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In a reverse way, the artful operetta The Dust Channel ends with a collage of television images, including fragments of news broadcasts about refugee camps. Thus brutally drawing the art into the domain of daily reality. Rosen too is hard to pin down on the often controversial points of view in his work, because he skilfully juggles with what is real and what is not. In the video Two Women and a Man , again seemingly realistic in the form of a number of TV interviews, Rosen himself appears as a female scholar who strongly criticizes a fictionalized artist named Roee Rosen.

It is dizzying, but in a very good way. Panel and project launch in collaboration with Cairotronica , Egypt. In this event we will discuss how critical and creative use of new technologies, data, the internet and other digital media platforms can support creativity, autonomy and agency. Together with our partner Cairotronica from Egypt we will focus on the situation in various regions in the world, like Africa and the Middle East.

In this collaboration the two organizations plan to bring together artists, researchers, developers, coders, designers, activists and journalists from Egypt, the Netherlands and elsewhere to work on projects that contribute to a better understanding of the way data and new technologies are used by our society. The projects will also explore how we can use and appropriate these technologies ourselves for fun, diversity and art.

Investigative journalism is essential to a healthy democracy. Today, it has come under threat across the world. In many countries authoritarian rulers limit the freedom and resources of journalists. Meanwhile, fake news seems to travel faster than the truth, sowing doubt and division among countries such as Russia and the U. Bellingcat uses social media, Google Earth and online documents to monitor those who are in power. It proved that the Kremlin was involved in the downing of flight MH17, and revealed the identities of the suspects responsible for poisoning double agent Skripal.

Now Higgins wants to empower citizens to take control of their own digital life and consciously use technology.

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The presentation includes a screening of Explaining the Law to Kwame , the final part of Kafka for Kids , shown here as a self-standing short film. The studio audience, however, continues laughing on cue, seemingly oblivious to the alarming content of the jokes. Rosen investigates the mechanisms of humor and how we deal with disturbing and forbidden subjects. What remains when the laughter has died out?

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Join us for a conversation and a free drink at 19 May, ! He also edited and introduced a collection of short texts by Roee Rosen, which were published by the Edith-Russ-Haus and Sternberg Press on the occasion of his first solo exhibition in Germany. Who Is afraid of Roee Rosen? Je bent eindverantwoordelijk voor de publiciteitsvoering en marketing van het IMPAKT Festival en onze activiteiten in de aanloop naar het festival. Je produceert het drukwerk waarmee het festivalprogramma naar het publiek gebracht wordt en zorgt d.

Je stelt en bewaakt deadlines en stuurt vertalers, tekstschrijvers, vormgevers en drukkers aan. In je werk word je ondersteund door stagiaires en je bent verantwoordelijk voor hun begeleiding. Je hebt gevoel voor taal en weet hoe je de inhoud van het festival het beste naar voren kunt brengen. Je hebt een uitstekende kennis van zowel de Nederlandse als Engelse taal. Je bent goed thuis in de beeldende kunst, technologie, film en mediacultuur. Je hebt een professioneel netwerk dat hierop aansluit en bent goed op de hoogte van relevante journalisten, organisaties en mediakanalen als online magazines en blogs.

Ben je klaar voor een gevarieerde en veeleisende baan? Word je gedreven door een passie voor cultuur en een hang naar perfectie? Schrik je niet van hard werken en herken je je in bovenstaande vacature? Ervaring is belangrijk maar ook jeugdig enthousiasme en aangeboren talent voor de functie worden meegewogen. Woonplaats Utrecht is een pre. De eerste gesprekken vinden plaats op 28, 29, 30 mei De tweede gespreksronde vindt plaats op 4, 5 en 6 juni Met een programma dat bestaat uit een jaarlijks festival, events, internetprojecten, residencies en workshops neemt IMPAKT in het Nederlandse en internationale culturele landschap een unieke plek in.

In de aanloop naar het festival groeit de bezetting naar 5 fte. Stagiaires vormen een wezenlijk onderdeel van de organisatie en tijdens het festival werken er veel vrijwilligers mee. In video works, paintings and texts, Rosen provocatively links politics to erotica, physical intimacy, trauma and identity. In addition to the video works there will be a reading room with a number of books created by Rosen.

One book is written by the fictional Justine Frank, a Jewish-Belgian surrealist paint and author. Sweet Sweat is a hybrid of the pornographic novel Frank supposedly authored, her biography, and a pseudo-academic study of her provocative persona. The exhibition is open Wednesday — Sunday — until 26 May Tickets are available here. Why is there so much bullshit these days? This is a question that many people find themselves asking.

And while it might seem glib we would be wise to take this question seriously. With researchers from OILab. In each plane, the 12 actors carry the letters that make up the literary body. The letters are volumes in three dimensions, the actors are anonymous people of the city and the city acts as a scenery. The film is composed of eight long shots in which the character is centrally framed, almost locked in. We listen to dreams. Little by little, the details words and spaces give away their special features. Locked inside the walls of a prison, the dreams are those of the inmates, who share them with the spectator, staring straight into the camera.

Hallucinations are widespread, confusing dreams while asleep with those while awake, just like rap with electronica. The dream of one finishes, at times, in that of another. Global Windshield, The Musical replicates the state of hypnosis produced by the prolonged driving in a highly predictable environment in order to rethink, propose and imagine preferable futures. A trip in a scenario in completely disconnection with nature that investigates from the most human the sensation of loss of control, failure and impotence.

The songs in the video explore how we ignore the signs that manifest around us to live in a world anesthetized by the promises and hopes that technologies offer us. If the traces of our past have become virtual and our present is delivered to a world whose greatest treasure is the data archived as zeros and ones. What proportion of reality remains tangible?

Mathilde ter Heijne Lament, Song for Transitions. Lamenting is an ancient oral tradition that combines singing and crying. Everywhere in the world, women have traditionally sung and continue to sing these songs at transitional moments in life such as funerals and weddings, or bidding farewell to a loved one. The ritual is used to express suffering and sorrow, heal pain and trauma, and connect the past with the present to advance into the future.

The material for Lament, Song for Transitions was recorded at a workshop the artist organized during her stay in Suomenlinna, Helsinki, Finland , where she invited singer Pirkko Fihlman to teach the almost forgotten, ancient Karelian lamenting technique. The voice is suture, the voice is seam, the voice is cut, the voice is tear, the voice is my identity, it is not body or spirit, it is not language or image, it is sign, it is a sign of the images, it is a sign of sensuality.

It is a sign of symbols, it is boundary. The breath of life is its source…. A man chanting monosyllables, over and over, and a young man mimicking him simultaneously. The sing-song that we hear is captivatingly primal and intensely humane. What we see is an accent removal class for an immigrant conducted by a speech therapist in Birmingham UK , a city which is paradoxically known for its strong accent.

The work looks at the phenomenon of cultural integration through the erasure of difference in pronunciation and the production of neutrality; obtaining the voice mask, which allows a misfit to shift between different modes of appearances and enables him or her to blend into the environment—to become unnoticeable. The site of the Arecibo Observatory is also home to the last remaining wild population of critically endangered Puerto Rican Parrots, Amazona vittata.

Filmed directly from the screen of a smartphone using a language translator app that has been told to translate from French into English, Steve Hates Fish interprets the signage and architecture in a busy London shopping street. In an environment overloaded with information the signs run riot as the confused and restless software does its best to fulfil its task. The work investigates the mental state of political amnesia by looking at the media images in Turkey, mainly of public figures in order to avoid charges or threats.

On the other hand, there are people who do not want to never forget anything and they keep talking. As they keep talking, they lose visibility and have to claim it via other channels than mainstream media. The Pressures of the Text integrates direct address, invented languages, ideographic subtitles, sign language and simultaneous translation to investigate the feel and form of sense, the shifting boundaries between meaning and meaninglessness.

Television is all talk, which is of precious little meaning. Hollow words, fixed expressions and meaningless gestures form the framework of this video. Ambiguity and persuasion are collateral effects of language as a relational system, which underlies the social aspect of communication. Does language communicate more or less that it communicates? By trying of deconstructing the authority of the speaker, being this human, machine or institution the films in the program use diverse strategies to make the language speak more than it actually does, revealing the ways of producing hide, codified and secret meanings.

