|Daniel Birnbaum, Sven-Olov WallensteinSpacing Philosophy
Lyotard and the Idea of the Exhibition
In 1985, the philosopher Jean-François Lyotard curated “Les Immatériaux” at Centre Georges Pompidou in Paris. Though widely misunderstood at the time, the exhibition marked a “curatorial turn” in critical theory. Through its experimental layout and hybrid presentation of objects, technologies, and ideas, this pioneering exploration of virtuality reflected on the exhibition as a medium of communication, and anticipated a deeper engagement with immersive and digital space in both art and theory. Spacing Philosophy analyzes the significance and logic of Lyotard’s exhibition while contextualizing it in the history of exhibition practices, the philosophical tradition, and Lyotard’s own work on aesthetics and phenomenology.
|Hou Hanru, Xi Bei (Eds.)The D-Tale: Video Art from the Pearl River Delta|
The catalogue of the eponymous inaugural exhibition at Times Art Center Berlin, founded in November 2018. Through four essays by critics and curators, as well as texts and images of the works on exhibit—more than eighty works by nearly sixty artists, the book aims to present a vital component of the Chinese art world which is under-represented on the global art scene, namely the contemporary art production from the Pearl River Delta (PRD).
|April Lamm (Ed.)An Exhibition Always Hides Another Exhibition: Texts on Hans Ulrich Obrist|
An Exhibition Always Hides Another Exhibition is a collective portrait of Hans Ulrich Obrist composed by friends, collaborators, admirers, and inquisitors. From personal anecdotes to analytic estimations to visual representations, the contributions respond to the questions that frame the book: Who is HUO? What does HUO do? What has HUO done?
|Peter WächtlerJolly Rogers|
Jolly Rogers is a collection of Peter Wächtler’s latest short texts, written in preparation of his two solo exhibitions at Bergen Kunsthall and Kunsthalle Zürich (both 2019), and combined with a nearly complete collection of the artist’s drawings and prints from recent years. The texts operate like vignettes to a larger story, and the images as unreliable illustrations to the narrative. However, the larger story never really is revealed. Each individual text, each single work, articulates itself by means of an intense focus. It is as if we were suspended in a continual zooming motion, as if the artist and author wanted to tell and show it all. But alas, such is life under the microscope: always larger-than-life, but at the wrong scale at a time driven by individual interests, self-optimization, and egos that stage themselves simultaneously as victims and disruptors.
|Steven Henry Madoff (Ed.)What about Activism?|
With the global rise of a politics of shock driven by authoritarian regimes that subvert the rule of law and civil liberties, what paths to resistance, sanctuary, and change can cultural institutions offer? What about activism in curatorial practice? In this book, more than twenty leading curators and thinkers about contemporary art present powerful case studies, historical analyses, and theoretical perspectives that address the dynamics of activism, protest, and advocacy.
|Tristan Garcia, Vincent Normand (Eds.)Theater, Garden, Bestiary
A Materialist History of Exhibitions
This volume both gathers and expands on the results of the research project “Theater, Garden, Bestiary: A Materialist History of Exhibitions” held at ECAL/University of Art and Design Lausanne, and proposes to draft a history of exhibitions sourced from a wide corpus reaching beyond the framework of art institutions. It undertakes a transdisciplinary history, at the nexus of art history, science studies, and philosophy, exploring the role the exhibition played in the construction of the conceptual categories of modernity, and outlines a historiographical model that grasps the exhibition as both an aesthetic and epistemic site.
From November 2017 to September 2019, res.o.nant, a conceptual light and sound installation by Mischa Kuball, pulsed throughout the basement of the Libeskind Building in the Jewish Museum Berlin.
This book comprises five thematic sections—Space of Experience, Void, Sound Space, Light, and Urban Space—through which twenty-two thinkers, artists, and writers have examined and interpreted Kuball’s work. Like the architecture of the Libeskind Building itself, res.o.nant also responds to the void, the absence of Jewish life in Europe after the Shoah.
|Pedro BarateiroHow to Make a Mask|
How to Make a Mask borrows its title from one of Pedro Barateiro’s performances in which the artist reflects upon the role of the individual within the sociopolitical situations of the collective through references ranging from psychological tests to the history of theater.
|Shirana ShahbaziNew Good Luck|
New Good Luck presents a new series of photographic works by Shirana Shahbazi. Taken during the artist’s three-month stay in India, the photos, often of solitary people in architectonic space or a landscape, have been taken apart and reshaped through a digital collage technique, their color removed or reconfigured. Carefully selected areas of luminous color are layered on top of one another, sometimes protruding far beyond the edges of the actual scene, flowing together with selected openings, or breaking open the composition like a prism.
|Ana OfakAgents of Abstraction|
As the cold war gained momentum in Europe, Tito’s break with Stalin led to Yugoslavia being expelled from the Eastern bloc in 1948. Confronted with this new reality, the Yugoslav government decided to bridge the indeterminacy of its cultural politics through a creative strategy: it commissioned young artists and architects to draft the aesthetics of a non-Soviet form of socialism. Guided by abstraction and the idiom of modernism, four friends and later founders of the EXAT 51 collective—Ivan Picelj, Zvonimir Radić, Vjenceslav Richter, and Aleksandar Srnec—gave shape to this endeavor.
|Reinhold Görling, Barbara Gronau, Ludger Schwarte (Eds.)Aesthetics of Standstill|
“Standstill” could be the name for the exact kind of experience that is the hiatus between social expectations and real possibilities of agency. Standstill may also be the name of an aesthetic strategy to instill a non-linear time of resistance and experience into the political protocol of progress. Finally, standstill can be the name for the temporal fissure in the midst of the subject, for the lapse between the subject of the enunciation and the subject of a statement, the limit that is the border between the inside and the outside.
|Oliver MarchartConflictual Aesthetics
Artistic Activism and the Public Sphere
A new wave of artistic activism has emerged in recent years in response to the ever-increasing dominance of authoritarian neoliberalism. Activist practices in the art field, however, have been around much longer. As Oliver Marchart claims, there has always been an activist undercurrent in art.
|Karen van den Berg, Cara M. Jordan, Philipp Kleinmichel (Eds.)The Art of Direct Action
Social Sculpture and Beyond
One of the most significant shifts in contemporary art during the past two decades concerns artists and collectives who have moved their artistic focus from representation to direct social action. This publication shows why this transition might change our understanding of artistic production at large and make us reconsider the role of art in society. The book gathers internationally recognized artists, scholars, and experts in the field of socially engaged art to reflect upon historical developments in this field and explore the role that German artist Joseph Beuys’s concept of social sculpture played in its evolution.
|Alexandra MidalDesign by Accident
For a New History of Design
In Design by Accident, Alexandra Midal declares the autonomy of design—in and on its own terms. This meticulously researched work proposes not only a counterhistory but a new historiography of design, shedding light on overlooked historical landmarks and figures while reevaluating the legacies of design’s established luminaries from the nineteenth century to the present.
|Michael Hieslmair, Michael ZinganelStop and Go
Nodes of Transformation and Transition
Stop and Go: Nodes of Transformation and Transition is a research project by architect and artist Michael Hieslmair and cultural historian Michael Zinganel that focuses on the transformation of the informal hubs, terminals, and nodes along Pan-European transport corridors in Eastern Europe and Vienna. Following the fall of the Iron Curtain, the expansion of the EU, and the need to improve infrastructure and develop faster connections between places, the public realm at the margins and even in the center of the cities were and continue to be affected.
|Francesco Garutti (Ed.)Our Happy Life
Architecture and Well-Being in the Age of Emotional Capitalism
How do we design our cities when our most intimate experiences are incessantly tracked and our feelings become the base of new modes of production that prioritize the immaterial over the material? Since the 2008 financial crisis, lists of well-being indicators, happiness indexes, and quality-of-life rankings have become viral. Concurrently, the emotional data presented in these surveys—including perceptions on questions such as loneliness, friendship, and intimate fears—feed an expanding political agenda of happiness and a new form of market whose most decisive asset is “affect.”
|Nick Aikens, Elizabeth Robles (Eds.)The Place Is Here
The Work of Black Artists in 1980s Britain
The publication developed from the exhibition and research project The Place Is Here (2016–19), which traced the urgent and wide-ranging conversations taking place between black artists, writers, and thinkers in Britain during the 1980s. Within the context of Thatcherism and a racist art establishment, a new generation of black artists and intellectuals produced some of the most compelling ideas and images in recent British cultural history.
|Sophia Yadong Hao (Ed.)Of Other Spaces
Where Does Gesture Become Event?
Resonating with the ethos of open dialogue and the experimentation of women artists’ collectives in the 1970s and 1980s, Of Other Spaces: Where Does Gesture Become Event? constructs a dynamic, open, and collaborative arena that foregrounds practices of resistance, collectivity, and self-organization. Highlighting the inherent seditiousness that animates feminist thinking, the book seeks out the lodestone of a volatile politics that calls for and instigates urgent alternatives to the cultural, political, and economic machineries of power that haunt this world.
Cable cuts, energetics, and gunk: moving back and forth between a group of core subjects, Reflexologies converts the past five years of Nina Canell's sculptural work into a 384-page book. It is interrupted throughout by a lagged conversation and three new texts: Martin Herbert reflects on subsea cable stumps and the generative potential of gaps; Jennifer Teets considers flexible pneus and viscous processes; while Robin Watkins tackles a slow real-time collaboration.
|Stephen Sutcliffeat Fifty|
at Fifty is the first catalogue dedicated to Stephen Sutcliffe. Both a microcosm and macrocosm of the processes at play in his works, it is also something of an artist’s book, one that, typical of the artist’s critical practice, formally addresses questions about the value of the monologue, the archive, and the status of the artist.
|Herman Verkerk, Maurizio Montalti (Eds.)Materialisation in Art & Design (MAD)|
When making things without prior knowledge of “the material,” how should such naive and potentially brutal behavior be interpreted, and what does it represent and generate? The temporary master Materialisation in Art & Design (MAD) investigated this question through multiple ways of working, on a permanent quest to (re)establish our relationship with “material” on both a personal and a societal level. This book reflects on the experiences generated through the lens of MAD.
|Donatella Bernardi (Ed.)Art, Self & System|
The artist as entrepreneur has become a common topic of discussion. Here, however, we put forward the notions of “self” and “system.” First, every artistic practice is self-reflexive and self-contextualizing. Second, each system an artist builds allows for innovation. Let’s construct a space where we inevitably find ourselves together with others, even if we feel lonely, like a witch lost in a library of artists’ books. Let’s invent our right to do so. Let’s enter the world of smell and write about a megalomaniac art school while documenting a generation of art students and their studios with analogue photography. How does anyone even manage—from making objects to performing one’s own existence? Device, organon, animal.
|Jacob LundAnachrony, Contemporaneity, and Historical Imagination
Taking its point of departure in an “anachronic” exhibition, “Soulèvements” (2016–18), this book is a theoretical exploration of how the notion of contemporaneity—understood as the coming together of different times in the same historical present—relates to the end of a certain history of art. Critical of hitherto dominant chronological, ahistorical, and/or culturally restricted notions of the contemporary, Lund’s overall aim is to make an argument for “the contemporary contemporary” as the point of departure for any anachronic relationship with time today, and as the inescapable point of departure for any possible historical imagination.
|Irma BlankEigenschriften, 1968–1973|
Linguistic and visual representation intersect in Irma Blank’s pastel-colored, script-like “Eigenschriften” (Self-Writings, 1968–73), a series of drawings considered the starting point of the artist’s mature work. The cycle stems from Blank’s experience moving to Italy in the 1960s from Germany, where she was born in 1934. The slender lines of these works are reminiscent of writing, but one that is incomprehensible. Without any specific meaning, the work is pure sensation transmitted from the hand to the surface of the page, from the body to the work.
|Travis JeppesenBad Writing|
Travis Jeppesen’s Bad Writing is a collection of interconnected essays and “fictocriticisms,” many appearing in print for the first time, that etches a pathway for a truly radical “bad” modernism in art and literature. Erudite, witty, and occasionally controversial, Bad Writing reinvigorates the too-often staid medium of art criticism as an iconoclastic and inventive literary art form.
|Anne Kockelkorn, Nina Zschocke (Eds.)Productive Universals—Specific Situations
Critical Engagements in Art, Architecture, and Urbanism
In today’s increasingly digitalized and neoliberal societies, debates on universals and specifics have gained new momentum. This volume situates the contemporary return to universal claims and concepts in the fields of art, architecture, and urbanism, and highlights the interrelation of the specific and the universal in diverse historical situations from the nineteenth century to the present.
|Jill JohnstonThe Disintegration of a Critic|
Jill Johnston—cultural critic, auto/biographer, and lesbian icon—was renowned as a writer on dance, especially on the developments around Judson Dance and the 1960s downtown New York City scene, and later as the author of the radical-feminist classic Lesbian Nation (1973). This book collects thirty texts by Jill Johnston that were initially published in her weekly column for The Village Voice between 1960 and 1974. The column provided a format in which Johnston could dissolve distinctions between the personal, the critical, and the political.
|Florian HeckerHalluzination, Perspektive, Synthese|
Florian Hecker: Halluzination, Perspektive, Synthese follows the eponymous exhibition at Kunsthalle Wien that took place from November 2017 to January 2018. In Hecker’s multichannel installation Resynthese FAVN, the auditory stimuli produced from the objects within the exhibition space and the synthetic sounds he composed were designed to subliminally override the mechanical processes of human sense. The result was an intervention into the psychoacoustics of the audience, dramatizing their subjective experience through auditory hallucinations.
|Igor GrubićTraces of Disappearing (In Three Acts)|
Igor Grubić has been active as a multimedia artist from the beginning of the 1990s. His work includes site-specific interventions in public spaces, photography, and film. Grubić's project for the 58th Venice Biennale, Traces of Disappearing in Three Acts (2006–19), is already thirteen years in the making. It consists of three interrelated photo essays and an animated film, set in a specially designed mise-en-scène.
|Verina Gfader et al.The Last Resident
Hardly a gray matter of catching the spirit of our present. From the sun-drenched-ness of the Dubaian atmosphere, to the feathery encounter in a secret printing workshop, words and materials are discreetly—spectrally, outspokenly—put forward: a bunch of residents cruising the seas of nine temporary realities, the result of an ongoing swapping of facts and speculations from the earthly realm. At one end of the spectrum, players, voyagers, entering the machinery (cacophony) of thought processing. At the other, the anchoring point, The Last Resident, one who opens a possible scene.
|Erik Niedling with Ingo NiermannBurial of the White Man|
Burial of the White Man is a bildungsroman about the friendship between artist Erik Niedling and writer Ingo Niermann. While in their thirties, they begin collaborating on a series of projects of ever-increasing ambition and scope: a tomb for all humans, a dissident replica of the U.S. Army, a German-Mozambican liberation movement, a ritual of living one year like it’s your last, a transformation of the oldest and most troubled German political party, a global fitness cult … Each failure is answered with an even more outrageous endeavor—culminating in the burial not only of themselves, but of the entire subspecies of the white man.
|Jörg Heiser, Cristina Ricupero, Gahee Park (Eds.)Divided We Stand
9th Busan Biennale 2018
Titled Divided We Stand, the 9th Busan Biennale in South Korea focused on the theme of divided territories caused by war, conflict, or colonization, and also considered individuals’ feelings of separation, anxiety, fear, or paranoia that result from such geopolitical traumas. Featuring sixty-six artists and artist teams from thirty-four countries, the biennial was organized under the direction of Cristina Ricupero and Jörg Heiser, with the assistance of guest curator Gahee Park, and took place at the newly built Museum of Contemporary Art Busan (MoCA Busan) and the brutalist-style former Bank of Korea in Busan.
|Wilfrid AlmendraLight Boiled like Liquid Soap|
Light Boiled like Liquid Soap is an immersive installation by Marseille-based artist Wilfrid Almendra featuring radio transmissions and a series of sculptural elements made of copper, plaster, and silicone in various states of dematerialization. Combining found and repurposed materials, the works attest to notions of desire, circulation, and flux, from protective spaces of retreat to global economies of exchange.
|Kate NewbyI can't nail the days down|
The publication I can’t nail the days down documents Newby’s eponymous exhibition at Kunsthalle Wien and includes a photo essay by the artist as well as detailing previous projects. Working with the architecture of Kunsthalle Wien’s glass pavilion at the Karlsplatz in Vienna, Newby’s exhibition ranged beyond the physical boundaries assigned to it, and subtly challenged where and how sculpture happens. Christina Barton, Juliane Bischoff, Chris Kraus, and Nicolaus Schafhausen contribute texts to the book that explore the influences, tools, ethical aspects, and poetics of Newby’s artworks, as well as the personal relationships the artist folds into her projects.
|The Fevered Specters of ArtDie fiebrigen Gespenster der Kunst|
The Fevered Specters of Art is the final chapter of a long-term project curated by Edit Molnár, Lívia Páldi, and Marcel Schwierin that started with a group exhibition at Edith-Russ-Haus für Medienkunst, Oldenburg, in 2016. The exhibition looked back at the epoch of Cold War radicalism and anti-colonial revolution, an era characterized by a proliferation of ideas about how radical social change might permeate the globe.
|Nicolaus Schafhausen, Brigitte Oetker (Eds.)What do we know? What do we have? What do we miss? What do we love?
