In Darkness. A Collaboration by Brothers Kevin & Kristian Henson. Hardworking, Goodlooking. The Office of Culture & Design

Posted in art, critique, graphic design, history, illustration, lifestyle, newsprint, photography, printmaking, writing on December 23rd, 2015
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An Archive of International crust punk music, Filipino anarchist zines, Black and white punk aesthetics, anti-system philosophies, A descent into illness, a discourse on recovery

Published by Hardworking, Goodlooking

€78.00

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The Exhibitionist #11. Jens Hoffman (Ed.). The Exhibitionist

Posted in art, critique, distribution, magazines, writing on October 23rd, 2015
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Overture
Jens Hoffmann, Julian Myers-Szupinska, and Liz Glass
A peculiarity of the current field of curating is an ongoing contestation over the very meaning of “to curate.” As Alice said in Lewis Carroll’s Through the Looking-Glass, “The question is whether you can make words mean so many different things.” Humpty Dumpty answers, “The question is which [meaning] is to be master—that’s all.”

On the cover of this issue is Thomas Ruff’s 1989 portrait of a young Hans Ulrich Obrist. If this fresh-faced guy has done more than most to consolidate the identity of the curator—as a ubiquitous, cosmopolitan character, tirelessly promoting him- or herself, an exhibitionist of the global age—he has also presided over that identity’s confusion and multiplication. Is the curator, as Obrist often describes the role, a catalyst? Or is she, to quote Obrist’s frequent collaborator Suzanne Pagé, a modest commis de l’artiste, an “artist’s clerk”?

Curating has become a global concern, yet many languages still even lack a steady term for it. Meanwhile, in some circles, “curation” has a gained a buzzword-ish currency, signaling taste and discrimination across a dizzying array of cultural activities, from so-called “data curation” to creating playlists and dinner menus. The hope, it seems, is that a renewed connoisseurship might discern value amid the profusions of a global market—separate the wheat from the cultural chaff—even if it means, too, that Kanye West now has as much claim on the term “curator” as Carolyn Christov-Bakargiev or Okwui Enwezor. The more we stretch the word, it seems, the easier it becomes to hijack. It is time for some clarity.

In Attitude, João Ribas meditates on this semantic drift of the word “curating” into marketing, where it is proposed as a cure-all for digital excess and consumer glut. Following John Searle, who warns that the terms we use control the field of meaning, Ribas argues that contemporary curators must battle to retain the understanding that “curating” has held historically in the field of art, beyond connoisseurship and mere selection. He emphasizes in particular the spatial and temporal character of exhibitions, which may still offer the possibility of resisting the behavioral paradigms inflicted by capitalist urbanism and digital technology.

Geopolitical space is a central concern for several essays in this issue. In Back in the Day, Clémentine Deliss contends with the Museum of Modern Art’s notorious 1984 exhibition “Primitivism” in 20th Century Art: Affinities of the Tribal and the Modern, which “remains bedeviled by criticisms and emotional refutations that are hard to dissolve.” Comparing that exhibition’s model of “formal affinity” to a recent exhibition by the Senegalese artist and curator El Hadji Sy, she argues for exhibitionary methods that might “effect a remediating affirmation” of ethnographic objects in order to recover something of their “conceptual code.” Missing in Action republishes passages from Rasheed Araeen’s introduction to his 1989 exhibition of British Afro-Asian artists, The Other Story. By assembling the fragments of their collective story, Araeen dismantles the chauvinism of a “master art history” that had excluded non-Western contemporary artists.

In Assessments, Claire Bishop, Cristina Freire, Tobi Maier, and Octavio Zaya address the exhibition Histórias Mestiças (Mestizo Histories), a trenchant critique of Brazil’s racial democracy curated by Adriano Pedrosa and Lilia Moritz Schwarcz at the Instituto Tomie Ohtake in São Paulo. The writers find consonance around one remarkable installation that juxtaposed photographs of indigenous people by Claudia Andujar, 18th-century watercolors of the “discovery” of Brazil by Joaquim José de Miranda, and drawings from the 1970s by Taniki Manippi-theri, a Yanomami shaman. Says Bishop, “Such an anthropological gaze can diminish the present-ism of contemporary art and allow it to become a method or system of thinking. Would that more curators, in more countries, had the nerve to investigate so unflinchingly cherished national myths.” Curators’ Favorites asks contributors to elaborate on an exhibition that has inspired their thinking. Guy Brett describes a 1979 installation by the Brazilian conceptual artist Cildo Meireles, an allegory aimed at the military dictatorship in power at the time. Natasha Ginwala contends with The One Year Drawing Project, an experimental exchange of artworks across Sri Lanka meditating on the traumas of that nation’s civil war. And Vincent Honoré considers the Musée d’art moderne et contemporain in Geneva, claiming the museum itself as a “constant, ever-changing exhibition.”