An agitprop film that was made for political purposes, Farocki reacted in a very direct way to the key political events of — the anti-Springer press campaign and the excesses of US violence in Vietnam. Alternating the drift and investigation, several characters without any apparent links are found bound together for the same quest, in the traces of the submarine fiber optic cables the connect the infrastructures of the city.

These routes are fed by historical accounts of the first telegraphic cables in the era of a colonized India. In this film, every frame corresponds to one page in the Encyclopaedia Britannica, and at a speed of seventeen frames per second, this reduces the text to an illegible blur, and produces an initial anxiety as the viewer attempts to understand the information as it flashes past. So, the point of departure is a text that is universally considered canonical in terms of access to knowledge in its widest sense.

Its illegibility here is a reflection on human incapacity to take in knowledge through books and encyclopaedic learning, using a method that turns the text into the object of a new mode of visual perception. Peter Greenaway was teaching his children the alphabet and, as an exercise, began thinking of all the possible words that begin with the letter H. The film plays with the absurdity of the idea of the alphabet as an index used for organising information. The work is a deceptively simple and ultimately chilling meditation on the power of text.

Speech acts reveals the individual features of language in every single person through the spoken words using the own voice. Beyond this speaking ability, singing involves an extended bodily and performativity dimension which relies more widely on the expressive function of language.

But what if the saussurien parole as the complementary to langue reunites not only the individual, the emotional and the physical but turns into a collective protest strategy? Being a voice and not an echo constitutes the base of empowerment against linguistic dressage and thinking patterns. The works in the program oscillate between both the individual and collective body and explore mechanisms to unveil hierarchical and normative structures, proposing a polyphonic spectrum of micropolitics of voice. Language creates artefacts for mapping and categorizing the world which provide order and clarity but bring into light processes of inclusion and exclusion.

Further, statements and discourses act as a dispositive of production of knowledge and opinion which are subtle but deeply influenced by institutions and power instances. These ways of seeing and understanding the world are varying historically, giving rise to different paradigms which affect the order of things and the perception of reality.

However, even in this optimal situation half-truth, information manipulation and fake news are current practices, which coexist with severe censure of political totalitarian regimes fuelled by digital media ways of spread information based on a biased consideration of facts. The program explores critical aspects from encyclopaedic knowledge, the possible nonsense of language as communication tool and reflects on journalistic and corporate truth fabrications. How do we talk to our machines and other intelligences? If an interface is the place or mode of interaction between human and technology, or between two entities, expanding the notion of communication to other, non-human systems creates possibilities of understanding and new dialogues previously not open to us.

How can we support presentations of art works that use digital media in museums and other contemporary art showcases? And how can we use new digital technologies to deepen the experience of the audiences of art events? How the future of the interface connects to discussions regarding agency and our relation to technology companies and providers. With each gesture we make and every act we undertake we transfer information, information that is part of our interaction with the people that are close to us and with the institutions and concepts that define our society.

What will happen now that the way these systems function is determined more and more by artificial intelligence and algorithms? Who will design, produce and control the interfaces of the future? How can we maintain agency on these new platforms and intermediates that we will be so dependent on? Moderator: Tobias Revell curator, UK. Contested Territories Friday 1 March Online platforms, games and new technologies such as VR and AR as the new and yet unchartered areas of political debate and opinion making. Can games change the world? Join us for the screening of Gaming the Real World, a documentary about the possibility of using city building games such as Minecraft for solving our urban problems and creating better cities.

How we can change the debate around games to allow for their potential for creating understanding and compassion as well new prospects for resistance? Moderator: Kristoffer Gansing transmediale, DE. Artists and researchers explore how art can help illuminate the way data is harvested, used and exploited in the urban environment and consequently its increasing influence on citizens and politics.

Moderator: Arjon Dunnewind NL. Language defines what it means to be human. This very specific system of symbolic communication makes it possible to name the world around us, to exchange ideas and feelings, and to give or hide information. In the digital era, new technological tools affect the way we think and understand reality. Social Media let everyone participate in the narratives of society, however, moods and attitudes are communicated on the same level as information. The endless stream of emotive communication has made it nearly impossible to have a productive debate and often only serves to reinforce beliefs.

How has this new emotional language contributed to our age of Post-truth? The selected works in Affected Words explore how technology and language affect each other. The programme questions how language is used to reproduce control and grant authority, and shows how it could be used as a tool of emancipation and self-determination. Facts and Fabrications. This first screening will focus on the power of language to create processes of exclusion, truth fabrications and affect our perception of reality.

Distortion regime. This programme assembles works that try to deconstruct authority to reveal the ways language can be used to hide and codify meaning. The works in this programme examine the mechanisms of hierarchies and power structures, and propose a polyphonic spectrum with a new politics of voice. By , about RAUM investigates the future of living in cities through various art disciplines and forms, in both public space and temporary architectural pavilions. The next D. This event is part of Augment and Disrupt , the EMAP conference, a three-day mini-festival of panels, screenings and performances.

Professionals can request accreditation here. Augment and Disrupt is a 3-day mini-festival that will explore various urgent topics surrounding the interactions between art, society and technology; from the contested territories of new digital platforms to the future of the interface. In addition to a wide variety of panels there are performances, screenings and exhibitions included in the programme.

Funded by:. In August Moll will work on a new project:. In our so-called networked society citizens are becoming increasingly machine-like and dependent on data, threatening the connection between humans and their natural habitats. Although most of our daily transactions are carried out through electronic devices, we know very little of the apparatus that facilitates such interactions, or, about the machinery that lies beyond the interface.

Interfaces play a key role in the configuration and functionality of surveillance capitalism as in the rise of new forms of immaterial labor. The project I propose is part of an on-going investigation on the environmental impact of surveillance capitalism and focus on analyzing the environmental footprint of user interactions, namely immaterial labour, carried out through extensively used interfaces, such as Amazon, Google or Facebook. Moreover, a big part of the energy consumption derived from this obfuscated labour processes, falls on the user, who ultimately needs to assume a big portion of the energy costs of such exploitation.

The starting point of my proposal takes a theory developed by Ivan Illich which says that when a machine is using more energy than that of the metabolic energy of the human, human is dominated by the machine i. This is obviously very ambitious, but the project I propose will set strong basis for future work. What I intend to do during the residency is to calculate the amount of energy consumed by the machine when a human scrolls down, clicks, logs in, logs out, resizes screens and so on.

At the same time I will measure the amount of metabolic energy used by a human when carrying out the same operations scrolling, clicking…. The machine is obviously using much more energy than the amount of kcal employed by the human to operate it based on previous research I developed. My work critically explores the complex network of material and immaterial agents that come together to configure the Internet, from submarine and underground cables to interfaces, to surveillance, social profiling and privacy along with their environmental implications.

My investigations strongly focuses on uncovering and analyzing the ambiguous relationship between networks, data, politics, economics, power and nature in the age of algorithmic governance. It offers grants in 11 member institutions all over Europe. These speeches are always given from the Oval Office and are presumably spoken directly to the American people. The bittersweet melodrama is accompanied by seemingly arbitrary yet unbearably seductive images that push and pull the viewer from the twisted tale.

Elizabeth is a hard-working woman who hides fifteen legs in her trousers. While trying to find the reason for this phenomenon, she comes across a peaceful old woman named Dorothy Strauss. Erica Scourti uses her digital footprint as the basis for her book The Outage, a memoir written by a ghost writer based on her online communication, including her online searches, social network posts, profiles and statistics that were collected and analysed by cyber security and data privacy professionals.

The work a star which is not a planet is a sun not a planet. Two email accounts replicate the written 19th century correspondence between Boole and Jevons. For Martine Neddam the ultimate way of expression is by means of fictitious identities. She uses her online character Mouchette to expose the neuralgic and soft spots of contemporary society organised and expressed on the web. In the work I Hate Mouchette the identity of Mouchette is constructed from hate-filled insults. The work shows how the post-truth age requires us to take a good look at the ways in which fake content reshapes opinions and identities, occasionally with fatal consequences.

