Entranced Earth: Art, Extractivism, and the End of Landscape (Volume 45) (FlashPoints)

A sweeping analysis of the lasting effects of neocolonial extractivism in Latin American aesthetic modernity from 1920 to the present\nLooking to the extractive frontier as a focal point of Latin American art, literature, music, and film, Jens Andermann asks what emerges at the other end of landscape. Art in the Global South has long represented and interrogated “insurgent nature”—organic and inorganic matter, human and nonhuman life, thrown into turmoil.\nIn Entranced Earth: Art, Extractivism, and the End of Landscape, Andermann traces the impact of despaisamiento—world-destroying un-landscaping—throughout the Latin American modernist archive. At the same time, he explores innovative, resilient modes of allyship forged between diverse actors through their shared experiences of destruction. From the literary regionalism of the 1930s to contemporary bio art, from modernist garden architecture to representations of migration and displacement in sound art and film, Entranced Earth tracks the crisis of landscape and environmental exhaustion beyond despair toward speculative, experimental forms of survival.

Arts & Photography

ANDERMANN, JENS

History & Criticism

Northwestern University Press

<div> A sweeping analysis of the lasting effects of neocolonial extractivism in Latin American aesthetic modernity from 1920 to the present Looking to the extractive frontier as a focal point of Latin American art, literature, music, and film, Jens Andermann asks what emerges at the other end of landscape. Art in the Global South has long represented and interrogated "insurgent nature"--organic and inorganic matter, human and nonhuman life, thrown into turmoil. In Entranced Earth: Art, Extractivism, and the End of Landscape, Andermann traces the impact of despaisamiento--world-destroying un-landscaping--throughout the Latin American modernist archive. At the same time, he explores innovative, resilient modes of allyship forged between diverse actors through their shared experiences of destruction. From the literary regionalism of the 1930s to contemporary bio art, from modernist garden architecture to representations of migration and displacement in sound art and film, Entranced Earth tracks the crisis of landscape and environmental exhaustion beyond despair toward speculative, experimental forms of survival. </div>

The Optic of the State: Visuality and Power in Argentina and Brazil (Illuminations, 74)

The Optic of the State traces the production of nationalist imaginaries through the public visual representation of modern state formation in Brazil and Argentina. As Jens Andermann reveals, the foundational visions of national heritage, territory, and social and ethnic composition were conceived and implemented, but also disputed and contested, in a complex interplay between government, cultural, and scientific institutions and actors, as a means of propagating political agendas and power throughout the emerging states. The purpose of these imaginaries was to vindicate the political upheavals of the recent past and secure the viability of the newly independent states through a sense of historic destiny and inevitable evolution. The careful presentation of artifacts and spectacles was also aimed abroad in order to win the favor of European imperial powers and thereby acquire a competitive place in the nascent global economy of the late nineteenth century. The Optic of the State offers a fascinating critique of the visual aspects of national mythology. It exposes how scientific and cultural institutions inscribed the state-form in time and space, thus presenting historical processes as natural “givens.”

History

Americas

University of Pittsburgh Press

The Optic of the State traces the production of nationalist imaginaries through the public visual representation of modern state formation in Brazil and Argentina. As Jens Andermann reveals, the foundational visions of national heritage, territory, and social and ethnic composition were conceived and implemented, but also disputed and contested, in a complex interplay between government, cultural, and scientific institutions and actors, as a means of propagating political agendas and power throughout the emerging states. The purpose of these imaginaries was to vindicate the political upheavals of the recent past and secure the viability of the newly independent states through a sense of historic destiny and inevitable evolution. The careful presentation of artifacts and spectacles was also aimed abroad in order to win the favor of European imperial powers and thereby acquire a competitive place in the nascent global economy of the late nineteenth century. The Optic of the State offers a fascinating critique of the visual aspects of national mythology. It exposes how scientific and cultural institutions inscribed the state-form in time and space, thus presenting historical processes as natural “givens.”

