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Comedy in Crises provides a novel contribution to an
emerging comedy studies field, offering a fresh approach and
understanding toward both the motivation and reception of
humour in diverse contemporary art contexts. Drawing together
research by artists, theorists, curators, and historians from
around the world (from Palestine, to Greece, Brazil, and Indigenous
Australia), it provides new insight into how humour is
weaponised in contemporary art – focusing on its role in
negotiating complex cultural identities, the expectations of art
markets, the impact of historical legacies, as well as its role in
bolstering cultural resilience. In so doing, this
book explores a vital, yet under-explored, aspect of
contemporary art. Over the last decade, we have witnessed an
overwhelming emphasis on experiences of precarity and emergency in
contemporary art discourse, reflecting a popular view that the
decade following the outbreak of the global financial crisis has
been marked by an intersection of constant crises (refugee crisis,
sovereign debt crisis, environmental disaster, COVID). Comedy
in Crises offers innovative analysis of the relationship
between this context and the growing use of humour by artists from
around the world, making clear the vital role of laughter in
mediating the collective trauma that takes shape today in a period
of protracted crisis.
How do cultural institutions and art practices respond to
long-standing states of national and international emergency? It is
with these questions in mind that Khalil Rabah's artistic practice
investigates the future of visual arts production under such
conditions. Exploring the relationships between historically
sanctioned and experimental exhibition settings, fictional and
documentative narratives, and the histories of displacement, his
methods not only propose but produce speculative institutions. As
the artist's first major monograph, Falling Forward / Works
(1997-2025) presents a comprehensive selection of exhibition
materials, previously unseen archival documents, and detailed
background notes on how Rabah's methods relate to broader themes in
his work. The volume also introduces new critical writing from
curators, authors, and researchers on the interrelated subjects of
anticipatory aesthetics, subterfuge and fugitive acts, mimicry and
performativity, knowledge production, archival technologies and,
crucially, the politics of humor.
Though the current political situation in Palestine is more serious
than ever, contemporary Palestinian art and film is becoming,
paradoxically, increasingly funny.In Laughter in Occupied
Palestine, Chrisoula Lionis analyses both the impetus behind this
shift toward laughter and its consequences, arguing that laughter
comes as a response to political uncertainty and the decline in
nationalist hope. Revealing the crucial role of laughter in
responding to the failure of the peace process and ongoing
occupation, she unearths the potential of humour to facilitate
understanding and empathy in a time of division. This is the first
book to provide a combined overview of Palestinian art and film,
showing the ways in which both art forms have developed in response
to critical moments in Palestinian history over the last century.
These key moments, Lionis argues, have radically transformed
contemporary Palestinian collective identity and in turn
Palestinian cultural output. Mapping these critical junctions -
beginning with the Balfour Declaration of 1917 to the Oslo Accords
in 1993 - she explores the historical trajectory of Palestinian art
and film, and explains how to the failure of the peace process has
led to the present proliferation of humour in Palestinian visual
culture.
Though the current political situation in Palestine is more serious
than ever, contemporary Palestinian art and film is becoming,
paradoxically, increasingly funny.In Laughter in Occupied
Palestine, Chrisoula Lionis analyses both the impetus behind this
shift toward laughter and its consequences, arguing that laughter
comes as a response to political uncertainty and the decline in
nationalist hope. Revealing the crucial role of laughter in
responding to the failure of the peace process and ongoing
occupation, she unearths the potential of humour to facilitate
understanding and empathy in a time of division. This is the first
book to provide a combined overview of Palestinian art and film,
showing the ways in which both art forms have developed in response
to critical moments in Palestinian history over the last century.
These key moments, Lionis argues, have radically transformed
contemporary Palestinian collective identity and in turn
Palestinian cultural output. Mapping these critical junctions -
beginning with the Balfour Declaration of 1917 to the Oslo Accords
in 1993 - she explores the historical trajectory of Palestinian art
and film, and explains how to the failure of the peace process has
led to the present proliferation of humour in Palestinian visual
culture.
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