By Gerald Raunig
Gerald Raunig has written an alternate paintings heritage of the "long 20th century," from the Paris Commune of 1871 to the turbulent counter-globalization protests in Genoa in 2001. Meticulously relocating from the Situationists and Sergei Eisenstein to Viennese Actionism and the PublixTheatreCaravan, paintings and Revolution takes at the historical past of innovative transgressions and with a bit of luck charts an emergence from its stories of tragic failure and unequivocal catastrophe. by means of eloquently using Deleuze and Guattari's suggestion of the "machine," Raunig extends the poststructuralist conception of revolution via to the explosive nexus of paintings and activism. As hopeful because it is incisive, artwork and Revolution encourages a brand new iteration of artists and thinkers to refuse to take part within the drained prescriptions of industry and authority and as an alternative create radical new equipment of engagement. Raunig develops an imperative, modern notion of political change--a perception that transcends the outdated formulations of rebellion and resistance. an excessive amount of blood and ink has been shed for the artwork machines and the progressive machines to stay separate. Gerald Raunig is a thinker and paintings theorist who lives in Vienna, Austria.
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Additional info for Art and Revolution: Transversal Activism in the Long Twentieth Century (Semiotext(e) / Active Agents)
This has to do with the way the interweaving of global economy, the still existent nation-states and their supranational alliances continues to assign specific functions to all these components. At the same time, the discourse of liberal, representative democracy remains a terrain that presumes and invokes the nation-state as the center. In addition, the state attains new significance again and again as an instrument of repression steering neoliberal transformations. Hence we find ourselves in a situation that is simultaneously both within and beyond the nation-state.
Here it becomes evident that revolutionary machines have two different concepts of time: a time of duration, of the permanent molecular revolution, and a time of rupture, of the event. Resistance and constituent power are the components of the revolutionary machine that represent duration. It is not the seemingly objective duration of a continuous progress, but rather a permanence of actuality. These are the components of social interaction, of direct exchange, of ongoing collective organizing.
Far more energy has been and still is expended to satisfy the desire to take over the state than in searching for and trying out alternatives to the state form. Revolutions as the takeover of the nation-state form a powerful aspect of historiography, which overruns practices not fixed on the state—such as that of anarcho-syndicalism, the soviets and the various council movements or the Yugoslavian experience of self-management—in a twofold way: first of all by imposing constituted power counter to constituent power and subsequently by banning alternatives to constituted power from the narratives.
Art and Revolution: Transversal Activism in the Long Twentieth Century (Semiotext(e) / Active Agents) by Gerald Raunig