زیبایی‌شناسی چریکی: هنر، حافظه و چریک‌های شهری آلمان غربی

Machine generated contents note: 1. Negative Subjects -- 2. Aesthetic Convolutions -- 3. Choreography of the Unspeakable and the Urban Guerrilla Posture -- 4. From Consensus to Dissensus -- Gerhard Richter's Painterly Utterance -- 5. Coda Regarding an Accusation of Love: The RAF Exhibition -- 6. Unruly Memory and the Spectre of Monument.;"Guerrilla Aesthetics confronts the legacy of the urban guerrilla movement active in West Germany since the 1970s. It draws from archival source materials, giving particular attention to West Germany's Red Decade of 1967 to 1977. The decade was characterized by not only the 'terrorist' actions and police brutality, but also countercultural aesthetics that favoured self-displacement over instrumental goals. As the author, Kimberly Mair, writes, "the guerrillas were known for violent operations, which had a spectacular, even staged characteristic; as if it was more important that the event produce its own phantasmagorical mise en scène than be successful in any standard instrumental sense." To again quote Mair, "the core argument of the manuscript is that West German urban guerrillas grew out of an aesthetic ethos that encouraged individuals to break free from modern liberal subjectivity and instrumental rationality, and led to the public illegibility of their actions." From hunger strikes to textual work, Mair's work looks at the movement's reverberations through artistic and memorial practices."-- The violent operations performed in the 1970s by West German urban guerrillas – such as the Red Army Faction (RAF) – were so vivid and incomprehensible that it seemed to be more urgent to produce spectacle than to be politically successful. In Guerrilla Aesthetics, Kimberly Mair challenges the assumption that these guerrillas sought to realize specific political goals. Instead, she tracks the guerrilla fighters’ plunge into an avant-garde-inspired negativity that rejected rationality and provoked the state. Focusing on the Red Decade of 1967 to 1977, which was characterized not only by terrorism and police brutality but also by counterculture aesthetics, Mair draws from archives, grey literatures, popular culture, art, and memorial and curatorial practices to explore the sensorial aspects of guerrilla communications performed by the RAF, as well as the 2nd of June Movement and the Socialist Patients' Collective. Turning to cultural and artistic responses to the decade and its legacy of raw public feelings, Mair also examines works by Eleanor Antin, Erin Cosgrove, Christoph Draeger, Bruce LaBruce, Gerhard Richter, and others. Reconsidering an enigmatic period in the history of terrorism, Guerrilla Aesthetics innovatively engages with the inherent connections between violence, performance, the senses, and memory. Guerrilla Aesthetics Confronts The Legacy Of The Urban Guerrilla Movement Active In West Germany Since The 1970s. It Draws From Archival Source Materials, Giving Particular Attention To West Germany's Red Decade Of 1967 To 1977. The Decade Was Characterized By Not Only The 'terrorist' Actions And Police Brutality, But Also Countercultural Aesthetics That Favoured Self-displacement Over Instrumental Goals. As The Author, Kimberly Mair, Writes, The Guerrillas Were Known For Violent Operations, Which Had A Spectacular, Even Staged Characteristic; As If It Was More Important That The Event Produce Its Own Phantasmagorical Mise En Scène Than Be Successful In Any Standard Instrumental Sense. To Again Quote Mair, The Core Argument Of The Manuscript Is That West German Urban Guerrillas Grew Out Of An Aesthetic Ethos That Encouraged Individuals To Break Free From Modern Liberal Subjectivity And Instrumental Rationality, And Led To The Public Illegibility Of Their Actions. From Hunger Strikes To Textual Work, Mair's Work Looks At The Movement's Reverberations Through Artistic And Memorial Practices.-- Kimberly Mair. Includes Bibliographical References And Index. Issued Also In Electronic Format. "Guerrilla Aesthetics confronts the legacy of the urban guerrilla movement active in West Germany since the 1970s. It draws from archival source materials, giving particular attention to West Germany's Red Decade of 1967 to 1977. The decade was characterized by not only the 'terrorist' actions and police brutality, but also countercultural aesthetics that favoured self-displacement over instrumental goals. As the author, Kimberly Mair, writes, "the guerrillas were known for violent operations, which had a spectacular, even staged characteristic; as if it was more important that the event produce its own phantasmagorical mise en scène than be successful in any standard instrumental sense." To again quote Mair, "the core argument of the manuscript is that West German urban guerrillas grew out of an aesthetic ethos that encouraged individuals to break free from modern liberal subjectivity and instrumental rationality, and led to the public illegibility of their actions." From hunger strikes to textual work, Mair's work looks at the movement's reverberations through artistic and memorial practices."-- Provided by publisher "Guerrilla Aesthetics confronts the legacy of the urban guerrilla movement active in West Germany since the 1970s. It draws from archival source materials, giving particular attention to West Germany's Red Decade of 1967 to 1977. The decade was characterized by not only the 'terrorist' actions and police brutality, but also countercultural aesthetics that favoured self-displacement over instrumental goals. As the author, Kimberly Mair, writes, "the guerrillas were known for violent operations, which had a spectacular, even staged characteristic; as if it was more important that the event produce its own phantasmagorical mise en scène than be successful in any standard instrumental sense." To again quote Mair, "the core argument of the manuscript is that West German urban guerrillas grew out of an aesthetic ethos that encouraged individuals to break free from modern liberal subjectivity and instrumental rationality, and led to the public illegibility of their actions." From hunger strikes to textual work, Mair's work looks at the movement's reverberations through artistic and memorial practices."-- Résumé de l'éditeur A bold rumination on 1970s West German urban terrorism and its haunting traces in contemporary art and memory.