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Use History of Art & Architecture Databases to find more on The Otolith Group.
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The Migrant Image: The Art and Politics of Documentary During Global Crisis by
In The Migrant Image, T. J. Demos examines the ways contemporary artists have reinvented documentary practices in their representations of mobile lives: refugees, migrants, the stateless, and the politically dispossessed. He presents a sophisticated analysis of how artists from the United States, Europe, North Africa, and the Middle East depict the often ignored effects of globalization and the ways their works connect viewers to the lived experiences of political and economic crisis. Demos investigates the cinematic approaches that Steve McQueen, the Otolith Group, and Hito Steyerl employ to blur the real and imaginary in their films confronting geopolitical conflicts between North and South.
The Ocean After Nature by
The Ocean After Nature examines the ocean as a site reflecting ecological, political, and economic realities through the work of more than 20 artists and collectives, including Ursula Biemann, Drexciya, CAMP, Peter Hutton, Mati Diop, The Otolith Group, and Ulrike Ottinger.
Gestures of Seeing in Film, Video and Drawing by
The first book of its kind, Gestures of Seeing in Film, Video and Drawing engages broadly with the often too neglected yet significant questions of gesture in visual culture. In our turbulent mediasphere, where images are constantly mobilized to enact symbolic forms of warfare and where they get entangled in all kinds of cultural conflicts and controversies, a turn to the gestural life of images seems to promise a particularly pertinent avenue of intellectual inquiry.
The Right to Opacity: On the Otolith Group's "Nervus Rerum."
This article explores the principle of opacity as a tool in films made to highlight perceived injustices of the Palestinian refugee camps. It cites the 2008 film "Nervus Rerum," concerning the Jenin refugee camp in the Palestinian Occupied Territories, which focuses on people in the camp in order to highlight their political non-existence through lack of representation, relying instead on footage of buildings and on interviews with outside personalities.
Apocalypse (Not) Now
From its beginning in the 1940s, the nuclear regime has been the subject of aesthetic as well as political practices and interventions. This article examines a number of such interventions, from the Surrealists via the Situationists to the present. Key figures include The Otolith Group and their responses to Fukushima. Through concepts such as invisibility, survival, and mutation, these practitioners seek to counteract the "insensible" nature of radiation and problematize post-war society's dependency on nuclear deterrence and "peaceful" nuclear technology alike.