Plethora Magazine Issue 1
Language : English
Pages : 51
Size : 50.5 x 70.5 cm
Plethora Magazine Issue 1
Language : English
Pages : 51
Size : 50.5 x 70.5 cm
Where The Birds Used To Sing. Zoé Beausire. Self-published.
21 x 29,7 cm
Control Order House. Edmund Clark. Here Press.
Edmund Clark is the first artist to work and stay in a house in which a man suspected of involvement with terrorist-related activity was placed under a Control Order in the UK.
‘Control Order House’ explores this form of detention through photographs and architectural representations of the house, and the handwritten diary of the man known only as CE. The book includes redacted documents relating to CE’s case. Clark’s implication in the process is further revealed through his correspondence from the Home Office, which makes clear the control and censorship imposed on his work inside the house. Any material could become part of CE’s case.
Clark says: ‘This archetypal semi-detached house in a faceless suburb is the physical manifestation of a form of detention without trial in the UK. It represents the reaction of a government and society to the fear and chaos of terrorist attacks.’
‘Control Order House’ engages with ideas of control in photography by foregoing the normal process of editing and mediation to reproduce the images, unedited, in the order in which Clark took them, exploring the monotony and claustrophobia of a controlled person’s life. The inclusion of official documents and correspondence also illustrates the weight of state actors against the individual.
About Control Orders
Control Orders were introduced under the Prevention of Terrorism Act 2005. Between 2005 and 2011, 52 men suspected of involvement in terrorism were under Control Orders and subject to various constraints. These included the power to relocate them to a house anywhere in the country, to restrict communication electronically and in person, and to impose a curfew. ‘Controlled persons’ were not prosecuted for terrorist-related activity and the evidence against them remained secret. One man was subject to these controls for more than four years. Control Orders were replaced by Terrorist Prevention and Investigation Measures (TPIMs) in 2012. Nine men are currently subject to a TPIM.
ISBN : 978-0-9574724-0-2
Language : English
Price : 57 €
Zu ihrer Ausstellung Everyones Camera im Göttinger Kunstverein erforscht Lisa Oppenheim die Geschichte des Mediums Fotografie. Das Künstlerbuch Billowing zeigt Naturphänomene neben Rauchentwicklungen bei Demonstrationen und Kriegsereignissen. Dabei werden die Bilder ohne Kamera erstellt sondern beispielsweise aus Negativen kreiert oder Solarisationen erstellt. Photogramme von Protesten stehen neben Vulkanausbrüchen, Silbergelatine-Drucke von Bombardierungen im Zweiten Weltkrieg neben harmlosen Wolkenformationen.
Mittels künstlerischer Aneignung, visueller Verkürzung und serieller Anordnung verhandelt die Künstlerin subtil die Auseinandersetzungen, die bis heute die Fotografie bestimmen: die Konflikte zwischen dem Dokumentarischen und dem Symbolischen, zwischen Repräsentation und Abstraktion. (Laura Schleussner)
Author: Lisa Oppenheim
Pages: 24 with 3 posters
A new art school? Statements by 30 artists, writers and architects.
Over the past two decades, Berlin’s growth into an international art metropolis has brought many people to the city. A number of these imports teach art – seemingly in all other cities but Berlin. The city’s two schools providing full-scale arts education – the Universität der Künste (UdK) and the Hochschule Berlin Weissensee – were established long before 1989.
Since 2006, if not before, discussions about the UdK’s organizational and administrative politics have flared up – generated, for one, by the stepping down of Stan Douglas and Daniel Richter as professors, a development the UdK attempted to atone for by appointing prominent professors such as Olafur Eliasson (whose assignment though ends March 2014). Weissensee has seen an outflow of professors with international profiles to teaching posts in other cities – Karin Sander has taught in Zurich since 2007, Katharina Grosse in Düsseldorf since 2010 – and the school has gone the way of appointing guest professors and lecturers.
Reputations, ratings and capacities for reform aside, the question still presents itself whether Berlin, given its manifold art scene, is in need of new models and directions for its art education. In 2006–7, the one-year temporary project unitednationsplaza underscorred the city’s desire for an informal art school mediating its larger, international art discourse.
Does the current situation suffice? If not, what form would a new institute ideally take? frieze d/e asked Monica BONVICINI, Helmut DRAXLER, Tom HOLERT and Robert KUDIELKA for extended responses to these questions. A set of additional artists and theorists also contributed shorter statements.
Finally, six artists and architects – Roger BUNDSCHUH, Eva GRUBINGER, Sabine HORNIG, Michelle HOWARD, KUEHN MALVEZZI, and Studio MIESSEN – were asked to submit concrete drafts for the design and structure of a new art academy.
