Dougald Hine - Böcker
At Work in the Ruins
Finding Our Place in the Time of Climate Crises and Other Emergencies
142 kr
Skickas inom 7-10 vardagar
At Work in the Ruins
Finding Our Place in the Time of Science, Climate Change, Pandemics and All the Other Emergencies
213 kr
Skickas inom 7-10 vardagar
At Work in the Ruins: Finding Our Place in the Time of Climate Crises and Other Emergencies
267 kr
Skickas inom 3-6 vardagar
189 kr
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Sekularisering innebär inte att gudarna försvinner utan att de ersätts av sådana som vi själva har skapat institutioner, traditioner och teknologier. Det handlar därför inte om en avveckling utan om en omlokalisering av en gudomlig sfär. Vem betjänar vem? Är systemen till för människan eller människan för systemen? Till vem eller vilka sätter vi vårt hopp eller vänder vi oss till i bön?
Årets nummer av Tidens tecken utforskar de makter som aspirerar på att ta gudarnas plats i en postsekulär samtid.
145 kr
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’Sometimes we use the term religious art or sacred art, but I really prefer venerative art. Because, as I see it, the upper middle class, the good-taste people, they do venerate like hell…’
The Virgin of Guadalupe appears before a camera crew on a Mexican hillside. A wooden shrine is hammered to a watchtower on a deserted Soviet army base. A stonemason fixes a cross to the roof of a roadside chapel in his family’s village. Since 2008, the work of Stockholm-based artist duo Performing Pictures (Geska & Robert Brecevic) has taken an unexpected turn towards themes of Catholic devotion. The results are still sometimes shown in galleries, but their primary function is within the religious lives of the communities with whom they are made.
The Crossing of Two Lines is a collaboration between the artists and the writer Dougald Hine. It is both a document of this work and an investigation into the discomfort that it has caused among their art world contemporaries. From the Croatian island of Rab to the pueblo of Zegache in Oaxaca, Mexico, hundreds of colour photographs chart the making and use of these venerative artefacts. Meanwhile, in a series of texts - one essay, four interviews, ten short poems - we trace the intersecting lines of personal and collective experience which meet in this work.
‘We are used to art that employs the symbols of religion in ways seemingly intended to unsettle or provoke many of those to whom these symbols matter,’ writes Hine. ‘Yet to the consumers of contemporary art, those who actually visit galleries, it is more uncomfortable to be confronted with work in which such symbols are used without the frame of provocation.’