This book places a focus on the regimes of in/visibility and representation in Europe and offers an innovative perspective on the topic of global capitalism in relation to questions of race, class, gender and migration, as well as historicization of biopolitics and (de)coloniality. The aim of this volume is to revisit theories of art, new media technology, and aesthetics under the weight of political processes of discrimination, racism, anti-Semitism and new forms of coloniality in order to propose a new dispositive of the ontology and epistemology of the image, of life and capitalism as well as labor and modes of life. This book is firmly embedded in the present moment, when due to rapid and major changes on all levels of political and social reality the need for rearticulation in theoretical, artistic and political practices and rethinking of historical narratives becomes almost tangible.

This book investigates how contemporary artistic practices engage with the body and its intersection with political, technological, and ethical issues. Departing from the relationship between corporeality and performing arts (such as theater, dance, and performance), it turns to a pluriversal understanding of embodiment that resides in the extra violent conditions of contemporary global necro-capitalism in order to conduct a thorough analysis that goes beyond arts and culture. It brings together theoretical academic texts by established and emerging scholars alike, exposing perspectives form different fields (philosophy, cultural studies, performance studies, theater studies, and dance studies) as well as from different geopolitical contexts. Through a series of thematic clusters, the study explores the reactivation of the body as a site of a new meaning-making politics.

Since its beginnings in the nineteen-seventies, the medium of video has been closely linked to the subcultural and countercultural movements of its time, both in art and in everyday culture in Germany. Art and music videos in particular demonstrate great subversive potential: artists and musicians oppose traditional values, transgress and repeatedly explore social norms and gender stereotypes. In this volume, queer academic as well as artistic research approaches and archival practices are reviewed in the context of a history of punk and its offshoots. Among our many contributors are Tiffany Florvil (University of New Mexico), Marina Grzinic (Academy of Fine Arts Vienna), Jack Halberstam (Columbia University in the City of New York), Angela McRobbie (University of London), Peter Rehberg (Schwules Museum Berlin), and artist Wolfgang Muller.

This book articulates a contemporary, globalized world as one in which radical disparities in distribution of wealth are being reproduced as the basis for depoliticized social, institutional, and ideological discourses. At its center is a reorientation of global capitalism from the management of life towards making a surplus value from death. This change is presented as a reorientation of biopolitics (bio meaning life) to necropolitics (necro meaning death). Therefore in the book we work with processes of change, of a historicization of biopolitics and its turn into necropolitics that leads to a theoretical trajectory from M. Foucault to A. Mbembe and beyond. This book interprets the sustained perception of existence of dichotomy between these provisional extremes as a trademark of apolitical and/or post-political logics on which contemporary institutional, political, and social discourses tend to be structured upon. More, contrary to the majority of approaches that insists on a profound dichotomy between democracy and totalitarianism, between poverty and free market, and between democracy and capitalism, this book does not interpret these relations as dichotomous, but as mutually fulfilling. The book elaborates, in the context of articulation of these logics, contemporary, imperial racism (racialization) as an ideology of capitalism and states that the First World s monopoly on definition of modernity has its basis in contemporary reorganization of colonialism. In the book, the authors trace a forensic methodology of global capitalism with which life, art, culture, economy, and the political are becoming part of a detailed system of scrutiny presented and framed in relation to criminal or civil law. Criminalization of each and every segment of our life is working hand in hand with a depoliticization of social conflicts and pacification of the relation between those who rules and those who are ruled. The outcome is a differentiation of every single concept that must from now bear the adjectives of the necropolitical or forensic; therefore we can talk about forensic images, art, projects, and necropolitical life, democracy, citizenship. This will change radically the perspectives of an emancipative project of politics (if it is any possible to be named as such) for the future."

This book articulates a contemporary, globalized world as one in which radical disparities in distribution of wealth are being reproduced as the basis for depoliticized social, institutional, and ideological discourses. At its center is a reorientation of global capitalism from the management of life towards making a surplus value from death. This change is presented as a reorientation of biopolitics (bio meaning life) to necropolitics (necro meaning death). Therefore in the book we work with processes of change, of a historicization of biopolitics and its turn into necropolitics that leads to a theoretical trajectory from M. Foucault to A. Mbembe and beyond. This book interprets the sustained perception of existence of dichotomy between these provisional extremes as a trademark of apolitical and/or post-political logics on which contemporary institutional, political, and social discourses tend to be structured upon. More, contrary to the majority of approaches that insists on a profound dichotomy between democracy and totalitarianism, between poverty and free market, and between democracy and capitalism, this book does not interpret these relations as dichotomous, but as mutually fulfilling. The book elaborates, in the context of articulation of these logics, contemporary, imperial racism (racialization) as an ideology of capitalism and states that the First World's monopoly on definition of modernity has its basis in contemporary reorganization of colonialism. In the book, the authors trace a forensic methodology of global capitalism with which life, art, culture, economy, and the political are becoming part of a detailed system of scrutiny presented and framed in relation to criminal or civil law. Criminalization of each and every segment of our life is working hand in hand with a depoliticization of social conflicts and pacification of the relation between those who rules and those who are ruled. The outcome is a differentiation of every single concept that must from now bear the adjectives of the necropolitical or forensic; therefore we can talk about forensic images, art, projects, and necropolitical life, democracy, citizenship. This will change radically the perspectives of an emancipative project of politics (if it is any possible to be named as such) for the future.

Belgian colonialism in the Congo. Antisemitism in Austria. Turbo-nationalism in former Yugoslavia. Over the last two centuries, these three historic lines of violence and annihilation (re)enforced a process of oblivion that to this day prevents a processing of the genocides they caused. Today involuntary or performed amnesia again threatens to destroy what has already come to a point of possible coexistence. This catalogue goes back to these traumatic events in history and the recent past, which had such a violent impact on communities and people, states and territories, and confront them with a system of interventions. The scars that remain after atrocities, although hidden and obliterated, are recovered through artistic, scientific, and political reflections. Exhibition details: Weltmuseum Wien October 8, 2020 - April 3, 2021