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- Disfiguring Figures. The political potentiality of Marlene Monteiro Freitas’s choreographic workPublication . BALONA, AlexandraDeparting from the German philologist Erich Auerbach’s foundational study on the genealogy of figura—a concept that belonging to the three different fields of theology, rhetoric and visual arts has laid the foundations of the theories and practices of Western European representation—and following the reformulations by Freud, Gilles Deleuze, and Lyotard of this influential notion of figura as indeterminacy between form and process, the visible and the invisible, sensible and intelligible, the corporeal and the spiritual, this paper wishes to address how the choreographed figures of ambivalence, hybridity and metamorphosis in Marlene Monteiro Freitas’ works, namely, in her solo work ‘Guintche’, set the stage for a contemporary criticality of some of the structuring postulates of European modernity.
- To Draw Borders and the Aesthetic Mind: reviewing Europe with Almada NegreirosPublication . LAMBERT, Maria de FátimaAt the beginning of the 20th century, Almada Negreiros considered that Portugal had urgently to step into Europe and the only way to achieve it was through cultural performing, affirming the straightness of modern thought. Almada acted in several paths of creation what might diagnose his profile as a “polychrome artist”, following Edward T. Hall in The hidden dimension (1966, 173). Let’s underline the principle of a South European polychrome person that shaped the unique (but multiple) direction of Almada’s achievement in his multidisciplinary artistic and thinking roles. Nowadays, a century after reviewing his writings concerning Europe (from his modernist period), how can we understand his obsession? Let's analyse what involves the title “Portugal in the Map of Europa” published at SW – Sudoeste, the magazine he kept for three numbers during 1935. And, on the other hand, considering his multiple achievements as an artist and performer thinker, how did the idea of Europe – its utopia survived all those decades until the Portuguese 1970’s? And let’s add Almada’s compulsive quest for the universal language before writing – the antegraphy developed as an inner and essential thinking. How do it connect with the urge for modernity? Can it be reasoned in a two highways pursuit: the European assumption of Portuguese nationality versus that Universal visual writing which existed since the early age of humanity? Are those anthropological, philosophical and aesthetic/artistic proposals by Almada deeply linked or/and setting forth gaps, even paradoxes’ aims? And, mainly, when regarding his African ancestors, that apparently he never emphasized too much, should it be considered the link of his demand for antegraphy the universal visual language present in all continents? Maybe that concept of polychrome artist is a key for shaping Almada’s solo utopian identity with a www anthropological geography. Was he a true paradigm of a polychrome artist?
- Europe's Architectural Identity – a visualisation method of ideasPublication . LENGYEL, Dominik; TOULOUSE, CatherineEurope is also architecture. When Jacques Derrida counts philosophy, democracy and the Enlightenment, architecture is an essential gap. There is a number of artistic expressions, but amongst them architecture, as the space that we live in, plays an exposed role. Architecture is a criterion, a tradition that truly belongs to Europe. A debate on the architectural artistic representation of Europe from the past to the future will consolidate a place for Europe in the world. And this place does not, at least not in the principal sense, yield to the imperialist tradition. On the contrary, Europe’s architecture consists mainly of civilian or clerical buildings. Built architecture though is subject to its deterioration, while the intellectual achievement of architectural projecting and design are what will be left of Europe’s history. Architectural ideas are almost timeless as they always negotiate ourselves in our environment. But ideas are rarely acknowledged as deserved. In most cases, architecture that does not meet today’s needs is considered as part of building archaeology. But there is much more in historic architecture, a wealth of inspirations. Architecture has always been more than buildings. This artistic surplus needs to be exposed, to be presented as a timeless intellectual achievement that goes far beyond its original historical intention. For this we have developed a method that visualizes architectonic ideas. The presentation aims to demonstrate and illustrate this method by several projects developed by the authors in cooperation with archaeological research institutions like Cologne Cathedral and its Predecessors (by order of and exhibited in Cologne Cathedral), The Metropolis of Pergamon (within the German Research Fund Excellence Cluster TOPOI, actually exhibited in Leipzig as part of Sharing Heritage, the European Cultural Heritage Year 2018), The Palatine Palaces (by order of the German Archaeological Institute, both latter exhibited in the Pergamon Museum Berlin).
- Two Extremes at the European Peripheries: Baltic and Iberian post-industrial culturesPublication . moreira, ines`Two extremes at the European peripheries: Baltic and Iberian post-industrial cultures´ departs from a precise title and essays grasping distant and, to a certain extent, unrelated contemporary cultural conditions of two extremely diverse regions in the periphery of Europe, one facing the Baltic sea and the former USSR, the other facing the Atlantic and its former empires. Undergoing dissimilar historical and political processes, the Baltic region and the Iberian Peninsula relate to recent XXth and XXIst Century history differently: the resignification of past events, sites and stories can be extreme, whether celebrated or remembered, other times actively supressed and effaced. The spatial strategies towards the (industrial) past and the new unbound contemporary cultural practices are diverse and may not be represented in a single overarching map. This written essay aims to bring forth examples of resignification of the past and memory through new contemporary and spatial cultures by posing a set of questions: which pasts are celebrated and effaced through spatial intervention? Are new cultural projects altering historical narratives? The document sits in observations taken from fieldwork and research activity in three different sites – Tallinn, Chernobyl/Prypiat and Porto - and assumes a fragmentary and grounded position, inscribing the annotations and a posteriori conceptualization on a possible dialogue between the conditions and the contrasting cultural approaches.
