Noemi de Haro García – författare

This book analyses the intermeshing of state power and art history in Europe since 1945 and up to the present from a critical, de-centered perspective. Devoting special attention to European peripheries and to under-researched transnational cultural political initiatives related to the arts implemented after the end of the Second World War, the contributors explore the ways in which this relationship crystallised in specific moments, places, discourses and practices. They make the historic hegemonic centres of the discipline converse with Europe’s Southern and Eastern peripheries, from Portugal to Estonia to Greece. By stressing the margins’ point of view this volume rethinks the ideological grounds on which art history and the European Union have been constructed as well as the role played by art and culture in the very concept of ‘Europe.’

This book analyses the intermeshing of state power and art history in Europe since 1945 and up to the present from a critical, de-centered perspective. Devoting special attention to European peripheries and to under-researched transnational cultural political initiatives related to the arts implemented after the end of the Second World War, the contributors explore the ways in which this relationship crystallised in specific moments, places, discourses and practices. They make the historic hegemonic centres of the discipline converse with Europe’s Southern and Eastern peripheries, from Portugal to Estonia to Greece. By stressing the margins’ point of view this volume rethinks the ideological grounds on which art history and the European Union have been constructed as well as the role played by art and culture in the very concept of ‘Europe.’

This is the first book to explore the global influence of Maoism on modern and contemporary art. Featuring eighteen original essays written by established and emerging scholars from around the world, and illustrated with fascinating images not widely known in the west, the volume demonstrates the significance of visuality in understanding the protean nature of this powerful worldwide revolutionary movement. Contributions address regions as diverse as Singapore, Madrid, Lima and Maputo, moving beyond stereotypes and misconceptions of Mao Zedong Thought's influence on art to deliver a survey of the social and political contexts of this international phenomenon. At the same time, the book attends to the the similarities and differences between each case study. It demonstrates that the chameleonic appearances of global Maoism deserve a more prominent place in the art history of both the twentieth and twenty-first centuries.