{"@context":{"owl":"http://www.w3.org/2002/07/owl#","bibo":"http://purl.org/ontology/bibo/","foaf":"http://xmlns.com/foaf/0.1/","rdfs":"http://www.w3.org/2000/01/rdf-schema#","prism":"http://prismstandard.org/namespaces/basic/2.0/","cinii":"http://ci.nii.ac.jp/ns/1.0/","dc":"http://purl.org/dc/elements/1.1/","dcterms":"http://purl.org/dc/terms/"},"@id":"https://ci.nii.ac.jp/ncid/BD03748328.json","@graph":[{"@id":"https://ci.nii.ac.jp/ncid/BD03748328#entity","@type":"bibo:Book","foaf:isPrimaryTopicOf":{"@id":"https://ci.nii.ac.jp/ncid/BD03748328.json"},"dc:title":[{"@value":"Counter revanchist art in the global city : walls, blockades, and barricades as repertoires of creative action"}],"dc:creator":"Leah Modigliani","dc:publisher":[{"@value":"Routledge"}],"dcterms:extent":"xiv, 188 p.","cinii:size":"25 cm","dc:language":"eng","dc:date":"2024","cinii:ncid":"BD03748328","cinii:ownerCount":"1","foaf:maker":[{"@id":"https://ci.nii.ac.jp/author/DB00123201#entity","@type":"foaf:Person","foaf:name":[{"@value":"Modigliani, Leah"}]}],"bibo:owner":[{"@id":"https://ci.nii.ac.jp/library/FA006678","@type":"foaf:Organization","foaf:name":"明治大学 図書館","rdfs:seeAlso":{"@id":"https://opac2018.lib.meiji.ac.jp/webopac/ufirdi.do?ufi_target=ctlsrh&ncid=BD03748328"}}],"bibo:lccn":["2023006132"],"rdfs:seeAlso":[{"@id":"https://lccn.loc.gov/2023006132"}],"prism:publicationDate":["2024"],"cinii:note":["Includes bibliographical references (p. [168]-178) and index"],"dc:subject":["LCC:N8237.52","DC23:701/.03"],"cinii:contentOfWorks":["Introduction : Walls, Blockades, and Barricades","Acting Politically : Counter Revanchist Art in the Public Sphere","River Crossing : Lin Yilin's Safely Maneuvering Across Lin He Road (1995)","The View from the Cell : Santiago Sierra's Obstruction of a Freeway with a Truck's Trailer (1998) in the Long Sixties","24 Hour Placemaking : Heather Peak and Ivan Morisons' I lost her near Fantasy Island. Life will not be the same (2006) and Journée des Barricades (2008)","Reflecting the Commons at the Border of Enclosure : The Mirrored Repertoires of Euromaidan, Greenham Common and #NODAPL","Conclusion : Counter Revanchist Art and the Inauguration of Change"],"foaf:topic":[{"@id":"https://ci.nii.ac.jp/books/search?q=Public+spaces+in+art","dc:title":"Public spaces in art"},{"@id":"https://ci.nii.ac.jp/books/search?q=Space+%28Art%29","dc:title":"Space (Art)"},{"@id":"https://ci.nii.ac.jp/books/search?q=Performance+art","dc:title":"Performance art"},{"@id":"https://ci.nii.ac.jp/books/search?q=Art+and+society","dc:title":"Art and society"}],"dcterms:isPartOf":[{"@id":"https://ci.nii.ac.jp/ncid/BB18930954#entity","dc:title":"Routledge studies in urbanism and the city","@type":"bibo:Book"}],"dcterms:hasPart":[{"@id":"urn:isbn:9781032195117","dc:title":": hbk"}]}]}