Six x Six challenges curators to name the exhibitions that have mattered most to them. In this issue, Ionit Behar, Astria Suparak, Inti Guerrero, Gianni Jetzer, Sarah Demeuse, and Nikola Dietrich assemble their miniature pantheons. In Rigorous Research, the scholar Vittoria Martini deliberates the little-discussed 1970 Venice Biennale, a turning point for that venerable institution. In the gap opened by a political stalemate, the staff assumed control, and embraced experimentation and research. Research and reflection also connect the two essays in Rear Mirror. Ruba Katrib details the thinking behind her exhibition Puddle, pothole, portal, co-curated with the artist Camille Henrot at SculptureCenter, New York, describing their attempt to capture something of the weird, rambunctious spatiality of early Disney animations. Scott Rothkopf evinces, in turn, the extraordinary spatial and conceptual deliberation behind his recent Jeff Koons retrospective at the Whitney Museum of American Art.

Across this issue, then, the specificity of curatorial labor emerges—the thought needed to build aggregate meaning from disparate things in space. The word “curating” is not infinitely plastic. This, for us, is what it means. We all know how Humpy Dumpty ended up.

€10.00

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Fillip #20, Kristina Lee Podevsa (Ed.)

Posted in art, critique, magazines, Theory, writing on September 11th, 2015
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In this Issue:

Ken Becker: Not Just Some Canadian Hippie Bullshit: The Western Front as Artists’ Practice
Nathan Crompton: Elegy of the Non-event
Zanna Gilbert: The Human Letter: Mail Art Exchanges between East Berlin and Northeast Brazil in the 1970s
Paul Branca and Jesi Khadivi: Social Networks and Soft Crimes
Lois Klassen: Arriving at Nowhere: Reflecting on Chris Kraus’s Radical Localism
Philip Monk: Battle Stances: General Idea, CEAC, and the Struggle for Ideological Dominance in Toronto, 1976–78
Melanie O’Brian: A Wicked Problem: Fogo Island Dialogues
Nina Power: Decapitalism, Left Scarcity, and the State
Mohammad Salemy, Nick Srnicek, and Alex Williams: Speed Trials: A Conversation about Accelerationist Politics
Chantal Pontbriand and Amy Zion: Parachute: 1975–2007 and Its Afterlife
Yvonne Rainer, Hand Movie

€10.00

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Das prinzip coop. Hannes Meyer und die Idee einer kollektiven Gestaltung. Spector Books.

Posted in architecture, art, books, critique, design, graphic design on September 3rd, 2015
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Edition Bauhaus 48

Text: Claudia Perren, Werner Möller, Astrid Volpert

Genossenschaften, Sharing Community, Co-Housing – das Kollektiv hat Konjunktur. Fragen zum Verhältnis von Gesellschaft und Gestaltung, von individueller und gemeinschaftlicher Kreation und Produktion wurden bereits Ende der 1920er Jahre intensiv am Bauhaus verhandelt: Besonders der zweite Bauhausdirektor Hannes Meyer richtete Lehre und Werkstätten, Planung und Architektur radikal am Kollektiv und seinen Bedürfnissen aus. Revolutionär war besonders Meyers Idee eines gemeinschaftlichen Gestaltungsprozesses. Diesem sogenannten Coop-Prinzip widmet sich nun erstmals eine Ausstellung im Bauhaus Dessau vom 21. Mai bis 4. Oktober 2015.

Co-published mit der Stiftung Bauhaus Dessau

mit 97 schwarz/weiß-Abbildungen, fadengeheftete Broschur

Gestaltung: Prill Vieceli Cremers, Zürich
Herausgeber: Werner Möller in Zusammenarbeit mit/in collaboration with Raquel Franklin

€14.00

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Surpllus: Talk and book launch @ Motto IMA. 01.11.2014.

Posted in architecture, art, books, critique, design, events, graphic design, Motto IMA, Theory on October 29th, 2014
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Surpllus: Talk and book launch @ Motto IMA. 01.11.2014.

IMA and Motto present a talk by Melbourne-based designer and publisher Brad Haylock.

Haylock is program manager of the newly updated Master of Communication Design program at RMIT University, and founding editor of Surpllus, an independent publishing imprint that focuses on critical and speculative practices across art, design, architecture and writing. This talk will consider the politics of publishing and the contested significance of print in the digital age.

Haylock’s talk will be followed by the Brisbane launch of Surpllus #17, Tom Nicholson’s Cartoons for Joseph Selleny, an artist’s book produced as a part of the solo exhibition of the same name at the Art Gallery of New South Wales, Sydney, and shown in the exhibition Allegory of the Cave Painting at Extra City Kunsthal, Antwerp, both in 2014.

Saturday 1st November, 4pm

Motto IMA
Institute of Modern Art
Ground Floor, Judith Wright Centre
420 Brunswick Street
Fortitude Valley
Brisbane QLD 4006
Australia

 

NOIT – 2: Burning. Lisa Le Feuvre (Ed). Camberwell Press & Flat Time House.

Posted in books, critique, magazines, Theory, Uncategorized, video, writing on July 23rd, 2014

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NOIT – 2: Burning. Lisa Le Feuvre (Ed). Camberwell Press & Flat Time House.

