Autorentext

Frances Guerin teaches film and visual culture at University of Kent. She is author of A Culture of Light: Cinema and Technology in 1920s Germany (2005), Through Amateur Eyes: Film and Photography in Nazi Germany (2012), The Truth is Always Grey: A History of Modernist Painting (2018), all University of Minnesota Press. Her most recent book Jacqueline Humphries (2022) was published by Lund Humphries. Magda Szczesniak is Assistant Professor of Cultural Studies at the Institute of Polish Culture, University of Warsaw. Author of Normy widzialnosci. Tozsamosc w czasach transformacji [Norms of Visuality. Identity in Times of Transition, 2016] and Poruszeni. Awans i emocje w socjalistycznej Polsce [Feeling Moved. Upward Mobility and Emotions in Socialist Poland, 2023].

Klappentext

Visual Culture of Post-Industrial Europe investigates visual cultural projects in Europe from the 1970s onwards in response to industrial closures, resultant unemployment, diminished social services and shattered identities. Typically, art and visual cultural creations at one-time thriving European heartlands strive to make the industrial past visible, negotiable, and re-imaginable. Authors discuss varied and multiple types of art and visual culture that remember the sometimes-invisible past, create community in the face of social disintegration, and navigate the dissonance between past and present material reality. They also examine art and visual objects at post-industrial European sites for their aesthetic, historical, and sociological role within official and unofficial, government and community regeneration and re-vitalisation efforts. Sites range from former coal and steel plants in Duisburg, through shipyards and harbours of Gdansk and Hamburg, a Moscow paper factory and textile factories in Albania, to still-functioning Croatian metalworks.

Inhalt

Introduction - Frances Guerin: Picturing Post-Industrialism: Visual Culture and the Regeneration of European Landscape, Section One: Negotiating Contested Spaces, 1. Magda Szczesniak: Erasure and Recovery: Representing Labour in the Deindustrializing Space of the Gda.sk Shipyard, 2. Lachlan MacKinnon: Re-Imaging the Belfast Waterfront: Deindustrialization and Visual Culture in Sailortown and Queen's Island, 3. Ongjen Kojanic: Countering Post-Industrial Capitalism in the Former Yugoslavia through Art: The Example of the Mural Factories to the Workers, Section Two: The Body in Industrial Space as Stage for Cultural Re-Integration, 4. Frances Guerin: A Discursive Site of Memory for Industry: Landschaftspark, North Duisburg, 5. Dimitra Gkitsa: Reclaiming Industrial Heritage through Affect: Art Interventions in the Ruined Factories of Post-socialist Albania, Section Three: Cinematic & Photographic Memories, 6. Ana Grgic: Industrial Ruins, Malaise, and Ambivalent Nostalgia: Reflections on the Post-socialist Condition in Contemporary Balkan Cinemas, 7. Gabriel N. Gee: From Document to Enactment: Transindustrial Sequences of European Maritime Industries on Film (1970s-2020), 8. Sinead Burns: Visualising West Belfast, 1976-1985: Documentary Photography and the Politics of Nostalgia, Section Four: Images in Exhibition, 9.Anna Arutyunyan and Andrey Egorov, Personal Traces in the Soviet Industrial Aftermath: Pavel Otdelnov's Promzona and Haim Sokol's Paper Memory Exhibitions in Moscow, 10. Roberta Minnucci: Negotiating the Future of Post-Industrial Sites Through Artistic Practices: The 1975 Venice Biennale Project on the Stucky Mill, Section Five: Post-Industrial Design, 11. Juliana Yat Shun Kei: Pylon-Spotting in The Architectural Review 1950s-1980s, 12. Nicolas Verschueren: Picturing Post-Industrial Societies in Franco-Belgian Comic Books, 13. Jacob Stewart-Halevy: Where is the Artisan?: Post-industrial Alternatives from the Radical Design Movement, List of Illustrations, Appendices, Bibliography, Index.