Hold That Thought. Johannes Langkamp. Unformed Informed (Publishing)

Posted in art, Artist Book on June 5th, 2022
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Including a text written by Sandra Smets specifically for the book (in NL, DE and EN).

Hold That Thought is a walk through the work of visual artist Johannes Langkamp. This book is a reflection of an archive with (digital) works of art, experiments, (kinetic) models and their documentation. In it moving images are brought to a standstill, only to be put in motion again by its reader. Walk, run, detour, stroll. Discover this book about motion, in motion.

Johannes Langkamp’s (Rotterdam, NL) work arises from wonder, curiosity, and experimentation. Consumed by the question ‘What happens if…’ he searches for the unexpected. Through an ever-expanding archive of his work — videos, photographic techniques, kinetic models, and spatial installations —Langkamp studies the interplay between process and result. These outcomes (finds or failures) capture moments from our everyday life, simulate movements, or facilitate ways to interrupt our viewing habits. Exposing material that broadens our view of reality itself.

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Voices Fill My Head (2LP). Kristin Oppenheim. INFO

Posted in art, music, Vinyl on June 4th, 2022
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INFO is pleased to announce Voices Fill My Head, Kristin Oppenheim’s second double LP release on the label documenting her early sound works from the 1990s. Recorded between 1993 and 1999 in her Brooklyn studio, Voices Fill My Head features eight pieces composed solely of the artist’s voice. For listeners who were fond of Night Run, Oppenheim’s first release on the label, this record reveals yet another important chapter in Oppenheim’s oeuvre.

Since the early 1990s, Oppenheim has produced vocal compositions for gallery and museum settings, making compositions not as music, but as repetitious sound installations designed to drift back and forth across wide stereo fields. Oppenheim’s installations saturate space, touching on fragmented memories that blur the lines between reality and abstraction.

Kristin Oppenheim is an American artist who lives and works in Brooklyn, New York. She is best known for installation art based in writing, performance, film, and sound. She is represented by greengrassi in London and 303 Gallery in New York. 

Since the early 1990s, Oppenheim’s work has been exhibited internationally. Her work has been featured in numerous group exhibitions including the 45th and 46th Venice Biennale, the Whitney Museum of American Art, and the Centre Georges Pompidou in Paris. Among others, She has had solo exhibitions at MAMCO Musée d’Art Modern et Contemporain, Geneva; at Secession, Vienna; KIASMA, Museum of Contemporary Art, Helsinki; at FRAC Pays de la Loire, Carquefou; at the San Francisco Museum of Modern Art; the Oboro, Montréal; the Jewish Museum, New York; and at the Villa Arson, Nice. 

Her work has also been seen in exhibitions including “X”, at FRAC Des Pays de la Loire, Carquefou (2021); “Sound Museum” at D MUSEUM, Seoul (2020); “H(a)unting images. Anatomy of a shot” at Fundación la Caixa, Barcelona (2017); “Never Ending Stories” at MAMCO Musée d’Art Modern et Contemporain, Geneva (2014); “The International Biennial of Contemporary Art of Cartagena de Indias”, (2014); “Where Did You Sleep Last Night”, ‘Nuit Blanche’, in Paris (2013); “NYC 1993: Experimental, Jet, Set Trash and No Star” at New Museum, New York (2013); “Women Artists from the Centre Pompidou” at Seattle Art Museum, (2012); “Volume” at MACBA Museu d’Art Contemporani de Barcelona (2011); “Silence. Listen to the Show” at Sandretto Foundation, Turin (2007); “Don’t Call it Performance” at Museo Nacional Centro de Arte Reina Sofia, Madrid (2003); “Voices” at Witte de With, Rotterdam (1998); “Young and Restless” at Museum of Modern Art, New York (1997); “29’ – 0 / East” at New York Kunstahalle (1996); “Threshold” at Fundacao de Serralves, Porto (1995); “Murs du son” at Villa Arson, Nice (1995); and “Encounters with Diversity” at PS1 MOMA, New York (1992). 

