Tupacproject consists of the construction of a monument dedicated to Tupac Amaru Shakur, the Black Panther rapper who died in 1996 in a drive-by shooting in Las Vegas Valley.
Since the opening exhibition at the Marta Herford Museum in 2005, it has stood imperturbably in front of the Gehry architecture: the life-size sculpture by Tupac Shakur.
Raised on a nearly 5 m high pedestal and with arms folded behind, shirtless and eyes lowered, the life-size monument by the Italian artist Paolo Chiasera (*1978, Bologna) is one of the first works of art that the visitors* even before entering look into Marta. And meanwhile it has become an integral part of the “museum skyline”.
For many, however, the presence of the gangsta rapper in Herford remains a mystery, as does the German rapper Marteria, who visited the Tupac statue together with rap colleague Casper last summer. Marteria lost a €50 bet because he doubted the existence of a Tupac statue in Herford.
With contributions from Lorenzo Benedetti, Hans Ulrich Obrist, Pier Luigi Tazzi.
Franziska Buhre (ed.) Klangteppich V Magazin Festival für Musik der iranischen Diaspora
Editorial Support: Hannes Liechti Design: MüllerValentini – Agentur für Markendesign Copy Editing: Angus Finlayson, Tash Siddiqui, Meredith Slifkin, Tucker Wiedenkeller
Since 2021, Norient has been publishing an Online Special together with Klangteppich, the Berlin-based festival for music from the Iranian diaspora. In the meantime, this publication has developed into an archive of lively perspectives on contemporary music-making in Iran and the Iranian diaspora.
The texts have been created as an invitation to festival artists and other authors to deepen their own narratives and meaningful historiographies of exchange between Iran and the world.
With this Special, we want to raise awareness of the complex realities in which diasporic artists work. The fifth festival edition is now an opportunity to collect a selection of previous and new texts in a printed magazine.
Table of Contents:
Franziska Buhre und Hannes Liechti: «Prolog» Impressionen Klangteppich I 2018 (Photo Series) Shayan Navab: «And Somewhere I’ve Heard the Screams Before» (Short Essay) Sophie Grobler: «Our Homeland» (Short Essay) Amin Hashemi: «On the History of Iranian Popular Music» (Short Essay)
Impressionen Klangteppich II 2019 (Fotoserie) Shaahin Peymani: «One Way Passage to Tehran» (Short Essay) Franziska Buhre, Hadi Bastani: «Listening Is at the Heart of What I Do» (Interview) Erum Naqvi: «Diaspora Comes Home» (Round Up) Arshia Samsaminia: «Making Persian Music More Accessible to Outsiders» (Music Theory)
Impressionen Klangteppich III 2021 (Photo Series) Franziska Buhre: «Bass Drums, Cowbells, Tambourines» (Essay) Ali Kamrani: «Lass mich mit Hass nicht allein» (Gedicht) Tanasgol Sabbagh: «Dard I Door» (Poetic Text) Pardis Zarghampour: «Wann gehen wir zurück?» (Essay)
Impressionen Klangteppich IV 2022 (Fotoserie) Nikan Khosravi: «Being on the Right Side of History» (Essay) Shabnam Parvaresh: «Blinde Passagiere» (Essay) Matthias Küntzel: «Der Rundfunk als Waffe. Die Persisch-sprachige Nazipropaganda und ihre Folgen» (Essay)
With contributions by Hadi Bastani, Franziska Buhre, Sophia Grobler, Amin Hashemi, Ali Kamrani, Nikan Khosravi, Matthias Küntzel, Erum Naqvi, Shayan Navab, Shabnam Parvaresh, Shaahin Peymani, Tanasgol Sabbagh, Arshia Samsaminia and Pardis Zarghampour
À la mort de son père, Juif d’Oran naturalisé français puis israélien, Ariella Azoulay découvre dans un document que sa grand-mère portait le prénom Aïcha. En deux récits mêlant autobiographie et théorie politique, l’autrice serpente entre les catalogues de bijoux, les photos trouvées et les collections d’objets pillés, pour déployer par fragments l’histoire de sa famille et mettre en parallèle les colonialismes français en Algérie et sioniste en Palestine. Entre ces projets impériaux, elle saisit bien des continuités, à commencer par la volonté obstinée de détruire l’enchevêtrement séculaire des mondes juifs, arabes et berbères, un entrelacs qu’elle revendique pour mieux le restaurer.
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Ariella Aïsha Azoulay est écrivaine, chercheuse, cinéaste expérimentale et commissaire d’archives anticoloniales. Née en 1962 dans la colonie sioniste de Palestine, elle est professeure à l’université Brown où elle enseigne la théorie politique, la résistance aux formations impériales et les imaginaires anticoloniaux réclamant le retour, la restitution et le tikkoun olam, la réparation du monde. Autrice d’une dizaine de livres parus dans de nombreux pays, elle a publié entre autres Potential History: Unlearning Imperialism (Verso, 2019) et From Palestine to Israel: A Photographic Record of Destruction and State Formation (Pluto Press, 2011). Inédit, La Résistance des bijoux est son premier livre traduit en français.