- Europe out of the PicturePublication . Cádima, Francisco RuiThe history of Europe in recent decades, in particular as regards the information and communication strategies of the European institutions for the Europeans in general, has been the story of a misconception that has greatly penalized the consolidation of the European project. This means that if, on the one hand, the European institutions have generally sought to promote and disseminate an idea of progress for Europe, their public media, including broadcasting media, which are heavily funded by the budgets of the Member States, collapse in general. In fact, this results from the subservience of public broadcasting media in general to the dictatorship of the audiences and market strategies, with the ‘agrément’ of the European Commission itself, contributing not to the affirmation of the Idea of Europe, but to its destruction and the emergence of times of political regression such as we are experiencing at this end of the second decade of the century.
- Europe’s SicknessPublication . RUIZ DE SAMANIEGO, AlbertoIs Europe sick? Has it always been? More than a hundred years ago, Nietzsche wrote: "Europe is a sick man, and an incurable sick one." If so, we would like to diagnose what such a disease consisted of and still consists, and if it has a cure.
- Eurorenovation (Euroremont): the art of concealingPublication . FILYUK, KaterynaSoon after the collapse of the Soviet Union, the phenomenon of Eurorenovation emerged ready to help numerous citizens of the newly established Ukrainiain state to get rid of their gloomy past. The movement, disguised as the reorganization of the private space of one’s own home, actually functioned as a face-lift and a cover-up of all sorts of problems instead of the much-needed search for solutions. Plastic euro-windows and euro-doors, dropped ceiling and plastic paneling flooded Ukraine, mimicking European design and eventually the lifestyle while effectively ignoring massive infrastructural problems, poverty and the immense gap between a devastated country in transition and a seemingly flourishing Europe. In 2010, R.E.P. group initiated a long-term project called Eurorenovation aiming at identifying symptoms of this process and consequently apprehending Eurorenovation in its complexity in order to be able to describe similar socio-cultural relations in other countries. Over the following years the artists created a series of installations, where they literally copied recognizable trends in the popular interior redesign of Soviet apartments using cheap imported materials. Strange as it may sound, but Europe – Ukraine’s role model – may have fallen into the very same trap. A tendency towards the cosmetic concealment of problem areas and patching up instead of coming up with problem-solving methodologies characterizes European governance in recent years. With that said, the Ukrainian know-how could be of practical value as well as the R.E.P. group visual research that convincingly demonstrate the dangers of the Eurorenovation approach.
- European Dream. “Keep bangin’ on the wall”Publication . CRUZ, CarlaThis paper discusses ideas around European identity, the ideal of free movement, and the building of ‘Fortress Europe’ through artistic work I was developing between 2005 and 2006, and endorses feminist theorist Rosi Braidotti’s idea of “becoming minoritarian” as an antidote to building an European identity based on old and new xenophobic and racist ideas, supported through my experience of leading the feminist exhibition project All My Independent Wo/men between 2005 and 2013, as a similar project of operating from the margin as a place of potentiality.
- EuroamericanismPublication . STEINWEG, MarcusPhilosophy always unites the divided: the finite and infinite, fathomable and unfathomable, created and creator, Man and God. Whenever I think, my thought unites what must remain divided: immanence and transcendence, consistency and inconsistency, European originality and American horizontality. Art and philosophy indicate the contingent nature of reality. They generate resistance against established realities and the dispositives that organize them. Their aim is not to flee from reality but rather to intensify contact with reality by maintaining a distance to it.
- Cosmopolitanism, Populism, and DemocracyPublication . MICHEL, AndreasThe topic of my paper is the attack on cosmopolitanism ever since the Great Recession. Since 2008, populist reactions to the ill effects of globalisation have sprung up in many Western countries. Their target is the post-WW II political consensus—at least as far as Europe is concerned—of an ‘ever closer union,’ a policy based on 20th century history and a new cosmopolitan sensibility. This sensibility is now under attack—Brexit being only the most visible sign—and calls for a new nationalism have returned to both sides of the Atlantic. For a West-German citizen born after the war, such a focus on the nation was out of the question for all the well-known reasons. In this paper I engage with the critics of cosmopolitanism, exploring both populist and liberal objections to it. As a result, I arrive at a more nuanced position that takes stock of the negative effects of globalization. I suggest that the road forward—at least for the foreseeable future—might well be a division of labour between the European nation states and a cosmopolitan sensibility.