Titlebook: Comedy in Crises; Weaponising Humour i Chrisoula Lionis Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive license

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Comedy in Crises978-3-031-18961-6Series ISSN 2731-4332 Series E-ISSN 2731-4340

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Transition to a Market Economy in Polandsitions the work of artist within Indigenous paradigms. Informed by Bell’s claim of being an ‘a(chǎn)ctivist masquerading an artist’, Flynn’s interview uncovers how ontological and axiological praxes of communal responsibility are demonstrated in Bell’s work, where humour is weaponised to challenge issues including colonialism, capitalism and racism.

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Positioning Humour Within Indigenous Paradigms: An Interview with Richard Bellsitions the work of artist within Indigenous paradigms. Informed by Bell’s claim of being an ‘a(chǎn)ctivist masquerading an artist’, Flynn’s interview uncovers how ontological and axiological praxes of communal responsibility are demonstrated in Bell’s work, where humour is weaponised to challenge issues including colonialism, capitalism and racism.

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Laughing in an Emergency: Weaponising Humour in Contemporary Art,ical and humanitarian crisis. Although this shift in art practice is evident across a broad spectrum of both geography and forms of ‘crisis’ (from military occupation in Palestine, to the struggle for indigenous sovereignty in Australia, and economic crisis and austerity in Greece), there remains a

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“And a More Offensive Spectacle I Cannot Recall”: Humour in , (1999) by Suzanne Treistere Holocaust in order to save her grandparents but mistakenly arrives on the set of . in 1993. In this joke, Treister points to the potency of Spielberg’s representation in the 1990s imaginary, such that it would supplant memory of the Holocaust itself—or, indeed, impede time travel. Gillian Rose’s 1

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