Often employing media strategies to expose current political and social issues, The Yes Men turned the tables on the media in their work New York Post Tells the Truth. While appearing to create a fake newspaper, the artists actually provided facts backed by climate change experts that were thoroughly checked by a team of editors. In this way the artists successfully produced lies that exposed the truth, thus creating an inversion of the post-truth paradigm.

In his work CNN Concatenated Omer Fast tackles the issue of news footage manipulation, and the way the media often allow for misinformation, deception, and falsehood. Fast used hundreds of hours of CNN broadcasts from and , which he catalogued to create a database of ten thousand individual words. The video uses these excerpts of edited footage from news anchors, guest commentators, reporters and weather forecasters to show each presenter only speaking a single word.

Collectively their words form seven monologues of varying lengths suggesting emotional personal conversations rather than conventional news broadcasts. In his film The Expression of Hands Farocki explores the visual language, its symbolism, Freudian slips, automatisms and music. By exposing the silent language of hands it shows how hands can act in opposition to what has been said. It adds a new layer to the manipulation of language and highlights how language and meaning are produced in the news.

In this case, however, the artist is in a snowy forest while squatting behind an entirely improvised cake stand. Just like in My Sweet Little Lamb! The viewer sees the artist as a liar, until the camera takes us to the potatoes that are indeed hidden behind him. My Sweet Little Lamb! The reason for this pairing stems from a Bosnian anecdote which suggested that Muslims would call a pig a lamb so they could eat it without remorse. An evening about the power of big data and increasing control over our behavior by autonomous systems, organized in collaboration with FOTODOK with special guests like photographer Esther Hovers.

The restaurant is very popular and even reserving a table is quite the task. Fortunately, SYR provides their delicious food to our visitors of Taferelen so you can enjoy the authentic Syrian cuisine. A maximum of 25 seats are available for this event. To keep the evening dynamic and diverse artists are placed next to theorists. Buy your tickets here!

Controlled by algorithms these systems check predetermined behavior that can indicate criminal activity. You will get some food, coffee, tea and water, and a tour with two enthusiast speakers. At the self-service bar there will be sodas, wine and beer. The venue is open at For more information or group reservations you can mail to info fotodok.

We hope to welcome you at Taferelen! Social media sites and search engines are the key ingredients of the change from the manipulative form of propaganda of the past to the prevalence of the Post-truth paradigm of the present. How are words and ideas used to obscure and manipulate? The exhibition and panel discussion of Truth That Lies look at the different political and cultural strategies that have been used in our Post-truth reality and in our recent history. The Fiction Department is represented by Truth That Lies , an exhibition exploring a use of language through gesture, manipulation, hate speech, algorithm, propaganda, make-believe or tautology.

The Records Department is mirrored in a panel called War on Facts. This panel will be organized on 8 February, prior to the opening of the exhibition, and it will address misinformation, alternative facts, fake news and information manipulation. The programme researches the development of Post-truth, how it was used in the past, how it affects personal identity, and what the future would look like if things proceed from here.

Beauty is Nowhere: Ethical Issues in Art and Design / Edition 1

A panel discussion organised in conjunction with the exhibition Truth That Lies, addressing misinformation, alternative facts, fake news and information manipulation. The exhibition and panel discussion look at the different political and cultural strategies that have been used in our Post-truth reality and in our recent history.

The Records Department is mirrored in the panel War on Facts. Speakers in the panel: Emillie V. Join us after the panel for the free opening of the exhibition Truth That Lies from ! This panel considers the theme of future life from a biological perspective. What is the role of humanity in climate change? Are we the meteorite or the dinosaurs? Do bacteria rule the world? What will the impact of synthetic biology be? Will a new pandemic come and wipe out human life? How will life on Earth co-evolve with new technologies and what will the ethical implications be? We will look at the roles of artists and scientists in engaging the public, influencing behaviour and helping us to understand our place in the ecosystem with a focus on BioArt and media art.

Computational neuroscientists study the data about how neurones in the brain fire in order to calculate the optimum moment to apply light and reset the cells. The aim is to engage in a playful activity in order to learn about the science. The artwork is made in collaboration with Professor Volker Steuber Associate Dean Research in the School of Computer Science at the University of Hertfordshire as well as Head of the Biocomputation Research Group, and Professor Freek Hoebeek at the University Medical Centre in Utrecht and the aim their research is to provide future healthcare treatments for patients with absence seizures and significantly reduce any risk of brain damage.

He is a renowned expert in infectious diseases and is currently focussing on writing a new book on the natural history of bacteria. After graduating in medicine from Birmingham, he trained as a medical microbiologist in Oxford. He is also an entomologist. This panel explores what the impact of new digital technologies will be on the future of life and asks what are the risks.

How is robotics changing the world? How will virtual reality change experience? What new questions are being highlighted by the arts and science fiction? And can the democratization of technology through DIY, maker and hacker culture widen public participation in these debates? This panel explore the benefits and risks of artificial intelligence AI. Can AIs make art? What are the limitations of machine learning and genetic algorithms?

How can we control or legislate AI? Should AIs be given rights? Are AIs an existential threat to humanity? Paul Brown is a computer artist based in the UK and Australia. Paul Brown discovered digital computers as a creative medium after seeing the Cybernetic Serendipity exhibition at the Institute of Contemporary Art in London in Early in his career he began developing processed-based methods for generating images and time-based artworks as an alternative to the then common approach to art making as a form of self-expression.

Brown designs computer programs but emphasizes that the art is not embedded in the programs by intention but instead emerges autonomously from the execution of the programs. Every summer, a group of Russian hunters travels to the remote New Siberian Islands to excavate certain animal remains that are being traded for big money on the Chinese market: the tusks of woolly mammoths. This hazardous enterprise takes months, and it has cost many men their lives. Success is far from guaranteed.

At the same time, a loose alliance of scientists in Boston, Seoul and Shenzhen are chasing their own dream of cloning the mammoth. In a time of rapid developments in the world of synthetic biology, the discovery of a very well preserved baby mammoth suddenly makes their dream seem feasible. Documentary filmmaker Christian Frei War Photographer and his Russian co-director Maxim Arbugaev place the two worlds in diametrical opposition, and the result is an epic, visually stunning film that alternates between humble and grandiose dreams, and between blind faith in progress and a chilling perspective on the future.

Anna Dumitriu will introduce the film and bring in some of her own perspectives working with CRISPR gene editing and with cold-loving bacteria frozen in the Arctic Tundra. What : Screening of Genesis 2. In his work Belgian artist Maarten Vanden Eynde Leuven, looks for and relates to different fields of study, social contexts and anthropological perspectives. One of his main interests is his self invented field of study Genetology The Science of First Things , a post-apocalyptic science which collects imaginary pieces of a puzzle putting back together again a possible future history.

What will remain of the present? From a fictive point in the far future he tries to imagine how we will look back and which aspects of our evolution and presence on earth will remain. During his artist talk he will discuss these works in relation to the exhibition A World Without Us next to other projects he has been working on.

BK-NU, Beeldende Kunst Netwerk Utrecht and the digital culture sector of Utrecht would like to invite you to bring a collective toast to a new year full of beautiful projects. The fields of fine arts and digital culture have united for the occasion and during the drinks various organisations from the two fields will briefly present the programme that they will offer in We hope that you will celebrate the start of the new year with us on the 22nd of January and we would be very grateful if you could sign up via the RSVP form below.

Expodium, ………………………………………………….. RAUM, ………………………………………………………. SETUP, ……………………………………………………….. This conference programme reflects on the themes of the exhibition A World Without Us and inspired by ArchaeaBot, an artwork by Anna Dumitriu and Alex May, it explores what life might mean in a post climate change, post singularity future. We ask what roles art can play in engaging audiences in environmental issues, the development of new technologies and the societal implications of our decisions. Our programme features internationally renowned speakers and keynotes from across art, science and philosophy and explores our themes from perspectives of robotics and AI, microbiology, synthetic biology, neuroscience, hacking, and environmental activism.

