An intersectional approach to the radicality of desire.

Despite a historically rich tradition of thinking about the relation between sexuality, desire, and revolution, there is little engagement with desire’s radicality today. This volume attends to the radicality of desire as a starting point for overcoming heteropatriarchal capitalism by turning to the specific radical homosexual critique as it was first formulated in France in the 1970s in the writings of the Mouvement de Libération des Femmes and the Front Homosexuel d’Action Révolutionnaire, as well as in the conceptions of their most important protagonists, Monique Wittig and Guy Hocquenghem. 

Radical Desires seeks to emphasize the anti-identitarian character of the French gay liberation movement, as well as its implicit and explicit critique of gender and sexual binaries. At the same time, the volume is also interested in intersectionally expanding this critique by confronting it with anticolonial and queer of color perspectives. As French gay liberation activists’ relations to North African men were often problematic, several contributions engage with the latent orientalist and racist tropes that appear in the movement’s writings. By aiming to go beyond a mere historicization of these ambivalences and exploring which contemporary problems appear in a different light as a result, Radical Desires highlights the (dis-)continuous relationship between current debates and those in 1970s France. 

To explore the multiplicity of forms with or in which these critiques were expressed, this volume places theoretical perspectives in conversation with artistic perspectives on queer liberation in a transnational context. Contributors include Friederike Beier, Antoine Idier, Émilie Notéris, Lukas Betzler, Mohammad Shawky Hassan, Sido Lansari, Todd Shepard, and Julian Volz.
 

The history of the avant-garde, told in a series of non-linear tableaus.

This volume understands “avant-garde” as a constellation of moments, emphasizing its plural developments and its crucial interventionist role in culture and politics. Challenging the narrative of a linear avant-garde, the book sheds light on local scenes shaped by their distance from artistic practices and sociocultural conditions of their time. Scenes of the Avant-Garde brings together papers from a conference held in Tbilisi on the occasion of the centenary of the Futurist and Dadaist group H2SO4 (1924).

The contributions explore networks, relationships, and collaborations in artistic interventions. What transformational power lies in these practices? What are the gendered, social, and spatial structures, within which artistic groups test and create forms of community? And what can we learn from these overlooked or differently read stories?

The book offers new insights into avant-garde histories, drawing on case studies from countries such as Georgia, Algeria, India, Poland, Czechoslovakia, France, and the United Kingdom.