This Jahresring is specific to Fogo Island, an island of approximately 2,500 inhabitants located off the coast of Newfoundland, Canada. A centuries-old cod fishing settlement, the community’s livelihood was almost devastated in the mid-twentieth century due to industrial overfishing. The island is now experiencing profound social, economic, and cultural transformation, due in part to a recent series of art, social business, and asset-based community development initiatives. Now, Fogo Island stands as an example of the potential (but also the contradictions) of contemporary alliances between art, design, and social entrepreneurship.
|Lawen Mohtadi / Katarina TaikonThe Day I Am Free / Katitzi|
This book tells the story of Taikon’s life in three parts. The first is a 2012 biography by journalist Lawen Mohtadi. The second is Taikon in her own words: the first volume of her autobiographical children’s book series, Katitzi. In Katitzi, a fierce coming-of-age story, Taikon writes about her struggle as part of an ethnic minority in Sweden. The final section is an essay written by curator Maria Lind that articulates the cultural impact of Katitzi.
|John C. WelchmanAfter the Wagnerian Bouillabaisse
Essays on European Avant-Garde Art
XX–XXI, Vol. 2
After the Wagnerian Bouillabaisse offers original critical discussions of major European artists and movements of the twentieth century. John C. Welchman’s compelling study reassesses Italian Futurism; the words and images in Dada and Surrealism; affect in the work of Henri Matisse and Fernand Léger; the delirious splits and metaphorical ricochets of Salvador Dalí; the social and philosophical ideas mobilized by René Magritte; Hans Hartung; the “turbulent” abstraction of Antoni Tàpies; “whiteness” in the work of Günter Brus; postwar US–UK exchanges on sculpture; and relations between writing and seeing in the work of Rémy Zaugg.
|Melissa McCarthySharks, Death, Surfers
An Illustrated Companion
Steering her analysis from the newspaper obituary in and out of literature and past cinema, Melissa McCarthy investigates a fundamental aspect of the human condition: our state of being between life and death, always in precarious and watery balance. Sharks, Death, Surfers: An Illustrated Companion observes how sharks have been depicted over centuries and across cultures, then flips the lens (and dissects the cornea) to consider what sharks see when they look back.
|Katharina Schendl (Ed.)Notes on Contemporary Art in Kosovo|
This publication collects writings on the art scene of Kosovo over the past twenty years. In the 1990s Kosovars felt the urgency to shape their own scene: in a search for identity, for nation building, in continuing or ending political conflicts, by trying to find a language to grasp recent social and political developments, or simply by continuing their practice in new, unstable times. This collection of writings and interviews offers insight into these processes through various perspectives from curators, artists, and philosophers.
|Tyler CoburnRichard Roe|
Richard Roe is the fictional memoir of a legal person. The name is one of the oldest used in English law when the real name of someone is withheld, or when a corpse can’t be identified. Richard Roe is a known unknown, a one-size-fits-all, a potentially everyone and actually no one. Divided into seven fragmentary sections, this memoir gives voice to the legal fictions that creep around the margins of selfhood—and that increasingly dictate the terms of economic and political process.
The publication Deliquescing accompanies Steve Bishop’s 2018–19 solo exhibition at KW Institute for Contemporary Art in Berlin. Both the exhibition and publication reflect a body of research that focuses on the fragility of memory and the potential for its preservation, defying the gradual breakdown of matter through the effects of time.
|Elke Gaugele, Monica Titton (Eds.)Fashion and Postcolonial Critique|
Fashion and Postcolonial Critique outlines a critical global fashion theory from a postcolonial perspective. It investigates contemporary articulations of postcolonial fashion critique, and analyzes fashion as a cultural, historical, social, and political phenomenon involved in and affected by histories of colonial domination, anti-colonial resistance, and processes of decolonization and globalization. Stemming from a range of different disciplines, the contributions in this book reflect the multidisciplinary and diverse nature of postcolonial fashion research today.
|Boy Vereecken (Ed.)Herewith the Clues|
Herewith the Clues continues Boy Vereecken’s research into mass-market literary culture, which began with Signature Strengths (2016). The volume includes two text contributions: a contemporary take on the whodunit novel by Shumon Basar, followed by a tour of the history of the Crime Dossiers genre by Laura Herman. The book is illustrated with a photo series from Antoine Begon, who has unpacked and photographed the pieces of evidence that comprise Crime Dossiers such as File on Rufus Ray and Murder Off Miami.
|Joanna Sokołowska (Ed.)All Men Become Sisters|
This book is both a record and a theoretical expansion of the eponymous exhibition at the Muzeum Sztuki in Łódź. Dedicated to the manifestation of sisterhood in art from the 1970s until today, the exhibition and the publication focus on art that resonated with feminist perspectives on work, production, and reproduction.
|Markus Miessen, Zoë Ritts (Eds.)Para-Platforms
On the Spatial Politics of Right-Wing Populism
Para-Platforms investigates the social, spatial, and material reality of right-wing populism. Three case studies—presented in a symposium at the Gothenburg Design Festival in November 2017—form the core of this collection: journalist Hannes Grassegger on Trump and Brexit; architectural theorist Stephan Trüby on spaces of right-wing extremism in Germany; and Christina Varvia on Forensic Architecture’s investigation of the murder of Halit Yozgat by a far-right group in 2006. The other theoretical, artistic, and historical contributions in the reader range from anthropologist Mahmoud Keshavarz on design's capacity to create the conditions for certain politics to occur, to Zoë Ritts's interview with Wolfgang Tillmans about the theme of politics in his work.
|Olga von Schubert“100 Years of Now” and the Temporality of Curatorial Research|
Curatorial projects are increasingly understood as research projects with extended time frames and complex interactions across diverse sectors. This book presents “100 Years of Now,” a research project taking place at Haus der Kulturen der Welt in Berlin from 2015 to 2019, as a critical investigation into the temporality of contemporaneity—both in terms of its structure and content.
|Donatien Grau (Ed.)Paul in Paris / Paris in Paul|
In 2014, Paul McCarthy installed the massive inflatable sculpture Tree at Place Vendôme in Paris. The sculpture’s shape was at once reminiscent of a sex toy, a Christmas tree, and a Hans Arp artwork. It caused a public outcry, the artist was attacked, and the work vandalized and ultimately removed. McCarthy’s intervention, however, became a symbol for artistic freedom. This book brings together conversations with scholars, artists, curators, and writers, which reflect on McCarthy’s work and present a map of the city’s intellectual debates.
Prototypes by Doireann O’Malley is a multi-screen film installation, a series of dreamscapes interrogating trans* semiotics through psychoanalytic practices, speculative technologies, and live action role-playing. O’Malley’s work references scientific and medical investigations into the human psyche that address wider philosophical concerns relating to biology, gender embodiment, sexuality, utopianism, and biomolecular advancement in human evolution.
For a number of years, the work of Andrea Pichl has centered on the oft-derided architecture of mass-produced buildings and their position in wider architectural and historical contexts. Pichl is interested in the utopian potential of modernity that these forms convey. In her installations, photography, and paper work, the artist focuses on the question of what became of these utopias.
|Iman MersalHow to Mend
Motherhood and Its Ghosts
Iman Mersal intricately weaves a new narrative of motherhood, moving between interior and exterior scapes, diaries, readings, and photographic representations of motherhood to question old and current representations of motherhood and the related space of unconditional love, guilt, personal goals, and traditional expectations. What is hidden in narratives of motherhood in fictional and nonfictional texts as well as in photographs?
|Haytham El-WardanyHow to disappear|
If this book had been titled something like “How to listen” or “How to be all ears,” the title would have been appropriate to the content and directly explained the book’s focus. Why, then, does the title prefer to obscure its subject rather than reveal it, running counter to a title’s traditional function? The reason is that this book is grounded in the experience of the unseen listener. Speakers are seen when they speak, whereas listeners recede into the background of the scene dominated by speakers.
|Natascha Sadr HaghighianHow to spell the fight|
How to spell the fight follows a thread that has been running through our fingers from centuries past till the present day, morphing from the tangible string figures that join our hands in childhood to the more elusive computational algorithms that engage our fingers today. Following this line of inquiry through various twists and turns, a conversation about collective agency emerges with the aim of rethinking current paradigms of cognition, education, and power.
|Hubert FichteThe Black City
The Black City is a portrait of New York written by Hubert Fichte between 1978 and 1980. Fichte researched the city as the center of the African diaspora, conducting interviews and composing essays about syncretism in culture and the arts, material living conditions in the city, and political and individual struggles based on race, class, and sexuality. Translated into English for the first time, The Black City is part of Fichte's multivolume experimental literary cycle, The History of Sensitivity, which was left unfinished due to his untimely death in 1986.
|Lou Cantor, Katherine Rochester (Eds.)Intersubjectivity Vol. II
Scripting the Human
The second in a series on intersubjectivity, this collection of essays considers the relationship between performance, subjectivity, and human agency. Contributions explore the ways in which performance is decoupled from human embodiment via forms of mediation, mechanical reproduction, or simulation. Scripting the Human explores the ways in which non-human (or trans/post-human) entities complicate notions of subjectivity and exert intersubjective pressures of their own on social, political, scientific, and philosophical discourses.
|Josephine BerryArt and (Bare) Life
A Biopolitical Inquiry
Art and (Bare) Life: A Biopolitical Inquiry analyzes modern and contemporary art’s drive to blur with life, and how this is connected to the democratic state’s biologized control of life. Art’s ambition to transform life intersects in striking ways with modern biopower’s aim to normalize, purify, judge, and transform life—rendering it bare. In these intersecting yet different orientations toward life, this book finds the answer to the question: How did autonomous art become such an effective tool of the capitalist state?
The words on the cover of Aslan Gaisumov’s first monograph are names of places no longer inhabited. The tens of thousands of people who used to live in the mountainous Galain-Chaz district of southern Chechnya were deported by the Soviet authorities in the winter of 1944, wrongly accused of having collaborated with Nazi Germany. One of these words, Kayçu-Yuxe or Keicheyuhea, names the birthplace of Zayanu Khasueva, the artist’s maternal grandmother. It is also the title of his film from 2017, in which Khasueva returns to the site of her ancestral village for the first time in seventy-three years.
|Erkan ÖzgenGiving Voices|
How can we feel the realities of war, conflict, and violence? What are the cultural and social implications of war and violence, and how does society respond to war? Giving Voices features four of Erkan Özgen’s video works dealing with war, violence, and trauma—beyond the boundaries of the political, within the dimension of the private and the human. By deciding not to show images of violence and war, Özgen gives a voice to individuals and objects. Witnessing becomes a way of understanding and also resetting memory.
|Sterling Ruby, Raf SimonsBeyond the Collaboration|
How do you tell the story of a friendship? How do you trace the roots of one of the most significant cross-disciplinary unions in fashion today? Artist Sterling Ruby and fashion designer Raf Simons did just that when they sat on stage with curator Jessica Morgan at the Harvard University Graduate School of Design. Offering complimentary perspectives on a bond that has matured over the span of a decade, and a body of work that transcends boundaries, Ruby and Simons spoke with mutual respect, trust, and a deep investment in the future. This is a story, and an exchange, that is beyond collaboration.
|Judy RadulThis Is Television|
This Is Television addresses the increasingly obsolete medium of television by way of the medium of the book, commenting on media’s continuous changes of form and format. Through an interplay of theory and artistic research material, the book extends Judy Radul’s ongoing investigation of media with an idiosyncratic perspective on television—while still feeding off collective experience. The book thematizes television as a cultural container, both in its format as a box for content and as an ideologically saturated apparatus for reception.
|Jumana MannaA Small Big Thing|
Jumana Manna’s work in film and sculpture explores how power is articulated through relationships, often focusing on the body and materiality in relation to narratives of nationalism and histories of place. This book’s title reveals the various connotations of scale in her practice. From the flat film screen to the three-dimensional space her sculptures occupy, scale is an instrument for Manna’s archaeological explorations of classification methods and biological processes. Accompanying her solo exhibition at Henie Onstad Kunstsenter, this book includes stills from her film Wild Relatives (2018), a meditative documentary capturing the transit of seeds between the Svalbard Global Seed Vault in Norway and the fields of the Bekaa Valley in Lebanon.
|Rainer GanahlManhattan Marxism|
The artist Rainer Ganahl has been creatively adapting the writings of Karl Marx to his own work since the 1990s. The German philosopher’s ideas have galvanized projects such as Ganahl’s irreverent fashion show Commes des Marxists, a series of obscene food sculptures inspired by the “credit crunch” of 2008, and a Karl Marx fire extinguisher. There has never been a more fitting time for the release of this book, which appears on the 10th anniversary of the global financial crisis, and 200 years after Marx’s birth.
|Amalia Picaplease listen hurry others speak better|
The catalogue please listen hurry others speak better accompanies solo exhibitions by Amalia Pica at three venues: “ears to speak” at The Power Plant in Toronto and “please open hurry” at the Institute of Modern Art, Brisbane, and Perth Institute of Contemporary Arts. Two threads in Pica’s practice are brought together in these shows: communication between humans and exchange between species. The artist raises questions of mutual understanding through constructing forums that address shared experience.
|Meg O'Rourke (Ed.)Ornament and Crime|
The catalogue Ornament and Crime accompanies the group exhibition curated by Meg O’Rourke at Eykyn Maclean gallery in New York. With Adolf Loos’s eponymous 1908 diatribe against excessive ornamentation as its guide, the exhibition draws on the tenets set forth by Loos—simplicity, purity, freedom—with particular attention to their philosophical implications and their persistence into the latter twentieth century.
|Babette MangolteSelected Writings, 1998–2015|
A single black-and-white photograph taken by Babette Mangolte has come to epitomize New York's downtown art scene of the 1970s. The dancers performing Trisha Brown’s Roof Piece characterize perfectly the wild spirit of the time. Choreographed as an echo of movement unfolding across SoHo’s rooftops, the dancers mimed the chimneys, water towers, and fire escapes which surrounded them across that skyline. Selected Writings, 1998–2015 is a collection of texts by Mangolte in which she reflects on her practice as a photographer and filmmaker and her collaborative work with filmmakers, artists, dancers, and choreographers.
|Armen Avanessian, Lietje Bauwens, Wouter De Raeve, Alice Haddad, Markus Miessen (Eds.)Perhaps It Is High Time for a Xeno-architecture to Match |
“Xeno” speaks to the turn away from “what is” toward “what could be”: the (as yet) unknown, the alien—having been employed in recent years through such speculative-political approaches as xenofeminism and xenopoetics. Perhaps It Is Time for a Xeno-architecture to Match documents a conversation series from January to March 2017 that explored what an intervention of the xeno might bring to bear on contemporary and future (infra)structure.
|Hermione Spriggs (Ed.)Five Heads (Tavan Tolgoi)
Art, Anthropology and Mongol Futurism
Five Heads (Tavan Tolgoi): Art, Anthropology and Mongol Futurism brings together the work of five anthropologists and five artists/collectives researching and responding to the dramatic rise and fall of Mongolia’s mineral economy. Launched in tandem with the eponymous exhibition at greengrassi and Corvi-Mora in London, the publication features visual documentation of multiple art-anthropology exchange processes, ethnographic texts, and further written contributions that introduce contemporary Mongolia as a dynamic site for conceptual and creative experimentation.
