Anders Kreuger

Stephanie Smith

Melissa Gronlund

Pablo Lafuente

Nuria Enguita Mayo

Since its launching in 1999, Afterall, a journal of art, context and enquiry, has offered in-depth considerations of the work of contemporary artists, along with essays that broaden the context in which to understand it. Published three times a year, Afterall also features essays on art history and critical theory. Featuring the work of Lene Berg, Lucy McKenzie, Mary Ellen Carroll, Haegue Yang, and Lili Dujourie, Issue 34 examines artistic practices that address notions of cultural tradition while defying essentialist definitions of identity. Sabine Breitwieser reflects on the challenges faced by the museum in adapting to today's experience economy, Valerie Smith discusses Mike Kelley's 1993 exhibition "The Uncanny," and Patrick D. Flores reflects on 1970s social realism in the Philippines, elaborating on the intersection between political painting and post-colonial discourse.

Autumn/Winter 2013, Issue 34

Afterall

Fundació Antoni Tàpies

Tourism conceived as a political and cultural phenomenon, in full expansion thanks to the globalising process of late capitalism which, together with the consumer and leisure society and the information, communication and transport technologies, is radically transforming our territories and (space-time) perception of the world. A contemporary practice, mobility, yet different according to the place one is speaking from: perpetual present and pure space, deterritorialised, for the globalised; impossibility of the present and physically confined space for the localised. The uses of time and space are clearly differentiated and at the same time they themselves differentiate. The pursuit of happiness, the desire for escape, the discovery of the Other and the return to nature are, according to some tourism analysts, the generators of the imaginaries of desire when it comes to embarking on a journey. A critical analysis of these constructed imaginaries which will reveal some of the mechanisms which induce that desire in capitalist society has been the impulse behind this project. Tour-isms is structured through two interconnected realities, the ''tourist-subject'', a subject who activates environments and standardised memories legitimised by the individuality of experience and exploration; and an agent of transformation, a social player actively involved in processes of transformation of the territories s/he visits. And the ''touristified spaces'', which reveal some of the economic, political and cultural processes which impose new forms of socialisation and new uses and behaviours on the borders of private and public, what is and what can be historical. Tour-isms does not set out to make a totalising analysis of tourism or to offer a historical future for it, nor does it wish to propose a superficial criticism of tourism or the tourist or to establish new models for this practice. Tour-isms is a transversal project which links a series of people and groups who, f

The Defeat of Dissent : Critical Itineraries

Tour-isms

Nuria Enguita Mayo

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