Kristin Oppenheim’s work is included in public collections of the Art Foundation Mallorca Collection, CCA-Andratx in Mallorca; the Centre Georges Pompidou, Paris; the FNAC Centre National des Arts Plastiques, Paris; the FRAC Des Pays de la Loire, Carquefou; MACBA Museu d’Art Contemporani de Barcelona; MAMCO Museum d’art Moderne et Contemporain, Geneva; the Museum of Modern Art, New York; San Francisco Museum of Modern Art; and the Whitney Museum of American Art, in New York. 

INFO is a label and interdisciplinary platform highlighting unique applications of sound in the field of contemporary art.

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PANORAMAS. Lee Hyewon

Posted in art, Artist's book, photography, Self published, zines on May 29th, 2022
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“Panoramas: everything is connected. All PANORAMAS photos were taken with iPhone 6s and 7. When I first used iPhone in 2017 I accidentally took a picture with the panorama function. Thereafter I’ve been recording panoramas of every scenery I want to remember. This book is my iPhone panorama records for the past five years. While working on this project I realized that everything was connected. Scenes and time that flow into small memories eventually connect with each others and are part of my persona.”
–Lee Hyewon

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HAWAPI 2017 – El Triángulo Terrestre. HAWAPI

Posted in art, Artist Book, books, exhibition catalogue, exhibitions, geography, photography, politic, politics on May 28th, 2022
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In the space where the Perú-Chile border meets the Pacific coastline, lies a triangle of approximately 3.7 hectares. Known as the “Triángulo Terrestre”, this piece of land has been causing diplomatic disputes between the two nations since the middle of the 20th century. Despite its relatively small size (equivalent to Parque Kennedy in Lima or Madison Square Park in New York) and having no agricultural, commercial or strategic value the Triángulo Terrestre has been in dispute since the signing of the 1929 treaty between Perú and Chile. The disputed land has acquired a symbolic value employed at different times by the governments of each country for political purposes.​

In April 2017, HAWAPI, in partnership with Galería Metropolitana (Chile) took a group of 13 artists (5 Peruvians, 5 Chileans, 1 Bolivian, 1 Israeli and 1 North American) to camp in Santa Rosa—the closest village to the “Triángulo Terrestre”. During four days camping on site, the group generated a series of artistic interventions and actions to contemplate in situ the social, political, economic and physical impact created by this dispute; before moving to Tacna where they staged an exhibition of their work in the independent cultural centre, Laramamango.

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Vertige profonde. Vava Dudu. Editions Salon du Salon

Posted in art, Artist Book on May 13th, 2022
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This fanzine is entitled “Vertige Profonde”, Vava Dudu, an exhibition that took place at the Salon du Salon in Marseille in 2017.

Vava Dudu’s solo exhibition “Vertige Profonde,” at Philippe Munda’s Marseille gallery, Salon du Salon, is visually balanced to the point of stillness. Carefully laid out grids of pen and ink drawings on notebook paper and scrawled across the thin cotton sheets that line the walls can do nothing to disturb this equilibrium. Small mounds stand out invitingly, sketched with slim lines inside abstract folds. Holes weep as the silhouettes of fingers slide into them. Disembodied breasts drip, cupped lightly in large hands. What kind of soft volume is that finger spreading beneath and around it with its insistence on the vertical axis? ‘Does it matter?’ Dudu’s drawings seem to say. There is nothing balanced about desire, and yet here it is, stilled, caught on rectangles of paper and cloth, so that one can focus on the implications just of that one mouth and the hand that is tangled around whatever it is sucking on.

“Vertige Profonde” is French for intense vertigo, but in the word profonde there is also the suggestion of a phenomenon that is underlying, as though vertigo were at the foundation of sexual play. The spinning, de-centering center of human experience. As Dudu’s iconographic drawings spill down a rosé sheet meticulously pinned to the wall, its surface tension breaking only to accommodate a wrought-iron radiator, it is easy to see her graphic accumulation as the dizziness of the body caught in time with another body. The fact that the exhibition as a whole is still, nevertheless, results from the fact that there is nothing abject about desire as Dudu envisions it. There is violence, a lack of orientation and of any ultimate climax in her work, but it does not speak to what happens to the body before or after vertigo; there is no motive and no collapse.

