Ralf Schauff

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PublisherHatje Cantz2012
This title will be available soon. On its first display, Picasso’s Guernica hung in close proximity to a tapestry entitled Etiopia (Ethiopia), woven in 1935 by a then barely known Norwegian artist (born in Sweden) called Hannah Ryggen, in response to Benito Mussolini’s invasion of Ethiopia. 1935. The military occupation secured Mussolini with international popularity and forged the alliance with Adolf Hitler that effectively supported Franco and enabled the bombing of Guernica.Violence for the ages. The motivation for Ryggen’s tapestry did not come out of a request from a commissioner or institutional mediator, but from an urgent personal need to respond ...
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PublisherHatje Cantz2012
This title will be available soon. This paper begins and ends with reflection on India, and on the place of Gandhian ideas about non-violence as a form of political action. The literature on Gandhi and on his place in the study of non-violence is voluminous. One among the many questions that remain open about Gandhian thought and action is the way in which violence and non-violence are connected in his politics. The argument developed in this paper is that Gandhian ideas about and practices of non-violence have a double genealogy. One genealogy is connected to Indic ideas about asceticism, avoidance, and ...
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PublisherHatje Cantz2012
This title will be available soon. A painter arrived in a desperately wounded condition in a network of galleries beneath Chaillot, Paris. Aboveground, in that city as in most of the world, everything was contaminated with radioactivity after the series of nuclear explosions that wiped out much of life during a lightning Third World War. He was promptly operated on. The prognosis of the doctor who examined him following the operation was that he had only weeks, or at best months, to live. As a result, he was selected to participate in a time-travel experiment. He soon learned that another man, ...
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PublisherHatje Cantz2012
This title will be available soon. The documenta exhibitions of contemporary art held in Kassel, West Germany, are now well known. They are awaited and received with great expectation and occasional controversy. Having established a reputation for historical prognosis and the legitimization of the present, they have become a focal point for ideological as well as aesthetic discourse surrounding contemporary art. In the summer of 1987, Kassel hosted documenta 8. But the first documenta exhibition, held in Kassel in the summer of 1955, was not necessarily conceived as the beginning of a series. It was simply called “documenta: Art of the ...

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