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Hicks opens up an extraordinary conversation between the past and the present.\u003c\/span\u003e\u003cspan\u003eThis is a book about falling statues, but so much more. It’s about how we’ve been lied to, and how we can approach the past with honesty. Hicks asks whether history and archaeology should be used to justify actions we know impinge on the rights of others - or to understand ourselves better’ - Alice Roberts, bestselling author of Crypt \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e‘Dan Hicks writes with grace and fierce focus about what we choose to remember and why, in our patterns of thought, our institutions and the built environment in which we live’ - Eyal Weizman, director of Forensic Architecture\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe culture war is over. \u003c\/span\u003e\u003cspan\u003eIf you want it to be. It wasn’t even a culture war; it was a war on culture. A sustained attack, Dan Hicks argues, in the form of the weaponization of civic museums, public art, and even universities – and one that has a deeper history than you might think.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTracing the origins of contemporary conflicts over art, heritage, memory, and colonialism, \u003cem\u003eEvery Monument Will Fall\u003c\/em\u003e joins the dots between the building of statues, the founding of academic disciplines like archaeology and anthropology, and the warehousing of stolen art and human skulls in museums including the one in which he is a curator. Part history, part biography, part excavation, the story runs from the Yorkshire wolds to the Crimean War, from southern Ireland to the frontline of the American Civil War, from the City of London to the University of Oxford – revealing enduring legacies of militarism, slavery, racism and white supremacy hardwired into the heart of our cultural institutions. \u003cem\u003eEvery Monument Will Fall\u003c\/em\u003e offers an urgent reappraisal of how we think about culture, and how to find hope, remembrance and reconciliation in the fragments of an unfinished violent past.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRefusing to choose between pulling down every statue, or living in a past that we can never change, the book makes the case for allowing monuments to fall once in a while, even those that are hard to see as monuments, rebuilding a memory culture that is in step with our times.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHardback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Shop","offers":[{"title":"Default Title","offer_id":55323652718970,"sku":"","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/9781529152746.jpg?v=1745925453"},{"product_id":"baltic-triennial-14-the-endless-frontier-a-reader-by-aleksei-borisionok-and-olia-sosnovskaya","title":"Baltic Triennial 14: The Endless Frontier (A Reader) by Aleksei Borisionok and Olia Sosnovskaya","description":"\u003cp\u003e\u003cspan\u003eBaltic Triennial 14 focused on the geopolitical territory of Central and Eastern Europe, premised on the conviction that in a paradoxical time of fragmented integration, addressing the local is, simultaneously, to question the global. This reader contains a number of texts touching upon the definitions, histories, potentials, and futures of the region which is understood as having a composite, porous constitution and transnational connections. The region’s gravitational pull is further highlighted by the introduction or anticipation of numerous tensions, such as disinformation, human-made industrial disasters, nativist nationalism, and the oppression of non normative identities.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eStaged before the eruption of Russia's invasion of Ukraine in February 2022, the Triennial took its title from Vannevar Bush, via Eglė Rindzevičiūtė’s essay on cultural wars “Transforming Cultural Policy in Eastern Europe: The Endless Frontier” (2021). In addition to the texts, this reader includes photo documentation and information from exhibitions and events that were presented across the city of Vilnius: at the Contemporary Art Centre, Atletika, Autarkia, Editorial, Lithuanian Artists’ Association, Rupert (hosted by Tech Arts) and Swallow.