A HYPOTHESIS OF RESISTANCE—PART FOUR: A LECTURE ON UNDETECTABILITY Cally Spooner
Survey MRINALINI MUKHERJEE (A) Overgrowth Noopur Desai, Emilia Terracciano, Murtaza Vali (B) Less a Thing Than the Trace of a Movement Skye Arundhati Thomas
Monograph PENG ZUQIANG Touch, Gaze, Motion, Memory: On Two Recent Video Works by Peng Zuqiang Travis Jeppesen
Fiction YOUR LOVE IS NOT GOOD Johanna Hedva
Monograph LEE LOZANO Lee Lozano’s Tools and the “Self as Center” Amelia Jones
Visual ANGHARAD WILLIAMS Cars, 2022 Angharad Williams, Maurizio Cattelan
Books Gabrielle Goliath
Tidbits Graham Little by Max Feldman Onyeka Igwe by KJ Abudu Shaun Motsi by Olamiju Fajemisin Sydney Schrader by Gloria Hasnay Rahima Gambo by Sindi-Leigh McBride Ştefan Bertalan by Krzysztof Kościuczuk
Thinkers SARA AHMED: ARCHIVING UNHAPPINESS Ana Teixeira Pinto
Criticism I’M WITH FANTASY Kerstin Stakemeier
Reprint REINCARNATION AND BIOLOGY: A CONTRIBUTION TO THE ETIOLOGY OF BIRTHMARKS AND BIRTH DEFECTS Ian Stevenson Lawrence Abu Hamdan
In her bold departure from conventional art criticism, Hannah Godfrey looks to the work of five contemporary queer visual artists, with attention to, and affection for, the wit, subversion, and many complexities of each of their practices. Shifting through written forms as experiential coves, Critical Fictions is a collection of inventive responses that are delicately linked, and devoted to their subjects.
Alongside the five artists—Derek Dunlop, Kristin Nelson, Hagere Selam shimby Zegeye-Gebrehiwot, Andrea Oliver Roberts, and Logan MacDonald—Godfrey shares a keen interest in intricacies of queer power, the body, and abstraction. Her varied approach to criticism embraces stories, poetry, essays, and other textual formations as means of wayfaring through the work of art. In these pages the reader will find not only celebrations of the depth, beauty, and acuity of the artworks discussed, but explorations of the imaginative thoroughfares they open up.
“It’s with a unique, caring voice that Godfrey speaks about, to, and with the artists in this collection. Even if the reader is familiar with an artist’s practice, the writing, in both its abstract and critical forms, offers the time and space so desperately needed to cover the complicated and intimate relationship of a critic engaging with artwork. Critical Fictions is a special, caring, and necessary book where art criticism is written, challenged, turned on its head and back again, interlacing the varying concepts of the featured artists’ practices like thread in a loom. Only when the reader reaches the end does it become apparent the threads have become a tapestry—a rare and beautiful process that will stay with you into the real world.” —Lauren Lavery, Editor of Peripheral Review
Reflecting on discoveries and debates that have occurred in the two years since its publication, artist Alex Head will read from current works in progress to highlight specific aspects within his ambitious book Ricochet to discuss the architecture of power.
It is now well documented that cults have been used to disseminate disinformation. For example the extremist cults of MAGA, The Oath Keepers and Proud Boys who’s recruitment pipeline has been funded by Big Oil and crypto libertarians in an attempt to overthrow the United States and crash their and the world’s economy.
But what about the arts more widely, is there a form of culture that is transparent about its ideology, particularly in today’s hyper-accelerate media vortex? Are all cultural institutions not also in some way cultish? The cult of patriarchy being just one obvious example that transcends both religious and cultural institutions.
Focussing on specific evidence of how cults have been used to spread disinformation and other historical data the artist will discuss the central motif to his work Ricochet, – the Sacred Date Palm Tree – as a expression of the anti-rhizome. Are we, the unwitting public being continuously gaslit by Sacred Date Palm tree’s in the form of neoclassical architecture? And if so, what can we do to review and refocus personal and political objectives as users navigate the web architecture of the app?
Join us at Motto Berlin on Thursday, 13th of July for an insightful talk where we will explore the profound themes of Ricochet and run across topics like January 6th, Classical Architecture, White Supremacy, BND Building Berlin, Mental Health, Libertarianism, Bitcoin, Gold Standard, Going Offline, Art, Publishing, Design, Cultural Epigenetics, Memory, Witnessing and Social Media.