|Elisabeth LeboviciThe Name of Philippe Thomas /
Philippe Thomas’ Name
In the artistic activities of Philippe Thomas, there was a determination to disappear: it was his procedure to transfer his title of author onto his collectors. With this strategy, Thomas worked against his own historicization, erasing his name from the reigning European and North American art fields. In this book, Elisabeth Lebovici elaborates on Thomas’s strategy to cede and fictionalize authorship and suggests a reading of his work that incorporates questions of gender and reproduction, the multiplicity of the subjects involved, and the unbearable disappearance of Thomas.
|Torbjørn RødlandFifth Honeymoon|
This publication accompanies Torbjørn Rødland’s exhibition “Fifth Honeymoon,” produced as a collaboration between Bergen Kunsthall; Bonniers Konsthall, Stockholm; and Helsinki’s Museum of Contemporary Art, Kiasma, and featuring thirty new photographs and a new video work, his first in eleven years.
|Guy MeesThe Weather is Quiet, Cool, and Soft|
Guy Mees’s (1935–2003) photographs, videos, and above all his fragile works on paper are characterized by a formal rigor combined with sensitivity and delicacy. The uniqueness of his oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied art.
|Georgia SagriGEORGIA SAGRI GEORGIA SAGRI and I|
As her first comprehensive publication, this catalogue surveys the multi-facetted oeuvre of the Greek artist Georgia Sagri. It collects both current documentation of Sagri’s work and rich archival material since 1999; together they are juxtaposed against essays by Sotirios Bahtsetzis, Daniel Horn, Ruba Katrib, Christina Lehnert, Diego Singh and Stephen Squibb, an interview conducted with Silvia Federici, and a conversation between the artist, Bettina Funcke, and John Kelsey.
|Vincent MeessenThe Other Country / L'autre pays|
This book is the fourth volume in Vincent Meessen’s publication series "Prospectus" and published following the artist’s solo exhibitions at WIELS and Centre Pompidou. The book is structured around the installations that made up these shows, and are placed in parallel with untold histories of the Situationist International, modernity’s last international avant-garde. Alongside newly commissioned essays, previously unpublished texts and reprints by Guy Debord, Lungela Diangani, and Omar Blondin Diop explore the Situationist International’s influence in sub-Saharan Africa.
|Margaret-Anne HuttonOn Writing a Literary History of the Contemporary, or What is, or was, “the Contemporary,” and should we keep calling it that?|
“The contemporary” is an established term in a range of scholarly and disciplinary discourses, but what does it mean? Interweaving sections drawn from an (apparently) hypothetical and oxymoronic project—the writing of a literary history of “the contemporary”—with a critical analysis of the term(s) “the contemporary” and “contemporary” in the work of a range of theorists, Margaret-Anne Hutton sets out to expose the inconsistencies and ambiguities in its terminological usage, and to unpick some of the knots which bind the substantive and adjective. How can “(the) contemporary” function as a critical term, and how might we map its history?
|Mikkel Bolt RasmussenHegel after Occupy|
Hegel after Occupy is a Western Marxist analysis of different attempts to understand the present historical situation and the way theories of postmodernity, globalization, and contemporaneity implicitly or explicitly conceptualize the relationship between the historical present and political action. They all persuasively describe a breakdown of former historical categories but paradoxically end up understanding this breakdown as the end of politics tout court. Analysis and “position” thus merge, and the analytic diagnosis of a disavowal of the future (and the past) ends up as a disavowal of politics.
|Contemporary Research Intensive|
Contemporary Research Intensive was an event organized in the context of the 57th Venice Art Biennale to investigate the concept of “contemporaneity.” Gathering together artists/curators/researchers through an open call, we asked how the temporal complexity that follows from the coming together of different temporalities in the same present could be made known in the context of contemporary art research, and particularly through practices that involve exhibitionary forms. The book is both part and result of the intensive sharing of ideas to produce something that captures the spirit of both discussions at that time and the publication process as a temporal form.
|The Meal: A Conversation with Gilbert & GeorgeOn the Table VI|
Gilbert & George never cook and always eat out. Back in 1969, however, the artist duo hosted The Meal, an elaborate dinner party that included thirteen guests, Princess Margaret’s butler, a chef who prepared a meal from a Victorian cookery manual, and the guest of honor, artist David Hockney. Charlotte Birnbaum took a trip to London’s East End to visit the immaculately dressed pair to discuss The Meal and other curious projects from their fifty-year collaboration.
|The only performances that make it all the way ...
Yes, but is it performable?
This catalogue is published on the occasion of the two group exhibitions “The only performances that make it all the way...“ and “Yes, but is it performable? Investigations on the Performative Paradox“ which were shown at Künstlerhaus, Halle für Kunst & Medien in 2013 and 2016.
|Ane Hjort GuttuWritings, Conversations, Scripts|
Writings, Conversations, Scripts is the first survey of text works by Ane Hjort Guttu. Written between 2003 and 2018, the texts range from public statements, poetic short prose, and film scripts to reflections on the role of the artist and essays on art for children. With a special focus on the significance of “image-text constellations,” this anthology suggests connections between artistic writing and curatorial publishing.
|Magali ReusHot Cottons
As mist, description
This publication accompanies two exhibitions of recent sculptural work by the artist Magali Reus: “Hot Cottons” (2017–18) at Bergen Kunsthall and “As mist, description,” (2018) at the South London Gallery. Featuring an essay by writer and curator Laura Mclean-Ferris and a poetic response by writer and poet Quinn Latimer as well as a fully illustrated overview of Reus’s work, this catalogue provides an in-depth exploration of the artist’s recent sculptural practice.
|Uriel OrlowTheatrum Botanicum|
This publication emerges from Uriel Orlow’s Theatrum Botanicum (2015–18), a multi-faceted project encompassing film, sound, photography, and installation, which looks to the botanical world as a stage for politics. Working from the dual vantage points of South Africa and Europe, the project considers plants as both witnesses to, and dynamic agents in, history. It links nature and humans, rural and cosmopolitan medicine, tradition and modernity across different geographies, histories, and systems of knowledge—exploring the variety of curative, spiritual, and economic powers of plants.
|Gianni PettenaNon-Conscious Architecture|
This publication surveys the work of Italian critic, architect, and visual artist Gianni Pettena. Focusing on a rich ten-year period of production that began in the mid-sixties, it brings new attention to the artistic and intellectual practice of a figure known primarily as one of the main exponents of the Radical Architecture movement.
|Alex Cecchetti Tamam Shud
An Artist’s Novel
The Tamam Shud narrative emerged through a series of episodic performances and an exhibition by Alex Cecchetti at the Ujazdowski Castle Centre for Contemporary Art, Warsaw. For two years the writing process and the artistic process were interwoven, feeding each other as they evolved. The art project and the artist’s novel are linked together as much as the life of the victim is connected to the piece of paper found in his pocket.
|Omar KholeifGoodbye, World!
Looking at Art in the Digital Age
The way we see the world has changed drastically since NASA released the “blue marble” image of the earth taken by Apollo 17 in 1972. No longer a placid slow-moving orb, the world is now perceived as a hothouse of activity and hyper-connectivity that cannot keep up with its inhabitants. The internet has collectively bound human society, replacing the world as the network of all networks. In Goodbye, World! Looking at Art in the Digital Age, writer and curator Omar Kholeif traces the birth of a culture propagated but also consumed by this digitized network.
|Virgil Abloh“Insert Complicated Title Here”|
“What’s my DNA?” Virgil Abloh asks to an overflowing auditorium at the Harvard University Graduate School of Design. Abloh goes on to provide his audience with a “cheat code”—advice he wishes he had received as a student. He then unpacks a series of “shortcuts” for cultivating a “personal design language.” Trained as an architect and engineer, Abloh has translated the tools and techniques of his student days into the world of fashion, product design, and music.
|Merlin Carpenter“The Outside Can’t Go Outside”|
Why has there been so much interest in “surplus value” in recent years? In “The Outside Can’t Go Outside”, artist Merlin Carpenter considers how this term has been inserted into contemporary art theory following the financial crisis of 2007/8. The book focuses on the idea that the value of art is located in unpaid mental, educational, and communicational labor that is gradually accrued and then exploited according to the logic of Marx’s central thesis on exploitation. This much-hyped view is rejected in favor of a more rigorous Marxist interpretation of the nature of surplus value, and its role in a systematic law of value.
|Erik Hagen, Mario Pfeifer (Eds.)Profit over Peace in Western Sahara
How commercial interests undermine self-determination in the last colony in Africa
Profit over Peace in Western Sahara examines the role of natural resources in the occupation of the Western Sahara, a territory considered by the United Nations to still be awaiting decolonization. Its liberation from colonial rule has come to a standstill due to Morocco’s continued military occupation of a part of the territory. The EU has ignored basic principles of international law in the region due to political reasons and financial self-interest, which has had dramatic consequences for the people of the territory.
|Josephine Prydelapses in Thinking By the person i Am|
In the body of work documented here, Pryde combines a series of color photographs of hands touching objects with a scale-model freight train and track, replete with miniaturized graffiti, that took visitors in a short ride through the exhibition. Through photography and sculpture, Pryde pays close attention to the nature of image making and the conditions display, subtly reworking codes and conventions to alter our cultural perception and understanding of each.
Marked by her cosmopolitan origins, between Europe and Asia, and by an attention to the sonorous dimension of the world, the practice of Su-Mei Tse involves issues such as time, memory, musicality, and language. Like her exhibition “Nested,” this publication was conceived to be like a notebook: a form that brings together impressions that have occurred in everyday life—be they visual, sound, or memory related—and blends them in a subjective and intuitive way, allowing a whole network of echoes and correspondences to be deployed.
|Marcel OdenbachBeweis zu nichts / Proof of Nothing|
Departing from Marcel Odenbach’s eponymous exhibition at Kunsthalle Wien, Beweis zu nichts / Proof of Nothing examines new works by Odenbach and contextualizes them within a broader context. Named after an early poem by Ingeborg Bachmann, the exhibition reflected the atmosphere of the postwar period that dominates Bachmann’s poetry, which itself is shaped as much by the search for authenticity and truthfulness as it is by the traumatic memory of the past.
|Ellen CantorA history of the world as it has become known to me|
Ellen Cantor (1961–2013) combined ready-made materials with diaristic notes and drawings to probe her perceptions and experiences of personal desire and institutional violence. This book is concerned with, and a document of, Cantor’s work through the lens of Pinochet Porn (2008–16) and its making—an epic experimental film embodying and radically extending her multifaceted artistic practice.
|Isabelle GrawThe Love of Painting
Genealogy of a Success Medium
Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s The Love of Painting considers the art form not as something fixed, but as a visual and discursive material formation with the potential to fascinate owing to its ability to produce the fantasy of liveliness. Alongside in-depth analyses of the work of artists like Édouard Manet, Jutta Koether, Martin Kippenberger, Jana Euler, and Marcel Broodthaers, the book includes conversations with artists in which Graw’s insights are further discussed and put to the test.
Prints by Jennifer Bornstein gathers together a body of work encompassing her latest projects in printmaking during a recent fellowship at the Radcliffe Institute for Advanced Study at Harvard University. These works are contextualized by earlier projects in drawing, film, and artist books that span the 1990s to the present.
|Tom NicholsonLines towards Another|
Lines towards Another is the first anthology on the work of Australian contemporary artist Tom Nicholson. Spanning drawing, sculpture, public actions, sound, installation, video, and performance, Nicholson’s work since the 1990s has engaged with critical questions around history, politics, narrative, and representation. Presenting new research on the artist and providing an unprecedented overview of two decades of work, the book features eleven essays and two interviews, alongside richly illustrated project pages and texts by the artist.
|Aileen Burns, Tara McDowell, Johan Lundh (Eds.)The Artist As
Producer, Quarry, Thread, Director, Writer, Orchestrator, Ethnographer, Choreographer, Poet, Archivist, Forger, Curator, and Many Other Things First.
How do artists work today? Has the pluralism of art given way to a pluralism of roles that artists may occupy? What are the contemporary conditions of labour producing this new state of affairs, and what re-skilling does it ask of artists? These are some of the questions addressed in The Artist As.
|Cosmin Costinaș, Ana Janevski (Eds.)Is the Living Body the Last Thing Left Alive?
The New Performance Turn, Its Histories and Its Institutions
The choreographic turn in the visual arts from 1958 to 1965 can be identified by the sudden emergence of works created by different visual artists around the world. Each used dance or choreographic procedures to reinvent, reimagine, and reimage how the visual arts produced and conceived its images and objects. Dedicated to the renewed encounter between dance and performance and the institutions of global contemporary art, this publication proposes that a “new performance turn” has emerged in the second decade of the century, and looks at its correlations with other shifts in practices, discourses, and broader society.
|Marina Gržinić (Ed.)Border Thinking
Disassembling Histories of Racialized Violence
Border Thinking: Disassembling Histories of Racialized Violence aims to question and provide answers to current border issues in Europe. Central to this investigation is a refugee crisis that is primarily a crisis of global Western capitalism and its components: modernization, nationalism, structural racism, dispossession, and social, political, and economic violence.
|Natasha Ginwala, Daniel Muzyczuk (Eds.)The Museum of Rhythm|
The Museum of Rhythm is a speculative institution that engages rhythm as a tool for interrogating the foundations of modernity and the sensual complex of time in daily experience. When entering a larger cultural infrastructure such as the art museum, it juxtaposes modern and contemporary art with ethnographic research, cinema, music, and scientific instruments to set in resonance a critical apparatus and conduct exercises in Rhythmanalysis. This book, and the exhibition upon which it is based, is an outcome of durational research that sees art as one of the means by which the ideologies of rhythm are implemented.
|Cécile B. Evans(1770–25k)|
With (1770–25k) Cécile B. Evans presents materials from three recent video works included in her 2016 solo exhibition “Timeline for a Copy without Origins” at the Bielefelder Kunstverein. The amalgamations of text and image appear in the form of audiovisual transcripts, much of the material scavenged verbatim from popular culture and the user-generated web content of platforms like YouTube, Craigslist, and Reddit.
|Alex Klein, Milena Hoegsberg (Eds.)Myths of the Marble|
Myths of the Marble documents a group exhibition that took place in 2017 at the Henie Onstad Kunstsenter, Norway, and the Institute of Contemporary Art, University of Pennsylvania. Curated by Alex Klein and Milena Hoegsberg, the exhibition reflects upon how the “virtual” has been engaged by contemporary artists as a way to consider the world as a site of possibility and limitation that both permeates physical space and online experience.
|Ineke HansWas ist Loos?|
This publication was created on the occasion of Dutch designer Ineke Hans’s first institutional solo exhibition in Austria. The exhibition—its title a pun merging the German phrase for “What’s going on?” with the name of architect Adolf Loos—provided an overview of Ineke Hans’s recent work while also exploring the present and the future of design.
|Wolfgang Tillmans, Brigitte Oetker (Eds.)What Is Different?
What Is Different? is the title of this year’s edition of the Jahresring, guest-edited and designed by Wolfgang Tillmans. Since the early 2000s Tillmans has been working on truth study centre, a cycle of works concerned with absolute claims of truth in social and political contexts. Circling around contemporary issues of newly resurfaced right-wing populism, the phenomenon of fake news, and psychological findings such as the backfire effect, Tillmans, rather than analyzing the status quo, focuses on what has changed in the past ten, twenty, thirty, forty years. Why are societal consensus and institutions now under attack?
|Pierre Bal-Blanc (Ed.)Project Phalanstère at CAC Brétigny, or “Of museum orgy or mixed omnigamy in composite and harmonic order”
Organized by curator Pierre Bal-Blanc, the experimental architectural program “Project Phalanstère” consisted of a series of site-specific artworks in the Parisian suburbs. From 2003 to 2014, these projects developed a creative space extended in time: in contrast with the duration of the work schedule, in which one task follows another, the simultaneity of life’s forces asserted its rhythm. This book extends the recollection and mental reconstruction of the artworks and reconstitutes the project's political aims.
|Ingo Niermann, Joshua Simon (Eds.)Solution 275–294
Communists Anonymous understands the historical incarnations of communism as substantially incomplete in thought and practice, and places communism where it originated—in the realm of fiction. Only as fiction can communism manifest itself again beyond doubt.