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Shop","offers":[{"title":"Default Title","offer_id":55354075447674,"sku":"","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/9788867495511.jpg?v=1746614077"},{"product_id":"practicing-the-good-desire-and-boredom-in-soviet-socialism-by-keti-chukhrov","title":"Practicing the Good: Desire and Boredom in Soviet Socialism by Keti Chukhrov","description":"\u003cp\u003e\u003cspan\u003eA philosophical consideration of Soviet Socialism that reveals the hidden desire for capitalism in contemporary anti-capitalist discourse and theory. This book, a philosophical consideration of Soviet socialism, is not meant simply to revisit the communist past; its aim, rather, is to witness certain zones where capitalism’s domination is resisted-the zones of counter-capitalist critique, civil society agencies, and theoretical provisions of emancipation or progress-and to inquire to what extent those zones are in fact permeated by unconscious capitalism and thus unwittingly affirm the capitalist condition.  By means of the philosophical and politico-economical consideration of Soviet socialism of the 1960 and 1970s, this book manages to reveal the hidden desire for capitalism in contemporaneous anti-capitalist discourse and theory. The research is marked by a broad cross-disciplinary approach based on political economy, philosophy, art theory, and cultural theory that redefines old Cold War and Slavic studies’ views of the post-Stalinist years, as well as challenges the interpretations of this period of historical socialism in Western Marxist thought.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Shop","offers":[{"title":"Default Title","offer_id":55376043049338,"sku":"","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/9781517909550.jpg?v=1747060280"},{"product_id":"e-flux-index-2-july-2024","title":"e-flux Index #2, July 2024","description":"\u003cdiv class=\"journal-current\"\u003e\n\u003cdiv class=\"journal-current__inner\"\u003e\n\u003cdiv class=\"current-issue\"\u003e\n\u003cdiv class=\"current-issue__content\"\u003e\n\u003cdiv class=\"index-issue__info\"\u003e\n\u003cp\u003e“It’s always too late, whenever you take a photograph.”\u003c\/p\u003e\n\u003cp\u003eThis laconic remark, which I heard during a recent artist’s talk in Berlin, bubbled up from a discussion upon the often-tragic\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eindexicality\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eor\u003cspan\u003e \u003c\/span\u003e\u003cem\u003enonindexicality\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eof contemporary photographic practice. JPEGs taken for wonders. 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Photography then remains, contrary to the terms in which it is sold to us by Silicon Valley manufacturers who stress its total\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eimmediacy\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eas an instrument for perceiving the world, a stubbornly untimely pursuit.\u003c\/p\u003e\n\u003cp\u003eCan we not also say, “It’s always too late, whenever you start to index”?\u003ca data-href=\"\/index\/617681\/2\/\" class=\"button js-open-overlayer\" href=\"https:\/\/www.e-flux.com\/index\/2\/618844\/it-s-always-too-late\/\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003eThe second issue of \u003c\/span\u003e\u003cem\u003ee-flux Index \u003c\/em\u003e\u003cspan\u003efeatures contributions from \u003c\/span\u003e\u003cstrong\u003eNick Axel,\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eHallie Ayres, Stephanie Bailey, Xenia Benivolski, Franco “Bifo” Berardi, Gail Brager, Lukas Braskisis, Evan Calder Williams, Luis Camnitzer, Gaby Cepeda, Adeline Chia, Jasmina Cibic, Phil Coldiron, Salmaan Craig, Benjamin Crais, Mark DeKay, T. J.  Demos, Tom Denman, Ben Eastham, Mariana Fernández, Sylvie Fortin, Victor Galdino, Orit Gat, Gerhub, Boris Groys, Maddie Hampton, Lyn Hejinian, Hide and Seek Audiovisual Art, Vanessa Holyoak, Leigh House, Suzanne Hudson, Dylan Huw, Florian Idenburg, Ana Ivanovska Deskova, Isabel Jacobs, Tom Jeffreys, Juan José Santos, Christina Kiaer, Damjan Kokalevski, Anna Kornbluh, Ekaterina Kulinicheva, Michael Kurtz, Andres Lepik, Ye Liu, Natasha Marie Llorens, Antonia Majaca, Claudio Medeiros, Charles Tonderai Mudede, Chris Murtha, Daniel Muzyczuk, Isadora Neves Marques, Kwasi Ohene-Ayeh, Jason Read, Dominique Routhier, Noah Simblist, Anya Sirota, Bonaventure Soh Bejeng Ndikung, Elena Sorokina, Jamila Squire, Jonas Staal, Łukasz Stanek, The New School Art Modality, Xu Tiantian, Oxana Timofeeva, Alberto Toscano, Ecosistema Urbano, Anton Vidokle, Elena Vogman, Xin Wang, Ben Ware, Seth Wheeler, Kaelen Wilson-Goldie, Zairong Xiang, Eugene Yiu Nam Cheung, Zhen Zhang,\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eand\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eArseny Zhilyaev\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Shop","offers":[{"title":"Default Title","offer_id":55459659841914,"sku":"","price":36.