Dudu has a reputation for being uncategorizable, an intense iconoclast with a vision governed by irreverence and intuitive play. As a fashion stylist, she made corsets for Jean-Paul Gautier, and then started her own line of accessories using ancient beads. With Fabrice Lorrain, she won the prestigious ANDAM prize for fashion in 2001 on the basis of a series of fashion performances in the late 1990s and early 2000s. Dudu and Lorrain’s innovation was to repurpose used clothing and other material, amalgamating existing garments rather than producing clean or freshly coherent clothing. Together they made pieces for Lady Gaga, Björk, and Cat Power. In 2003, Dudu founded La Chatte, French for pussy, an electro-rock-punk-queer-pop band, for which she creates elaborate costumes like the one she wore for an interview at La Gaîté Lyrique in Paris when their album “Crash Ocean” was released in 2014. Her psychedelic stockings are reminiscent of Dr. Seuss’s early color palette. These are topped by a giant, bright yellow puffer jacket out of which two plastic, wilted, white women’s heads are spilling out of the jacket’s collar on either side of Dudu’s own.

Salon du Salon occupies two adjoining rooms on the third floor of a spacious old bourgeois apartment on l’Avenue du Prado, a wide boulevard radiating out of the center of Marseille towards the South and into the city’s richer neighborhoods. Philippe Munda has run the gallery for four years at its current location, which is also his residence. He is interested in what it means to live with others adjacent to this kind of space.

French bourgeois apartments have an internalized separation of public and private. With its cavernous ceilings, its French windows giving onto a shallow city balcony that lines the entire building, Salon du Salon is intimate without succumbing to informality. This space was designed to encompass social masquerade at the scale of the body, and so it breathes, unlike its massive post-industrial cousin.

The two rooms also separate two very distinct moods in Dudu’s work: one rosé and the other red and black. On either side of the arched doorway that opens between these spaces, Dudu and Munda installed a pair of jackets that are among the few works Dudu did not create in situ as part of her short residency leading up to the exhibition. A red jacket and a black jacket were halved and then sown together with the opposite half of its twin, so that each is red and black. The word “security” is thus split, as is a black star against a red ground. Across both is stitched the phrase, “vous n’avez pas répondu à mon regard,” which translates to “you did not respond to my gaze,” but the address is formal. I read the security jacket as the uniform of mercenary authority and the starred jacket as the representative of some mixture of punk and old-school communism, another kind of order, and only slightly less authoritarian than its twin.

If there is no collapse in “Vertige Profonde,” there is nevertheless an admission of the failure of systems to suture all subjects equally within the fabric of society, into order or counter-order. This failure on the part of the uniformed to respond to the gaze of an Other is the violent pair to desire, it is the other center-less center of society. The refusal to be ethical, the refusal to look, is ultimately the refusal to be undone by the possibility of another’s desire.

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Michaël Sellam – Science, fiction, culture, capital. Various Authors. BlackJack Éditions

Posted in art, books, exhibition catalogue on May 13th, 2022
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The first monograph dedicated to the work of Michaël Sellam, which is at the crossroads of sculpture, photography, video and music. Here, it brings together, among other things, fruits, flowers, parallel universes, smoke, microscopic hieroglyphs, an Italian grandmother, traces of lipstick, masters of darkness, some robots, aliens, the making of Egyptian ropes, the inhalation of parasitic odors from the solar system, the intensive programming of an extremely slow machine and the 180° head turn.

«Notre civilisation se développe dans une logique de la contingence, de la possibilité pour chaque chose d’être tout autre. Comment la notion de matière s’est ouverte à une économie et à une pensée de la forme à un moment où tout devient programmable? Expérimenter à travers l’art les relations de tensions entre science, fiction, culture et capital développe, de fait, un certain artifice. Il est peut-être nécessaire de produire une nouvelle esthétique qui ne soit ni représentative, ni abstraite, ni conditionnelle, mais constitutive d’une époque où, plus qu’à toute autre, nous construisons un monde qui inclut comme possible notre disparition et ou coexistent les formes chaotiques et ordonnées de la circulation: des idées, des formes, des atomes, des énergies, des gènes, de l’information.»
–Michaël Sellam

Texts by Gérard Berréby, Benoît Durandin, Christian Gaussen, Lætitia Paviani; interview with Timothée Chaillou. Published on the occasion of Michaël Sellam’s exhibition at the École Supérieure des Beaux-Arts de Montpellier Agglomération, from January to February 2014.