What would a world without us look like? Will it be ruled by transhumans, intelligent robots or bacteria? The post-Anthropocene: a world where mankind has been stupid enough to eliminate itself. Unacknowledged threats like climate change and artificial intelligence make this an ominous possibility that is worth examining.

But it is also not so significant that robots can move through an art space without a living and breathing desk clerk pushing a button. These robots by artists Katrin Hochschuh and Adam Donovan are the most endearing work in the small exhibition by Impakt, center for media culture in Utrecht. The Empathy Swarm consists of a group of tiny robots on wheels. It seems like they want to make contact. Or are these feelings of affection little more than human projection? Halfway through the duration of the exhibition Empathy Swarm will be replaced with Antisocial Swarm Robots by Anna Dumitriu and Alex May, mini robots that rather stay away from each other.

In a striking manner Empathy Swarm shows how little is needed to induce our empathy for a lifeless object.


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It provokes the question of why mankind takes so little care of its natural environment. This video, a collaboration between artists, scientists and volunteer researchers, shows the search for invisible pharmaceutical and chemical residues in the oceans, seas and rivers of our planet. How can we feel responsible for imperceptible pollution? Only a dry video presentation can be seen of the work: this is not art that is intended to stimulate the senses, this is art that wants to convey ideas. The film shows a shiny black Samsung smart fridge in front of a green screen on which images are projected, among which those of other Samsung products and foodstuffs.

What you hear is the auto-tuned deepest thoughts of this smart fridge. Semi-conscious, locked in a cool container. But yes, here you find our empathy with things again. What another life form could look like after earth has become unlivable for humans is imagined in a different work by Antisocial Swarm-designers Dumitriu and May. The ArchaeaBot is inspired by archaea, a type of primeval bacteria that is seen as one of the most ancient life forms on the planet.

In a tiny aquarium at Impakt the ArchaeaBot listlessly taps the glass with its mechanical arms. Is this really what mankind leaves behind? Should a different world without humans really occur, we should hope that we can be there to see what it will really look like. Corrected : below the photograph of ArchaeaBot the wrong photographer was mentioned. This has been corrected. The new European Media Art Platform offers residencies for media artists in the fields of digital media including Internet and computer-based artists, filmmakers, and those working in media based performance, sound or video as well as robotics or bio-art.

Artists with an EU passport can apply for a two-months residency within April and August exact timing has to be negotiated with the host at one of the following institutions. Although EMARE is an open call, some organisations are particular looking for certain topics, please check all members information carefully! EMARE includes a grant of 3. All selected artists will be invited for a networking kick-off conference 1st to 3rd of March in Utrecht in the Netherlands. Please save the date! Applications should be submitted online and must include a CV, audio -visual documentation and a preliminary plan or sketch of the proposed project to be developed within the EMARE programme.

Artists groups are welcome if they are willing to share the conditions including the accommodation, grant and project budget. That also implies that there might be only one artist out of the group getting invited to the networking conference and group shows if there is not enough additional funding to cover the extra costs for the other participants of the group.

Contact for any further questions: Werkleitz Gesellschaft e. Truth in Numbers? By means of documentaries and feature films the programme takes a look at our current political landscape. After the screening he will discuss the film with Impakt director Arjon Dunnewind. The artists in the exhibition A World Without Us will discuss the works in the exhibition as part of their body of work and the questions the exhibition wants to address: What will our future with robots and AI look like?

How can artists contribute to change with narratives regarding our impact on the planet? Can we influence human evolution? Should we? What can we learn from the past if we want to look at the future? Is there a planet B? The 3D Additivist Cookbook is composed of responses to that call, an extensive catalog of digital forms, material actions, and post-humanist methodologies and impressions. The series Subocean Botlights departs from the fact that most intercontinental communication is done via glass-fibre cables under the seas. This network carries threads of light as thin as a tenth of human hair while being as existential to technological societies as the sun is for the plants.

The artificial sun rays plunge through the oceans and light up our faces via bright screens. Subocean Botlights introduces baits into these networks that lure in threads of light from different parts of the globe generated by creatures of the internet, the bots. After having crossed the depths of the oceans, this light is transformed into growth and searchlights in the exhibition space. From a fictive point in the far future, he tries to imagine how we will look back, and which parts of our evolution and presence on earth will remain.

GreenScreenRefrigeratorAction shows a shiny black Samsung smart fridge pondering its existence and mingling with like objects. As we create increasingly smarter objects, Mark Leckey predicts a world in which things become sentient, start communicating, and alter our environment into new digital ecosystems. The question is: How do the oceans feel our impact?

The scene centres on two mountains, one hovering upside-down above the other. Their summits meet in the centre to create a giant hourglass shape. Melting ice from glaciers above rains down; burning forests below send thick smoke up into air. Cold rain, hot smoke, stone and ice particles form an unstable orbit, which rotates around the calm centre of the surrounding chaos.

The precarious balance is about to tilt at any moment. For now, the situation seems to continue. A meditation on the idea of the Anthropocene, the high-definition computer-generated landscape consists of short loops reminiscent of gif-animations. Please note that this work will only be on display until 2 December! The swarm is a society of robotic creatures based on the equality of all members and constantly negotiates and balances the needs of all individuals.

On another level, Empathy Swarm defines its very own definition of what it means to be a utility apparatus, which is based on the idea of machine education, leading away from an optimization concept of human set goals in the form of machine learning and implements the idea of self-drive and self-determination of the robotic machine instead, that does not evolve from a position of suppression and machine revolution against the human supremacy, but instead fosters the careful convergence of both species into an ecosystem and society of empathy and compassion for each other and among themselves.

The human and robotic mind are merged into an extended hive mind that is a source of information and inspiration for future societies and can be utilised as a preventative medicine for a dystopian future. Antisocial Swarm Robots explores how humans psychologically perceive the programmed actions of robots by projecting their own meanings and emotional responses onto them.

The installation exposes subtle and complicated emergent behaviours that humans will psychologically perceive as having a wide range of high-level priorities, and even emotions and desires. Controlling Datapolis. Saturday 23 February When we navigate urban environments we can easily access information but there is also a lot of data extracted from us.

What kinds of regulation can protect us from abuse? How can we support democracy and enhance citizen participation? What does protest and civic disobedience look like in the digital city? And how can we make sure that augmented realities in urban spaces remain free and open and not colonized by commerce? The panel takes place in cooperation with the Videonale Bonn.

What mechanisms are driving these online resources, how can they get manipulated and how are they connected to existing and new power structures in our society? These urgent questions concerning our post-truth era, spoken by Impakt Festival founder Arjon Dunnewind , resonated through the Theaterzaal at Het Huis in Utrecht NL and introduced the theme of the Impakt Festival The festival theme is addressed as a metaphor, the curators explain, to be critically assessed by the audience, to provoke discussion by combining as many different views as possible, a format IMPAKT Festival has been successfully maintaining throughout the past years, critically reflecting on contemporary media culture.

Illustrating how algorithmic superstructures are shaping our thinking our perception and value system, they speak to a need for accountability and new forms of public democracy. The exhibition asks how, in this landscape, we can preserve our democratic legitimacy whilst embracing technological developments maintaining the integrity of our democratic processes.

Stand out is Imagenet. Where the artists actively engage with digital networks and algorithms in order to reflect on our current state and possible future scenarios, the keynote presenters and panels present more outspoken views on the digital condition. The festival kicked off with activist keynote speaker Adam Greenfield who openly advocates to pay more attention and resistance to the radical technologies that control and transform our daily lives and are redefining what it means to be human.

According to Greenfield, we need to re claim our place in the future. Who owns augmented space? Influenced by his previous projects and how it occurred to him that we have hardly any agency over the decisions institutions make, Cirio started to think of a political philosophy that could become a global democracy.

