e-flux Journal #135

<p>In this issue, Xin Wang details the haunting of China’s contemporary art by socialist-realist pedagogy from the Soviet Union. Perhaps even more significant than this line of influence is its near-total occlusion in Western accounts of China’s avant-garde lineages, no doubt related to Clement Greenberg’s assaults on Soviet socialist realism for epitomizing kitsch. Following Greenberg’s lead, Western scholars may have attempted to be generous by elevating works above lowly pictorial origins, but in doing so, they cleaved them not only from their key influences, but also from a range of formal innovations and attitudes specific to socialist modernity—a version of modernism that continues to persist through its negation, haunting artworks up to today…</p> <p><strong>Editorial</strong><br /> Editors</p> <p><strong>Soviet Hauntology</strong><br /> Xin Wang</p> <p><strong>On Tribunalism: Should Artists Use the Court Form?</strong><br /> Daniel Loick</p> <p><strong>We knew</strong><br /> aracelis girmay</p> <p><strong>Caste-pital</strong><br /> Sajan Mani</p> <p><strong>radiation underground and in the sky</strong><br /> Benjamin Krusling</p> <p><strong>Beatings</strong><br /> Simone White</p> <p><strong>REVOLUTION+1: An Interview with Masao Adachi</strong><br /> Go Hirasawa and Ethan Spigland</p> <p><strong>Before and After? Temporalities of Disaster</strong><br /> Rebecca Jarman</p> <p><strong>The Being of Relation</strong><br /> Erin Manning</p> <p><strong>From Theta</strong><br /> Matt Longabucco</p> <p><strong>We Too Were Modern, Part III: Of Earth and World</strong><br /> Thotti</p>