And much more…
Editors: Matthew Slotover, Amanda Sharp
Language: German / English
Modern Matter’s fourth issue, Made In USA, is a collaboration with London’s ICA gallery, created on the eve of a major retrospective by the New York-based art collective, the Bernadette Corporation (making it the first independent magazine to act as an ICA partner). Its cover star is the iconic American actress, Chloë Sevigny; the issue’s content is themed, in part, around the dual ideals of Art and America, and includes an exploration of the New York art scene.
Editor: Olu Michael Odukoya
Size: 27.5 x 21 cm
Objects as firends. Jos de Gruyter & Harald Thys. Mu.ZEE.
Objects as Friends” – the collaborative work of Belgian artists Jos de Gruyter & Harald Thys – consists of some 300 digital photographs of identical proportions depicting seemingly random, brightly lit assemblies of cheap, battered objects shot against a recurring gray background and standing or lying on a dust-stained floor. A tire, a stool, a rubber boot, a dismembered umbrella; many things appear broken, picked up from the street, or bought in one of those one-euro shops whose garish interior lighting is so successfully duplicated in these bleak, underwhelming stilllives. “Objects as Friends” – the collaborative work of Belgian artists Jos de Gruyter & Harald Thys – consists of some 300 digital photographs of identical proportions depicting seemingly random, brightly lit assemblies of cheap, battered objects shot against a recurring gray background and standing or lying on a dust-stained floor. A tire, a stool, a rubber boot, a dismembered umbrella; many things appear broken, picked up from the street, or bought in one of those one-euro shops whose garish interior lighting is so successfully duplicated in these bleak, underwhelming stilllives.
Co-published with Culurgest, Lisabon, kestnergesellschaft, Hanover and Mu.ZEE Ostend
D 39.80 €
Fotografie. Zbigniew Libera. Raster.
The streets of a city steeped in martial law, the flat of a suicide victim, a mental hospital, a prison, the pages of fictitious newspapers, the camp of the last of the Europeans… Zbigniew Libera was there with his photo camera. 169 photographs collected for the first time in a single volume are an effect of an uncompromising, 30-year journey through the ashes of modern civilization.
Language: Polish / English
The Molem Collective gathers a collection of hip hop sneakers of the young Morocco-born Zakaria Haddou aka Zak from Molem. He was commissioned by the Croatian-Belgian artist Hana Miletić to portray his collection of 24 pairs of sneakers, bought during the last eighteen months. The succession of different sneakers can be regarded as a short historiography of the hip hop subculture.
The bold aesthetics, reflecting a rather objective approach, is very close to Miletić’s own artistic practice. Haddou is holding up every shoe against a slightly different background which consists of different walls of his bedroom; every close-up is shot from the same side angle.
A record of rap songs, selected by the youngster, reveals more about the remarkable collection and his owner. Here the rigour of the photographic series is played out against the personal tone of the project. Against the background of his favourite songs, Zak shares stories related to his collection that introduce the audience to some landmarks of the hip hop culture. But along the lines of dress codes and status symbols, a more personal story is told, related to the boy’s experience of ‘coming of age’.
The Molem Collective is released as a limited edition LP record (Art Paper Editions #026, 2013). The yellow record sleeve and the blue vinyl label refer to the flag colours of Sint-Jans-Molenbeek, better known as ‘Molem’ in slang, the multi-ethnic neighbourhood the young man inhabits.
The Molem Collective is part of a larger socio-artistic research project by Miletić, Molem (www.molem.be). This versatile project has an organic structure where meetings and experiences can lead to a further exploration of this contested Brussels area. Resulting in an interactive archive consisting of digital photographs and videos made by a multicultural group of young individuals from Brussels, Molem is a very generous project, on the part of the artist as well as of the participating youngsters. (Tanja Boon)
Hana Miletić (b.1982) is a Croatian-born photographer and video artist based in Brussels, Belgium. Her work documents, gathers and questions distinctive contemporary phenomena related to cultural identities, often located in the margins of European capitals. Miletić studied art history and archaeology at the Vrije Universiteit Brussel and photography at the Royal Academy of Fine Arts Antwerp. She currently researches and lectures in photography at LUCA School of Arts in Brussels.
Amsterdam. Erik van der Weijde. Omnoplata.
For AMSTERDAM the artist rented a small boat and sailed through the famous Amsterdam canals during 3 cold winter months. All shots were taken at night and through its unique point of view show an Amsterdam you have never seen.
Editorial Supervision: SUPER LABO
Editor in Chief: Yasunori Hoki
Bood Design: Erik van der Weijde
Full color Offset
Edition of 500