Armen Avanessian chronicles his stay in Miami as an experiment in writing about our times of individual optimization and digitization. An inventory of the self in the second person—and a philosopher’s reflections in the infinity pool of the art world—this book reckons with a new time complex as well as the aesthetics and infrastructures of the contemporary. Can we, it asks, advance from conditions of financial feudalism and climate change to a progressive poetics of the digital?
|Dr. Daniel S. Berger, John Neff (Eds.)Militant Eroticism
The ART+Positive Archives
This book is the first survey of the art and practice of Art+Positive, a significant affinity group of ACT UP New York during the early years of the AIDS epidemic. Staging self-initiated actions, and also participating in larger demonstrations organized by ACT UP, Art+Positive practiced an improvisational approach to activism at the intersection of the AIDS crisis and the culture wars of the late 1980s and early 1990s.
|Jon K Shaw, Theo Reeves-Evison (Eds.)Fiction as Method|
In this anthology, a mixture of new and established names in the fields of contemporary art, media theory, philosophy, and speculative fiction explore the diverse ways fiction manifests, and provide insights into subjects ranging from the hive mind of the art collective 0rphan Drift to the protocols of online self-presentation. With an extended introduction by the editors, the book invites reflection on how fictions proliferate, take on flesh, and are carried by a wide variety of mediums—including, but not limited to, the written word.
|Wolfgang Tillmans, Brigitte Oetker (Eds.)Was ist anders?
Was ist anders? ist der Titel der 64. Ausgabe des Jahresrings, die Wolfgang Tillmans als Gastredakteur konzipiert und gestaltet hat. Seit den frühen 2000ern arbeitet Tillmans an der Werkgruppe truth study centre, in der er die Beanspruchung von Wahrheit in sozialen und politischen Zusammenhängen thematisiert. Der Jahresring stellt sich der Problematik eines neu formierten Rechtspopulismus, dem Phänomen Fake News und präsentiert psychologische Forschungsergebnisse wie beispielsweise den Backfire-Effekt.
|Lori WaxmanKeep Walking Intently
The Ambulatory Art of the Surrealists, the Situationist International, and Fluxus
Walking, that most basic of human actions, was transformed in the twentieth century by Surrealism, the Situationist International, and Fluxus into a tactic for revolutionizing everyday life. Each group chose locations in the urban landscape as sites—from the flea markets and bars of Paris to the sidewalks of New York—and ambulation as the essential gesture. Keep Walking Intently traces the meandering and peculiar footsteps of these avant-garde artists as they moved through the city, encountering the marvelous, studying the environment, and re-enchanting the banal.
|Diedrich Diederichsen(Over)production and Value /
(Über)Produktion und Wert
The “economization of art” began to take shape in the wake of the crisis of capital in 2009. The shifts that occurred in the art field during this time were accompanied by explicit critique and academic analysis that aimed to make the genesis of these transformations comprehensible. In this book, first delivered as a lecture at Kunsthalle Bern in April 2016, Diedrich Diederichsen follows Marx’s labor theory of value and counters the symbolic economies dominating the art field, as well as economic exceptionalism or calculation, with systems of recording and reading out.
|Peter G. RoweDesign Thinking in the Digital Age|
In 1987, Peter G. Rowe published his pioneering book Design Thinking. In it, he interrogated conceptual approaches to design in terms of both process and form. Thirty years later, in a lecture at the Harvard University Graduate School of Design, Rowe offered a reappraisal of his earlier work, describing ways in which the capacities of the digital age have changed the way we perceive and understand creative problem-solving in architectural design.
|Oraib ToukanSundry Modernism
Materials for a Study of Palestinian Modernism
With Sundry Modernism, Oraib Toukan presents an informal register of modernist Palestinian architecture—an assemblage of images and stories collected from 2013 to 2015 in the cities of Nablus, Ramallah, Jerusalem, Bethlehem, and Jericho. Using her photographs as conversation prompts with various residents, historians, and architects, Toukan places the anecdotes collected thereby into political and historical context, weaving together narrative and critique.
|Khadija von Zinnenburg Carroll (Ed.)Botanical Drift
Protagonists of the Invasive Herbarium
Botanical Drift explores the hermeneutics, historicization, semiotics, and symbiosis of plants—past, present, extant, and extinct—around the globe. Plant histories are explored by significant and diverse feminist, art-historical, and anthropological voices—from Germaine Greer to herman de vries—bringing new perspectives through photo-essays, fiction, performance, and interventions in ecological, film, and translation archives.
How to imitate the sound of the shore using two hands and a carpet
SSS: How to imitate the sound of the shore using two hands and a carpet is, at first glance, exactly what it claims to be: an in-depth manual for staging a private (or public) performance, in which one uses both hands and a carpet to imitate the sounds of water making contact with land. Istanbul-based artist Cevdet Erek’s book includes diagrams and photographs, which illustrate possible methods for producing this effect, while also addressing theoretical and methodological issues related to the representation of nature.
|Charlotte BirnbaumBon! Bon!
On the Charms of Sweet Cuisine
On the Table V
People have used honey, dates, and fruits to sweeten their dishes since time immemorial, but with the introduction of sugar—“white gold”—into cooking and baking, a whole array of delightful flavors and culinary possibilities was unearthed. Sugar was the building block for edible sculptures and model palaces made for festivals and celebrations thousands of years ago, and the main ingredient in lavish creations for Rococo and Baroque banquets. In Bon! Bon!, Charlotte Birnbaum uncovers the wonderful world of all things sugary through surprising anecdotes and historical accounts, each accompanied by delectable recipes that are sure to satisfy any sweet tooth.
|Visions of the NowStockholm Festival for Art and Technology|
Initiated by Swedish artist Anna Lundh, Visions of the Now is a reconsideration of the 1966 Stockholm festival Visioner av Nuet (Visions of the Present), which aimed to examine the impact of technology on humanity, society, and art; half a century later, we are immersed in the technology that was still “new” in 1966. Lundh’s project took place in 2013 and brought together international artists, musicians, theorists, and scientists for a three-day festival of lectures, panels, performances, sound pieces, installations, and screenings.
|e-flux journal Jalal Toufic
What Was I Thinking?
What Was I Thinking? is an initiation into thinking. With a mind that is extremely analytical and yet extremely capable of rendering all kinds of knowledge and experiences permeable to each other, Jalal Toufic creates here a “summa,” but an open-ended one. He looks into the arts as if they were the privileged site of thinking, even when they inevitably fail, and still confronts his insights/thoughts with texts taken from the traditional religions and mystics of the past.
|Knut EbelingThere Is No Now
An Archaeology of Contemporaneity
Drawing together discourses on contemporaneity and new materialisms, this book examines a material conception of temporality that makes it possible to develop a critique of the philosophical discourse on presence. Claiming that “there is no now,” Ebeling develops an archaeology of contemporaneity according to which the traces of the contemporary can only be secured through visual or material operations, not historical ones.
|Annika BenderDeath of an Art Critic /
Tod einer Kritikerin
This book is an adaptation of Annika Bender’s lecture “Jump! You Fuckers!” which was presented at Kunsthalle Bern in the context of a series on overproduction and ambivalence in contemporary art. Annika Bender was one of the pseudonyms of artists Dominic Osterried and Steffen Zillig, who wrote the blog Donnerstag (now discontinued) under her name. To make the criticism she proposed possible, and make public its conditions and inherent contradictions—as well as articulate the reasons for her disappearance—it proved necessary to confer Bender to the archive.
|ars viva 2018Anna-Sophie Berger, Oscar Enberg, Zac Langdon-Pole|
Since 1953, the Kulturkreis der deutschen Wirtschaft im BDI e. V. has awarded the ars viva Prize to young artists living in Germany. This year, it goes to Anna-Sophie Berger (*1989), Oscar Enberg (*1988), and Zac Langdon-Pole (*1988). The prize includes two exhibitions at renowned art institutions in Germany and Belgium, the ars viva catalogue, and an artist residency on Fogo Island (Canada).
|Anne Faucheret, David Jourdan (Eds.)The Promise of Total Automation|
The exhibition “The Promise of Total Automation” investigated our relationship to a world of machines, technological objects, and electronic devices. The prospect of a fully automated future—while acutely reshaping the notions of work, production, and value creation—also feeds emancipatory scenarios ultimately leading to the end of labor. Total automation is upon us but its liberating promise is yet to be claimed. This book surveys the literature on that story. It tracks its fabric, layers, and mediations, and unfolds a bibliography and chronology of automation and of its promises.
|Studio for Propositional Cinemain relation to a Spectator:|
A compendium of essays, scripts, poems, and proposals, in relation to a Spectator: was compiled by Studio for Propositional Cinema—an anonymous artist collective founded in 2013—for their eponymous exhibition at the Kestner Gesellschaft in Hannover. The book investigates notions of the script, staging, and the conditions of the exhibition itself.
|Anamarija Batista, Szilvia Kovács, Carina Lesky (Eds.)Rethinking Density
Art, Culture, and Urban Practices
Rethinking Density: Art, Culture, and Urban Practices considers new perspectives and discussions related to the category of density, which for a long time has been part of urban-planning discourses and is now regaining the attention of artists and practitioners from a number of different disciplines. In an interplay of models, coping strategies, and experimental approaches, this publication combines research from cultural studies, artistic research, sound studies as well as architectural and urban theory.
|Sam ThorneSchool: A Recent History of Self-Organized Art Education|
Sam Thorne’s School: A Recent History of Self-Organized Art Education is a chronicle of self-organized art schools and artist-run education platforms that have emerged since 2000. Comprising a series of twenty conversations conducted by Thorne with the artists, curators, and educators behind these schools, the book maps a territory at once fertile and contested. Spanning projects in London, Lagos, Los Angeles, Mexico City, Ramallah, Berlin, and Saint Petersburg, among other locations, these critical dialogues respond to spiraling student debt, the MFA system, and the “pedagogical turn,” while offering proposals for the future of art education.
|Michael TedjaThe Holarium: Negeren Series 818:32|
Unlike a number of artists who have begun to use negation, detachment, and inaccessibility as tools to reflect upon and problematize the narratives mapped onto them as members of diasporic or immigrant communities, Michael Tedja plays the other extreme. His work seems to exceed and absorb the institutions that attempt to codify him one way or another. Whereas his peers may seek to transcend identity as such, Tedja’s practice is hypersubjective and all-encompassing.
|Atelier Bow-Wow with K. Michael HaysArchitectural Ethnography|
In this in-depth conversation with architectural theorist K. Michael Hays, Yoshi Tsukamoto and Momoyo Kaijima of Atelier Bow-Wow reflect on representation, occupation, and the democracy of architecture. They unfold their concept of an “ecology of livelihood,” wherein shadowless figures, objects, and spaces coexist with construction details. Explaining their belief in the behavioral capacities of humans, architecture, and nature, Tsukamoto and Kaijima reveal the generous spirit of their work, and the importance of pushing such capacities to their most yielding limits.
|e-flux journalArt without Death
Conversations on Russian Cosmism
According to the nineteenth-century teachings of Nikolai Fedorov—librarian, religious philosopher, and progenitor of Russian cosmism—our ethical obligation to use reason and knowledge to care for the sick extends to curing the dead of their terminal status. The dead must be brought back to life using means of advanced technology—resurrected not as souls in heaven, but in material form, in this world, with all their memories and knowledge. This book of interviews and conversations with today’s most compelling living and resurrected artists and thinkers seeks to address the relevance of Russian cosmism and biocosmism in light of its influence on the Russian artistic and political vanguard as well as on today’s art-historical apparatuses, weird materialisms, extinction narratives, and historical and temporal politics.
|Heman ChongIfs, Ands, or Buts|
The catalogue for Heman Chong’s first solo museum exhibition in mainland China, at the Rockbund Art Museum, provides an insightful and critical look into the Singaporean artist’s recent practice. To address the centrality of language, books, and the act of reading in Chong’s oeuvre, this publication features newly commissioned texts from a variety of contributors. Ifs, Ands, or Buts is illustrated with images of the entirety of works included in the show reproduced alongside documentation of Chong’s correspondence and collaboration with Ken Liu, as well as a section dedicated to the humorous tabloid stories from Chong’s work Papaya Daily.
Among the first artists in his generation to employ digital software in the creation of art objects, Craig Kalpakjian engages with both historical art discourses and contemporary issues. In his work, Kalpakjian focuses on the seduction of technology and digital space from a critical position, questioning utopian ideals and suggesting darker implications. Intelligence considers the ideas of artificial intelligence exhibited by machines, as seen in the Sony AIBO robotic dog, and human intelligence, like that which is gathered through interpersonal contact by the US military in accordance with the “US Army Field Guides Manual on Interrogation,” a guide that prohibits abusive techniques of torture.
|Louise Schouwenberg (Ed.)Material Utopias|
In the slipstream of conceptual art, the intimate interweaving of meaning and materialization in art and design came to be discredited in the second half of the twentieth century. The master’s program Material Utopias at the Sandberg Instituut put an end to this tradition by abolishing the unproductive hierarchy separating “concept” and “making,” “content” and “process.” In this publication, various authors reflect on the history of dematerialization and deskilling, the manifold meanings of materials in art and design, and the challenges for education when the innovative power of the artistic process is celebrated.
|Asta GrötingBERLIN FASSADEN|
This publication accompanies the first comprehensive presentation of Asta Gröting’s project BERLIN FASSADEN. For her exhibition at KINDL – Centre for Contemporary Art, Gröting covered the walls and floors with sculptural silicone impressions of Berlin facades containing traces of bullet holes from the Second World War. Functioning like slow-exposure photographs, the sculptures capture the history of the facades, from the bullet’s impact during the war to the present day. Gröting reconstructs wounds as architectural traces and translates them into abstract pictures.
|Joasia Krysa (Ed.)Systemics (or, Exhibition as a Series)
Index of Exhibitions and Related Materials, 2013–14
Systemics brings together a collection of new writing and curatorial projects that unfolded at Kunsthal Aarhus, Denmark, over a two-year period from 2013 to 2014. Contained here are its various parts: details of the four core exhibitions and related events, two commissioned exhibitions, and four essays, together comprising the Systemics series program as a whole. Like any series, it unfolds over time, in associative parts, using descriptive and poetic exhibition titles to develop a cumulative experience.
|Marika Kuźmicz, Łukasz Ronduda (Eds.)Workshop of the Film Form|
Workshop of the Film Form provides an in-depth overview of the achievements of Warsztat Formy Filmowej (WWF; Workshop of the Film Form), a group of avant-garde artists who were working at the Leon Schiller National Higher School of Film, Television and Theatre in Lodz, Poland, between 1970 and 1977. It examines all aspects of WFF’s activity, from their films, photographic experiments, video art, and performative actions to their teaching work, which includes previously unexplored pedagogical contributions to the National Film School.
|Daniela Zyman, Cory Scozzari (Eds.)Allan Sekula
This publication intersperses essays from scholars, historians, and thinkers with a selection of Allan Sekula’s seminal texts and excerpts from his private notebooks. Made and written across the decades, Sekula’s sketches and texts focus on maritime space and the material, economic, and ecological implications of globalization. In projects such as his magnum opus Fish Story (1989–95), or films like Lottery of the Sea (2006) and The Forgotten Space (2010), Sekula provided a view from and of the sea. This publication expands on these oceanic themes, seeking to honor the scope and complexity of the late artist-theorist’s work, and situate his ideas in current political, social, and environmental discourses.
|T. J. DemosAgainst the Anthropocene
Visual Culture and Environment Today
Addressing the current upswing of attention in the sciences, arts, and humanities to the proposal that we are in a human-driven epoch called the Anthropocene, this book critically surveys that thesis and points to its limitations. Art historian T. J. Demos analyzes contemporary visual culture—popular science websites, remote sensing and SatNav imagery, eco-activist mobilizations, and experimental artistic projects—to consider how the term works ideologically, proposing more than merely a description of objective geological periodization.
|e-flux journalWhat’s Love (or Care, Intimacy, Warmth, Affection) Got to Do with It?|
It is often said that we no longer have an addressee for our political demands. But that’s not true. We have each other. What we can no longer get from the state, the party, the union, the boss, we ask for from one another. And we provide.
