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Series: Image, 55

Image Politics of Climate Change: lntroduction BIRGIT SCHNEIDER, THOMAS NOCKE In September 2013, the Intergovernmental Panel on Climate Change (IPCC) presented its fifth report about climate change during a press conference in Stockholm. On this occasion, the audience was also presented with some of the latest scientific images produced for the new Summary for Policy Makers. In the manner of the previous reports colored global maps, barren graphs and curves served as most simplified condensates for visually communicating the findings of the highly

The Politics and Poetics of the Body Gao Shiming In the latter half of Nineteen Eighty-Four, O’Brien, the thought police, reveals to us what the body means to the mind and humanity—he shows Winston his reflection in the mirror and Winston, looking at himself, beaten and disfigured, finally breaks down. 2005 The crowd, I used to face them once and once again, Trying to tell them apart. But in the crowd, One is All. ‘ALL’, ‘ANY ONE’ AND ‘EVERY ONE’ ‘All’ is referred to when an individual is too weak a representation. It is a col- lective title for the human

Art in Its Regional Political Context: Exhibition and Criticism Wang Nanming As a former critic, I am often asked what criteria I use when planning ex- hibitions. As a matter of fact, the answer is to be found in the exhibitions that I have curated. In all of them I have shown art created by the artists whom I discussed in my ‘avant-avant-garde art’ theory, submitting it to the critical appraisal of academic circles. In times when there are more artists than ever before, solo exhibitions can confirm an artist and simultaneous- ly serve to present new art

Contemporary Art, ›Counter- Environmentalism‹, and the Politics of A-Signification1 JORELLA ANDREWS WORDS FAIL ME Figure 3.1: Sam Durant, We Are the People, vinyl text on electric sign, 77 x 48 x 11 inches. Installation view at Project Row Houses, Houston, Texas, 2003 Photo: Thomas R. Dubrock. Image courtesy of the artist and Blum & Poe Gallery, Los Angeles, CA 1 An earlier version of this essay, using different visual sources and orientated more specifically towards questions of

111Gulf Labor Janna-Mirl Redmann Gulf Labor: The Boycott as Political Activism and Institutional Critique In 2006 the New York based Guggenheim Foundation announced that its latest branch would be established in the United Arab Emirates capital state Abu Dhabi.1 The Guggenheim franchise is one of the cornerstones of Abu Dhabi’s cultural strategy, along with the Louvre Abu Dhabi and a number of other cultural institutions that are being built on the man-made ‘Island of Happiness’, Saadiyat Island. Since 2010 an international artist initia- tive named Gulf

Politics, Representation, Visibility: Bruno Serralongue at the Cité Nationale de l’Histoire de l’Immigration Lambert Dousson Figure 1 The following paper will focus on a work by the French artist Bruno Ser- ralongue, born in 1969, which is on show at the permanent exhibition “Repères” (“Marks”) at the Cité Nationale de l’Histoire de l’Immigration (“National City of Immigration History”) in Paris. This work, Manifesta- tions du Collectif de sans-papiers de la Maison des Ensembles 2001-2003, is a series of forty-fi ve photographs, from which the image

The Genealogy of the Politics of the Body in Contemporary Chinese Culture Zhang Nian As a refusal of oppressive ideology, the entry of ‘the body’ into the arena is a factor that has triggered contemporaneity in Chinese culture. It appears as a kind of a mind-body dualism with its logical contradictions causing political parties that embrace Marxism to return once again to a materialistic standpoint. After the Cultural Revolution, Deng Xiao Ping, the man really in power at the time, publicly declared “seeking truth from facts” to be the ruling principal

Picturing the Clima(c)tic: Greenpeace and the Representational Politics of Climate Change Communication * JULIE DOYLE Images of melting glaciers have come to dominate the pictorial language of climatc changc. This papcr argues that such imagcs of mclting glacicrs engender a represcntational problern in the communication of climate change as thcy dcpict thc alrcady scen effects of climate changc. Givcn the dominancc of thc photograph within Greenpeace campaigns, thc papcr cxamincs this adhercncc to visual immediacy by analyzing Greenpeace climatc change

91Lacing Places Birgit Mersmann Lacing Places: Situationist Practices and Socio-Political Strategies in Korean Urban Art Projects Urban art is now not only a globally visible public art genre, but has come to epitomize global art, its definitions, meanings, and practices. While it would be unjustifiably one-sided to identify urban art completely with global art, evidence has shown that the relation of urban art to global art is indis- pensable for situating global art. As urban art is most virulent and power- ful in global cities, it strikingly reflects