Chile project. Carlos Soto Román. Self published

Posted in Artist Book, politics on November 25th, 2021
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Chile Project is a publication composed by a black envelope containing loose sheets with intervened reproductions of documents declassified by the CIA during the year 2000 in relation to the US intervention in support of Pinochet’s coup d’état.

The author in this case does not try to unveil what has been crossed out, he intensifies or exacerbates that censorship instead and therefore makes the level of silencing implied by this declassification more obvious and absurd, exposing the machinery of the bureaucratic and impersonal language behind this terrible historical facts.

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Les Cahiers: Écrire, traduire, peindre / Write, translate, paint – Véronique Tadjo. Sarah Davies Cordova, Desiré Kabwe-Segatti (Eds.). Presénce Africaine

Posted in art, critique, politics on October 30th, 2021
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Between the unpublished poem “Déclinaison du temps premier I” and a translation of “Nelson Mandela “Non à l’apartheid””, this collective work brings together a series of 19 articles which present for the first time Véronique Tadjo’s oeuvre from critical perspectives. The articles examine how Tadjo, poet, storyteller and writer who situated herself as a Pan-Africanist, questions the political drifts of African current affairs and the “univocity” of history, and rethinks the plurality and complexity of European and African rituals, traditions and more in a contemporary bygone world.

Introduction
Sarah Davies Cordova & Désiré Wa Kabwe-Segatti – Véronique Tadjo, unpublished poem

Speaking (out) to Tell
Micheline Rice-Maximin – Anna-Marie De Beer
Pamela Nichols – Pierre-Louis Fort – Catherine Mazauric

Literature and Politics
Romuald Fonkoua – Dina Ligaga – Abdoulaye Imorou – Marzia Caporale

Words and Images
Odile Cazenave – Walter Putnam

Cahier d’Images / Gallery of Images

Poetics of the Imaginary
Obed Nkunzimana – Antoinette Sol – Doris L. Obieje – Charles Yaovi Mensah Kouma

Tadjo and the Art of Translation
Elisabeth Mudimbe-Boyi – Amy Baram Reid

Round table: Amy Baram Reid, Peter Thompson, Christopher Fotheringham & Nataša Raschi

Conclusion
Chantal Wright, translation (excerpt)

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Institutions by Artists: Volume 2. Jeff Khonsary, Antonia Pinter (Eds.). Fillip Editions

Posted in art, critique, politics on October 30th, 2021
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Fillip Editions – Folio Series

Following Institutions by Artists: Volume One and the eponymous convention from which both volumes take their name, this second anthology of texts continues the work of unpacking artists’ relationships to—and creation of—a larger set of structures that increasingly regulate, demarcate, and codify contemporary artistic practice: centers of economic and cultural capital; state and private apparatus; and sites of display, storage and production.

This volume’s contributing authors present a series of historical and contemporary case studies, investigating artists’ connections to various manifestations of institutionalized practice. These case studies describe practices that developed in places as disparate as Vancouver, London (Ontario), East Los Angeles, Scotland, and Trinidad and Tobago. Also included are transcripts of two debates held during the 2012 Institutions by Artists Convention, which asked: “Is there space for art outside the market and the state?” and “Should Artists Professionalize?”

With contributions by Tania Bruguera, Julia Bryan-Wilson, Dana Claxton, Christopher Cozier, Jeff Derksen, Sean Dockray, Candice Hopkins, Jesi Khadivi, Jaleh Mansoor, Philip Monk, Christopher Régimbal, Slavs and Tatars, Claire Tancons, Tania Willard and others

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Breathing Out of School—RAW Académie / Respirer hors école—RAW Académie. Koyo Kouoh (Ed.). RAW Material Company; Motto Books

Posted in art, Motto Books, politics, writing on October 7th, 2021
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Authors: Amina Lawal Agoro, Dulcie Abrahams Altass, Yemisi Aribisala, Eva Barois De Caevel, Mamadou Diallo, Carine Doumit, Ayesha Hameed, Ava Hess, Sandrine Honliasso, Marinette Jeannerod, Koyo Kouoh, Ariane Leblanc, Dominique Malaquais, Lionel Manga, Zen Marie, Jenny Mbaye, Thierno Niang, Julie Peghini, Marie Helene Pereira, Esther Poppe, farid rakun, Frida Robles Ponce, Sumesh Manoj Sharma, Marion Louisgrand Sylla, Maya Tounta, Margrethe Troensegaard, Ibrahima Wane, Peter Webb, Syham Weigant

