Anita Orzes and Pablo Santa Olalla revisit the various contributions to the seminar, between a historical review of the revolts and social transformations that occurred around 1968, and an expansion of their geographies and genealogies.
The volume edited by Paula Barreiro López is the result of a collective research work developed over the last three years within the framework of MoDe(s) project. It brings together fifteen texts based on case studies and documentary sources so far unpublished that address forms of mediation, dissent and resistance to the Cold War’s ideological and aesthetic schism.
Several workers, artists, graphic designers and architects militated within operaism and workers’ autonomy. The activist, the worker and the monster focuses on the sixties and seventies, more particularly on activist iconography that some artists have developed in magazines such as “classe operaia”, “Potere Operaio” and “Lotta Continua”. How can we interpret these works? This intervention … Continue reading Le militant, l’ouvrier et le monstre. Iconographie d’un mouvement révolutionnaire (1964-1977)
In this seminar Jacopo Galimberti will address the militant iconography of the 1960s and 1970s, developed by artists and architects in journals such as “classe operaia”, “Potere Operaio” and “Lotta Continua”. On November 9th, at the University of Grenoble-Alpes.
The research project MoDe(s)-Decentralized Modernities: Art, Politics and Counterculture in the Transatlantic Axis during the Cold War is continuing with its second phase: MoDe(s)2 (2018-2020). MoDe(s)2 incorporates new themes and focuses of attention, new team members, and has already an exciting program of upcoming activities. Have a look at them!
The seminar Transatlantic Episodes (1950-1977): Crossings between art, politics and culture during the Cold War in Spain and Latin America will be given by Paula Barreiro López at the Faculty of Fine Arts of the Universidad Nacional de La Plata, Argentina.
On January 25th, Paula Barreiro López’s conference at the Edinburgh College of Art will address the processes of negotiation amongst art critics, artists and cultural agents during Late Francoism (1959–1975), highlighting questionings raised by the link between art and (left-wing( ideology.
This symposium organized in Rennes by the PRISME program in collaboration with MoDe(s) addresses the multiple crossings between the practice of criticism, art and politics since 1945, contemplating the art critic as a political actor that interacted with changing historical and geographical contexts.
On November 7th at the Fine Arts Faculty of the Universidad Complutense in Madrid, this seminar will address the crossings between artistic experiments and political commitment during the late Francoism and the first transition in Spain.[:]