Global Direct, according to Cirio, turns globalisation and technology into an opportunity: it can be seen as a political party or movement but actually is an utopia of the internet. On the official last day of the festival, open source research collective Bellingcat represented by founder Eliot Higgins , took over, showing its civilian service to investigate the truth whatever this may mean in this post-truth era through open source online resources, putting transparency and accountability up for discussion but also showing how journalism can adapt to this new conditions and even prove to be of high value to certain law cases this is also very much reflected in the work of Turner prize candidate Forensic Architecture.

Where former keynote speakers formed critical views pro or con technology, Metahaven is working right through it with their stream of associative images and texts, not giving a lecture on digital power dynamics and post-truth worries but going right through the middle of its alienating workings, an unconscious stream of internet, full on in the experience of the digital condition itself, visually being the sum of everything previously discussed without any judgement, or is there?

The festival is not merely the presentation of digitally oriented artworks and talks but moreover the discussion and buzz it creates in between the combination of all of its programs, actively inviting different views, whether positive, negative, provoking or traditional. Never judging on its presenters or artists but still carefully selecting its guests and above all always expecting more from its audience than only to listen, urging them to think and speak up.

With a new edition of the festival coming up in where critical thinkers will gather around once again and Impakt expanding their program of exhibitions this year, I feel safe to say political network developments will not go unnoticed. The Utrecht-based organisation is known for its critical view of contemporary media and technology at both cultural and a social levels.

The central question: how do we relate to technology, and to the government? A good example of someone who is trying to use the system to his own benefit is Eliot Higgins, founder of online open source investigation platform Bellingcat, which researched the MH17 disaster via online data available to everyone. Higgins will give a lecture about his research methods at the festival next Saturday.

One such artist is Coralie Vogelaar 37 from Amsterdam. Originally a graphic designer, she now makes artworks focussing on artificial intelligence and databases. It is the development that fascinates me, because artificial intelligence is still in its infancy; we have the opportunity to create a new aesthetics. For the project, Vogelaar drew on her fascination with databases. These sentences are then written by the drawing bot on the screen in handwriting taken from a large database Vogelaar maintains. How we deal with it in the future is still a gamble; but at least we can fantasize about it.

Are they running out of media-critical themes, or have I been watching too many innovative TV documentaries this past year? The list of speakers, which includes Evgeny Morozov, does nothing to lift this feeling of having been here before. The Boris Groys of media festivals has been a guest here many times in the past. The feeling of repetition also follows me around the exhibition. Perhaps this is because Egor Kraft — one of the names who has grown up at this festival — has based his monumental video installation very closely on an older project by Melanie Gilligan.

Like Gilligan in the cycle The Common Sense, in his installation — created with Pekka Tynlkkynen, Alina Kvirkveliiya and Karina Golubenko — Kraft projects the future onto a present that seems to have changed little, representing Moscow in The narrative is about our future subjectivity, which has been consumed completely by a huge Artificial Intelligence, in this case called Plasma.

It almost looks like plagiarism. This exhibition contains more than the average number of information-heavy works that like to reflect the kind of investigative journalism with which Bellingcat is conquering the world. As in recent editions, the festival again has a compact structure in which theoretical reflection is starting to dominate. Which is something of a shame, as in the past this festival excelled as a curator of new and under-represented art.

And this is rubbing off on the festival. Lectures simply work differently from exhibitions. Whereas exhibitions tend to be a showcase for young artists, lectures tend to pull in the big names. Like Morozov. Nevertheless, I did see enough good, new work during my visit to the festival. Interspersed with critical reflection, the interweaving of digital and real lives is presented as impossible to disentangle, and some assumptions about good and evil, truth and lies are thoroughly mixed up into the bargain.

A computer with a talent for drawing is not something you see every day. With an introduction by the students on Saturday at More information can be found here. The exhibition will be on view at the Academiegalerie, Minrebroerstraat 16, until Nov Opening Hours: Wed-Sun A World Without Us imagines a world without humans.

The way we, as a species, currently interact with nature and the environment means that time will perhaps arrive much sooner than we can conceive. A World Without Us wants to communicate the urgency of working towards improved dealings with nature. The exhibition will both provide space for examples of the damage we as humans cause as well as how the right use of technology can create solutions.

Climate change denial is a major issue in our Post-truth society. This denial contributes to an atmosphere in which it is nigh on impossible to create a general sense of urgency. The net result being that there is still insufficient social and political support to implement the necessary changes. On 19 January the opening hours of the exhibition will be and the tour will take place at Join us for the screening of the film Bellingcat, Truth in a Post-truth World , a new documentary about Eliot Higgins and open source investigation collective Bellingcat directed by Hans Pool.

They were behind nearly all of the discoveries in the case around the MH disaster and proved that Russia was responsible. A group of nerds and stay-at-home dads who uncovered fake news and became the thorn in the side of the global powers and secret services. They call themselves Bellingcat, analogous to the cat that receives a bell around its neck, so the mice are safe. For the first time we get to see the men behind this story.

To assist visitors unfamiliar with the city of Utrecht, there will be Walking Bus Tours on Thursday, Friday and Saturday from the festival space to the exhibition space. Each day at those interested can gather at the hospitality desk in Het Huis. A guide will then take you for a walk of about half an hour to the exhibition spaces of Algorithmic Superstructures.

She took pictures of each of her catcallers within the period of one month. By making the selfie, both the objectifier and the object are assembled in one composition. Herself, as the object, standing in front of the catcallers represents the reversed power ratio which is caused by this project. The collection was posted on Instagram and went viral world wide. With a number of The last woman on Earth. Filmed inside Biosphere 2 in Arizona, Urth forms a cinematic meditation on ambitious experiments, constructed environments, and visions of the future.

Writer Mark von Schlegell contributes a text-read as the final log instalments of a woman sealed inside an unforgiving environment. Ben Rivers GB is an artist and experimental filmmaker based in London. His work has been shown in many film festivals and galleries around the world and has won numerous awards. His work ranges from themes about exploring unknown wilderness territories to candid and intimate portrayals of real-life subjects.

Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. Rivers uses near-antique cameras and hand develops the 16mm film, which shows the evidence of the elements it has been exposed to — the materiality of this medium forming part of the narrative.

This former Cold War era civil defence bunker was redesigned by architect Albert Frances-Lanord in into a data centre, housing servers for clients which once included WikiLeaks and PirateBay. Working with photography, sound and moving image, her research areas include architecture, digital cultures, media archeology, economics and temporality.

She works both in analogue and digital formats which is often mediated by the subject in which the physical and material focus of the work become implicit in the aesthetic process. Built on the structural language of documentary, her work often plays with the blurred lines between documentary and fiction. Patternist is a location-based augmented reality game, serving as a platform for users to engage with alternative urban infrastructures and economies through speculative fiction.

In order to fully understand Patternist, players must explore their existing cities, trade and interact with other players, and uncover the patterns that algorithmically link these simultaneous planets. Players use the AR interface to detect Patternist elements spawning in location-bound urban infrastructure of their Earthly cities, and combine them to generate the co-existing topographic superstructure of Patternist.

For Impakt Festival, spectacular traces of Patternist have been identified throughout central Utrecht, from the Het Huis to Fotodok, from the train station through the canals. Paolo Cirio works with legal, economic and semiotic systems of the information society. He investigates social fields impacted by the Internet, such as privacy, copyright, democracy, and finance.

He shows his research and intervention-based works through artifacts, photos, installations, videos, and public art. A social experiment with performance artist Signe Pierce who walked the streets of Myrtle Beach, South Carolina in a sexy tight dress and mask. Director Alli Coates and Pierce agreed not to communicate until the experiment was over, but never expected the terrible responses.

A technicolour spectacle that elicits questions about gender stereotypes, mob mentality and violence in America. She has worked in performance, photography, video and digital art. In slow motion and close-up, the camera travels along the hands and legs of two women. They are in a corner of a blue concrete room; one woman crawls across the floor to the other, who sits on a low wall, and then returns in the same manner.

The colours are faded; only the red nail polish is vivid. Under the guise of self-portraits, she investigates and critiques the role of woman as a sex object. The explicit images in her work are shocking and prompt discussion about the purported sexualisation of society. At the same time, her works also share links with international feminist art. This publication is conceived as a parallel exhibition in book form, and contains original interventions by and in collaboration with the artists. Armen Avanessian Overwrite 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.

