Utopia And Dissent In West Germany

Just as Chancellor Konrad Adenauer was seeking re-election on a campaign of "no experiments," art avant-garde groups in West Germany were reviving the utopian impulse to unite art and society. Utopia and Dissent in West Germany examines these groups and their legacy. Postwar artists built international as well as intergenerational networks such as Fluxus, which was active in Düsseldorf, Wiesbaden, and Cologne, and the Situationist International based in Paris. These groups were committed to undoing the compartmentalization of everyday life and the isolation of the artist in society. And as artists recast politics to address culture and everyday life, they helped forge a path for the West German extraparliamentary left. Utopia and Dissent in West Germany traces these connections and presents a chronological map of the networks that fed into the extraparliamentary left as well as a geographical map of increasing radicalism as the locus of action shifted to West Berlin. These two maps show that in West Germany artists and their interventions in the structures of everyday life were a key starting point for challenging the postwar order.

“This book brings fresh light to previously marginalized subject in German history. It is an original approach, up-to-date written without scholarly jargon, easily accessible to students, both at undergraduate and graduate. It is highly focused departing from the usual “histories” of a single country arguing for the “two German states”, and the three political systems.”- Prof. Dr. László Kürti, Institute of Applied Social Sciences, University of Miskolc, Hungary This book contrasts three very different incarnations of Germany – the totalitarian Third Reich, the communist German Democratic Republic, and the democratic Federal Republic of Germany up to 1990 – in terms of their experiences with and responses to nonconformity, dissent, opposition, and resistance and the role played by those factors in each case. Although even innocent nonconformity came with a price in all three systems and in the post-war occupation zones, the price was the highest in Nazi Germany. . It is worth stressing that what qualifies as nonconformity and dissent depends on the social and political context and, thus, changes over time. Like those in active dissent, opposition, or resistance, nonconformists are rebels (whether they are conscious of it or not), and have repeatedly played a role in pushing for change, whether through reform of legislation, transformation of the public’s attitudes, or even regime change.

To reclaim a sense of hope for the future, German activists in the late twentieth century engaged ordinary citizens in innovative projects that resisted alienation and disenfranchisement. By most accounts, the twentieth century was not kind to utopian thought. The violence of two world wars, Cold War anxieties, and a widespread sense of crisis after the 1973 global oil shock appeared to doom dreams of a better world. The eventual victory of capitalism and, seemingly, liberal democracy relieved some fears but exchanged them for complacency and cynicism. Not, however, in West Germany. Jennifer Allen showcases grassroots activism of the 1980s and 1990s that envisioned a radically different society based on community-centered politics—a society in which the democratization of culture and power ameliorated alienation and resisted the impotence of end-of-history narratives. Berlin’s History Workshop liberated research from university confines by providing opportunities for ordinary people to write and debate the story of the nation. The Green Party made the politics of direct democracy central to its program. Artists changed the way people viewed and acted in public spaces by installing objects in unexpected environments, including the Stolpersteine: paving stones, embedded in residential sidewalks, bearing the names of Nazi victims. These activists went beyond just trafficking in ideas. They forged new infrastructures, spaces, and behaviors that gave everyday people real agency in their communities. Undergirding this activism was the environmentalist concept of sustainability, which demanded that any alternative to existing society be both enduring and adaptable. A rigorous but inspiring tale of hope in action, Sustainable Utopias makes the case that it is still worth believing in human creativity and the labor of citizenship.

Back in 1989, many anticipated that the end of the Cold War would usher in the ‘end of history’ characterized by the victory of democracy and capitalism. At the thirtieth anniversary of this momentous event, this book challenges this assumption. It studies the most recent era of contemporary European history in order to analyse the impact, consequences and legacy of the end of the Cold War for Western Europe. Bringing together leading scholars on the topic, the volume answers the question of how the end of the Cold War has affected Western Europe and reveals how it accelerated and reinforced processes that shaped the fragile (geo-)political and economic order of the continent today. In four thematic sections, the book analyses the changing position of Germany in Europe; studies the transformation of neoliberal capitalism; answers the question how Western Europe faced the geopolitical challenges after the Berlin Wall came down; and investigates the crisis of representative democracy. As such, the book provides a comprehensive and novel historical perspective on Europe since the late 1980s.

An alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to collective creativity and social solidarity. In pre- and post-reunification Berlin, socially engaged artists championed collective art making and creativity over individual advancement, transforming urban space and civic life in the process. During the Cold War, the city’s state of exception invited artists on both sides of the Wall to detour from artistic tradition; post-Wall, art became a tool of resistance against the orthodoxy of economic growth. In Free Berlin, Briana Smith explores the everyday peculiarities, collective joys, and grassroots provocations of experimental artists in late Cold War Berlin and their legacy in today’s city. These artists worked intentionally outside the art market, believing that art should be everywhere, freed from its confinement in museums and galleries. They used art as a way to imagine new forms of social and creative life. Smith introduces little-known artists including West Berlin feminist collective Black Chocolate, the artist duo paint the town red (p.t.t.r), and the Office for Unusual Events, creators of satirical urban political theater, as well as East Berlin action art and urban interventionists Erhard Monden, Kurt Buchwald, and others. Artists and artist-led urban coalitions in 1990s Berlin carried on the participatory spirit of the late Cold War, with more overt forms of protest and collaboration at the neighborhood level. The temperament lives on in twenty-first century Berlin, animating artists’ resolve to work outside the market and citizens’ spirited defenses of green spaces, affordable housing, and collectivist projects. With Free Berlin, Smith offers an alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to Berliners’ historic embrace of care, solidarity, and cooperation.

'An ambitious and masterly account of utopian protest in Europe ... Fast-paced, with an eye for telling detail and written with a light touch' Robert Gildea In post-war Europe, protest was everywhere. On both sides of the Iron Curtain, from Paris to Prague, Milan to Wroclaw, ordinary people took to the streets, fighting for a better world. Their efforts came to a head most dramatically in 1968 and 1989, when mass movements swept Europe and rewrote its history. In the decades between, Joachim C. Häberlen argues, new movements emerged that transformed the nature of protesting. Activism moved beyond traditional demonstrations, from squatting to staging 'happenings' and camping out at nuclear power plants. People protested in the way they dressed, the music they listened to, the lovers they slept with, the clubs where they danced all night. New movements were born, notably anti-racism, women's liberation, gay liberation, and environmentalism. And protest turned inward, as activists experimented with new ways of living and feeling, from communes to group therapy, in their efforts to live a better life in the here and now. Some of these struggles succeeded, others failed. But successful or not, their history provides a glimpse into roads not taken, into futures that did not happen. The stories in Häberlen's book invite us to imagine different futures; to struggle, to fail, and to try again. In a time when we are told that there are no alternatives, they show us that there could be another way.

This volume describes the various movements and parties, across all six continents, that wanted social change through state transformation. It begins with a reconstruction of social democracy's trajectories from the 1870s until the present. The evolution of socialism on different continents is illustrated through a number of national case studies. Experiments at a subnational level (for example, municipal socialism) are also explored, as are the varying experiences of international umbrella organizations. The next part focuses on divergent socialist experiments and ideologies in several parts of the world, including South Asia, Africa, the Arab world, Brazil, Venezuela, and Israel/Palestine, followed by an overview of 'independent' socialist movements, including left-socialist parties of the 1930s and the post-war period, and the global New Left since its beginnings in the 1950s. The volume concludes with critical essays on socialism's long-term and global development.

Although the evolution of human rights diplomacy during the second half of the 20th century has been the subject of a wealth of scholarship in recent years, British foreign policy perspectives remain largely underappreciated. Focusing on former Foreign Secretary David Owen's sustained engagement with the related concepts of human rights and humanitarianism, David Owen, Human Rights and the Remaking of British Foreign Policy addresses this striking omission by exploring the relationship between international human rights promotion and British foreign policy between c.1956-1997. In doing so, this book uncovers how human rights concerns have shaped national responses to foreign policy dilemmas at the intersections of civil society, media, and policymaking; how economic and geopolitical interests have defined the parameters within which human rights concerns influence policy; how human rights considerations have influenced British interventions in overseas conflicts; and how activism on normative issues such as human rights has been shaped by concepts of national identity. Furthermore, by bringing these issues and debates into focus through the lens of Owen's human rights advocacy, analysis provides a reappraisal of one of the most recognisable, albeit enigmatic, parliamentarians in recent British history. Both within the confines of Whitehall and without, Owen's human rights advocacy served to alter the course of British foreign policy at key junctures during the late Cold War and post-Cold War periods, and provides a unique prism through which to interrogate the intersections between Britain's enduring search for a distinctive 'role' in the world and the development of the international human rights regime during the period in question.