School of Culture and Communication - Research Publications
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ItemErrata(WILEY, 2005-06)
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ItemGlimpses of cosmopolitanism in the hospitality of art( 2006-08)In a video by the artist’s collective Stalker, a man points to a lake and claims it as his spiritual home. Following the man’s gesture Stalker identified the lake as being in Macedonia. No one can deny this man his Macedonian identity. However, after the ruins of a grand but short-lived empire, where is Macedonia? Or, rather, which State can claim to be the inheritor of the Macedonian heritage? These questions unsettled the conventional categories for identifying the location of scenes in a video that was part of a trans-national project called Via Egnatia.
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ItemModernity, modernism and the contemporary(Sage Publications, 2006-05)At the beginning of the 20th century, artists responded to the changes in the modern city with a mix of awe and excitement. Modernity was ushered in by the power of new industrial technologies. Modernism, as the cultural representation of modernity, promised to break from traditions that restricted creativity and embrace the spirit of progress.
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ItemSpatial aesthetics essays on art, place and the everyday(Rivers Oram Press, 2005)What is the place of art today? This book explores the new processes, contexts and relations through which contemporary art is produced. It traces the complex patterns of cultural exchange and the diverse forms of social interaction that inspire artists. At a time when the contradictions of globalization are becoming more visible and new local forms of attachment are being spliced with diverse influences, it is necessary to rethink the ways we connect with others. This process of connection is central to our understanding of art. Romantic and nationalist categories that emphasized either the supreme creative genius of the artist’s ego, or the unique distillation of cultural values, no longer serve as useful models for interpreting the meaning of art. The flows and reference points that shape the aesthetic and political power of art exceed the boundaries of an individual and national identity.
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ItemArt in the age of siege( 2005-10)In this article, the author discusses how artists have responded to the globalization of fear. The metaphor of flight has dominated our landscape in the age of globalization. Even those who have never left home are affected by the movements of others and by the arrival of new messages. Between the fall of the Berlin wall and prior to September 11, visions of the immediate future were dominated by images of free movement. Neo-liberal economists celebrated the innovations of ‘just-in-time’ delivery systems, calculated the benefits of out-sourcing and urged companies to develop new collaborative practices. The global hype of ‘no frontiers’ pumped oxygen in the old dreams of free trade as economic paradise. Container ships, sailing under flags of convenience, and overnight air cargo dispatches, became the twin icons of global traffic. Commodities could arrive with minimum cost and maximum speed. However, this fantasy of uninhibited mobility hides the violence of penetrating boundaries, and projects an image of the world as a flat grid system. All distances and objects, it presumes, can be calibrated according to a single value system.
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ItemMarina Fokidis speaks with Nikos Papastergiadis: towards a metalanguage of geography( 2006-04)Having trained on the crossroads of social sciences and humanities, Nikos Papastergiadis is a theorist on art’s ability to penetrate in the field of everyday life. He has written texts on the open-ended issues of home, identity, migration and globalization approaching his research through the canon of art practice and cultural theory. His latest book from River Oram Press, “Spatial Aesthetics (Art, Place and the Everyday), “ Focuses on the ways artists relate to urban spaces and engage other people, both within local and global networks.
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ItemGlimpses of cosmpolitanism in the hospitality of art(Sage Publications, 2006-08)Cosmopolitanism has been used as a concept to open the horizons for being in the world. This article re-thinks the philosophical and political dimensions of cosmopolitanism by relating them to the new collaborative practices by artists and the debates on the end of multiculturalism. The concepts of agency and community will be grounded in a critical examination of the networking strategies and the practice of hospitality that have been cultivated by artistic collectives such as Stalker. The aim of this article is to ‘rescue’ the account of artistic practice from the extreme version of quasi-mystical universalism and dogmatic political activism. It also seeks to argue that the abstract principles of cosmopolitanism are in a dialogue with the multicultural practices of everyday life.
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ItemModernism and contemporary art(SAGE PUBLICATIONS LTD, 2006-01-01)
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ItemThe Invasion Complex: Deep Historical Fears and Wide Open Anxieties(Meltemi Editore, 2007)
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ItemThe Spectacle and the Cosmopolitan Imaginary(Les presses du reel, 2009)