How to understand propaganda art in the post-truth era―and how to create a new kind of emancipatory propaganda art.
Propaganda art―whether a depiction of joyous workers in the style of socialist realism or a film directed by Steve Bannon―delivers a message. But, as Jonas Staal argues in this illuminating and timely book, propaganda does not merely make a political point; it aims to construct reality itself. Political regimes have shaped our world according to their interests and ideology; today, popular mass movements push back by constructing other worlds with their own propagandas. In Propaganda Art in the 21st Century, Staal offers an essential guide for understanding propaganda art in the post-truth era. 
Staal shows that propaganda is not a relic of a totalitarian past but occurs today even in liberal democracies. He considers different historical forms of propaganda art, from avant-garde to totalitarian and modernist, and he investigates the us versus them dichotomy promoted in War on Terror propaganda art―describing, among other things, a fictional scenario from the Department of Homeland Security, acted out in real time, and military training via videogame. He discusses artistic and cultural productions developed by such popular mass movements of the twenty-first century as the Occupy, activism by and in support of undocumented migrants and refugees, and struggles for liberation in such countries as Mali and Syria. 
Staal, both a scholar of propaganda and a self-described propaganda artist, proposes a new model of emancipatory propaganda art―one that acknowledges the relation between art and power and takes both an aesthetic and a political position in the practice of world-making.

Propaganda Art in the 21st Century (Mit Press)

Staal, Jonas

Arts & Photography

The MIT Press

Climate Propagandas

Cambridge, Massachusetts : The MIT Press

Climate Propagandas: Stories of Extinction and Regeneration

History & Criticism

Follow Us or Die deals with the heritage of the so-called high school shooters within the context of the film pamphlet Follow Us or Die by Vincent W.J. van Gerven Oei and Jonas Staal. The material selected, quoted and presented in this publication encompasses literary work such as short stories, poetry and theater pieces as well as a representative selection of the visual output of this movement. Authors include Pekka-Eric Auvinen, Cho Seung-Hui, Eric Harris, Dylan Klebold, Matti Juhani Saari and Jeff Weise. Van Gerven Oei, Staal and philosopher Wolfgang Schirmacher have supplemented this volume with essays reflecting on their heritage. Jonas Staal studied monumental art in Enschede, The Netherlands and Boston MA, USA. His work functions in the domain of public interventions: installations, performances and Aktionen, executed (illegally) in public space. His artistic research anticipates and deals with the political developments in contemporary society in the form of lectures, essays, pamphlets and exhibitions in the public domain as well as institutional contexts. Staal works and lives as a visual artist in Rotterdam, The Netherlands. http: //www.jonasstaal.nl/ Vincent W.J. van Gerven Oei studied composition, linguistics and conceptual art in Den Haag and Leiden, The Netherlands and Amherst MA, USA. He is a PhD candidate in the Media & Communications department at the European Graduate School, Saas-Fee, Switzerland. His research targets the borders and interfaces between art, technology, activism and theory and encompasses installations, pamphlets, essays and lectures. Van Gerven Oei works and lives in Den Haag, The Netherlands. http: //www.vincentwj.nl/

Follow Us or Die

Politics & Social Sciences

Schirmacher, Wolfgang

van Gerven Oei, Vincent W.J.

Philosophy

Atropos Press

With contributions from artists, theorists and activists, among them David Graeber, Brian Holes and Geert Lovink, Future Publics reflects on the emergence of radically new publics whose origins in moments of social crisis and political uncertainty inspire them to question existing forms of collective organization, decision-making structures and protocols. These future publics recognize that following the collapse of late capital's certitudes, the institutions of political and cultural life cannot continue as usual. Utopian yet pragmatic, insurgent yet self-critical, they resist normalization into restrictive definitions of citizenship, cutting across conventional lines of class, region, ethnicity and ideological affiliation. This reader explores how the imaginative and intellectual labor of these new publics has proposed new speculative forms of belonging and collaboration beyond the ones envisaged within the paradigm of contemporary art.

Future Publics (The Rest Can and Should Be Done by the People): A Critical Reader in Contemporary Art

Kuo, Michelle

Holert, Tom

Holmes, Brian

Adajania, Nancy

GRAEBER, David

Azoulay, Ariella

Lovink, Geert

Papastergiadis, Nikos

Wright, Stephen

Barikin, Amelia

Matynia, Elzbieta

Beltrán, Manuel

Hegyi, Dora

Warsza, Joanna

Sander, Katya

Sheikh, Simon

Valiz/BAK, Utrecht

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