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× Profit over Peace in Western Sahara // How commercial interests undermine self-determination in the last colony in Africa Profit over Peace in Western Sahara 10.00
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× Against the Anthropocene Against the Anthropocene 18.00
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× Art Always Has Its Consequences Art Always Has Its Consequences 18.00
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× The Changing Constitution of the Present The Changing Constitution of the Present 20.00
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× Canvases and Careers Today // Criticism and Its Markets Canvases and Careers Today 15.00
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× We Are Here, But Is It Now?  // (The Submarine Horizons of Contemporaneity) We Are Here, But Is It Now? 4.00
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× Hystericizing Germany // Fassbinder, Alexanderplatz Hystericizing Germany 8.00
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Total 100.90 (includes 8.34 VAT)
November 2016, English
16×23 cm, 430 pages, 14 b/w and 91 color ill., softcover with dust jacket
ISBN 978-3-95679-246-5
Design
Zak Group
Status
Available

Future Imperfect critically examines the role played by cultural institutions in producing present-day and future contexts for the production, dissemination, and reception of contemporary art in the Middle East and North Africa. It offers historical contexts for discussions that have become increasingly urgent in recent years—the role of culture in a time of conflict and globalization—and an in-depth critique of the state of cultural institutions in an age of political upheaval, social unrest, exuberant cultural activity, ascendant neoliberal forms of privatization, social activism, and regional uncertainty. Based on collective input from numerous contributors and interlocutors, this volume brings together internationally renowned academics, critics, activists, filmmakers, artists, and other independent cultural practitioners to consider how new infrastructures and institutions can effectively emerge within such fraught and dynamic contexts. What is needed in terms of infrastructure for cultural production today, and how, crucially, can we speculatively propose new infrastructures and institutions in the context of present realities?


Visual Culture in the Middle East Vol. 3
Supported by the Kamel Lazaar Foundation