Kodwo Eshun – författare

Arrows of Desire indexes numerous intellectual, political, and artistic histories of the twentieth century. The book presents Wollen's engagement with anti-imperialist politics and counter-cinema, gathering essays, lectures, and proposals that contest the dominant geographies of the avant-garde. At once playful, theoretically rigorous, and historically precise, Wollen's writing reinvented criticism as a formally experimental practice that extends into poetry and sci-fi.This collection brings together unpublished and inaccessible writings on Eisenstein and Godard with texts that champion developments in independent moving image after the 1970s. It tracks the political energies running through Wollen's filmmaking and writing on political crises in Iran and Indonesia published under his pseudonym Lucien Rey, his introduction to Michel Khleifi's film Wedding in Galilee, and an interview concerning his visionary film Friendship's Death.Wollen's extensive engagement with revolutionary Mexican art is revealed in the paradigm-shifting exhibitions he conceived and curated, culminating in The Continent, an ambitious, unrealised project that brought together Mexican muralism, Native American abstraction, and US abstract expressionism for the first time. Arrows of Desire reveals, in its breadth and detail, the restless imagination, iconoclastic approach, and lucid style of Peter Wollen.The first of three books of uncollected essays by Peter Wollen, to be published consecutively. PRAISE FOR PETER WOLLEN "The single most influential film theorist in the English language."Henry K. Miller, Sight and Sound "A brilliant mind. Peter wrote on film, art, politics, fashion, on culture generally. To say Peter Wollen was preternaturally and uniquely gifted is not adequate."Lynne Tillman, Artforum "An intransigently original and politically engaged figure." Edward Said, Nation

What were the conditions of possibility for art and music-making before the era of neoliberal capitalism? What role did punk play in turning artists to experiment with popular music in the late 1970s and early 1980s? And why does the art and music of these times seem so newly pertinent to our political present, despite the seeming remoteness of its historical moment? Focusing upon the production of post-punk art, film, music, and publishing, this book offers new perspectives on an overlooked period ofcultural activity, and probes the lessons that might be learnt from history for artists and musicians working under 21st century conditions of austerity.

What were the conditions of possibility for art and music-making before the era of neoliberal capitalism? What role did punk play in turning artists to experiment with popular music in the late 1970s and early 1980s? And why does the art and music of these times seem so newly pertinent to our political present, despite the seeming remoteness of its historical moment? Focusing upon the production of post-punk art, film, music, and publishing, this book offers new perspectives on an overlooked period of cultural activity, and probes the lessons that might be learnt from history for artists and musicians working under 21st century conditions of austerity. Contemporary reflections by those who shaped avant-garde and contestatory culture in the UK, US, Brazil and Poland in the 1970s and 1980s. Alongside these are contributions by contemporary artists, curators and scholars that provide critical perspectives on post-punk then, and its generative relation to the aesthetics and politics of cultural production today.