This special issue of ARTMargins is devoted to “Capitalist Realism,” coined in West Germany by Gerhard Richter, Konrad Lueg, Sigmar Polke, and Manfred Kuttner in May 1963, and also, independently, by Japanese artist Akasegawa Genpei in a manifesto entitled “Thesis on Capitalist Realism.”
The separate-yet-related emergence of Capitalist Realism in the Federal Republic of Germany and in Japan confirmed a growing international interest in critical realisms that were variously formulated by artists associated with Neo-Dada, Pop, Nouveau Réalisme, Fluxus, Situationism, happenings, and Anti-Art.
The special issue includes a specially produced project by Stephanie Syjuco (“Speculative Propositions: A Visual Pattern Sampler”).
Articles:
“Fundamental Feedback: Öyvind Fahlström’s Kisses Sweeter than Wine“
Maibritt Borgen
“Rooms in Alibi: How Akasegawa Genpei Framed Capitalist Reality”
Jaimey Hamilton Faris
Review article:
“Stoffbilder: On Capitalist Realisms”
Andrew Stefan Weiner
Document:
“Introduction to Akasegawa Genpei’s ‘The Objet after Stalin’”
Pedro Erber
“The Objet after Stalin”
Akasegawa Genpei
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