Flat Time House is pleased to announce the publication of the second issue of NOIT, FTHo’s creative journal published in conjunction with Camberwell Press. NOIT–2, guest edited by Lisa Le Feuvre, Head of Sculpture Studies at the Henry Moore Institute, considers how burning, an action predominant in Latham’s ideas, has been deployed by artists in various ways.

In addition, NOIT–2 Burning includes interviews with William Raban on Stephen Cripps, and with Annea Lockwood on her ‘Piano Burnings’; and visual contributions by artists Anthony McCall, Camila Sposati and Marlie Mul. Also included with NOIT is a DVD documenting a series of recent ‘Skoob’ performances undertaken as experiments in relation to the recent exhibition, God is Great (10 -19) – John Latham and Neal White at Portikus in Frankfurt.

Pages: 107
Price: €13,50

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E.R.O.S. #4. Issue launch & presentation @ Motto Berlin. 19.06.2014.

Posted in art, critique, events, Journals, literature, writing on June 17th, 2014
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E.R.O.S. #4. Issue launch & presentation @ Motto Berlin. 19.06.2014.

Please join us to celebrate the Berlin launch of E.R.O.S. #4 at Motto Berlin.

Featuring readings by the editors:

Sami Jalili
Rebecca La Marre
Emma Letitizia Jones

7pm start.

Motto Berlin
Skalitzer Str. 68
im Hinterhof
10097 Berlin

Fillip #19

Posted in art, critique, distribution, Journals on June 12th, 2014
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Fillip #19. Kristina Lee Podesva (Ed.)

Spring 2014

In this Issue:

Byron Peters and Jacob Wick
Christopher Regimbal
Bettina Funcke with Andrew Stefan Weiner
Nicholas Gottlund
Zarouhie Abdalian with Aaron Harbour and Jackie Im
Lene Berg with Jacob Wren
Sumi Ink Club
Matteo Pasquinelli

Language: English
Pages: 124
Publisher: Jeff Khonsary

Price: € 10,00

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Vasarely Go Home. Andreas Fogarasi. Spector Books.

Posted in art, books, critique, distribution, exhibitions, writing on May 19th, 2014
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Vasarely Go Home

In “Vasarely Go Home” Andreas Fogarasi investigates a double event that took place in Budapest on October 18th, 1969. Opening that day, Victor Vasarely, the internationally renowned artist of Hungarian origin, had a large retrospective exhibition at the Mücsarnok/Kunsthalle in Budapest. While Hungarian avant-garde art of that time was forbidden or at best tolerated by the authorities, Vasarely’s exhibition – organised by official cultural politics – became an important public event attracting a huge number of visitors. Because of these double standards at play, the show was met with both high expectations and scepticism from the local artistic scene. The second – undocumented – event taking place that evening during the exhibition opening was a one-person protest by artist János Major. He carried a small sign in his pocket that he discreetly showed to friends and acquaintances when he encountered them in the crowd. The sign read “Vasarely Go Home”.

Author: Andreas Fogarasi
Publisher: Spector Books
Language: english
Pages: 144
Binding: Hardcover
ISBN: 978-3-944669-54-0
€24.00

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COOKIE!. Jan Verwoert. Sternberg Press, Piet Zwart Institute, Willem de Kooning Academy.

Posted in art, books, critique, writing on February 21st, 2014
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COOKIE!. Jan Verwoert. Sternberg Press, Piet Zwart Institute, Willem de Kooning Academy.

Edited by Vivian Sky Rehberg and Marnie Slater

This new volume brings together a selection of Jan Verwoert’s most recent writings. COOKIE! is a sequel to Verwoert’s Tell Me What You Want, What You Really, Really Want (edited by Vanessa Ohlraun, 2010), and third in a series of books published with the Piet Zwart Institute.

If we don’t merely reduce art to clever code play in the arenas of representation, how do we speak about what is at stake? In response to this question, Verwoert addresses the forces at the heart of the tragicomedy that making, showing, and critiquing art implicates us in. He honors the basic joys of turning one thing into another, and the miracles of rhythm and rhyme that characterize the residual level of mimetic magic in art. In this key, the unverifiable is practiced daily: bodies are remade, feelings transfigured. As Alina Szapocznikow wrote, the mouth chews and out comes sculpture. Verwoert’s COOKIE! renders visible the endless emotional labor of setting the stage (for others), poses the thorny question of whether there could ever be a labor union for con-artists (like us), and gestures toward an ethics of disappointment to battle false expectations and as a way to come to terms with the fact that, no matter how you look at it, criticism hurts.

Co-published with Piet Zwart Institute, Willem de Kooning Academy
Design by Nienke Terpsma

Language: English
Pages: 252
Binding: Hardcover
ISBN: 978-3-95679-029-4

18€
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Last copies of Jan Verwoert’s Tell Me What You Want, What You Really, Really Want were just restocked too!

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18€
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