RAW Académie was developed in Dakar to create a space of experimental teaching and collaboration, of deconstruction and exposure, of knowledge and nourishment. Koyo Kouoh, founder of RAW Material Company, wished for curatorial inquiry and critical writing to join artistic thinking at this site of international encounters. During these two-month long sessions that take place twice a year, young artists and curators—the Académie fellows—come from all over the world to be accompanied by faculty members with whom they exchange and experiment around particular discursive practices or thematic foci. The commitment to create a community that did not previously exist has led to an ever expanding RAW Académie family of Pan-African and global orientation. This thriving and stimulating meeting ground of pedagogy and art has cultivated the emergence of many provocations, reflections and new possibilities, some of which are shared in Breathing Out of School—a volume of diverse texts that slowly constructs an invitation to ruminate upon what it means to share the table of curiosity and creativity with others, as well as think about what feeds our own earnest dreams.

La RAW Académie a été créée à Dakar afin de proposer un espace d’enseignement expérimental et de collaboration ; de déconstruction et d’exposition ; de connaissance et de substance. Koyo Kouoh, fondatrice de RAW Material Company, a souhaité que la recherche curatoriale et l’écriture critique se joignent à la pensée artistique sur ce lieu de rencontres internationales. Lors de ces sessions d’une durée de deux mois qui ont lieu deux fois par an, de jeunes artistes et curateur·rice·s — les fellows de l’Académie — arrivent du monde entier pour y être accompagné·e·s par le corps professoral avec lequel elles·ils échangent et expérimentent autour de pratiques discursives ou de thématiques particulières. La volonté de constituer une communauté qui n’existait pas auparavant a permis à la RAW Académie d’élargir sans cesse sa famille panafricaine et mondiale. Ce lieu de rencontre florissant et stimulant de la pédagogie et de l’art a cultivé l’emergence de nombreuses provocations, réflexions et possibilités nouvelles, dont certaines sont partagées dans Respirer hors école — un volume de textes diversifiés qui forme peu à peu une invitation à méditer sur ce que signifie de partager la table de la curiosité et de la créativité avec d’autres, ainsi qu’à réfléchir à ce qui nourrit nos rêves ardents.

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ION GRIGORESCU: BUCUREȘTI / BUCHAREST. Alina Serban (Ed.). Pplus4 Association

Posted in art, Artist Book, politics on October 6th, 2021
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The publication offers a foray into the experimental photographic and filmic practice of Ion Grigorescu, arching over a period between 1964 and 1994, following the particular way in which the city of Bucharest is approached by the artist.

Although Bucharest is not seen as an independent subject, it still remains present in the background, going through the extremely varied stages of Grigorescu’s work. The publication BUCHAREST thus reveals the artist’s commitment to a way of working that we can associate with the phenomenon of “amateur politics”. Present in the former Yugoslavia (in amateur film clubs), in Poland (Lodz experimental film school), in Hungary (Balázs Béla studio), but also in other countries, the phenomenon of “amateur politics”, recognizable in experimental film and photography, reflects the special interest of artists for the urban space that has become the subject of artistic research.

In the case of Ion Grigorescu, his non-normative work system advances a type of image construction that rejects linearity, the narrative, preferring to record the episodic, the transient, the poetic, to render the most banal act, the urban ruin. Photography and film thus become research tools of everyday life, of brutal or, on the contrary, imperceptible transformations of urban reality, towards which Grigorescu assumes a position.

Ion Grigorescu’s Bucharest is a Bucharest lived and recorded subjectively, often dual (day and night), captured either by chance in the artist’s daily journey, or reimagined and rewritten by his dreams noted in the diary. It is a Bucharest that is gradually revealing itself, with its problems, with its limits, with its ruralized spaces on the edge of the prefabricated housing neighborhoods, a Bucharest of the gross remodeling after 1990.

The particular way of looking and subjective traversing the city by Ion Grigorescu is analyzed by the texts of art and architecture historians Juliana Maxim, Carmen Popescu, Alina Șerban. At the same time, the book includes a selection of texts from the artist’s journals that accompany the publication’s sections.

P + 4 Publications is a small publishing program founded in Bucharest. Dedicated to contemporary Romanian photography, art and architecture, the program explores the book environment as a meeting point between theoretical research, graphic design experiment and ideas and topics addressed by artists in their practice. The program was supported between 2013–2021 by the PEPLUSPATRU Association, and since 2021 it has been developed and administered by the Institute of the Present.

