While celebrating the centenary of the “annus mirabilis” of
modernism, we now encounter modernism after postmodernist,
poststructuralist, postcolonial, critical race, feminist, queer and
trans writing and theory. Out of the figures, narratives and
concepts they have developed, a less universal, more global,
decentred, context-specific, interconnected modernism emerges. In
“after modernism” the meanings of “after” include
periodisation, homage and critique. This book attends to neglected
genealogies and intertexts—“high” and “low,” yet offering
unacknowledged ontological, epistemological, conceptual and
figurative resources. How have artists of the Global South
negotiated the hierarchical division of art capital into Western
high art vs. Global-South culture? Modernity’s location has been
the Western metropolis, but other origin stories have been centring
slavery, colonialism, the nation-state. If modernity did not
originate once, why not multiple and still-to-come modernities?
Instead of a universalizable Western modernity vs. local
non-Western traditions, the contributors to this book discern
multiple modern traditions. Rather than reifying their
heterogeneity, the authors tunnel for lost transnational
connections. The nation-state and the citizen have together defined
Western modernity and the “civilized.” Yet they have required
the gender binary, gender and sexual normativity, assimilation,
exclusion, forced migration, partition, segregation. In-between the
public and the private, humans and the natural world, this book
explores a multiple, relational modern subjectivity, collectivity
and cosmic interconnectivity, whose space is indivisible,
entangled, ever folding and unfolding. It was originally published
as a special issue of the journal Angelaki.
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