Nav Haq

Pascal Gielen

In today?s globalised world, terms such as multiculturalism and pluralism assume a shared culture with shared values and convictions about openness, democracy, and equality. This in turn can be seen as a monoculture of views and attitudes. Yet being able to deal with differences, paradoxes, and ambiguities results from a learning process and does not just happen on its own. Art has played a pivotal role in this process since the dawn of modernity, and artists in particular have the ability to play with cultural conventions. This book gives a platform to art and artists who dare to challenge the rules of our globalised, monocultural society, and explores their successes and failures.

Understanding and Addressing Monoculture

The Aesthetics of Ambiguity

Published to accompany the exhibition Energy flash - the Rave Movement, M HKA, 17 June 25-September 2016.

Rave and Its Influence on Art and Culture

Rave

Tirdad Zolghadr

Lapdogs of the Bourgeoisie investigates the latent issue of class underlying the field of contemporary visual art. On the one hand, it raises the question of whether a given socioeconomic background still helps define your artistic career--and to which point the said career might reflect or consolidate the hierarchies in question. On the other hand, the project asks whether the traditional analytical tools at our disposal are helpful in such an examination of the art world today. Class inevitably raises awkward questions regarding the very participants, their backgrounds, patrons, and ideological partialities. This is perhaps the reason why the role of class structure has been so easily overlooked in the production and presentation of contemporary art, especially so in an era where artists are coaxed into anthropological framings of their practice. What was it that made gender, sexuality, ethnicity, and nationality eclipse the class issue with such ease? Lapdogs of the Bourgeoisie presents a collaborative project with a number of practitioners that scrutinize their own positions, bias, and gaze within the hierarchy of cultural production. It seeks to identify the levels of affect class has in the field--from artists, through to curators, institutions, and even audiences--and also looks at the hidden anxieties involved, particularly in relation to the actual decision-makers in mainstream art. Contributors Charlotte Bydler, Neil Cummings, Annika Eriksson, Chris Evans, Liam Gillick, Nav Haq, San Keller, Hassan Khan, Erden Kosova, Dr. Suhail Malik, Marion von Osten, Natascha Sadr Haghighian, Dr. Malcolm Quinn, Tirdad Zolghadr

Class Hegemony in Contemporary Art

Lapdogs of the Bourgeoisie

Geoff Cox

Tom Trevor

Possible, Probable and Preferable Futures. #2

Concept Store

Mark Lewis

Adeena Mey

Amber Husain

Amanda Carneiro

Charles Stankievech

Established in 1998, Afterall is a journal of contemporary art that provides in-depth analysis of art and its social, political, and philosophical contexts. Each issue provides the reader with well-researched contributions that discuss each artist's work from different perspectives. Contextual essays and other texts discussing events, works, or exhibitions further develop the thematic focus of each issue. Issue 52 includes work from Kapwani Kiwanga, Natasa Petresin Bachelez, Sepake Angiama, Jonas Staal, Ana Texeira Pinto, Ghalya Saadawi, Aldo Tambellini, Darby English, and Enrico Camporesi.

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