Marta Dziewanska Livres

A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn’s diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn’s reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the “#metoo” movement.Miriam I as Human examines different facets of the artist’s prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Bühler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and . 

Treasures of Latin American abstraction since 1945 from a Zurich-based collection This volume on the Daros Latinamerica Collection highlights its renowned collection of Latin American concretism, abstraction and beyond, since 1945. The catalog portrays the legacy of this epoch and offers insight into topics that affect the continent today.

Gathering together a vast array of visual material, this title features fanzines, posters, clothing, paintings, objects, record covers and films which stress the incredible quality and vitality of these alternative artistic productions.

By placing emerging artists in their political and social contexts, this collection attempts to confront the new activist scene that has arisen in the Russian art world during the past few years. It brings to light the important work of Russian artists today and to explicate the political environment that has given rise to such work.

One of Poland's most important and independent postwar artists, Andrzej Wroblewski (1927-57) created his own highly individual, suggestive, and prolific form of abstract and figurative painting. This volume offers a fresh presentation and thorough reevaluation of his work and its legacy in the international context of art history.

The phenomenon of the discovery of female artists whose work remained below the mainstream radar of their time has been changing the scenery of the history of the art of the second half of the 20th century. T hese artists not only experimented formally and embarked intuitively on new themes but, rejected by mainstream modernist trends, they remained working in isolation, or at least marginalised. And yet, they were pioneers who invented the language of contemporary expression. A point in case is the art of Maria Bartuszová.

Thanks to its very nature, performance enters into natural dialogue with art, new media, politics, and the social sphere as a whole. Always happening in the here and now, and with a unique freedom and openness to the unknown, performance is a medium with a special ability to question its own subjects, materials, and languages. As a result, it is often best reflected in the dynamic character of contemporary art and contemporaneity in the broadest sense of the word. Points of Convergence explores these ideas and investigates critical approaches to performance, ultimately aiming to stimulate new discussion between theorists and practitioners. With twelve essays by leading figures in the field of performance arts, this illustrated volume is structured in two parts. The first, authored by academics in the discipline, features an introduction to key areas of scholastic research. The second part, authored by curators and other researchers, then focuses on an account of individual traditions of performance. Taken together, the contributions identify new possibilities for interaction between the theoretical aspects of performance art and the ways performance plays out within local contexts.

The Other Trans-Atlantic is attuned to the brief but historically significant moment in the postwar period between 1950 and 1970 when the trajectories of the Eastern European and Latin American art scenes converged in a shared enthusiasm for kinetic and Op art. As the established axis of Paris, London, and New York became increasingly dominated by a succession of ideological monocultures--such as the master concepts of gesture and expressionism, Pop, or minimalism--another web of ideas was being spun, linking the hubs of Warsaw, Moscow, and Zagreb with Buenos Aires, Caracas, and Saõ Paulo. These artistic practices were dedicated to a different set of aesthetic concerns: philosophies of art and culture dominated by notions of progress and science, the machine and engineering, construction and perception. This book presents a highly illustrated introduction to this significant transnational phenomenon in the visual arts.