Let’s see how need and care and desire and admiration have been cross-examined, called as witness, put on parole, and made the subject of caring inquiry by e-flux journal authors since 2009.
|Theo EshetuThe Body Electric|
The Body Electric is the first comprehensive survey of video artist and filmmaker Theo Eshetu’s extensive body of work. It provides an in-depth exploration of the artist’s engagement with a variety of genres and media, including experimental cinema, essay and documentary films, large-scale video installations, and live performances.
|Mari ShawWords, Books, and the Spaces They Inhabit
The Noble Art of Collecting, Book One
Words, Books, and the Spaces They Inhabit is the first of Mari Shaw’s series The Noble Art of Collecting. With examples of unexpected collectors and serendipitous outcomes, Shaw investigates the obscure desires that shape art collecting and the public goodwill that results from it.
|Bik Van der Pol (Ed.)School of Missing Studies|
The School of Missing Studies started in 2003 as an initiative of artists and architects who recognized “the missing” as a matter of urgency. Investigating what culture(s) laid the foundations for the loss we are experiencing from modernization and how this loss can talk back to us as a potential site of learning, the School of Missing Studies is calling for a space to turn existing knowledge against itself to affect our capacity to see things otherwise, to trust that seeing, and to set one’s own pedagogical terms.
|Simryn Gill, Michael TaussigBecoming Palm|
Becoming Palm is the outcome of a conversation between two friends, artist Simryn Gill and anthropologist Michael Taussig, addressing the complexities of palm oil and “the enormous transformations, human, and ecological, that this crop engenders” (Taussig) in two disparate geographical locations, Southeast Asia and South America.
|Quinn LatimerLike a Woman
Essays, Readings, Poems
Quinn Latimer’s arresting writings find expression in literature and theory as well as contemporary art and its history. Her texts record specters and realities of culture, migration, and displacement, compounding the vagaries of rhetoric and poetics with those of personal history and criticism. This collection of Latimer’s recent essays and poems examines issues of genealogy and influence, the poverty and privilege of place, architecture’s relationship to language, and feminist economies of writing, reading, and art making.
|Andrew Goodhouse (Ed.)When Is the Digital in Architecture?|
When is the digital in architecture? What are the conditions that led architects to integrate digital tools into their practices? There are eight million stories of the origins of the digital in architecture, and this book brings together fourteen of them. The arguments address specific changes in ways of thinking about architecture, building, and cities, as well as the shifts in technology that resulted from these changes, marking both a capstone of Archaeology of the Digital and the start of an investigation into other beginnings of the digital in architecture.
|Blake RayneTense and Spaced Out
Polar Nights, Glacial Chaos and the Ecology of Misery
Blake Rayne’s approach to painting stems from the duplicity of words like script, folder, application, dissolve, and screen. These operative terms situate his work between forms of linguistic description and the history of reflexive material practices in art. He begins from an orientation that considers the terms painter and painting as fictions with no stable material definition. Rather, they are shaped by always-evolving social, institutional, and physical relations.
|Wolfgang ErnstThe Delayed Present
Media-Induced Tempor(e)alities & Techno-traumatic Irritations of “the Contemporary”
In the media theatre of contemporary culture, a drama unfolds: While the human sense of “the present” is challenged by the immediacy of analog signal transmission and the delays of digital data processing, a different (non-)sense of time unfolds within technologies themselves. At that moment, human-related phenomenological analysis clashes with the media-archaeological close reading of the technological event, in an impossible effort to let the temporeal articulate itself.
|Raqs Media CollectiveWe Are Here, But Is It Now?
(The Submarine Horizons of Contemporaneity)
It is said that we know more about far-away galaxies than we do about the bottom of the oceans on earth. One could say something similar about our relationship to the future and to the contemporary. Searching for the present is a bit like deep sea diving. How to dive without drowning in the turbulent waters of now? How to find and share sources of illumination in submarine darkness? When to surface and how to ride a strong current? These are some of the questions that Raqs Media Collective address in their account of contemporaneity, guided by a motley collection of figures lost and found in the turbulence of their practice.
|Dexter SinisterNotes on the Type, Time, Letters & Spirits|
Three interconnected palimpsest essays recount (1) the backstory of a “meta” font recently updated by Dexter Sinister and used to typeset the Contemporary Condition book series, (2) a broad history of the rationalization of letterforms that considers the same typeface from “a higher point of disinterest,” and (3) a pending proposal for a sundial designed to operate in parallel physical and digital realms. Along the way they contemplate the ambiguous nature of our shared idea of *time* itself.
(The Real-Time Disintegration into Ruins of the Berlin Olympic Stadium over the Course of a Thousand Years)
This publication documents the first iteration of Belgian artist David Claerbout’s project Olympia, a digital simulation of the Olympic Stadium in Berlin. Conceived to last one thousand years, Claerbout’s simulation uses real-time weather data to present the slow decay of the stadium over the coming millennium. Projected onto monumental screens in the Boiler House at the KINDL – Centre for Contemporary Art in Berlin from late summer 2016 to spring 2017, Olympia aims to exceed the human ability to imagine time, thus radically surpassing our own experience of the world.
|Otobong NkangaLuster and Lucre|
Otobong Nkanga’s first monograph, Luster and Lucre, charts an intensely productive period from 2013 to 2016, which includes exhibitions at the 8th Berlin Biennale; Portikus, Frankfurt am Main; KADIST, Paris; and M HKA, Antwerp. Its title encapsulates the complex concerns that underpin these shows: “luster,” the illustrious shining of materials; and “lucre,” profits and gains.
|Pieter Van Bogaert, Martine Zoeteman, Christophe Coppens (Eds.)Eternal Erasure—On Fashion Matters|
It’s easy to rant about the fashion industry. Nowadays, a large part of it is based on producing and consuming vast amounts of clothing. Collections are manufactured at dizzying speeds and sold for extremely low or incredibly high prices. This fast-changing business is hard to break into, or out of. How, as a designer, do you deal with this system and come up with innovative ways of designing, producing, promoting, financing, and selling? How do you meet the needs of today’s consumers and anticipate the needs of tomorrow’s world?
|Stephan DillemuthSchall und Rauch. Eine Revue in Bildern
Sound and Smoke—A Revue in Pictures
This catalogue illustrates Stephan Dillemuth’s elaborate solo show at the Künstlerhaus, Halle für Kunst & Medien, through installation photographs as well as texts by art historian Kerstin Stakemeier and theorist Helmut Draxler. The exhibition presented newly conceived works alongside works from the 1980s exhibited for the first time.
|Andrew HerscherDisplacements: Architecture and Refugee
Critical Spatial Practice 9
In architectural history, just as in global politics, refugees have tended to exist as mere human surplus; histories of architecture, then, have usually reproduced the nation-state’s exclusion of refugees as people out of place. Andrew Herscher’s Displacements: Architecture and Refugee, the ninth book in the Critical Spatial Practice series, examines some of the usually disavowed but arguably decisive intersections of mass-population displacement and architecture—an art and technology of population placement—through the twentieth century and into the present.
|Julia Grosse, Elke aus dem Moore, Yvette Mutumba (Eds.)I am built inside you|
Over the past four years, the art magazine Contemporary And (C&) has called attention to exhibitions, artists, and curators from diverse African perspectives while boosting new areas of debate. I am built inside you, C&’s first book, is a compilation of eighteen pieces published since the magazine was launched in 2013.
|Maria Thereza AlvesThe Long Road to Xico / El largo camino a Xico, 1991–2015|
The Long Road to Xico, 1991–2015 is the first monograph of Brazilian artist Maria Thereza Alves, and the outcome of her solo show at the Centro Andaluz de Arte Contemporáneo in Seville in 2015. It gathers more than twenty projects realized between 1991 and 2015, including rarely viewed early works that help us see her most recent production from a new perspective. This publication also collects a selection of Alves’s writings and contextualizes her work in the political and cultural debates from the 1980s, when she became an activist and an early participant in discourses around “postcolonialism” and “ecology.”
|Uchroniaduplicate > do not create, infiltrate > do not exhibit, exceed > do not belong, appear > do not claim, delegate > do not restrict|
Uchronia is a project initiated by the artists Annie Vigier and Franck Apertet (les gens d’Uterpan) in 2014, which emanates from the analysis of individual or collective attitudes and behaviors produced in the public space of a given city. In response to the increasing transformation of public spaces into functional areas toward which individuals are guided to fulfill a given activity, the two artists call upon citizens to become uchronists, to infiltrate public life with physical modules coming from daily behaviors, synchronized and adjusted according to context.
|Mai Abu ElDahab, November Paynter, Marnie Slater (Eds.)These are the tools of the present
This publication comprises a series of interviews with contemporary artists, musicians, and writers who are in dialogue with Beirut and Cairo. While not purporting to be an overview of the art scenes in these cities, this book begins to draw a picture of how artists think about what it means to be active in the contexts of these cities. It offers insight into the circumstances that structured these artists’ stories, and the often accidental influences that have shaped how their practices have developed.
|Martin BeckAn Organized System of Instructions|
Martin Beck’s exhibition “Program” at the Carpenter Center for the Visual Arts comprised a sequence of interventions, installations, events, and displays that drew on the exhibition histories and academic pursuits of the famed 1963 Le Corbusier building at Harvard University. The sequence of explorative strategies—each node of which Beck considered an “episode”—lent particular attention to the founding aspirations of the Carpenter Center, which sought to cultivate its position as simultaneously an iconic modernist building, school, and exhibition venue.
|Lívia Páldi (Ed.)The Site Residency|
Imagined as a residency that would result in no material production, the Site Residency was conceptually grounded in theories and practices of withdrawal and in the critical questioning of creation, materiality, and objectified artistic output, paying tribute to the artistic strategies from the 1960s and ’70s. This publication presents various visual and textual materials of the residency’s three participating artists, Annika Eriksson, Susanne Kriemann, and Agnieszka Polska, including the “results” of their invited ghostwriters who translated the experience of the artists and curators into literary fiction.
|Margarida Mendes (Ed.)Matter Fictions|
Matter Fictions addresses fiction as a mode of producing reality as well as the significance of matter—animal, vegetable, mineral, hybrid—beyond binaries. Recounting a partial history of our relation with matter, the eponymous exhibition at Museu Coleção Berardo (May 4–August 21, 2016) explored how the crossover between cosmological narratives, spatial revolutions of concrete poetry, and hypertextual and territorial fictions might impact our understanding of human agency in a time that calls for action on climate change and technocratic policies.
|Jesse JonesThe Other North|
Jesse Jones’s 2013 film The Other North represents the culmination of her research in South Korea and the Demilitarized Zone. It features Korean actors reenacting The Steel Shutter, a little-known documentary of a “conflict resolution therapy session” held by American psychologist Carl Rogers in the early 1970s with a group of individuals from various political and socioeconomic backgrounds in Northern Ireland. Here, fact and fiction press up against each other and the conflict of one North is reinscribed in another.
|Pierre BismuthThings I Remember I Have Done, But Don’t Remember Why I Did Them—Towards a Catalogue Raisonné|
This publication comprises two volumes: a booklet accompanying Pierre Bismuth’s 2015 solo exhibition at Kunsthalle Wien, and a catalogue raisonné indexing his typically serial and often humorous work of the last three decades, from five-minute paintings of recipe cards from women’s magazines (1986–87) to fried-chicken-flavored polyethylene sculptures (2015). Just like the idiosyncratic mix of conceptualism and appropriation refined by Bismuth throughout his career, Things I Remember I Have Done, But Don’t Remember Why I Did Them suggests how easily authorship and intentionality can be undermined, even erased—and Bismuth is not exempt from his own treatment.
Tom Humphreys—Plates is an artist’s book documenting works produced between 2009 and 2016 using industrially manufactured plates as a support medium. This extensive volume loosely catalogues four hundred and twenty works from this series at a one-to-one scale, in precisely rendered photographs.
|Olafur EliassonGreen light
An artistic workshop
Green light is a project initiated by artist Olafur Eliasson in collaboration with Thyssen-Bornemisza Art Contemporary, Vienna. Conceived as a field of production and mutual learning, Green light works with refugees, asylum seekers, migrants, and NGOs to fabricate an unlimited edition of fully functional lamps: geometric, stackable modules made from recyclable materials and fitted with a welcoming green light. Providing fundraising and education opportunities, Green light workshops first took place in Vienna in 2016, and have since been hosted at the Moody Center for the Arts, Houston, and the 57th Venice Biennale.
|Leonard QylafiOccurrence in Present Tense
Ndodhi në kohën e tashme
Recollection is the presence of the past in the here and now; it shapes our understanding of our places and lives, their histories and changes. As experience becomes fact, the past turns into objective matter. Leonard Qylafi’s artistic practice takes such material records as books, films, or photos as points of departure for examining this process of change. His paintings and videos are as much investigations of the processes shaping the narration of events in his home country of Albania as they are reflections on the nature of the image as such.
|Katja NovitskovaIf Only You Could See What I’ve Seen with Your Eyes|
Today almost all aspects of human—and increasingly nonhuman—lives are being modeled by software. Transcending the limits of our planet, data collection has become a fundamental tool with which to map the earth and beyond. Katja Novitskova’s catalogue If Only You Could See What I’ve Seen with Your Eyes, published for the Estonian Pavilion at the 57th Venice Biennale, addresses emerging potentialities between visual culture, big-data-driven processes, and ecology.
|Hearings: A ReaderContour Biennale 8|
Titled "Polyphonic Worlds: Justice as Medium," the eighth Contour Biennale in Mechelen, Belgium, addresses the nation-state system and the realm of justice today. The editorial approach of its accompanying reader, Hearings, borrows from the juridicial and musical spheres. Launched as the online journal of the biennial, the reader pairs texts or image-based contributions, allowing for a sense of tension and affinity to develop in the feedback loop of the two voices. Relationships around the artwork as site of evidence and testimony are thus reoriented. The multidimensional readings are not restricted to the active apparatus of law and discipline, but instead seek to unravel the synchronies of our times—the mesh of injustice in our midst.
|Cecilia VicuñaRead Thread
The Story of the Red Thread
From the 1970s to the present, Cecilia Vicuña’s work has engaged with rituals from Aboriginal Australia, South Africa, Paleolithic Europe, and pre-Columbian America involving red-colored thread. The Chilean artist’s performances, site-specific installations, paintings, and drawings relate to the symbolic function of textile and language as well as the ritual dimension of menstrual blood in the construction of solidarity through femininity and maternity, to support and continue life. Appearing on the occasion of Vicuña’s installation in Athens for documenta 14, Read Thread tells the story of the sanguine thread in Vicuña’s work.
|Shirana ShahbaziFirst Things First|
The catalogue First Things First comprises a selection of images from a number of Shirana Shahbazi’s photographic series created over the past ten years. The presentation of some fifty works is not necessarily categorically or linearly organized; rather, it appears completely free of hierarchy, with photographic styles, subjects, and techniques displayed on equal footing. First Things First emphasizes a juxtapositional approach, a dynamic and free arrangement of various subjects and styles.
|Merlin CarpenterMIDCAREER PAINTINGS|
Merlin Carpenter’s exhibition “MIDCAREER PAINTINGS” filled Kunsthalle Bern’s rooms with transit blankets stretched over identically scaled frames, each named after one of the artist's seven galleries and marked "not for sale." This publication documents these "paintings," the particular mix of playfulness and earnestness in Carpenter's art, and how the works thematize the limbo of the "midcareer" artist as well as the circulation of the artwork as a commodity that signifies material wealth or value.
|Ernesto Neto and the Huni KuinAru Kuxipa—Sacred Secret|
“Aru Kuxipa,” the exhibition held at TBA21 – Augarten, was a vibrant demonstration of ancestral futures, a term that unpacks potentials for creating a future that is also deeply rooted in cultures of tradition. Through multiple exchanges between members of thirty-two Huni Kuin communities in Brazil, this publication brings together threads from anthropology, art, and science that are interwoven, like the movement of a serpent, with essay contributions, oral histories, drawings, and traditional song. Together, they outline the way unique kinships produced within an indigenous cosmo-vision can shape our present moment
|Roee RosenLive and Die as Eva Braun and Other Intimate Stories|
Live and Die as Eva Braun and Other Intimate Stories is a bilingual edition of short writings by Roee Rosen. At the heart of this collection are three provocative texts extracted from important artworks by Rosen, offered here as genre-defying literature at the intersection between reality and fiction, speculative narrative and historical-political critique, humor and eroticism.
|Olaf Holzapfel / Nahum TevetThe Rough Law of Gardens|
The Rough Law of Gardens documents Olaf Holzapfel and Nahum Tevet’s eponymous joint exhibition and explores the intergenerational differences between two unique artists. Both artists’ work rejects the global logic of growth and traverses the bounds of sculpture and painting: each of their practices involves ideas to do with materiality, learning, and memory.
|Omar Berrada (Ed.)seepage/ritual
The 2017 Abraaj Group Art Prize
Providing an important platform for new and ambitious work from the Middle East, North Africa, and South Asia, the ninth installment of the Abraaj Group Art Prize features “seepage/ritual,” an exhibition with the work of winner Rana Begum and the three short-listed artists: Sarah Abu Abdallah, Doa Aly, and Raha Raissnia. This publication is conceived as a parallel exhibition in book form, and contains original interventions by and in collaboration with the artists.
