History did not end after the collapse of the Berlin Wall in 1989 and since 9/11 many new forms of historical consciousness as well as experiencing time and history have emerged, sometimes rather slowly, in the wake of theoretical efforts to restore the focus on our ever changing world, but occasionally also very abruptly and unexpectedly.
Today we witness a sharp rise in autobiographical series, probably with Girls as the most popular example. Writer Lena Dunham, who plays the main character Hannah Horvath, has often been confused with her creation. Actor, stand-up comedian and screenwriter Louis C.K. also wrote several series – Lucky Louie (2006) and Louie (2010) – around a character that resembled him very strongly. In the Australian series Please Like Me, screenwriter Josh Thomas plays the main character Josh.
My apologies for the silly title of this review, which is the umpteenth variation on a worn-out cliché, but this time it perfectly does the job since the new book by Michael Kasper, a fascinating American book artist and essential middleman in the literary dialogue between Belgium and the US, is precisely anything but a translation.
On Friday October 12th the exhibition “Thousands are Sailing” was launched in the Museo della Grafica at the Palazzo Lanfranchi in Pisa. The exhibition is one of the main outputs of the project “Migration in the Arts and the Sciences”, funded by the EC under the Connecting Europe Facilities call “Europeana Generic services 2016”
The name Mike Dibb may not immediately ring a bell to younger generations, though his contributions to British television and to British cultural studies cannot be underestimated. Mike Dibb (1940) began his career as a trainee at the BBC in the early sixties and remained there for more than 2 decades as a director and producer for the Music and Arts department, where he made documentaries about literature, music, history, painting and ideas.
Particularly interesting for cultural studies students with an interest in Eastern Europe and Russia is the lecture series on Russia’s place in the world organized by KU Leuven’s Centre for Russian Studies in collaboration with Bozar.
The publisher calls it an “introduction” to the works, the authors, the currents, and the contexts of the European avant-gardes in the period 1905-1935 (three decades that in Anglo-Saxon criticism are often called “High Modernism”, a powerful streamlining of the exceptional dynamism and diversity of these years). But this is really not the best word to qualify the “portable guide” proposed by one of the leading voices in the field.