The work of Michaël Sellam (born in 1975 in Paris) multiplies the references to the world of popular leisure with a particular interest in amateur practices and forms of sub and counter-culture. Belonging to a generation that has integrated the use of computers and new technologies, he relies on these technical instruments and questions, through a complex and varied approach, forms that unfold from installation to video, from sculpture to performance.

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LOVOTIC (vinyl). Soundwalk Collective w/ Charlotte Gainsbourg feat Atom™, Lyra Pramuk, Paul B. Preciado, Willem Dafoe. Soundwalk Collective

Posted in art, music, Vinyl on May 8th, 2022
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Written and conceived by Stephan Crasneanscki, ‘LOVOTIC’ is a concept album by Soundwalk Collective, composed in collaboration with lauded actress and singer/songwriter Charlotte Gainsbourg, Featuring veteran techno stalwart Atom™, rising singer/composer/performance artist Lyra Pramuk, celebrated actor Willem Dafoe, and writer/philosopher Paul B. Preciado, the album will be available from April 1st via the new Berlin-based Analogue Foundation.

Inspired by a relatively new field of research that seeks to explore and develop the possibilities of sexual and emotional relationships – and even love – between humans and robots, ‘LOVOTIC’ interrogates the impulses, ideas, and needs underlying this phenomenon. The project ventures into a future where sex, intimacy and desire are reformulated through the connection of humans, robotics, and artificial intelligence.

In an age of such hybrid entanglement with the machine, human identity requires the construction of new forms of intimacy, gender, and sexuality. At present, however, such technologies are primarily used to produce programs of limited sexual iterations that do not question the preformatted categories of gender and sexual orientation. In contrast, on ‘LOVOTIC’, Soundwalk Collective ask whether the future of sex and sexuality could instead be an exponentially expanding kaleidoscope. Where does the impulse of preference come from? What sets of words from our vocabulary can be communicated to the AI mind to generate a new identity for desire? Could the machine be another technology that brings us closer together?

Sonically ‘LOVOTIC’ is unidentifiable, artificial, and genuinely futuristic, occupying an amorphous androgynous netherworld at the borderlands between biotic and android. Traditional musical signposts are virtually non-existent, instead offering a mercurial, formless sound which mirrors the flourishing of gender fluidity it suggests could be on the horizon.

‘LOVOTIC’ is available as an artist edition double LP pressed on transparent vinyl, featuring a hand engraving on each side. It includes a 16-page booklet containing lyrics and painted artwork, both by Stephan Crasneanscki.

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Hunting & Collecting. Sammy Baloji. Mu.ZEE; Galerie Imane Farès

Posted in art, books, exhibition catalogue on May 7th, 2022
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Published for the exhibition Hunting & Collecting, Mu.ZEE, Ostend, Belgium, cur. Sammy Baloji, Philip Van den Bossche and Anouck Clissen (3 August 2014 – 21 September 2014).

Whatever can hunting wild animals in colonial Congo and the exploitation of Congolese mines in the present have in common with a collection of modern and contemporary art in a museum in the Belgian coastal city of Ostend? In 2014 Sammy Baloji initiated an ambitious research exhibition bringing together historical documents, pictures by Congolese photographer Chrispin Mvano, works of Belgian artists from the 19th and 20th century included in the collection , contributions by contemporary artists dealing with the exploitation of Congo and finally his own acrimonious collages. This book transforms the numerous layers of the exhibition into a experimental visual essay. The seemingly distant realities f art history and global economies appears as closely intermingled.