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/01_1.jpg?v=1748949202"},{"product_id":"e-flux-index-5-march-2025","title":"e-flux Index #5, March 2025","description":"\u003cp\u003e\"It’s always too late, whenever you take a photograph.”\u003c\/p\u003e\n\u003cp\u003eThis laconic remark, which I heard during a recent artist’s talk in Berlin, bubbled up from a discussion upon the often-tragic\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eindexicality\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eor\u003cspan\u003e \u003c\/span\u003e\u003cem\u003enonindexicality\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eof contemporary photographic practice. JPEGs taken for wonders. 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Photography then remains, contrary to the terms in which it is sold to us by Silicon Valley manufacturers who stress its total\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eimmediacy\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eas an instrument for perceiving the world, a stubbornly untimely pursuit.\u003c\/p\u003e\n\u003cp\u003eCan we not also say, “It’s always too late, whenever you start to index”?\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eThe fifth issue of e-flux Index features contributions from \u003c\/span\u003e\u003cstrong style=\"font-size: 0.875rem;\"\u003eRouzbeh Akhbari, Sanna Almajedi, Étienne Balibar, Rend Beiruti, Xenia Benivolski, Daniel Birnbaum, Hunter Bolin, Nathan Brown, Harry Burke, Luis Camnitzer, Mark Cinkevich, María Iñigo Clavo, Maya Deren, Jacob Dreyer, Anna Engelhardt, Solveig Font, Kenny Fries, Coco Fusco, Orit Gat, Leo Goldsmith, Ana María Gómez López, Andrea González Garrán, Boris Groys, Lauren van Haaften-Schick, Barbara Hammer, Dehlia Hannah, Isobel Harbison, Jörg Heiser, Yuk Hui, Kateryna Iakovlenko, Celia Irina González, Juan José Santos, Aubrey Knox, Hamlet Lavastida, Debra Lennard, Sophie Lewis, Julio Llópiz Casal, R.H. 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The award honours the exceptional cultural achievements of those dedicated to deepening and broadening our knowledge of visual art and culture in Central, Eastern, and South-eastern Europe.\u003c\/p\u003e\n\u003cp\u003eThe book thus offers a collection of urgencies and agencies in art history, art writing, and art and cultural production from across this cultural and political geography. It is a survey of the pressing issues that stimulate these authors’ scholarly, curatorial, and cultural investments and so provides a referential, if fragmented and incomplete, picture of current conditions of art and culture in the region.\u003c\/p\u003e\n\u003cp\u003eGiven the authors’ diverse backgrounds, their writings express a variety of concerns and approaches, although certain groupings are apparent.\u003c\/p\u003e\n\u003cp\u003eThe first of these groupings addresses issues in art history and theory from a geo-political perspective; the question of the centre\/periphery relationship in writing about Central and Eastern European art is further enriched by perspectives from other “peripheries”, with feminist, post-colonial, and minority positions coming into play as the matrix of power in art writing, art history, and art education is critically examined.\u003c\/p\u003e\n\u003cp\u003eThe second (and largest) grouping of writings discusses specific art phenomena, from the1960s to the present. Several authors apply comparative and horizontal art-historical methods to reposition Eastern European art within a global context. Among the important topics represented here are environmental concerns and – since many of the artworks under discussion were developed as ephemeral works – the artistic and performative potential of documentation and archives. Other authors, meanwhile, reflect on the conditions of contemporary cultural production and the role of cultural institutions in the region.\u003c\/p\u003e\n\u003cp\u003eThe last grouping deals with the intersection of politics and art, specifically with the region’s (utopian) legacy of revolution, socialism, and communism.