Ethics of Knowledge—Poetics of Existence
The original ideals of the Enlightenment research university and the rise of aesthetics in modernity have been decisive in shaping neoliberal capitalism. How, then, might we endeavor to change the academic status quo? Philosopher and political theorist Armen Avanessian argues that the ethical dimension of knowledge can produce a new reality. Looking beyond aesthetics and its critical imagination, can the speculative poetics of collaborative writing free us from the dominant regime of the academy and, by extension, the art world?
|Mario García TorresAn Arrival Tale|
Appropriation, storytelling, reenactment, and reportage are some of the strategies that Mario García Torres deploys to highlight the limitations of factual evidence and the agency of historical records and objects. An Arrival Tale detaches the Mexican artist’s works in the TBA21 collection from their original contexts and offers them as a collection of narratives and artistic experiments open for reinscription in order to address the conditions and urgencies of our contemporary societies. It examines the space of arrival as a complicated and disjointed nexus between departure, displacement, and return.
|Sven LüttickenCultural Revolution
Aesthetic Practice after Autonomy
In this collection of essays, art historian and critic Sven Lütticken focuses on aesthetic practice in a rapidly expanding cultural sphere. He analyzes its transformation by the capitalist cultural revolution, whose reshaping of art’s autonomy has wrought a field of afters and posts. In a present moment teeming with erosions—where even history and the human are called into question—Cultural Revolution: Aesthetic Practice after Autonomy reconsiders these changing values, for relegating such notions safely to the past betrays their possibilities for potential today.
|Minouk LimUnited Paradox|
What role does historiography play in the formation of the present? How does contemporary experience inform the commemoration of historical events or lack thereof? Minouk Lim explores history in the present tense—its media representation, collective memory, ritual, and trauma—through her exhibition, publication, and broadcasting station United Paradox.
|Dave Hullfish Bailey + Sam WatsonCityCat Project 2006–2016|
CityCat Project 2006–2016 is the record of an extraordinary collaboration between American artist Dave Hullfish Bailey and senior Aboriginal writer and activist Sam Watson. The collaboration is structured around Maiwar Performance, in which the CityCat ferries that ply the Brisbane River (Maiwar) execute unannounced maneuvers near a site of significance to the Aboriginal people who lived on the lands around Brisbane before British colonization in the early nineteenth century.
|Helke BayrlePortikus Under Construction, 1992–2016|
In 1992, Helke Bayrle began videotaping the installation of each exhibition at the Portikus exhibition space. These videos form a remarkable and intimate archive of the storied Frankfurt contemporary art institution and the exceptional artists and personnel that have worked within it. Coinciding with the launch of a website containing all of Bayrle’s Portikus videos, this publication pays tribute to the artist’s extraordinary work, through a comprehensive timeline, video stills, and statements by past and current directors and curators.
|Thomas Keenan, Suhail Malik, Tirdad Zolghadr (Eds.)The Flood of Rights|
It is difficult to imagine making claims for human rights without using images. For better or worse, images of protest, evidence, and assertion are the lingua franca of struggles for justice today. And they seem to come in a flood, more and more, day and night. But through which channels does the torrent pass? The Flood of Rights examines the pathways through which these images and ideas circulate—routes that do not merely enable, but actually shape human-rights claims and their conceptual background.
Edgar Leciejewski spent six months as an artist-in-residence with Fogo Island Arts in 2014. Tones brings together new work stemming from the Leipzig-based artist’s time on the island, including large-scale collages, photographs of natural elements, and precarious sculptures composed of objects found on the shore. Taken together the works are a collection and an archive of time shown in modern images, raising questions on how we contemplate ideas of nature. This publication features essays by Bill Arning and Zoë Gray, as well as a conversation between the artist and Nicolaus Schafhausen.
|Reto PulferZustandskatalog: Catalog of States and Conditions|
In the style of a catalogue raisonné, Reto Pulfer’s comprehensive monograph, Zustandskatalog: Catalog of States and Conditions, follows the artist’s work over the past fifteen years. Excerpts from the artist’s novels as well as insightful texts by Anselm Franke and Benoît Maire are juxtaposed with 475 documentary photographs of Pulfer’s technical drawings, one-off exhibitions, large-scale installations, and performances. Categories such as living ceramics, food advice, ghostology, synesthesia, and transformation are woven throughout the book, giving unique insight into the ideas and imagination that are part of the work itself.
|Luca Lo Pinto (Ed.)One, No One and One Hundred Thousand|
This publication documents the 2016 exhibition “One, No One and One Hundred Thousand,” which took place at Kunsthalle Wien, Karlsplatz. Curated by Luca Lo Pinto, the show took its inspiration from Oulipo, a literary strategy whose objective was to propose new “structures” for writing that were mathematical in nature. Using A Thousand Billion Poems, a 1961 book by Raymond Queneau, one of Oulipo’s founders, as a manifesto for the exhibition, nine artists were invited to create new works in a display that would change depending on the wishes of the visitor.
|Marcus VerhagenFlows and Counterflows
Globalisation in Contemporary Art
Over the past quarter century, artists have made powerful interventions in debates around globalisation, addressing various dimensions of cross-border exchange, from mass migration to the dynamics of translation, and devising new ways of conceptualising them. Marcus Verhagen’s Flows and Counterflows: Globalisation in Contemporary Art tells the story of those interventions, dwelling in particular on projects that draw out both the dangers and the tangible or imaginable benefits of global exchange.
|Goldin+SennebyThe Exquisite Corpse of August Nordenskiöld|
In the ancient art of alchemy, some elements can change to other states of matter while others cannot. At least not without magic. And a touch of trickery. For some time now, Goldin+Senneby have been interested in a utopian alchemist named August Nordenskiöld (1754–1792) who sought to create enough gold from inferior metals to permanently abolish its value, and the tyranny of money with it. The Exquisite Corpse of August Nordenskiöld contains seven essays written by a historian of ideas, a sociologist of finance, a literary and cultural historian, a stage magician, an artist, an anthropologist, and a poet.
|Robert Stadler, Alexis Vaillant (Eds.)On Things as Ideas|
This collection of more than thirty texts, which were originally published between 1790 and the present day, explores man’s rich relationship with material things. Devised largely in response to the gradual breakdown of the divide between art and design that began over a century ago, this book sheds light on the ways that the concept of the thing as idea has been considered over time.
|Sara van der HeideThe German Library Pyongyang
Die deutsche Informationsbibliothek Pjöngjang
For the 1st Asia Biennial/5th Guangzhou Triennial, artist Sara van der Heide converted a public library in Guangzhou, China, into a restaging of the Goethe-Institut's German Library and Information Centre of Pyongyang, which operated from 2004 to 2009. Van der Heide’s German Library was to offer a set of public cultural programs: a group exhibition, video program, performances, and seminar. However, at the last minute the project was censored by the Chinese Cultural Bureau, turning what was to be an investigation of libraries and the institutional sharing of culture into an intimate reflection on power and censorship, political art, and the historical experiences shared across formerly divided Germany and the two Koreas.
|Joanna Warsza (Ed.)I Can’t Work Like This
A Reader on Recent Boycotts and Contemporary Art
In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.
|Daniel Birnbaum, Kim WestLife on Sirius
The Situationist International and the Exhibition after Art
How did art escape the deadlock of the Situationists’ anti-art refusal? Did the relational artists, with their repetitions of Situationist slogans and techniques, outline a sustainable, micro-political alternative to Guy Debord’s dream of surpassing art and realizing philosophy? Looking back at some of the Situationists’ confrontations with the museum, this book traces a path beyond the tragedy of negativity and the litany of recuperation.
|Ryan Bishop, Kristoffer Gansing, Jussi Parikka, Elvia Wilk (Eds.)across & beyond
A transmediale Reader on Post-digital Practices, Concepts, and Institutions
This collection of art and theory analyzes today’s post-digital conditions for critical media practices—across and beyond the analog and the digital, the human and the nonhuman. The contributions also look across and beyond the field of media art, staking out new paths for understanding and working in the transversal territories between theory, technology, and art.
|Jesse Birch (Ed.)Black Diamond Dust|
This publication expands a 2014 multisite contemporary art exhibition that took place in Nanaimo, British Columbia, a small city on the eastern edge of Vancouver Island. The title refers to coal mining, an industry that has formed and fragmented communities through economic development, racial segregation, and labor inequity, while fueling the modern world. In this book, forgotten or under-acknowledged histories are investigated and discussed along with cultural forms that surround the practices of international coal mining. Contemporary artworks, poetry, essays, literature, folk songs, and archival images come together to extract meaning from this fossilized black carbon that continues to power our cities.
|Eva Barois De Caevel, Els Roelandt (Eds.)CATPC
Cercle d’art des travailleurs de plantation congolaise
Congolese Plantation Workers Art League
This book offers a first report on the activities of the Cercle d’art des travailleurs de plantation congolaise (CATPC), an association based in Lusanga, in the Democratic Republic of Congo. CATPC brings together a unique gathering of individuals—along with its members and partner institutions that are engaged in dialogue with it—and attempts to rethink postcolonial power relations within the global art world.
|Bulletins of The Serving Library #12Winter 2016/17|
This issue comprises various outlooks on “perspective.” This might be taken to mean something as specific as a particular opinion or as general as an axonometric projection; in short, different ways and means of looking at the world. And so we find Vincenzo Latronico attempting to get in touch with E.T., a collection of Lucy McKenzie’s illusory quodlibets, a conversation between Jumana Manna and Robert Wyatt on art and ethics, along with other points of view from Sarah Demeuse, Mark de Silva, Jocelyn Penny Small, Abigail Reynolds, James Langdon & Mathew Kneebone, Johan Hjerpe, and the inimitable 9mother9horse9eyes9.
|Alex Coles (Ed.)EP Vol. 2
The second volume in the EP series identifies the current fascination with fiction across art, design, and architecture. Practitioners and theorists explore this strategy by pushing the debate into both speculative and real-fictitious terrains. Newly commissioned interviews, artist projects, and essays shed light on topics such as parafiction and algorithmic ambiguity. Included in the volume is one of the final interviews to be published with novelist and semiotician Umberto Eco; a conversation with Bruce Sterling, in which the science-fiction author responds to designers who reference his writings; and design theorist Vilém Flusser’s 1966 essay “On Fiction,” in its first English translation.
|Chus MartínezClub Univers|
This book is the result of ongoing research into historical and current artistic practices that explore new paradigms of experience. It is the first volume in a series of books that focuses on what is happening both inside and outside of the art institute.
|Beatrice von Bismarck, Benjamin Meyer-Krahmer (Eds.)Cultures of the Curatorial 3
Hospitality: Hosting Relations in Exhibitions
A curatorial situation is always one of hospitality. This publication analyzes the curatorial within the current sociopolitical context, through key topics concerning immigration, conditions along borders, and accommodations for refugees. The contributions in this volume, by international curators, artists, critics, and theoreticians, deal with conditions of decontextualization and displacement, encounters between the local and the foreign, as well as the satisfaction of basic human needs.
|Victor ManLuminary Petals on a Wet, Black Bough|
Luminary Petals on a Wet, Black Bough is an artist’s book focusing on Victor Man’s series of paintings first exhibited as part of the 56th Venice Biennale in 2015, and later developed for a solo exhibition at Galeria Plan B, Berlin. The book includes essays by poet and translator Bogdan Ghiu, curator Mihnea Mircan, and literary critic Laura Pavel.
Inhalt concentrates on Eberhard Havekost’s painting from the past ten years, focusing on work first exhibited at KINDL – Centre for Contemporary Art, Berlin, in 2016/17. The work’s heterogeneity is evident in the selection of subjects, as well as the styles employed. This extreme range characterizes Havekost’s artistic work as a whole. The artist situates his paintings in complex interrelationships, where connections and relevancies are constantly reconfigured, forming a continuously growing web.
For almost fifty years, Lydia Okumura has explored the realm of geometric abstraction. She challenges our perception of space through sculptures, installations, and works on paper that blur distinctions between dimensions.
|Spaces of CommoningArtistic Research and the Utopia of the Everyday|
Spaces of Commoning: Artistic Research and the Utopia of the Everyday is the outcome of a research project pursued by a group of artists, architects, and social theorists. In the face of an exhilarating politics of accumulation and dispossession, the group explores commoning as the subject as well as the means of its study.
|Darja BajagićUnlimited Hate|
For her first institutional solo Darja Bajagić turns to the murky terrain where real and staged violence bleed into each other with an ease both unsettling and alluring. This has been a key undercurrent to a practice that spans painting, sculpture, video, and installation. Following the lure of the fringes, the artist culls her imagery from fan-gore magazines, true-crime TV shows, fetish websites, obscure online forums, and hidden chat rooms tucked away in the darker reaches of the Web.
|Boris Groys (Ed.)Beyond the Globe
8th Triennial of Contemporary Art U3
In our cultural imagination, the cosmos is a harmonious, utopian universe, but it is also uncontrollable, even unknown, and the source of a specifically modern fear or uneasiness—one that could be described as “cosmic anxiety.” This catalogue presents many possibilities for the artistic exploration of the topic at hand: the connection between artistic and scientific imagination, the cosmos as analysis of sci-fi culture, perspectives of corporeal immortality, and the critique of contemporary technology.
|Martin HerbertTell Them I Said No|
This collection of essays by Martin Herbert considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms. A large part of the artist’s role in today’s professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Essays on Lutz Bacher, Stanley Brouwn, Christopher D’Arcangelo, Trisha Donnelly, David Hammons, Agnes Martin, Cady Noland, Laurie Parsons, Charlotte Posenenske, and Albert York.
|Hannah RickardsGrey light
Left and right back, high up, two small windows
Grey light. Left and right back, high up, two small windows is a major new work by London-based artist Hannah Rickards commissioned by Fogo Island Arts. The publication features texts by Melissa Gronlund and Will Holder and striking new photographic imagery drawn from the installation’s physical materials and production process. Like Rickards’s work, the publication aims to bridge the distance between visual experience and its expression in language, whether spoken, written, or gestural.
|Anthony Downey (Ed.)Future Imperfect
Contemporary Art Practices and Cultural Institutions in the
Future Imperfect critically examines the role played by cultural institutions in producing present-day and future contexts for the production, dissemination, and reception of contemporary art in the Middle East and North Africa. It offers historical contexts for discussions that have become increasingly urgent in recent years—the role of culture in a time of conflict and globalization—and an in-depth critique of the state of cultural institutions in an age of political upheaval, social unrest, exuberant cultural activity, ascendant neoliberal forms of privatization, social activism, and regional uncertainty.