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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? It examines the space of arrival as a complicated and disjointed nexus between departure, displacement, and return. 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 Lim United 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. 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 Bayrle Portikus Under Construction, — In , 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. 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. 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.

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. Marcus Verhagen Flows 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.

At least not without magic. And a touch of trickery. Robert Stadler, Alexis Vaillant Eds. 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.

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. 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 to , biennials in Istanbul, St. 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 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. 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.

And so we find Vincenzo Latronico attempting to get in touch with E. Alex Coles Ed. EP Vol. 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. It is the first volume in a series of books that focuses on what is happening both inside and outside of the art institute.

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. The artist situates his paintings in complex interrelationships, where connections and relevancies are constantly reconfigured, forming a continuously growing web.

Lydia Okumura Situations 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 Commoning Artistic 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. 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. Martin Herbert Tell 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. 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. Hannah Rickards Grey 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.

Anthony Downey Ed. Future Imperfect Contemporary Art Practices and Cultural Institutions in the Middle East 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.

Since , however, her main focus and passion has been painting. The title of this publication describes the main focus of her work: the still life. Texts by writers and artists and an interview with Du Pasquier provide an informative and subjective view of her artistic practice.

The diversity of voices in this publication mirrors the complexity of the region itself: its various curatorial spaces, infrastructures, and political systems. Welcome to Transciency Preis der Kunsthalle Wien Addressing possible configurations of art and nature, Margit Busch, recipient of the Kunsthalle Wien Prize , created a laboratory-cum-experiment that included mealworms and beetles that consume, and thus recycle, polystyrene plastic. Andrej Polukord The Sarcophagus Preis der Kunsthalle Wien Andrej Polukord, corecipient of the Kunsthalle Wien 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. 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 Ross Ethical Actions A Critical Fine Art Practice British artist Monica Ross — left behind forty years of socially engaged, feminist, and performative artwork, which has had a deep effect on contemporary art and society. Boris Groys Particular 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 Manna ars viva The ars viva Prize has been awarded annually since to young artists living in Germany whose work stands out for its innovative potential and high artistic quality.

These objects consist of collapsible and modular furniture-like elements, as well as seemingly nonfunctional sculptures made of light materials Karina Mendreczky Preis der Kunsthalle Wien With delicate lyricism, Karina Mendreczky creates fictional landscapes using light and shadow. 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.

Signature Strengths The No-Frills book series was developed in the early s as a translation of the non-branding strategy of supermarket staples to mass-market genre fiction. 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. 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 Smith The 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.

Listening is a political act, a pedagogical process, and an activity that can lead to the development of an organized protocol for engagement. In his art and research, Beirut-based artist Lawrence Abu Hamdan explores the perception of language, sound, and listening. National identity, human rights, and the administration of justice are recurrent themes in his work. The exhibition and publication are the first to present the work of Bennett since his death. 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 Zerres Considering 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.

Tirdad Zolghadr Traction 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.


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  • 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. 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 Shezad Dawood Kalimpong Kalimpong is an artist project in book form by the London-based artist Shezad Dawood.

    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. David Harvey Abstract from the Concrete Marxist geographer David Harvey opened his lecture with a fact: between and China consumed 50 percent more cement than the United States had in the entire twentieth century.

    In Abstract from the Concrete , he asks why. They were frequently looted together with other valuables from Bosnian homes. It was acquired at a public auction in It is missing volume number 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. 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. 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?

    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.

    Demos Decolonizing 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.


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    • 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. 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 Schering Stiftung Art Award. Dysfunctional Comedy A Reader 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 and 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. 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 s, 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.

      These approaches posed other possibilities and futures for institutions and exhibitions, challenging the consensual conception, production, and distribution of art. 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. 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.

      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.

      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. Jens Hoffmann Ed.

      Charlemagne Palestine GesammttkkunnsttMeshuggahhLaandttttt 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.

      Ina Blom The 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.

      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.

      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. 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.

      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.

      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. Nav Haq Ed. 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.

      It includes documentation of the eponymous exhibition at Rockbund Art Museum May 30—October 7, , along with detailed sketches of both existing and unrealized projects. 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 —focuses on the changing role of materiality in establishing painting as the privileged practice, discourse, and institution of modernity.

      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. Anchored in concerns that emerged in the late s and s, Welchman poses thoughtful and provocative questions about how these artists receive and negotiate the social and aesthetic histories through which they live and work.

      Shahryar Nashat Obituary The subject of this book is a deceased prop, an object of a particular color, the green of cinematic trickery and special effects. Taking its final form a year later, the prop became properly known as La Shape. Felicity D. 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. Rare Earth Rare Earth is an attempt to define the spirit of an age. 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.

      Ull Hohn Foregrounds, Distances Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of his work, but also to contribute to a history of painting-based practices, which occupy a marginal place in the established narratives of the art of the s and s Suzana Milevska Ed. On Productive Shame, Reconciliation, and Agency On Productive Shame, Reconciliation, and Agency prompts a unique crossdisciplinary inquiry into the productive potential of the affect of shame. This book contests the ontological understanding of shame and the psychoanalytical interpretation of it based on personal traumatic experiences linked to lack, loss, memory repression, and absence.

      Both rely on all manner of doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns to realize their propagandas of the deed, threat, and image. Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture. Tom Burr Anthology: Writings — Since the late s, Tom Burr has been reusing appropriation strategies in his art. Not confined to his photographic and sculptural works, they also lend momentum to many of his writings.

      The artist creates assemblages of personal writings and sources, differing in nature and style, which he has used as both conceptual and aesthetic materials. Thirty-seven texts—works, poems, autobiographical texts, and portraits—have been compiled for the first time in this publication. A collection of electronic works by Dexter Sinister produced from to Dexter Sinister is the compound name of Stuart Bailey and David Reinfurt, who operate at the intersection of graphic design, publishing, and contemporary art. The artist duo became watercolorists for the project, harping back to an early amateur pictorial tradition while basing their picture making on a range of quotidian and historical images culled from the Internet.

      In , she became the unsalaried Artist-in-Residence for the New York City Department of Sanitation, a position she still holds that enables her to introduce radical public art into an urban municipal infrastructure. Cord Riechelmann, Brigitte Oetker Eds. In the world of contemporary art, animals now occupy center stage. She then invited nine artists to contribute to this narrative. Metahaven Black Transparency The Right to Know in the Age of Mass Surveillance Black transparency is an involuntary disclosure of secrets against a backdrop of systematic online surveillance, as large parts of contemporary life move into the digital realm.

      A Journal of the Plague Year Expanded from a touring exhibition originated at Para Site in , this book critically analyzes historical and contemporary imaginations and politics of fear in the face of disease and the specter of contamination in society and culture. The contributions speak from a humanistic and global perspective, pointing to the intersections of urban environments and post-colonial psychology, popular culture and racism, public health and migration, national identity and art.

      The artists present material they have collected since , focusing on the way that personal narratives are formed and articulated in a post-digital age. Moving through a wide range of formats, the book encompasses manifestos, music scores, forecasts, conversions, translations, architectural programs, and other difficult-to-categorize works.

      With sharp teeth and a killer instinct, Haiduk leads the way to a sunny spot where every soul suffers infinite injustice. This is their conversation. Ingo Niermann Solution — Drill Nation Having furnished solutions for Germany and Dubai, Ingo Niermann takes a new look at what nationhood can mean and accomplish today, finding inspiration, of all places, in North Korea. By relying on drills and a principle of reduction, the individual can be granted a freedom for experiences and ideas that are not possible otherwise. Alhena Katsof, Dana Yahalomi Solution Double Agent The phenomenal performative relationship between the state and its cultural institutions was perhaps best exemplified when the declaration of the State of Israel was staged at the Tel Aviv Museum of Art in Solution Double Agent , authored by Alhena Katsof and Dana Yahalomi, presents a methodology, manual, and performance offered as a culmination of efforts by the Office of Strategy and Protocol.