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Not Human, Not Fly. Mao. Massacre

Posted in Artist Book, graphic design, politics, science on September 11th, 2021
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Not-human, Not-fly is a publication made of two books. One contains a study on the concept of the posthuman using David Cronenberg’s film The Fly as a starting point. It argues that the human-fly mutant in the film, Brundlefly, is not just another cautionary tale that invalidates deviations from conventional expressions of humankind. The creature is worthy of consideration both as an organism that functions on their own terms, beyond the features of humans and houseflies, and as a picture of Dorian Gray that reveals not some underlying immorality, but the terms for living in an age of systematic environmental destruction that has been called the Anthropocene. The second book is a work of fan fiction: it presents a series of fictional DNA sequence constructs belonging to Brundlefly, which create a narrative based on the genetic transformations that Brundlefly was subjected to, revealing the not wholly linear relations that connect humans, posthumans and houseflies.

Hugo Almeida is an artist (who goes by the name Mao) and postdoc researcher at the Interuniversity Center for the History of Science and Technology (CIUHCT), Faculty of Science and Technology, NOVA University of Lisbon, Portugal. He is an alumni of the Art & Science residency program of the IMéRA Foundation, Marseille (2016-2017), France and of the Saari Residence, KONE Foundation, Mynämäki, Finland (2016). He has been a postdoc at CIEBA, Faculty of Fine Arts of Lisbon University (2013-2016) and holds a PhD in Molecular Biology (2013, NOVA University of Lisbon), from his research at the Telomere and Genome Stability Laboratory, Instituto Gulbenkian de Ciência (IGC), Oeiras, Portugal. Mao normally exhibits and publishes with the art research collective and publishing label Massacre. His work has also been published by Chili Com Carne and Komikaze. He was a founding member of zine label Clube do Inferno (2012-2019).

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Dear world you have made the persons slow. Elena Kaufmann. COISAS QUE MATAM

Posted in Artist Book, books, graphic design, politics on September 10th, 2021
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Dear world you have made the persons slow uses the World Health Organization’s collected 2020 press statements about COVID-19 as its source material. Composed using blackout poetry, the project casts light on the ongoing and mostly unconscious consumption of online information. In reproducing the affect of online communication, these poems are both violently abridged and easy to consume.
In a world filled with transnational commercial chains, empathy and solidarity tend to stay local; the sudden violence of a worldwide pandemic paired with personal crises raises long overdue awareness for a more global concern for other subjects as well. Dear world you have made the persons slow contains potential further worldwide statements and there, they just need to be dis-covered.

Elena Kaufmann, born in 1992, is a contemporary artist based in Berlin, working primarily with poetry and language.

COISAS QUE MATAM (THINGS THAT KILL) is a label of the present, unleashed to publish sound and visual works afflicted by the now. If there are things that kill, there are also those that ignite and exhort. Since 2017, Stefanie Egedy and Simon Fernandes have been creating this circumstance between São Paulo and Berlin.

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Kushtetuta? #3. Petrit Halilaj & Alvaro Urbano (Eds.)

Posted in art, Artist Book, history, politics, zines on August 27th, 2021
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Kushtetuta? #3, 2021

Printed zine, edited by Petrit Halilaj and Alvaro Urbano.

Kushtetuta, an independent fanzine started in 2012 whose title means “constitution” in English. In Albanian, if you divide the word into KUSH TE TUT A?, it means “who scares you?”.

This is a special issue coinciding with Kosovos Parliament‘s drafting of the Civil Code.

This time we would like to celebrate queer lives under the theme of codes. Such as language code, gestural code, gender codes, secret codes..

Edition 1/500

Contributions:

Daniela Aparicio Ugalde & Jo Landt @gorditx_petrolerx
Atdhe Behluli @atdhe_5000
Cooking Sections @cookingsections
Forrest Bess
dyqlberizm
Sokol Ferizi @havok_celeste
Hal Fischer
Nezim Frakulla
Plator gashi & Hashim Shala
GENERAL IDEA @aa_bronson
Robert Gober
Felix Gonzalez-Torres @felixgonzaleztorres.foundation
Enver Hadzijaj @neverenver
Petrit Halilaj
David Horvitz @davidhorvitz
Jetmir Idrizi @jetmiridrizi_jetko
jehonË Jahaj @nanajoteneberlin
Egzon Krasniqi
Maria Loboda @marialoboda000
şugarİye madİsİ @ovulundesi
AD MINOLITI
Ndre Mjeda
Henrik Olesen
Jill Peters
Leart Rama @leart_rama
Morgan le Ferec & Marouchka Payen
Arbër Selmani
Diamond Stingily
Christine Sun Kim @chrisunkim
Gábor Tóth @rehfeldt_mailartarchive
Alvaro Urbano @alvaro_urbano
Ruth Wolf-Rehfeldt @rehfeldt_mailartarchive

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The Funambulist #36 (July-Aug. 2021). Léopold Lambert (Ed.). The Funambulist

Posted in art, magazines, politics, writing on August 21st, 2021
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They Have Clocks, We Have Time

An issue to challenge the colonial standardization of time, its measurement, its retrospective reading as “history,” its practice, its memorial production in U.S. sundown towns, Ireland & Palestine, Warsaw & Paris, the Indian Subcontinent, the Horn of Africa, the Sahara, in dictatorial and bordering regimes, and more.

