In January I was teaching speculative and science fiction from the modernist period to show my students how fascism emerges, and how to recognise the ways that literary strategies can instil alienation, fear of the Other, and anti-Semitism and racism. My students were German, and our seminars were held in the north-west German university town of Paderborn, a little east of the Ruhr, where a British Army base
“Well this exhibition feels a little too timely,” my colleague Clare Davies posted to Facebook during a November 21, 2016 visit to Art et liberté: Rupture, guerre et surréalisme en Egypte (1938-1948) at the Centre Georges Pompidou in Paris. The exhibit—a major contribution to contemporary
In 2011, the Japanese government designated Yasuda Yukihiko’s Camp at Kisegawa (Kisegawa no jin, 1940-41) as an Important Cultural Property (Jūyō bunkazai). The left half of the painting, which portrays Minamoto Yoshitsune (1159-1189), a famous warrior from the Kamakura period (1185-1333), was initially produced and exhibited in 1940 as The Arrival of Yoshitsune (Yoshitsune sanchaku). The right half, which depicts Yoshitsune’s older brother Yoritomo (1147-1199), was added later, and the artist then titled the completed work Camp at Kisegawa (Kisegawa no jin). The finished painting, executed in ink on two paper folding screens, shows the much-desired reunion between the two men before their battle against the rival Heike clan.