\u003c\/p\u003e\n\u003cp\u003eIn 2008, when the first Igor Zabel Award was presented, the Igor Zabel Association and the ERSTE Foundation co-published the book \u003cem\u003eContinuing Dialogues: A Tribute to Igor Zabel\u003c\/em\u003e. The present book is entitled \u003cem\u003eExtending the Dialogue\u003c\/em\u003e not only because, in some senses, it is a follow-up to that first publication, but also because these texts examine issues and offer views that go far beyond local and regional concerns.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Bookshop","offers":[{"title":"Default Title","offer_id":57266654904698,"sku":null,"price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/Extending-the-dialogue-scaled.jpg?v=1789394702"},{"product_id":"post-post-soviet-art-politics-and-society-in-russia-at-the-turn-of-the-decade-edited-by-marta-dziewanska-ekaterina-degot-and-ilya-budratskis","title":"Post–Post–Soviet?: Art, Politics and Society in Russia at the Turn of the Decade edited by Marta Dziewanska, Ekaterina Degot and Ilya Budratskis","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBy placing emerging artists in their political and social contexts, this collection attempts to confront the new activist scene that has arisen in the Russian art world during the past years. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe recent explosion of protests in Russia-often with their very purpose being to decry the lack of artistic freedom-is a symptom of a fundamental change in culture heralded by Vladimir Putin's first election. This shift was precipitated by the change to a highly commercial, isolated world, financed and informed by oligarchs. In response, the Russian contemporary art scene has faced shrinking freedom yet an even more urgent need for expression. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhile much of what is emerging from the Moscow art scene is too new to be completely understood, the editors of this volume seek to bring to light the important work of Russian artists today and to explicate the political environment that has given rise to such work. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003ePost-Post-Soviet?\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003ewill feature both criticism by writers and scholars, as well as dialogues with artists. Contributors include\u003cstrong\u003e Boris Kagarlitsky\u003c\/strong\u003e, \u003cstrong\u003eEkaterina Degot\u003c\/strong\u003e, \u003cstrong\u003eKeti Chukhrov\u003c\/strong\u003e, \u003cstrong\u003eBoris Buden\u003c\/strong\u003e, \u003cstrong\u003eArtur Zmijewski\u003c\/strong\u003e, and others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Bookshop","offers":[{"title":"Default Title","offer_id":57274082918778,"sku":null,"price":22.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/9788393381845.jpg?v=1789556827"},{"product_id":"concerning-the-spiritual-in-art-by-wassily-kandinsky","title":"Concerning the Spiritual in Art by Wassily Kandinsky","description":"\u003cp\u003e\u003cstrong\u003eTranslated by Ruth Ahmedzai Kemp with an introduction by Lisa Florman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003eA seminal text in the history of modern art, from one of the most famous artists of the twentieth century\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003e'Art is the language that speaks to the soul'\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhy do we make art? In \u003c\/span\u003e\u003ci\u003eConcerning the Spiritual in Art\u003c\/i\u003e\u003cspan\u003e Wassily Kandinsky, one of the earliest and most famous abstract painters, argued against 'art for art's sake'. Exploring form and colour, spirituality and tradition, Kandinsky instead predicted a future for painting in its potential to redirect the attention of viewers away from the shallow materialism of the modern world toward the more profound intellectual and emotional concerns of their interior lives. His revolutionary work became a landmark in modern art history, helping to usher in the age of non-representational painting. This new translation also includes Kandinsky's later essay, 'The Question of Form', in which he interrogates and sharpens many of his earlier ideas.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e\u003c\/p\u003e","brand":"Pushkin House Bookshop","offers":[{"title":"Default Title","offer_id":57293580304762,"sku":null,"price":10.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0510\/3406\/3009\/files\/IMG_4709.webp?v=1790078126"}],"url":"https:\/\/shop.pushkinhouse.org\/collections\/art-and-cultural-theory.oembed?page=2","provider":"Pushkin House Bookshop","version":"1.0","type":"link"}