Welcome to the 36th issue of The Funambulist. With it, we conclude our sixth year of publishing, thanks to the continuous support of our subscribers! They Have Clocks, We Have Time is an issue to challenge the colonial standardization of time, its measurement, its retrospective reading as “history” (WAI Architecture Think Tank), its practice, its memorial production, and its representation (Kevin Bernard Moultrie Daye) in U.S. sundown towns (Rasheedah Phillips), Ireland & Palestine (Emily Jacir), Warsaw & Paris (Michael Rothberg), the Indian Subcontinent (Syma Tariq), the Horn of Africa (Nasra Abdullahi & Miriam Hillawi Abraham), the Sahara (Meryem-Bahia Arfaoui), in dictatorial and bordering regimes (Shahram Khosravi), and more. “They Have Clocks, We Have Time” is an expression we heard a few times in Kanaky, where the cyclicity of the clocks may reinsure the colonial order, but its end is only… a matter of time.

The issue’s cover is an artwork by Black Quantum Futurism.

The News from the Fronts section includes a text on the Colombian uprising (Edna Martinez), a reflection on solidarity with Palestine (Sophia Azeb), as well as a presentation of the artistic project National Museum of Eelam (Jeyavishni Francis Jeyaratnam & Simon-Pierre Coftier). The issue also includes a short fiction by Shahram Khosravi.

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The View From “No Man’s Land”. Firas Shehadeh. Well Gedacht Publishing

Posted in art, Artist Book, books, meme, politics on July 10th, 2021
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“Since 2013, Firas Shehadeh’s conceptual practice has been preoccupied with understanding the human condition through post-internet aesthetics, a tactic calculated towards a larger strategy of tackling the many themes mirrored by our new millennia. The internet and its cultures, video games, virtual communities, and various types of images are key mediums in his work, which helps the artist avoid material limitations and highlights the impact internet life is increasingly having on our offline lives.

Yet if one can trace a unity in Shehadeh’s work, one would find that it’s mainly concerned with images, not purely as form, but for what it absorbs from today’s political realities, conveyed by way of not-so-innocent silliness or abstraction. That is not to say that he deals with images as if they are inherently political. On the contrary, as a puppeteer controlling his marionettes with agility, Shehadeh takes such images and carefully reassembles them in front of us to subtly narrate their stories of origin and the meaning they evolved to carry. By relying on a combination of irony, tragedy, and delicate hopefulness, he ultimately highlights the bitter contradictions of today’s world.

One can easily detect some of Shehadeh’s political interests: history, technology, and aesthetics. He connects all these in today’s Online, the direct descendant from yesterday’s internet. Today’s algorithmically-driven Online is akin to predestination, loaded with ready-made scenarios where you’re trapped in a time loop like a sick joke. Original moves are calculated, preconfigured, and repeated every day; a Punxsutawney-hell from hell where one disaster leads to another. Still, they’re expected, welcomed, normalized, in a made-up history where irony’s reserve has drained to the very last drop.

In The View from “No-Man’s Land,” Shehadeh documents the year 2020 by using online culture’s main currency—memes—to tell stories of crashes, depressions, and violence caused by acceleration and the hyper technologies of control. His position as a Palestinian artist permits him to tell such stories with ease and cleverness. Yet unlike his subjects, he doesn’t convey a post-ironic attitude; his awareness is a tool to decipher post-irony, exposing its contradictions as if fighting fire with fire. That is highlighted best in the book’s cover; a kite strapped with a Molotov cocktail. The contra-drone of the oppressed. A direct, ironic answer to the oppressor’s hyper-tech arsenal.

This book and its artifacts function as a memory theater for an era that doesn’t want to leave, trying to outwit us by employing elements from the past. All the versos and rectos speak of the same story, reiterating after Carl “CJ” Johnson, its undeclared Angelus Novus, “Oh shit, here we go again.””

– Yazan S. Ashqar
Writer, Editor, and Translator, New York City

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