. The exercises are accompanied by personal accounts, essays and collective conversations, comprising a multi faceted critique of institutionalized habits and an attempt to put processes of unlearning into practice.
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