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The second volume in Errant Bodies' Doormats series Diary of an Imaginary Egyptian is LaBelle's attempt to engage the events of the Arab Spring through the diary form, in which personal memories are conjoined with broader cultural reflections on American imperialism and revolution. 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This volume brings together a range of internationally renowned theorists and artists to consider the relations between artistic activity and public space, and proposes how artists can develop their voices in the public sphere.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003ePhysical Info: \u003c\/b\u003e\u003cspan\u003e2.5 x 20.8 x 13.5 cm (0.49 kg) 240 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan\u003e \u003c\/span\u003e","brand":"Pascal Gielen","offers":[{"title":"Default Title","offer_id":32028371320932,"sku":"9789492095022","price":1250.0,"currency_code":"THB","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0269\/8067\/9780\/products\/Interrupting-the-City.jpg?v=1590908212"},{"product_id":"spaces-for-criticism","title":"Spaces for Criticism","description":"\u003cspan\u003e\u003cspan\u003eIs art criticism losing ground to the Internet and its rapidly proliferating art blogs? 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But when he and his top team are ambushed by a rival, he is gravely injured and placed in \"half-life,\" a dreamlike state of suspended animation. Soon, though, the surviving members of the team begin experiencing some strange phenomena, such as Runciter's face appearing on coins and the world seeming to move backward in time. 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With Adolf Loos’s eponymous 1908 diatribe against excessive ornamentation as its guide, the exhibition draws on the tenets set forth by Loos—simplicity, purity, freedom—with particular attention to their philosophical implications and their persistence into the latter twentieth century. The catalogue traces a genealogy of form from the dogmatism of Loos and Piet Mondrian; to the experimental systems of Yves Klein, the Zero group, and Ad Reinhardt; and finally, to the austere formalism of Minimalism and Arte Povera. When superficial surfaces and superfluous decorations are stripped away, the unknown is opened up—into the void, that is, what lies beyond the surface; down to the elemental, a deeper engagement with material that exceeds mere abstraction; and toward the eternal, where aesthetic asceticism points toward spiritual and psychic transcendence. 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