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Being Together: A Manual For Living. Grace Ndiritu. KRIEG

Posted in art, politics, writing on April 23rd, 2022
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Contributors: Philippe Van Cauteren, Pieter Vermeulen, Grace Ndiritu, Rafaela Lopez, Roberto dell’Orco, Jana Haeckel, Katleen Vermeir & Ronny Heiremans, Nathalie Boobis, Shayla Perreault, Edward Ball, Guadalupe Martinez, Stacy Suy, Ezra Fieremans.

Being Together: A Manual For Living falls in the lineage of publications such as The Journal of the Society for Education Through Art, which throughout the 1960s provided British art schools a window into experimental education. By contrast, Grace Ndiritu’s experience in creating radical pedagogies arose from a connected, yet unorthodox system of ‘self education’. In 2012, she decided to spend time living in cities only when necessary. She thus lived in rural, alternative and often spiritual communities, while expanding her research into nomadic lifestyles and training in esoteric studies, which she began after graduating art school. This research led her to visit Thai and Tibetan Buddhist monasteries, permaculture communities in New Zealand, forest tree dwellers in Argentina, neo-tribal festivals such as Burning Man in Nevada, a Scottish Hare Krishna ashram, and the Findhorn Spiritual Community in Scotland. Such lifestyles forever transformed her ideas of education and have proven critical for her art, whether conducting teaching experiments with students, peers and the general public; some of whose voices appear in this publication. Ndiritu posits, “What does (art) education mean today?” and specifically, “What does an embodied (art) education mean in a time of pandemics and social unrest?”. Being Together: A Manual For Living attempts to answer these complex questions.

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Neology Issue 37. Christian Egger, Christian Kosmas Mayer, Yves Mettler, Magda Tóthová, Alexander Wolff (Eds.). ztscrpt

Posted in art, Journals, writing on April 18th, 2022
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Featuring contributions by Grossi Maglioni, Christian Egger, Michiel Huijben & Harriet Foyster, Brittany Tucker, Gong Zhang, Geoffrey Garrison, Michaela Eichwald, Eugenia Lai, Alix Eynaudi, Monika Grabuschnigg, Carina Luksik, Steven Warwick, Mirjam Thomann.



Edited and published by: Christian Egger, Christian Kosmas Mayer, Yves Mettler, Magda Tóthová, Alexander Wolff.

Chicago, Times, Plotter, Helvetica, DIN, Techno, Löhfelm, RR_02, Univers, Tiffany, Circuit, Memphis, Gringo, Zeus, The Mix, Princess Lulu, Pigiarniq, Paper, Libertine, Trixie, Déjà Vu, Auto, Rediviva, Acid, Wanda, Loraine, Hallo, Korpus, Spiegel, Zeitschrift, Fig, Museo, Lisa Fittko and Dyslexie are the 34 issues of the magazine founded in 2002 in Vienna by a group of Austrian, German and Swiss artists.

With 2 to 3 issues a year, the members of the team publish their magazine around their personal encounters and artistic interests.

Each issue present around fifteen contributions, in both texts and images. Artists, writers, scientists and specialists in all kind of fields are invited to contribute and intervene in a sober and efficient layout already acknowledged by the London Design Museum in its exhibition Best European Design 2005.

The focus of the editorial activity is organizing and assembling the contributions, including works and found footage by the editors, in order to create for each issue a strong and beguiling unity, amplified by the use of a different font for each issue. Each issue printed in black and white in an edition of 300 copies, is completed with a color centerfold poster by an internationally recognized artist (Kai Althoff, Elke Krystufek, Daniel Pflumm, Ayse Erkmen, Richard Hawkins, Amelie von Wulffen, Cameron Jamie, Renée Green, Jennifer West, Art & Language, etc…).

Apart of the publishing work, the team organizes for each issue a release party in a specific space, such as a panoramic bar, a wax museum, project spaces, other magazine’s editorial spaces, etc… inviting artists to perform or exhibit.

Broadening its network, the magazine gets invited into art spaces to which the team respond contextually: Multiple author wallpainting for a magazine fair, teamshow at Flaca in London, curated groupshow in Circuit, Lausanne, artists-in-residence in Copenhagen, lectures in galleries and workshops in universities, etc..

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