By Douglas Howland, Elizabeth Lillehoj, Maximilian Mayer

This quantity goals to question, problem, complement, and revise present understandings of the connection among aesthetic and political operations. The authors go beyond disciplinary limitations and nurture a wide-ranging sensibility approximately artwork and sovereignty, hugely complicated and interwoven dimensions of human event that experience infrequently been explored via students in a single conceptual area. a number of chapters ponder the intertwining of contemporary philosophical currents and modernist inventive kinds, specifically these revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to conventional definitions of “Art.” different chapters take care of currents that emerged as elements of paintings turned more and more commercialized, merging with business layout and renowned leisure industries. a few individuals deal with Post-Modernist artwork and idea, highlighting energy family and delivering sceptical, serious remark on repercussions of colonialism and notions of common truths rooted in Western beliefs. by means of interfering with validated dichotomies and unsettling solid debates on the topic of paintings and sovereignty, all participants body new views at the co-constitution of artistic endeavors and practices of sovereignty.

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It is this relationship between the epistemico-political background and the artistic gesture—which is concealed and, at the same time, represented—that SPACE AND SOVEREIGNTY: A REVERSE PERSPECTIVE 33 this chapter attempts to explore. In the wake of Foucault’s investigation, the attempt undertaken here consists in understanding what relation exists between the work of art, the space it occupies and represents, and the political space into which it is forced or, perhaps, wants to set free. An inquiry of this kind is nothing but a provisional sketch of a research program that has not been sufficiently developed.

Both in the frescoes of Castiglione Olona and in those of San Clemente in Rome (Fig. 3), the Eternal Father is represented inside a circle that is never crossed. In the two frescoes, the Eternal is iconographically suspended upon History. Yet the miracle is accomplished in the Foundation: the “divine snow” enters time, settles on the earthly land, and conveys the heavenly message. A time-space short circuit has happened: the two worlds, even if only for a moment, came into contact. The painting, in short, is endowed with a twofold principle of representation based on a reversed perspective.

Aiwah Ong, Flexible Citizenship: The Cultural Logics of Transnationality (Durham, NC: Duke University Press, 1999). 24 M. MAYER ET AL. 15. James Mittelman, Whither Globalization? The Vortex of Knowledge and Ideology (London: Routledge, 2004), 9. 16. P. Singh, International Cultural Policies and Power (London: Palgrave Macmillan, 2010). 17. 2 (1992): 229–42; Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization, Vol. , Doing Democracy: Activist Art and Cultural Politics (Albany: SUNY Press, 2011); J.

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