      It contains the necessary tools to activate Debriefing Sessions and in doing so trains future Agents in a series of one-to-one exchanges gathered from work in the field. Bulletins of The Serving Library 9 Summer Issue number nine tackles all manner of sports and games, providing commentary on their language, politics, and philosophies.

      In between, the issue slaloms around bodybuilding, bridge, ice hockey, tennis, darts, golf, reporting, running, drugs, rock climbing, basketball, and Pong. Mai Abu ElDahab Ed. The Paris-based architects opened their lecture at Harvard University with a manifesto: study and create an inventory of the existing situation; densify without compressing individual space; promote user mobility, access, choice; and most importantly, never demolish.

      Eyal Weizman The Roundabout Revolutions Critical Spatial Practice 6 One common feature of the wave of recent revolutions and revolts around the world is not political but rather architectural: many erupted on inner-city roundabouts. In her research, she explores—through the figures of James Joyce and Robert Walser—deviant literature, exploded language, the unconscious, and the notion of exile as inherent to artistic practice.

      Sarah Entwistle Please send this book to my mother In Please send this book to my mother , artist Sarah Entwistle dismantles the traditional form of the architectural monograph and artist biography. In , the astounding personal effects of her grandfather, architect Clive Entwistle —76 , emerged from a Manhattan storeroom. The year sees the seventieth anniversary of the liberation of Europe from Nazi totalitarianism.

      Only few witnesses of these past events are still alive at this time. Many events are known, many interpretations contested, but an encounter with contemporary art that focuses on historic sites in the landscape, and decides to interpret these sites differently, is unprecedented. Art in the Periphery of the Center Peripheries are profoundly ambiguous regions. While trying to build a relationship with the center, the periphery often finds itself excluded both on a structural and actor-related level, no matter if the center-periphery model is defined in terms of space or along relations of power.

      The publication Art in the Periphery of the Center attempts to shift practices of thought toward both critical realism and new materialism. At the end of the festival, the structure will be transported to Thailand and will be the first building block of a new workshop on the land.

      Using a large collection of magazine pages he had kept for inspiration, Fecteau arranged and rearranged them into formal and narrative relationships over the course of several months, and presented them in a simple black binder. This book is a reproduction of the resulting selection. Adopting a variety of modes of address, this book acts as a kind of theater for considering the questions: How does one choreograph a history that is constantly being re-imagined? And, how do we speak of an anthropology of movement? Paradiso Lussemburgo, a project proposed by Markiewicz and curator Paul Ardenne, creates an active theater, which the reader continues and further opens for participation.

      For his digital compositions Sadeghi, in dialogue with Pfeifer, took the field recordings made by missionary and anthropologist Martin Gusinde in of Yaghan chants in Bahia Mejillones as point of departure and reference. Benjamin Seror Mime Radio Mime Radio was performed and written orally by French artist Benjamin Seror at a series of events over a two-year period, then transcribed and edited into a novel.

      Jaanus Samma Not Suitable for Work. He lost his job and was abandoned by his family. After spending a year and a half in a corrective labor camp, Ojaste moved to Tartu where he became a local legend, notorious for his active gay life. Realism Materialism Art Realism Materialism Art RMA introduces a diverse selection of new realist and materialist philosophies and examines their ramifications on the arts. The book also considers the current commodification of the art industry and the distribution of images in the digital age.

      Drawing from his formation in theater and his own curatorial work, Jens Hoffmann reflects on the spaces of contemporary art—the gallery, the institution, the biennial—and ultimately positions the discipline of curating in the context of a larger cultural sphere shaped by the political, social, and economic conditions of its time, while demanding new attitudes and new thinking. Sculpture Unlimited 2 Materiality in Times of Immateriality While the first volume Sculpture Unlimited dealt with the question of how the contemporary field of sculpture can be defined in a useful and stimulating manner against its long history, the second volume looks at the present and future.

      Beauty is Nowhere: Ethical Issues in Art and Design - Saul Ostrow - Google книги

      With sculpture as a leading reference, the contributions address theory, aesthetics, and technology: Do current philosophical movements such as new materialism and object-oriented ontology affect our notion of the art object? Does so-called post-Internet art have a future? And how does the Internet of Things relate to objects and things in art? Through the use of a saturated blue color altered by light and demarcated by architectural forms, the installation at the Venice Biennale reflects on the salient concept of the border.

      Sabine Folie Ed. Joseph Kellner Ed. Furniture of the Fogo Island Inn This unique publication, filled with annotated images, presents an inventory of design, furniture, and textiles produced for Fogo Island Inn. Each piece is a collaborative effort between artisans and craftspeople living on the island and designers from various parts of the world who were invited to engage with the history and communities of Fogo Island and Change Islands in Newfoundland, Canada. Mathilde ter Heijne Performing Change Performing Change , a collection of interviews by artist Mathilde ter Heijne, explores the idea of open-ended, collaborative art processes and their transformative potential beyond the confines of art.

      Combining evocation and documentation, Lulaj concentrates on a historic-political phase that was extremely important for building an identity that was not just Albanian but also international. The internet is an ever-growing storage space of information that we have come to rely on—but what does this thing called the internet really mean?

      And does it still exist? Rike Frank, Grant Watson Eds. Textiles Open Letter Textiles: Open Letter examines the referential and analytical qualities of textiles through both contemporary and historical works. The contributions in this book reflect on the complex interplay between the various functions and connotations of textiles—such as the emphasis on their tactile qualities or the artistic value attributed to them—and the attendant conflicts and antagonisms that articulate relations of power and value and of the interaction of artistic processes with their overarching contexts.

      Alongside comprehensive exhibition documentation, the actual construction and installation of the artworks is presented. Inke Arns Ed. World of Matter World of Matter is an international research project investigating primary materials and the complex ecologies of which they are a part. Jutta Koether f. Artist Novels The Book Lovers Publication This publication is devoted to the phenomenon of the artist novel, and whether it can be considered to be a medium in its own right within the visual arts.

      Thanks to the contributions of a selected group of artists, writers, curators, and scholars this publication strives to demonstrate that literature, when treated by visual artists, can take place well beyond the space of the book. The exhibition explores the layering of time through historical artifice. History here is considered as a constructed sphere, constantly in flux, simultaneously being buried and excavated. Amar Kanwar The Sovereign Forest The Sovereign Forest attempts to reopen discussion and initiate a creative response to our understanding of crime, politics, human rights, and ecology.

      The validity of poetry as evidence in a trial; the discourse on seeing, on understanding, on compassion, on issues of justice; sovereignty and the determination of the self—all come together in a constellation of moving and still images, texts, books, pamphlets, albums, music, objects, seeds, events, and processes. Much of his work presented in this catalogue—framework installations, hay images, and straw images are displayed in this book—was made together with farmers and craftspeople; by transforming age-old handiwork into contemporary art, Holzapfel unsettles the division between nature and culture, and tradition and modernity.

      Sophie von Olfers, Mark von Schlegell Eds. Christiane Kruse, Antje Majewski Eds. The texts collected here give an introduction into concepts that are more than years old, yet still raise relevant questions about our current relationship to nature—both to nature in the sense of environment and ecology, and to our inner nature and its connection to the world we live in. Lou Cantor, Clemens Jahn Eds. Turning Inward Turning Inward comprises a selection of texts by international artists, critics, and curators, which aims to renegotiate the relationship between centers and peripheries in contemporary art worlds.

      In the context of advanced globalization, the distributed agency of networked power structures can hardly be localized any longer in geographical terms. Yet, if we are to turn our attention away from geographical—that is, horizontal—relations, we can conceive of the central and peripheral as vertical phenomena that can coexist spatially in the shapes of social constructions, genealogies, or epistemic formations.

      Ethical jewellery - Arabel Lebrusan - TEDxBedford

      In the Holocene In the Holocene is based on a group exhibition of the same name at the MIT List Visual Arts Center that explored art as a speculative science, investigating principles more commonly associated with scientific or mathematical thought. Through the work of an intergenerational group of artists, the exhibition and book propose that art acts as an investigative and experimental form of inquiry, addressing or amending what is explained through traditional scientific or mathematical means: entropy, matter, time cosmic, geological , energy, topology, mimicry, perception, consciousness, et cetera.