New Argentine Cinema (Tauris World Cinema Series)

Argentine filmmaking from the mid-1990s to the present has enjoyed worldwide success. New Argentine Cinema explores this cinema in order to discover the elements that have made for this success, in relation to the country's profound political, social, and cultural crisis during the same period. Jens Andermann shows how the most recent wave of films differs markedly from the Argentine cinema of the preceding decade, following the end of the dictatorship in 1983. Studying films by Lisandro Alonso, Albertina Carri, Lucrecia Martel, Raúl Perrone, Martín Rejtman, and Pablo Trapero, among others, he identifies a shift in aesthetic sensibilities between these directors and those of the previous generation as well as a profound change in the way films are being made, and their relation to the audiovisual field at large. In combining close comparative analyses with a review of the changing models of production, editing, actorship, and location, Andermann uncovers the ways in which Argentine films have managed to construct a complex, multilayered account of their own present, as shot through - or ""perforated"" - by the still unresolved legacies of the past.

Humor & Entertainment

Movies

I.B.Tauris

Argentine filmmaking from the mid-1990s to the present has enjoyed worldwide success. New Argentine Cinema explores this cinema in order to discover the elements that have made for this success, in relation to the country's profound political, social and cultural crisis during the same period. Jens Andermann shows how the most recent wave of films differs markedly from the Argentine cinema of the preceding decade, following the end of the dictatorship in 1983. Studying films by Lisandro Alonso, Albertina Carri, Lucrecia Martel, Raul Perrone, Martin Rejtman, and Pablo Trapero, among others, he identifies a shift in aesthetic sensibilities between these directors and those of the previous generation as well as a profound change in the way films are being made, and their relation to the audiovisual field at large. In combining close comparative analyses with a review of the changing models of production, editing, actorship and location, Andermann uncovers the ways in which Argentine films have managed to construct a complex, multilayered account of their own present, as shot through - or 'perforated' - by the still unresolved legacies of the past.

Jens Andermann, lector de mapas y viajero cultural, nos propone en este libro una pregunta radical: es posible, desde el interior de una tradicion critica tan fuerte como la argentina leer su literatura desde un exterior de sentido? Todos los que emprendieron algun viaje a la tierra del otro saben del riesgo de la operacion. La lectura de MAPAS DE PODER es una respuesta fascinante: entraremos y saldremos de la literatura argentina viendo la fuerza de sus mitos fundacionales a traves de una sutil, inteligente y constante mirada critica. MAPAS DE PODER es, ante todo, una nueva lectura de un siglo completo de literatura argentina (1830-1930), desde Sarmiento hasta Borges, pasando por Echeverria, Marmol, J. Hernandez, Payro, Lugones, Arlt, Quiroga, Martinez Estrada (mas los raros: el Perito Moreno, Estrada, Paul Zech). Pero es tambien el desmontaje de los clasicos nacionales (y de la tradicion critica que los constituyo) hecho a partir de instantaneas: escenas, posiciones, miradas, gestos, recorridos. Pero el libro es tambien una arqueologia del espacio argentino, una lectura atenta de la nacion visible en la escritura y de los caminos que recorre la letra para hacerse oir: Buenos Aires, la Patagonia, la selva. El mapa que tenemos ante nuestros ojos es el de un pais hecho de caminos y de fronteras; el de una cultura hecha de conflictos, apropiaciones y usos politicos del discurso. GRACIELA MONTALDO

Mapas De Poder. Una Arqueología Literaria Del Espacio Argentino (Estudios Culturales)

Jens Andermann

Beatriz Viterbo Editora

Tierras en trance. Arte y naturalez después del paisaje

Metales Pesados

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Books by ANDERMANN, JENS

See the best price to sell, buy, or rent books by ANDERMANN, JENS. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Entranced Earth: Art, Extractivism, and the End of Landscape (Volume 45) (FlashPoints)

Entranced Earth: Art, Extractivism, and the End of Landscape (Volume 45) (FlashPoints)

The Optic of the State: Visuality and Power in Argentina and Brazil (Illuminations, 74)

The Optic of the State: Visuality and Power in Argentina and Brazil (Illuminations, 74)

New Argentine Cinema (Tauris World Cinema Series)

New Argentine Cinema (Tauris World Cinema Series)

Mapas De Poder. Una Arqueología Literaria Del Espacio Argentino (Estudios Culturales)

Tierras en trance. Arte y naturalez después del paisaje