By Gerald Raunig
Gerald Raunig has written another paintings background of the "long 20th century," from the Paris Commune of 1871 to the turbulent counter-globalization protests in Genoa in 2001. Meticulously relocating from the Situationists and Sergei Eisenstein to Viennese Actionism and the PublixTheatreCaravan, artwork and Revolution takes at the background of progressive transgressions and expectantly charts an emergence from its stories of tragic failure and unequivocal catastrophe. through eloquently using Deleuze and Guattari's proposal of the "machine," Raunig extends the poststructuralist concept of revolution via to the explosive nexus of paintings and activism. As hopeful because it is incisive, artwork and Revolution encourages a brand new new release of artists and thinkers to refuse to take part within the drained prescriptions of industry and authority and in its place create radical new equipment of engagement. Raunig develops an necessary, modern perception of political change--a perception that transcends the superseded formulations of insurrection and resistance. an excessive amount of blood and ink has been shed for the paintings machines and the progressive machines to stay separate. Gerald Raunig is a thinker and paintings theorist who lives in Vienna, Austria.
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Extra resources for Art and Revolution: Transversal Activism in the Long Twentieth Century (Semiotext(e) / Active Agents)
Even when new structures of power emerge, in which the form and function of the state change, the state apparatus continues to remain the central object of desire in its visibility and its assailability. This has to do with the way the interweaving of global economy, the still existent nation-states and their supranational alliances continues to assign specific functions to all these components. At the same time, the discourse of liberal, representative democracy remains a terrain that presumes and invokes the nation-state as the center.
35 Hardt and Negri argue that resistance, insurrection and constituent power have been torn apart in a modernity marked by national space and national sovereignty that they have been regarded as mutually external and either deployed entirely separately as various revolutionary strategies, or else have functioned as different historical moments. 36 As the subsequent example of the Paris Commune will show, this historical distinction between the period of the great revolts and the period of “Empire” on the basis of a vaguely constructed historical process is not consistently tenable, although the conclusion is undoubtedly cogent: the triad of the revolutionary machine is always to be imagined as interwoven, but each of the three components develops in form and appearance according to its context in time and space.
This point of view exists. ” In a lecture for Platform 1 of documenta 11, Negri and his co-author Michael Hardt presented essential aspects of their bestseller Empire and elaborated on them with thoughts on modern and postmodern 46 / Art and Revolution Raunig-Final2-MIT 7/11/07 3:54 PM Page 47 shapes of counter-power. ”35 Hardt and Negri argue that resistance, insurrection and constituent power have been torn apart in a modernity marked by national space and national sovereignty that they have been regarded as mutually external and either deployed entirely separately as various revolutionary strategies, or else have functioned as different historical moments.