      Headless is a coded, clandestine novel that nevertheless makes for breathless reading until the last page. Founded by Isidore Isou in Paris immediately after World War II, it remains active to this day, having lost none of its radicalism, either aesthetic or ethical. In this book, Nicole Brenez presents the key figures and the basic concepts of Lettrist cinema, the art form within which their formal innovations proved the most far-reaching, prefiguring the breakthroughs of the nouvelle vague and the experiments of expanded cinema.

      Replete with experimental recipes the founder of Futurism, Marinetti, is known to have ranted about the social dangers of pasta eating , the book is a multilayered exploration of cultural metabolisms, with the dining table as its centerpiece, of course! Axel Wieder, Florian Zeyfang Eds. Open Form Space, Interaction, and the Tradition of Oskar Hansen This publication examines the impact of Oskar Hansen within contemporary visual culture and the redefined role of the viewer since the s.

      The book includes in-depth interviews with some of the most important protagonists of experimental art in Poland, who investigate the historical impact of the open form. Each interpreting the theme in an unconventional and abstract sense, it is an alternative omnibus of everyone's favorite and most controversial holiday.

      Artwork is provided in the form of a colorful collection of romance covers illustrated by Vicki Khuzami. Renate Lorenz Ed. Not Now! The book connects the postcolonial and queer debate around chronopolitics with artistic strategies that introduce breaks, stutter time, use citations and anachronisms, and introduce deferrals and collapses between time and meaning. Yet it is the commonality of modernist architectural form rather than the peculiarities of place, nation, or time that attracts her lens.

      In Weltausstellung , visual anonymity is the main event—but not the whole story. Felix Ensslin, Charlotte Klink Eds. Aesthetics of the Flesh Word becomes flesh, God becomes pigment, beauty becomes empirical form, power negotiates itself in matter—and vice versa: these are some of the connotations carried by the aesthetics of the flesh. However, unlike conventional pictorial dictionaries, there is no symbolic system. Juxtapositions are normalized, and normality becomes a farce. This fully circular publication has no beginning or end, allowing for multiple points of entry and unconventional ways of reading--both from left to right and vice versa, as well as upside down and right-side up--seeking to interrupt learned behaviors and soliciting the reader's active engagement.

      It is a polyphonic collage of text and image. More than seventeen years of artistic output unfold between the first and last pages. In this work, along with others from the same period, Fassbinder established a Jewish-German mirror rotating on the axis of the Holocaust. As this publication vividly captures, her work weaves an unlikely bond between minimalist sculpture and the frayed, human history of textile work.

      Piper Marshall Ed. Dominic Eichler, Brigitte Oetker Eds. PS: Jahresring 61 The Jahresring series is one of the longest continually published annual journals for contemporary art in Germany. The 61st edition is a reader and visual sampler with contributions from visual artists, writers, poets, musicians, choreographers, and designers.

      Bringing together a discursive array of forms and timbres, it takes an intertextual and interdisciplinary approach to exploring some contemporary cultural resonances with respect to gender and sexuality. Ana Teixeira Pinto Ed. The Reluctant Narrator A Survey of Narrative Practices Across Media An explosion of interest in narrative practices at the end of the twentieth century has been referred to as the "narrative turn.

      What has happened here? Mark von Schlegell Ickles, Etc. This statement is typical of the fluid boundaries between deep seriousness and the exuberant, eccentric spirit that pervades her work. Ines Lechleitner The Imagines The Imagines is based on the texts of four writers that each engage with a recent project by Ines Lechleitner. In response to each critical contribution, Lechleitner develops a visual section where elements and fragments of the selected projects build up their own narrative in relation to the specific space of this book.

      Thomas Thiel Ed. Michael Schindhelm Solution Lavapolis The tenth speculation in the Solution series imagines a possible European present and future. Seventy years ago, the small island nation of Lavapolis was founded. It began as an alternative, a gambling destination to rival Las Vegas, and became a model for a new way of living. With its principle of universal solidarity, the nation counters the pitfalls of contemporary global society. It is an ever-shifting utopia; a volcano jutting out of the Mediterranean Sea; an extension of the open frontier.

      The biographies of its inhabitants are integral to the whole. If the world backs down from the challenges of Lavapolis, the island is destined to erupt. Elke Gaugele Ed. Aesthetic Politics in Fashion Aesthetic Politics in Fashion outlines critical studies in the present cross-sections of fashion, art, politics, and global capitalism. Critically examining contemporary collaborations of artists, media, and fashion labels, this groundbreaking anthology locates fashion within ecological and ethical discourses, postcolonial styles, and critical reflections on whiteness.

      The individual projects focus on different environments that are often characterized by crisis—mostly dealing with communities and their fringes, with proxies and symbolic representations, as manifested, for example, in forms of protest or religious garments. Cultures of the Curatorial 2 Timing: On the Temporal Dimension of Exhibiting Focusing on time instead of the typically predominant category of space, this publication—the second volume in the Cultures of the Curatorial series—takes up the key aesthetic, social, political, and economic issues of the early twenty-first century running through the field and framed by the axes of exhibiting and the temporal.

      Lisa Oppenheim Works — Over the past decade, artist Lisa Oppenheim has steadily developed a unique body of work exploring the usage of historical imagery. Balanced between appropriation and reconstruction, her work relies on substitutions applied to photographic and filmic records through which the historical and the present are transmitted and constituted through a language of today. Cluster: Dialectionary Cluster is a network of eight contemporary visual arts organizations each located in on the peripheries of European cities. Each organization is focused on commissioning, producing, and presenting contemporary art, and the nature of the work is often experimental, process-driven, involves research, is based on working with international and local artists, and often engages with diverse publics on a local level.

      Compiled over a period of two years, Cluster: Dialectionary aims to find new ways to position this work and the work of contemporary visual arts organizations more broadly, particularly in relation to wider social, political, and cultural concerns. Published following the closing of the exhibition, this catalogue should be considered a continuation of the project, as a resource in itself, rather than simply documentation or commentary. The book includes several essays that discuss possible interpretations and consequences of the artwork, questioning the role of history and commemoration in Germany today.

      Artwork is provided by Willem de Rooij, whose series comprises collected images from the Internet displaying the aftermaths of destroyed and looted cultural heritage sites in conflict zones such as Iraq, Mali, Egypt, Syria, and Bosnia-Herzegovina. Performance artists, astronauts, an airplane, Zen masters, and hunger artists are some of the companions of this exploration into hidden realities.

      Hu draws on the experience of everyday life, the past, and the future to create otherworldly stories where reality turns into fiction and science fiction becomes reality. Employing new video formats as they become available, many of which have quickly fallen into obsolescence, Auder has prolifically produced short and feature films as well as video installations and photography that transgress genres, gleaning the fields of art history, literature, commercial television, and experimental cinema.

      Tone Hansen, Marit Paasche Eds. The events of July 22 transformed normality as we knew it and, consequently, the predictable as well. The normal was no longer familiar, and the abnormal was no longer associated with the foreign. The result is an open and inquiring look at our own time. The Phantom of Liberty Contemporary Art and the Pedagogical Paradox One of the few things we have in common in contemporary society is the future of our children. What happened to the reform pedagogy of the twentieth century? What is the status of childhood in the era of the consuming child and the playing adult?

      This anthology is a collection of twenty-one essays and conversations that weave in and out of the two key areas of research and teaching within performative fine arts. Komar-Myshkin committed suicide in , soon after completing the album. Chantal Pontbriand Ed. Truth Is Concrete A Handbook for Artistic Strategies in Real Politics Truth Is Concrete: A Handbook for Artistic Strategies in Real Politics takes the possibility of concrete truth as a working hypothesis and looks for direct action and concrete knowledge: for an art that not only represents and documents, but engages in specific political and social situations—and for an activism that not only acts for the sake of acting but searches for intelligent, creative means of self-empowerment.