We are happy you invite you to an open-air summer evening with lectures, readings, and a music performance to launch our newest Norient BookPolitics of Curatorship on June 29 at Motto Books Berlin from 19:00 onwards.
In essays, academic texts, photo essays, poems, and short comments by 32 writers, artists, journalists, and scholars from all over the world, this volume attempts to encourage different approaches to increase diversity and equality in curatorship within the cultural industry.
For our Berlin release party, we have invited the Berlin-based curator and book contributor Andrea Goetzke & the activist and DJ Ari Robey-Lawrence for a panel discussion, the musician Tatiana Heuman aka Qeei to play an exclusive music performance, and the sound artist Lendl Barcelos and Norient founder Thomas Burkhalter (both contributors) for remote readings in the lovely courtyard of Motto Books Berlin. Moderated by Carla J. Maier and Philipp Rhensius.
Expect an engaging evening with critical questions, challenging sounds and refreshing drinks. Co-moderated by Norient Books editor and Sound Studies researcher Carla J. Maier and Norient editor and writer/musician Philipp Rhensius.
Log 57 – Black is . . . an’ Black ain’t . . . Anyone Corporation,
USA, Architecture, Magazine, “Calls for more Blackness in architecture schools can be simplistic,” writes architect Darell Wayne Fields, guest editor of Log 57. Well-meaning equity and inclusion programs often simply “associate the mere presence of Black bodies with institutional change.” In Log 57, a 208-page thematic issue titled Black is . . . an’ Black ain’t . . ., 29 authors explore the complexities of Blackness as it relates to aesthetics and architectural pedagogy. As Fields notes, “In calling for more Blackness, I, for one, am calling for more Black methodology. An inherent characteristic of [which] is a measurement of difference.” To that end, Log 57 gathers essays and reflections on architectural pedagogies, both in academia and in practice, by Sean Canty, Michelle JaJa Chang, Ajay Manthripragada, and Mónica Ponce de León, among others. Projects by young designers for whom methodological concepts of Black Signification and bricolage are central are presented in a four-color section, and built works and a preservation effort channel difference as a generative force in real-world communities. “This work demonstrates what is possible when methodological change is real,” writes Fields. “Real change, like Blackness, makes us nervous. Black difference, however, is revolutionary.”
Contents
Chelsea Jno Baptiste, Savannah Cheung & Sahil Mohan, “VERSatile Method”
Tamara Birghoffer, “House for a House”
Kenneth Brabham Jr., “A Room for Jacob Lawrence”
Alex Cabana, “Fuller’s Spine”
Barrington Calvert, “Speakeasy for the Revolution”
Barrington Calvert & Nick Meehan, “Preservation Operations: A Guided Tour of American Legion Post 218”
Sean Canty, “All the Things You Are: Latency as an Aesthetic Practice”
Brian Cavanaugh & Darell Wayne Fields, “University of Oregon Black Cultural Center”
Michelle JaJa Chang, “Shadows and Other Things”
Eunice Chung, “Bigness and Blackness”
Matt Conway, “Drunk Datums”
Melinda Denn, “A House for Rosie Lee Tompkins”
Nitzan Farfel, “A House Is a Brothel”
Darell Wayne Fields, “Prologue to a Black Pedagogy”
Rachel Ghindea, “House for the Dead”
Mitzy González, “Nepantla: An Altar for Gloria E. Anzaldúa”
“Healing The Museum” is a mid-career monograph looking at Grace Ndiritu’s diverse practice over the last twenty years, which encompasses performance, film, shamanism, social actions, painting, publications, textile work, and collection research. The large selection of artworks included in the publication are in a dialogue with each other, further enriched by in-depth conversations with Brook Andrew, Gareth Bell-Jones, and Philippe Van Cauteren, and written contributions from Ifeanyi Awachie, Ann Hoste, and Hammad Nasar. The monograph’s publication coincides with the eponymous exhibition at S.M.A.K.–Stedelijk Museum voor Actuele Kunst in Ghent.
This edition of ZIGG is interested in exploring sex as an evolutionary psychology. It brings together contributions from a network of friends, peers, colleagues who have engaged or encountered the makers of ZIGG through intellectual, psychosexual vibrations. It includes text messages, illustrations, drawings, poetry, code, conversation, rants, and essays.
Contributors: Hala Bint, Alex Cecchetti, Common Accounts, Kelly Fliedner, Chitra Ganesh, Drew Gordon, Margaret Haines, Raja’a Khalid and Ahmad Makia, Amanda Lee Koe, and Deepak Unnikrishnan.
ZIGG is a publishing association engaged in critical thinking from Dubai. It circulates amorphous aesthetics, printed matters, and promotes the disciplinary blurring between sex, media, earth matter, magic, and politics.