|Nathalie Du PasquierBIG OBJECTS NOT ALWAYS SILENT|
Nathalie Du Pasquier was one of the founding members of Memphis, the groundbreaking Milanese design and architecture collective. Since 1987, however, her main focus and passion has been painting. The title of this publication describes the main focus of her work: the still life. It consists of an artist’s book by Du Pasquier with drawings, photographs, and reproductions of her paintings, and a book with photographs by Delfino Sisto Legnani of works from the past decades. Texts by writers and artists and an interview with Du Pasquier provide an informative and subjective view of her artistic practice.
|Ute Meta Bauer, Brigitte Oetker (Eds.)SouthEastAsia
Spaces of the Curatorial/Räume des Kuratorischen
This publication focuses on the practice of curating in Southeast Asia, a region experiencing a time of increased global visibility as well as nation and institution building. The diversity of voices in this publication mirrors the complexity of the region itself: its various curatorial spaces, infrastructures, and political systems.
|Margit BuschIF—THEN—ELSE. Welcome to Transciency
Preis der Kunsthalle Wien 2016
Addressing possible configurations of art and nature, Margit Busch, recipient of the Kunsthalle Wien Prize 2016, created a laboratory-cum-experiment that included mealworms and beetles that consume, and thus recycle, polystyrene plastic. By generating insights into the discipline of “transciency”—devoted to perspectives, research methods, and representations operating through and beyond science—Busch’s project sheds light on the meeting points of scientific, philosophical, artistic, and practical discourses.
|Andrej PolukordThe Sarcophagus
Preis der Kunsthalle Wien 2016
Andrej Polukord, corecipient of the Kunsthalle Wien 2016 prize, draws on painting, installation, performance, and video art to create unpredictable environments and absurd situations that produce double meanings and ambiguity. Polukord installed The Sarcophagus at Kunsthalle Wien, an environment that takes the form of a cave. In this installation mushrooms grow from the ceiling of the Kunsthalle, transforming the gallery into the space of an inverted forest floor.
|Sophia Yadong Hao, Edgar Schmitz (Eds.)Hubs and Fictions
On Current Art and Imported Remoteness
Hubs and Fictions, originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures are invented against its background. The book functions as a deliberately discontinuous reader; it juxtaposes documents, negotiations, and reflections from and on these conversations.
|Monica RossEthical Actions
A Critical Fine Art Practice
British artist Monica Ross (1950–2013) left behind forty years of socially engaged, feminist, and performative artwork, which has had a deep effect on contemporary art and society. This fully illustrated publication documents Ross’s works from 1970 to 2013.
|Boris GroysParticular Cases|
This collection of essays does not aim to illustrate a prefabricated theory of art, but rather follows the impulses given by artworks themselves. Philosopher and art critic Boris Groys writes about significant artists and artworks of the last century that have pushed his thinking and writing in a new direction. His striking and original arguments do not try to substitute the singular content or message of an artwork. Rather, the writings are inspired by art as a mind-changing practice—as if contemporary artists, completely secularized, can still produce a sort of conversion within the spectator.
|Jan Paul Evers, Leon Kahane, Jumana Mannaars viva 2017|
The ars viva Prize has been awarded annually since 1953 to young artists living in Germany whose work stands out for its innovative potential and high artistic quality. The recipients of this year’s prize are Jan Paul Evers, Leon Kahane, and Jumana Manna.
|James RichardsRequests and Antisongs|
Requests and Antisongs is an artist’s book to accompany a sequence of exhibitions by James Richards held at Bergen Kunsthall, Norway; Institute of Contemporary Arts, London; and the Kestner Gesellschaft, Hanover. The book contains a series of visual essays by the artist, documentation of recent exhibitions, as well as essays by Dan Fox, Ed Atkins, Steve Reinke, Chris McCormack, and Fatima Hellberg.
|Anastasiya YarovenkoPreis der Kunsthalle Wien 2015|
Anastasiya Yarovenko, one of the two recipients of the 2015 Kunsthalle Wien Prize, makes work concerned with the body’s relationship to societal structures, behaviors, and space. In her installation Mimicry at Kunsthalle Wien Karlsplatz, the Ukrainian-born artist assembled a selection of objects that don’t represent any definitive state but that possess the potential to interact with the viewer or surroundings. These objects consist of collapsible and modular furniture-like elements, as well as seemingly nonfunctional sculptures made of light materials
|Karina MendreczkyPreis der Kunsthalle Wien 2015|
With delicate lyricism, Karina Mendreczky creates fictional landscapes using light and shadow. As one of two recipients of the 2015 Kunsthalle Wien Prize, she created the installation Thin Dream at Kunsthalle Wien Karlsplatz. Silhouettes of acrylic trees, whose details were hand-carved with an etching needle, were projected onto the back wall of the gallery to create the impression of actual large-format drawings.
|Boy Vereecken (Ed.)Signature Strengths|
The No-Frills book series was developed in the early 1980s as a translation of the non-branding strategy of supermarket staples to mass-market genre fiction. The result of research into this experimental series, Signature Strengths also includes complete reproductions of its books—Western, Mystery, Science Fiction, and Romance.
|Geoff Cox, Jacob LundThe Contemporary Condition
Introductory Thoughts on Contemporaneity and Contemporary Art
What do we mean when we say that something is contemporary? And what should the designator “contemporary art” refer to? An immediate response would be that contemporary art is an art of the present, that it somehow addresses and expresses the present. But what is this present? What constitutes the present present or the contemporary contemporary? This first book in the Contemporary Condition series introduces some of the key issues concerning contemporaneity as a defining condition of our historical present. It thus acts as an extended preface to the series as a whole, calling for a rethinking of the deep structures of temporalization that render our present the way it is.
|Jussi ParikkaA Slow, Contemporary Violence
Damaged Environments of Technological Culture
The contemporary moment is comprised of many overlapping speeds, rhythms, and periods of time. A central theme of Jussi Parikka’s book concerns slowness instead of acceleration: a different sort of a temporal horizon in order to understand some of the environmental temporalities that media and technological arts are involved in. This is approached through art and design practices that unfold this multiplicity of time, closely entwined with contemporary concerns in aesthetic theory, to understand and engage with the planetary time scales of slow environmental violence.
|Terry SmithThe Contemporary Composition|
Can we speak of composition when we are in a state of unfathomable decomposition? Art being made today defies coherent categorization, and the world presents itself, day after day, as spinning into confused chaos, structural disintegration, and violent disorder. Revising his well-known histories of contemporary art, Terry Smith argues that we must respond to the compelling need for coeval composition at a time defined by the contemporaneity of divisive difference. This book traces how—despite many obstacles—visual artists across the globe are rising to this challenge.
|Gordon BennettBe Polite|
Gordon Bennett: Be Polite follows the exhibition of largely unseen works on paper by one of Australia’s most visionary and critical artists, Gordon Bennett (1955–2014). The exhibition and publication are the first to present the work of Bennett since his death. Though rarely seen in exhibition contexts, Bennett’s drawing and writing formed the foundation of his practice.
|Nicholas ManganLimits to Growth|
This publication accompanies Australian multidisciplinary artist Nicholas Mangan’s survey exhibition “Limits to Growth.” The exhibition and book bring together four of Mangan’s most significant works of the past seven years, alongside a new commission. The works in the show tackle narratives from his own geographical region—Asia Pacific, in which his home country of Australia plays a colonial role—and weaves them into a bigger picture to take into account the global economy, resource extraction, and the ultimate power of the sun.
|Angela Bulloch, Maria ZerresConsidering Dynamics and the Forms of Chaos|
This volume accompanies the eponymous exhibition at the Sharjah Art Museum—two parallel solo shows by Angela Bulloch and Maria Zerres brought together under one title, framed by the notion of entropy. A key term that characterizes the movement toward chaos, entropy appears in a variety of fields such as physics, probability theory, sociology and information technology. Within contemporary art, entropy has emerged to refer to installations often associated with representations of order, disorder and information, and their homogeneity.
Traction argues that contemporary art is defined by a moral economy of indeterminacy that allows curators and artists to imagine themselves on the other side of power. This self-positioning, in turn, leaves us politically bankrupt, intellectually stagnant, and aesthetically predictable. In his memoir-polemic, curator and writer Tirdad Zolghadr candidly reflects on his own experiences and the work of others.
|Jill MagidThe Proposal
Critical Spatial Practice 8
The eighth volume of the Critical Spatial Practice series focuses on Jill Magid’s “The Barragán Archives,” a multiyear project that examines the legacy of Pritzker Prize–winning architect Luis Barragán (1902–1988), and questions forms of power, public access, and copyright that construct artistic legacy.
|Keren CytterA–Z Life Coaching|
An incomplete guide for life. Each person written about is represented by a letter, and when an object turns into a subject it is marked in bold.
This book was written from the middle. The contents of these pages have been modified numerous times. Notes were taken, ideas were rewritten—the ones that survived bare the most essential guidelines and wisdom for life
Kalimpong is an artist project in book form by the London-based artist Shezad Dawood. Set in Kalimpong at various moments from 1912 to the present day, Dawood’s project is part fact, part fiction. There are explorers and spies, poets and travelers, lovers and strangers, princesses and humanoids, all strangely connected across the globe through this curious Indian town.
|Francis McKeeHow to Know What’s Really Happening|
In this post-truth era, how does one navigate the endless information available and choose a viable narrative of reality? In How to Know What’s Really Happening Glasgow-based writer and curator Francis McKee looks at various techniques for determining verity, from those of spy agencies and whistle-blowers to mystics and scientists.
|David HarveyAbstract from the Concrete|
Marxist geographer David Harvey opened his lecture with a fact: between 2011 and 2013 China consumed 50 percent more cement than the United States had in the entire twentieth century. In Abstract from the Concrete, he asks why. Spiraling outward—geographically and materially—Harvey travels from the building industry in China to the foreclosed housing market in the United States to the automobile industry in São Paolo and back again. The why emerges as a direct result of “anti-value,” of capital in crisis—intrinsic, he contends, to capital and capital cities today.
|Irena HaidukSeductive Exacting Realism|
A 13-volume set of Marcel Proust’s collected works was published in Yugoslavia in 1967. This edition, in the Latin alphabet, was highly valued by Yugoslav intelligentsia for its elegant translation from French by the poet Tin Ujević. During the Bosnian civil war, these Proust sets fetched up to the equivalent of a full year’s salary in the Belgrade black markets. They were frequently looted together with other valuables from Bosnian homes. The set exhibited in Irena Haiduk's “Seductive Exacting Realism” was seized by local police from Belgrade Kalenić Market in 1995. It was acquired at a public auction in 2014. It is missing volume number 12.
|Ingo NiermannSolution 257
It’s 2011, late summer. All over Europe, young people are occupying central public squares to demonstrate for more social justice. In Berlin, their agenda is different. The completists gathered at Alexanderplatz aspire for justice primarily on an intimate level. They believe that only when the redistribution of material wealth includes equal chances of finding sex and love—no matter how elderly, disabled, or ugly you are—communism will become real.
|Michalis Pichler (Ed.)Books and Ideas after Seth Siegelaub|
Books and Ideas after Seth Siegelaub spans an arc of tension between the works of Seth Siegelaub and contemporary cultural production. It features an interview with Seth Siegelaub, two essays by Regine Ehleiter and Michalis Pichler, and an extensively illustrated catalogue with bibliographic details.
|Sabeth Buchmann, Ilse Lafer, Constanze Ruhm (Eds.)Putting Rehearsals to the Test
Practices of Rehearsal in Fine Arts, Film, Theater, Theory, and Politics
Although the format of the rehearsal is used across a number of disciplines—film and theater as well as fine arts—it has been scarcely considered in historical and contemporary art discourses. With this in mind, Putting Rehearsals to the Test investigates the role and function of the rehearsal as a methodology, modus operandi, medium, site of representation, and reflection on processes of artistic production.
|Samuel Bianchini, Emanuele Quinz (Eds.)Behavioral Objects I
A Case Study: Céleste Boursier-Mougenot
What exactly is a behavioral object? How can it be analyzed, understood, theorized, experienced, and how can we conceive of works that possess the faculty of action and reaction to their environment and public? Examining three works by Céleste Boursier-Mougenot, this book tackles these questions and defines a new field of research and practice.
|Pauline Boudry/Renate Lorenz I Want|
This publication documents the major film installation I Want (2015) by collaborative artists Pauline Boudry and Renate Lorenz. The double-projection film installation is based on a script that borrows texts from American punk-poet Kathy Acker, as well as chats and materials by convicted whistle-blower Chelsea Manning that speak of her reasons for revealing nearly one million secret military and diplomatic documents through WikiLeaks, at the same time exposing her transgender identity to her superiors. Through poetic gestures of appropriation and recombination, Boudry and Lorenz examine issues around gender, sexuality, the performance of identity, and the nature of collaboration.
|T. J. DemosDecolonizing Nature
Contemporary Art and the Politics of Ecology
While ecology has received little systematic attention within art history, its visibility and significance has grown worldwide in relation to the pressing threats of climate change, global warming, and environmental destruction. By engaging artists’ widespread aesthetic and political engagement with environmental conditions and processes around the globe—looking at cutting-edge theoretical, political, and cultural developments in the Global South and North—Decolonizing Nature offers a significant and original contribution to the intersecting fields of art history, ecology, visual culture, geography, and environmental politics.
|Barbara Gronau, Matthias von Hartz, Carolin Hochleichter (Eds.)How to Frame
On the Threshold of Performing and Visual Arts
From 2012 to 2016, Foreign Affairs, the international performing arts festival of Berliner Festspiele, and the Berlin University of the Arts (UdK) have been investigating the relations between the performing and visual arts. The festival has continuously produced projects with international artists that experiment with various institutional frameworks. This book is both a question and a manual, collecting ideas, knowledge and experiences that stem from the theory and practices developed over the past few years.
|The Baltic Atlas|
“It is impossible, but as you do not know it is impossible, it might be possible.”
—Lolita Jablonskiene, Director of the National Gallery of Art, Vilnius, commenting on previous attempts to organize a joint pavilion including all three Baltic States for the Venice Biennale
|Kate CooperLOOK BOOK|
Through her videos, exhibitions, and photographic works, Kate Cooper explores the role of gender and what agency images might possess in and of themselves. Producing images becomes akin to building infrastructure; her computer-generated bodies are imbued with power and put to work. This publication accompanies the first institutional solo show by Cooper, winner of the 2014 Schering Stiftung Art Award. Cooper returns to the CGI female models used in her exhibition at KW Institute for Contemporary Art, Berlin, to create a new series of works situated within the fictional space of the lookbook.
|Bulletins of The Serving Library #11Summer 2016|
Released to inaugurate The Serving Library’s new red, gold, and green space in Liverpool, this issue is both printed in and concerned with color. It includes Emily Gephart’s account of the Spectra Poetry Hoax of 1916, a truncated phone call from Dexter Sinister to Laszlo Moholy-Nagy, the late, great Muhammad Ali discussing skin color in a 1971 TV interview, reflections on the history of Chroma-key green by Lucas Benjamin, a personal history of paint and painting by Amy Sillman, and further contributions by T. E. White, Umberto Eco, Stuart Bertolotti-Bailey, Tamara Shopsin, and James Langdon.
|Lívia Páldi, Olav Westphalen (Eds.)Dysfunctional Comedy
Dysfunctional Comedy documents a series of public events, performances, and workshops conceptualized by German-American artist Olav Westphalen and organized with different partners, mainly in Sweden, between 2012 and 2015. An intersection of practices, ideas, and images, this artist’s book/catalogue engages with representatives of different traditions and genres in comedic and cartoonist practices to reflect on the rich history of stand-up comedy and political satire.
|Apple. An Introduction(Over and over and once again)|
A supplement to exhibitions held at Museum Abteiberg, Mönchengladbach, and Muzeum Sztuki, Łódź, this book centers around the apple as an art object and as a case study in biodiver sity under threat. Developed over the course of an ongoing, five-year correspondence between artist Antje Majewski and the Polish conceptual artist Paweł Freisler, the project explores the idea of diversity in all of its possible meanings and manifestations, tying together collaborative and associatively connected works by Majewski and Agnieszka Polska, Freisler, Piotr Życieński, and Jimmie Durham in a museum exhibition dealing with the apple.
|Vanessa Joan Müller, Cristina Ricupero, Nicolaus Schafhausen (Eds.)New Ways of Doing Nothing|
“New Ways of Doing Nothing,” a group exhibition that took place at Kunsthalle Wien in 2014, devoted itself to artistic production that opposes activity and instead gives an affirmative slant to forms of doing nothing or refraining—a major influence being the titular character of Hermann Melville’s “Bartleby the Scriviner: A Story of Wall Street.” The book presents the displayed works and artists, but also continues the process that led to the exhibition. Included along with a conversation between the curators is a text collage of reprints and excerpts that introduces those artists and thinkers who, in the words of Bartleby, “prefer not to.”
