Quick #11, Erica Baum: Study
Quick #11, Erica Baum: Study
Camera Austria #129.
Contributors include Emma Balkind, Tom Holert, Boris Buden, Jaleh Mansoor, Eiko Grimberg, Marco Poloni, Clemens von Wedemeyer.
Language: English / German
Size: 30 x 21 cm
Future isTwelve Cities in Search of. Future is no Longer What it Used to be. Future is to Ask Yourself Where We Are Now. Future is an Utopian Vision, Future is also Back to Utopia: Future as Utopia. Future is Power, Power for a not Schedulable Life. Future as Practice. I Can Only Say One Thing About the Future: What I Wouldn’t Want it to be. Future is Visions, Visions of Future. Future is the Space of Expectations. Future is Architecture and Prophecy. Future is also Accidents: the City of Failure, Without Landscape; the Laboratory-City, Recycle and Repair. Future is the Hegemony of the Present: a New Aesthetic of Reality, the History of the Monkey and the Path. Future is Reform or Revolution? We Are Looking For Urban/Human Futures. But No More Alibis, please.
Future Utopia collects twenty-two definitions of the future. The definitions insist on what we will bring in the future: they show the details of today in which is hidden the time to come and reveal the utopia that will feed the cities that are now in search of a future.
Autors: Sara Marini, Mauro Berta, Alberto Bertagna, Renato Bocchi, Valeria Burgio, Giovanni Carli, Pietro del Soldà, Lorenzo Fabian, Antonella Gallo, Emanuele Garbin, Dario Gentili, Andrea Gritti, Fabrizia Ippolito, Luigi Latini, Giulia Menzietti, Valerio Paolo Mosco, Consuelo Nava, Rosario Pavia, Francesca Pignatelli, Chiara Rizzi, Daniele Ronsivalle, Massimo Rossetti
This book is made with the contribution of Department of Architecture and Arts, Università Iuav di Venezia
Shortly after the last general election, artist Eva Weinmayr learned that her work, Today’s Question, had been chosen by David and Samantha Camerons to hang at 10 Downing Street in the Prime Minister’s private residence. Her art had apparently won the approval of the most powerful politician in the country—a man who was about to start radically cutting funds for the arts and education. An attempt to contact Cameron and his wife about their choice was ignored, so Weinmayr—along with writer John Moseley and journalist Titus Kroder—wrote a play in order to have the conversation she had been denied.
The script imagines Samantha and David inviting Weinmayr for a visit. After tea with Samantha, things quickly turn bloody. Part farce, part madcap caper, Downing Street responds to the dilemma created when art is appropriated as “radical chic.”
Written by John Moseley, Titus Kroder, Eva Weinmayr
First Edition (2015)
Satisfaction: Consumption Art from the communist Poland of the 1970′s.
During the revitalization of avant-garde practices in 1970s Poland, a strain of artmaking emerged that applied Pop aesthetics to the unlikely subject matter of consumer identity in a Communist state, responding to a new initiative by the government that encouraged the private consumption of luxury goods in the service of a more modern socialism. The films that arose from this moment engage with absurd, colorful and even scandalous content. Informed by Marxist analyses of the Western culture industry, they examine the effects of a socialist-consumerist experiment through sensuous fantasies of desire and excess
2 x DVD, poster and booklet
Polish / English
Downing Street. John Moseley, Titus Kroder, Eva Weinmayr @ The Showroom. London. Sat March 14th
(performance starts at 2.30 pm)
Part farce, part madcap caper, Downing Street responds to the dilemma created when art is appropriated as “radical chic.”
Written by John Moseley, Titus Kroder, Eva Weinmayr.
A sketch of a performance by seven actors, with the audience. Directed by Hester Chillingworth
Published by New Documents, Los Angeles.
The Showroom, 63 Penfold Street, London NW8 8PQ
Amok is André Gelpke’s personal commentary on the absurdities of our lives. True to the artist’s motto, “Photography is a whore, never faithful, always feigning,” Gelpke uses the medium to formulate his subjective view of the world. Without being explanatory or anecdotal, he examines, with the help of the camera, the small, naturally occurring settings of everyday life. Along with Michael Schmidt and Heinrich Riebesehl, Gelpke is one of the most important writer-photographers in post-war Germany. Amok brings together for the first time images taken over a period of twelve years, from 2002 to 2014.
216 pages, 20 x 27 cm, German/English, Linen hardcover, published by Spector Books and co-published with cpress, Zurich
Design: Christof Nüssli
Editors: André Gelpke, Christof Nüssli
The White Review No. 12 features interviews with choreographer Yvonne Rainer and novelist/artist Douglas Coupland. The incomparable Lydia Davis translates the ‘zeer korte verhalen’ (‘very short stories’) of Dutch writer A. L. Snijders; Mexican author Álvaro Enrigue gives us the story of a samurai in sixteenth-century Acapulco; Natasha Soobramanien & Luke Williams present the first installment of their collaborative novel; and Mark von Schlegell envisages a time travel bureau that pilfers plot lines from a paranoid writer popular with ‘the European crowd’.
Johanna Drucker rails against the impotence of contemporary art’s critical establishment and the failure of critique (citing counterexamples including Marcia Hafif, whose work is reproduced on a pull out card); elsewhere Owen Hatherley compares urbanism in Hamburg to the parlous state of British town planning. Caleb Klaces contributes a long, looping poem and we publish a series by New York-based poet Lonely Christopher. We are pleased to include series by British photographer Clare Strand and Dutch artist Parra. Our guest foreword is courtesy of George Szirtes, while the cover comes from Andrew Brischler.
Foreword: A Pound of Flesh
A. L. Snijders (tr. Lydia Davis)
Interview with Yvonne Rainer
Social and Democratic/Free and Hanseatic
A Samurai Watches the Sun Rise in Acapulco
Álvaro Enrigue (tr. Rahul Bery)
Natasha Soobramanien & Luke Williams
Interview with Douglas Coupland
From ‘In A January Would’
Return to Sender
Mark von Schlegell
The first comprehensive publication on Lena Inken Schaefer’s (* 1982; lives and works in Berlin) practice The days are long, the nights are cold presents the collection of artist’s works dating from 2007. Here we observe Schaefer’s objects, installations and actions emanate with mystery from associative contexts. Be it through the ornaments derived from the devalued Deutsche Mark-banknotes of 1922 or through St. John’s wort-stained pyjamas, the works of Schaefer reveal new possibilities for the patterns to emerge. The artist takes the patterns through the process of continuous dissemblance, use and misuse that enrich them with fresh analogies.
with texts by Jan Brandt, Roman Ehrlich, Hanna Lemke, Nils Markwardt and Dominikus Müller