By Gerald Raunig
Gerald Raunig has written an alternate paintings background 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, artwork and Revolution takes at the heritage of progressive transgressions and hopefully charts an emergence from its stories of tragic failure and unequivocal catastrophe. through eloquently using Deleuze and Guattari's concept of the "machine," Raunig extends the poststructuralist concept of revolution via to the explosive nexus of paintings and activism. As hopeful because it is incisive, artwork and Revolution encourages a brand new new release of artists and thinkers to refuse to take part within the drained prescriptions of market and authority and as an alternative create radical new equipment of engagement. Raunig develops an crucial, modern notion of political change--a belief that transcends the superseded formulations of insurrection and resistance. an excessive amount of blood and ink has been shed for the paintings machines and the innovative machines to stay separate. Gerald Raunig is a thinker and paintings theorist who lives in Vienna, Austria.
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Extra resources for Art and Revolution: Transversal Activism in the Long Twentieth Century (Semiotext(e) / Active Agents)
Almost like an analogy to Lenin’s decision not to write the seventh and final chapter of “State and Revolution” on “Experiences of the Russian Revolutions of 1905 and 1917,” Zizek increasingly stifles this discourse, focusing instead on the solitary decisions of his protagonist. 20 In ÔÔ ÔÔ ÔÔ The Three Components of the Revolutionary Machine / 37 Raunig-Final2-MIT 7/11/07 3:54 PM Page 38 relation to the theorization of the insurrection—as a rupture that was by no means one-dimensional—this was undoubtedly the case, yet the other components of the revolutionary machine remain disregarded.
In their “Treatise on Nomadology” and the war machine in A Thousand Plateaus (1980), Deleuze and Guattari undertook a new attempt to describe the relationship between state institutionalization and revolutionary movement in its contemporary complexity: 12 they make a distinction here between the state apparatus with its binary segmentations and, outside the sovereignty and the law of the state, the war machine “that in fact has war not The Three Components of the Revolutionary Machine / 33 Raunig-Final2-MIT 7/11/07 3:54 PM Page 34 as its primary object”13 in its complexity and its becoming.
The diversity and complexity of Foucault’s understanding of resistance appears to John Holloway, for example, as “the richness of a still photograph or of a painting,” without development, especially since “doing and its antagonistic existence” are not at the center of Foucault’s deliberations. From this perspective, Foucault’s analysis would offer any number of instances of resistiveness, but no possibility of emancipation. ” Deleuze writes about this turn in Foucault’s work: “…had he not trapped himself within the concept of power relations?
Art and Revolution: Transversal Activism in the Long Twentieth Century (Semiotext(e) / Active Agents) by Gerald Raunig