Toward Participation as Critical Spatial Practice
“At the heart of this book is a simple and profound proposition: to ‘do' architecture is to immerse oneself in a conflictual process of material production—participation is not a productive encounter of multiple practitioners and stakeholders, but a set of conflicts, negotiations, maneuvers, and swindles between and within a multiplicity of agents, human and nonhuman alike—equally including architects, clients, financiers, and builders, say, but also silicon, plastic, concrete, each with its conflicting aims and different material means to achieve them.”
|Florian Malzacher, Ahmet Öğüt, Pelin Tan (Eds.)The Silent University
Towards a Transversal Pedagogy
The Silent University, initiated by artist Ahmet Öğüt in 2012, is an autonomous platform for academics who cannot share their knowledge due to their status of residence, because their degrees are not recognized or regaining access to academia is blocked for other reasons. It is a solidary school by refugees, asylum seekers and migrants who contribute to the program as lecturers, consultants and researchers.
|Abraham Adams, Lou Cantor (Eds.)Intersubjectivity Vol. 1
Language and Misunderstanding
Intersubjectivity, a two-volume collection of essays, is concerned with a new account of our ideas of what subjects are, and what it means for them to meet. The first volume, Language and Misunderstanding, addresses concretism and its discontents. The essays and performance texts herein argue for an expanded consideration of concretism in contemporary practices oriented toward the embodiment of language, in works that challenge the privileging of the body of the word over the body of the artist.
|James Voorhies (Ed.)What Ever Happened to New Institutionalism?|
New Institutionalism, a mode of curating that originated in Europe in the 1990s, evolved from the legacy of international curator Harald Szeemann, the relational art advanced by French critic and theorist Nicolas Bourriaud, and other influential factors of the time. New Institutionalism’s dispersed and varied approaches to curating sought to reconfigure the art institution from within, reshaping it into an active, democratic, open, and egalitarian public sphere. These approaches posed other possibilities and futures for institutions and exhibitions, challenging the consensual conception, production, and distribution of art.
Following the 2015 exhibition “Florian Hecker/John McCracken” at Künstlerhaus, Halle für Kunst & Medien Graz, this publication probes the experimental capacity of the white-cube space of the gallery. For the exhibition, two complementary yet autonomous artists were brought into dialogue with each other: German artist and computer composer Florian Hecker, and the late American sculptor John McCracken.
|Fredrik VærslevAll Around Amateur|
Fredrik Værslev’s work navigates between different painterly traditions, and demonstrates the possibilities and relevance of the medium today. He treats his paintings as objects, often created through more or less laborious, serial, or deterministic processes where time itself, as well as various external factors, become active cocreators in the making of the work. Published in conjunction with Værselv’s exhibition “All Around Amateur” at the Bergen Kunsthall and Le Consortium, Dijon, this publication comes in two different versions, with each book comprising 320 one-to-one digital images scanned from eight of Værslev’s new “sunset” paintings.
|Helge Mooshammer, Peter MörtenböckVisual Cultures as Opportunity|
In the fourth volume of the series Visual Cultures as..., Helge Mooshammer and Peter Mörtenböck analyze the networked spaces of global informal markets, the cultural frontiers of speculative investments, and recent urban protests, and discuss crucial shifts in the process of collective articulation within today’s “crowd economy.”
|Els Silvrants-Barclay, Pieternel Vermoortel (Eds.)Cave 1—Territories|
Cave is a series of publications featuring commissioned and republished explorations, anecdotes, research, documents, case studies, essays, and scenarios on how to think and practice contemporary collecting. The first issue of Cave looks into the territory of the public collection considering it both a semantic ground for institutional collecting as well as political and cultural infrastructure.
|John Douglas MillarBrutalist Readings
Essays on Literature
John Douglas Millar’s Brutalist Readings: Essays on Literature is a significant intervention into recent debates on the place of literature and writing in the context of contemporary art. Featuring essays on the highs and lows of the conceptual turn in poetics, avant-garde literary genealogies, and monographic pieces on Paul B. Preciado, Chris Kraus, and Pierre Guyotat, among others, Brutalist Readings explores the radical histories of writing, as well as its potential now.
|PresenceA Conversation at Cabaret Voltaire, Zurich|
Recently, the idea of “presence” has returned to the arts, humanities, and social sciences. In February 2013, in Zurich’s historical Cabaret Voltaire, which was central to the Dada movement almost a hundred years ago, an experimental international symposium took place that put presence under the microscope.
|Jens Hoffmann (Ed.)United States of Latin America|
This publication documents the exhibition “United States of Latin America,” held at the Museum of Contemporary Art Detroit (MOCAD), in collaboration with the Kadist Art Foundation. Bringing together their shared and ongoing engagement with artistic practices from Latin America, Jens Hoffmann and Pablo León de la Barra have assembled one of the most significant contemporary survey’s of recent art from the region.
|Simon Battisti, Leah Whitman-Salkin, Åbäke (Eds.)I Have Left You the Mountain|
“I Have Left You the Mountain” presents ten new texts written by contemporary writers and thinkers on the architecture of displacement. These texts have been set to music and sung by some of the last remaining groups of Albanian iso-polyphonic singers, an art form now protected as “intangible cultural heritage” by UNESCO.
|Lara FavarettoAgeing Process|
Ageing Process, Lara Favaretto’s first monograph, documents the artist’s works from the 1990s to her most recent installations presented in the 2015 exhibition “Good Luck!” at MAXXI in Rome. Structured like a manual, this volume accompanies entries on her works with essays by critics and experts from various disciplines who tackle themes complementary but not directly connected to the artist’s practice.
Charlemagne Palestine works from a highly personal universe of ritual, intoxication, and shamanism. Over the last four decades the artist has created an extensive body of experimental musical compositions, bodily performances, and, in later years, visual artworks inhabited by stuffed animals. To Palestine, teddy bears figure as powerful shamanic totems, which he fondly calls “divinities.”
|Josephine Meckseper10 minutes after|
10 minutes after features installation views from Josephine Meckseper’s recent exhibition at Timothy Taylor, a gallery of “psychoimages,” and two newly commissioned texts. Independent curator and writer Piper Marshall considers ideas of détournement, the readymade, and base materialism in Meckseper’s oeuvre, while writer and editor Domenick Ammirati explores the significance of painting and text within Meckseper’s installations.
|Ina BlomThe Autobiography of Video
The Life and Times of a Memory Technology
In her innovative take on early video art, Ina Blom considers the widespread notion that video technology was endowed with lifelike memory and agency. She follows the reflexive unfolding of an analog technology that seemed to deploy artists and artistic frameworks in the creation of new technical and social realities. Blom documents, among other things, video’s emergence through the framework of painting, its identification with biological life, its exploration of the outer limits of technical and mental time control, and its construction of new realms of labor and collaboration.
Duskdust is an artist book by Susanne Kriemann. It takes as its starting point the former industrial site of limestone mining at Furilden peninsula on the northeastern coast of Gotland, Sweden’s biggest island. It is informed by the artist’s ongoing preoccupation with photography, labor, and archaeology and includes photographs taken during her residencies and site visits, archival material as well as text contributions by invited authors.
|Olivia Plender Rise Early, Be Industrious|
As the first significant overview of the work by artist Olivia Plender, this monograph navigates through the evolving attitudes to historical and contemporary forms of communication and education that her research-based practice has explored for the last ten years.
|Transparenzen/TransparenciesThe Ambivalence of a New Visibility /
Zur Ambivalenz einer neuen Sichtbarkeit
The globalized world seems at once transparent and opaque. The exhibition project “Transparencies” examined the cultural facets and atmospheres of these (non-)transparencies. The two-part, joint exhibition project in Bielefeld and Nuremberg was dedicated to developments in “transparent society,” asking how these are reflected in the current work by contemporary artists.
|Hugo Boss Asia Art
Award for Emerging Asian Artists 2015
This substantial publication presents the shortlisted artists for the HUGO BOSS ASIA ART Award for Emerging Asian Artists 2015, and the accompanying exhibition at the Rockbund Art Museum. The art prize aims to put into practice and to question intra-Asia art connections, gaps, and combinations that build very active art scenes from specific contexts to ongoing extensions. In their work, the six finalists—Guan Xiao, Huang Po-Chih, Moe Satt, Maria Taniguchi, Vandy Rattana, and Yang Xinguang—reflect, build, and imagine new art scenes in such different contexts as Cambodia, Mainland China, Myanmar, Philippine, and Taiwan.
|Markus Miessen, Yann Chateigné (Eds.)The Archive as a Productive Space of Conflict|
The applied research project and publication The Archive as a Productive Space of Conflict deals with archival practice and its spatial repercussions. Inquiring whether any accumulation and organization of knowledge is productive—to the effect that it generates a narrative and/or history—the project focuses specifically on archives becoming productive due to their spatial framework.
|Annette Gilbert (Ed.)Publishing as Artistic Practice|
What does it mean to publish today? In the face of a changing media landscape, institutional upheavals, and discursive shifts in the legal, artistic, and political fields, concepts of ownership, authorship, work, accessibility, and publicity are being renegotiated. How the traditional publishing framework has been cast adrift, and which opportunities are surfacing in its stead, is discussed here by artists, publishers, and scholars through the examination of recent publishing concepts emerging from the experimental literature and art scene, where publishing is often part of an encompassing artistic practice.
|Wendelien van OldenborghAmateur|
Amateur is the first comprehensive publication about Wendelien van Oldenborgh’s moving image works, and their accompanying installations. Developed over the past ten years of her practice, these works explore communication and interaction between individuals, often against the backdrop of a unique public location, in order to cast attention on repressed, incomplete, and unresolved histories.
|Frederick KieslerFunction Follows Vision, Vision Follows Reality|
This collection of unpublished or rare texts by Frederick Kiesler written between 1927 and 1957 focuses on Kiesler’s ideas on display, and juxtaposes works of contemporary artists with a number of original drawings by Kiesler.
|Eva Grubinger Black Diamond Bay|
Eva Grubinger’s exhibition explores the idea of psychological landscapes—a physical or mental journey—that evokes ideas of escapism and the search for the self. Released in conjunction with the show, this catalogue features visual documentation of the exhibition by Sylvain Deleu, and an accompanying text by Fatoş Üstek.
|Nav Haq (Ed.)Syntax and Society
The Abraaj Group Art Prize 2016
This double publication offers further investigation into the work of the recipients and shortlisted artists of ninth installment of The Abraaj Group Art Prize. Syntax and Society, the first volume, reflects on the exhibition premise that considered the structure and meaning of language and the role it plays in society, with a focus on the work of the three shortlisted artists, Dina Danish, Mahmoud Khaled, and Basir Mahmood while the second volume, Oh Shining Star Testify, focuses on the work of award-winning artist duo Basel Abbas and Ruanne Abou-Rahme.
|Chen ZhenWithout going to New York and Paris, life could be internationalized|
This catalogue presents an art-historical angle on Chen Zhen’s unique way of questioning his experience of globalization through art. It includes documentation of the eponymous exhibition at Rockbund Art Museum (May 30–October 7, 2015), along with detailed sketches of both existing and unrealized projects.
|Isabelle Graw, Ewa Lajer-Burcharth (Eds.) Painting beyond Itself
The Medium in the Post-medium Condition
In response to recent developments in pictorial practice and critical discourse, Painting beyond Itself: The Medium in the Post-medium Condition seeks new ways to approach and historicize the question of the medium. Reaching back to the earliest theoretical and institutional definitions of painting, this book—based on a conference at Harvard University in 2013—focuses on the changing role of materiality in establishing painting as the privileged practice, discourse, and institution of modernity.
|Luca Lo Pinto, Nicolaus Schafhausen, Anne-Claire Schmitz (Eds.)Individual Stories|
Photographs, books, and knickknacks: artists collect a variety of objects. While artists generate personal collections, which often address different formal, aesthetic, or conceptual concerns, it is difficult to separate this activity from their artistic practices. Over time, whether intended or not, such accumulations of items may become works of art. Individual Stories considers the collection as a portrait of its collector and also as an artistic method—as a process rather than an end result. This catalogue is a compilation of individual collections that could not be more different.
|John C. WelchmanPast Realization: Essays on Contemporary European Art
XX–XXI, Vol. 1
This volume is a collection of dynamic and engaged writings by art historian John C. Welchman on a range of contemporary European artists: Vasco Araújo, Cosima von Bonin, Jan De Cock, Orshi Drozdik, Susan Hiller, Andy Hope 1930, Michael Kunze, Nathaniel Mellors, Miguel Palma, José Álvaro Perdices, Sascha Pohle, Thomas Raat, Nicola Stäglich, and Xavier Veilhan. Anchored in concerns that emerged in the late 1960s and 1970s, Welchman poses thoughtful and provocative questions about how these artists receive and negotiate the social and aesthetic histories through which they live and work.
The subject of this book is a deceased prop, an object of a particular color, the green of cinematic trickery and special effects. It edged itself into Shahryar Nashat’s work in 2011, first appearing in Factor Green, an installation the artist produced for the Venice Biennale. Taking its final form a year later, the prop became properly known as La Shape. Accompanied by archival images and a series of portraits that Nashat made during La Shape’s most prolific years, Obituary is a gripping read into a most mysterious icon and a timely consideration of the roles played, and agency expressed, by such a highly mediated art object.
|Felicity D. ScottDisorientation: Bernard Rudofsky in the Empire of Signs
Critical Spatial Practice 7
In the seventh volume of the Critical Spatial Practice series, architectural historian Felicity D. Scott revisits the Viennese émigré architect’s readings of the vernacular both in the United States and Japan, which resonate with his attempts to imagine architecture and cities that refused to communicate in a normative sense. Rudofsky’s unconventional musings take on a heightened resonance in a contemporary world saturated with visual information.
|Bulletins of The Serving Library #10Winter 2015|
This tenth volume is a “sampler” issue comprising one choice Bulletin from each of the previous nine. From now on, Bulletins of The Serving Library will proceed in full color and at half its former size (but will be twice as good).
|Boris Ondreička, Nadim Samman (Eds.)Rare Earth|
Rare Earth is an attempt to define the spirit of an age. Exploring how today’s myths, identities, and cosmologies relate to current advances in technology—through reference to the material basis to our most developed weapons and tools; a class of seventeen rare earth elements from the periodic table—Rare Earth challenges the rhetoric of immateriality associated with our hypermodern condition.
|Jesko Fezer & Studio Experimentelles Design (Eds.)Öffentliche Gestaltungsberatung—Public Design Support 2011–2016|
An experiment with alternative forms of design, Public Design Support is also an intervention in urban life. It helps local residents and others to shape their lifeworld and explore possibilities for action, instead of the usual experience of powerlessness and marginalization in the face of urban development. Public Design Support offers free practical help in dealing with everyday problems while also helping to develop alternative conceptions of the city. This publication—which includes key project materials, scholarly essays, and significant historical texts—chronicles the aspirations, methods, and projects of the first four years of Public Design Support.
|Roee RosenThe Blind Merchant|
An artist book juxtaposing text and image, history and its revision, The Blind Merchant was produced from 1989 to 1991. The work is composed of three elements: the complete text of Shakespeare’s The Merchant of Venice; a “parasitical” text written by Roee Rosen that runs alongside the play, adopting the perspective of the principal antagonist Shylock, the Jewish moneylender; and 145 drawings that present an alternative approach to the drama’s staging and casting of characters—Shylock is depicted as the blind merchant with drawings made by the artist while blindfolded.