Äåòàëüíàÿ èíôîðìàöèÿ îá èçäàíèè

Taking as its starting point these five museums and their respective collections, —L—Internationale—Post-War avant-gardes Between 1957 and 1986— presents a wide range of case studies, historiographical and theoretical essays that reconsider a period in art history that, according to the established canon, has been almost exclusively dominated by Western Europe and North America. In questioning this canon the publication works to acknowledge the existence of and to explore a dispersed, multi-polar, and at times interconnected neo-avant-gardist field that existed (long) before it became common to think according to frameworks of globalization or trans-nationalism. In the process, this collection of compelling contributions puts many a central question on the table: To what extent has a common international language existed in art over these three decades, while at the same time local terminologies and approaches might have differed significantly? How were such dispersed forms of knowledge and experience situated in their respective social contexts? What parallels of artistic method appeared across different regions, even continents? Finally, can such local narratives be brought together in a new —rhizomatic— way, one that works to reshape our ideas of trans-localism and internationalism? With essays by Inke Arns, Zdenka Badovinac, Bart de Baere, Charles Esche, Christian H¦ller, Bartomeu Mari, Viktor Misiano, Piotr Piotrowski, Georg Sch¦llhammer and Steven ten Thije among others.