,you asshole. Alina Lupu.

Posted in art, Artist Book, Theory, Wholesale, writing on August 1st, 2016
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“An intelligent and literarily written account of ‘the art of assholedom’, shining light on all-encompassing and ruthless art as/is life as represented in the acts of Kippenberger, Lee Lozano, Andy Warhol.”
– the northern committee

“Truly unapologetic assholery of which (and because) the ‘what’ and the ‘how’ and the ‘why’ remain hard to grasp – leaving those who try with nothing but a blank stare: why accelerate on a dead end street? Is there a way out – a secret, or a lie? But told by the beholder it still remains a bitter fairytale.”
– substantial times

“So there is a moral after all, despite the critique of art world mechanism that is convoluted and captivating with a discernible joy for provocation.”
– amsterdam tribune

“A voice that we can’t help but think is yet too cautious to actually touch upon the unknown knowns.”
– the moral observer book review



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ART AGAINST ART – Taslima Ahmed and Manuel Gnam (eds.)

Posted in politics, Theory on January 11th, 2016

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London, Paris, New York, Milan, Los Angeles, Sao Paulo, Palo Alto – art is moving faster than capital like a god wind that no-one can stop let alone control. Meanwhile a lot of art writing and ‘critical theory’ is stuck in the comfort zone of the 70-90s when there actually was an avant garde or subculture. For art writing to get back on track it needs to shake out of this nostalgia and start engaging with the nuances of what is going on by covering the new breeds of involvement that have emerged since 2009 – the new sincerities and ironies, the more subtle art practices and social variations of market participation that have developed to deal with the institutional grip. For some time an aesthetic suspension of disbelief helped to provide an alibi that allowed us to participate as if we did believe the market was the key to “validation”, but then quickly vanished into feelings of depression after any agency seemed like an impossibility. As the contradictions got wider, different problems have emerged such as whether art is concurrent with the transitional moments of our present culture or technology, or whether art altogether has reached its informational limit. The art world has slowly transitioned from modernist pretensions that seem like delusional excuses to the public, to developing a new sensibility – one of silent, shared communion, retributions and confessions. It has taken the step into a reality that is more in keeping with the real world of business, design and branding than creating stark ‘alternatives’. Beyond short-term pragmatism and adaptability, how can artists aesthetically work alongside their authentic desire to participate in a logic of the market that by necessity must scale? How can we realistically judge the work of art institutions if they are frozen into following instrumental logics rather than relevance? With the availability of information online, there is no way these logics are not transparent to a committed internet user. Narratives like these happened in Pop Music years ago. Just as the Music Industry had to face up to its own protocols, the Art Industry needs to be judged on its changing developments; the ways art is being used as a financial instrument, art’s new marketing techniques, art as representation of different sociological interests, art as access to power, status, fame, participation and the rest of it. Until art writing gets really into these driving forces, it won’t be able to say anything interesting about art. It also won’t be able to grow or be writing that anyone really wants to read. Art Against Art marks a turning point – the one that says by breaking from the overbearing logic of what seems like an inevitability, we can get closer to the conceptualizations we would like society to experience but don’t. The Editors


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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


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Black Mountain. Eugen Blume, Matilda Felix, Gabriele Knapstein, Catherine Nichols (ed.). Spector Books

Posted in architecture, art, books, distribution, history, Theory, writing on June 18th, 2015
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The Black Mountain College (BMC), founded in 1933 in North Carolina, is considered by its multidisciplinary and experimental education thought as one of the most innovative schools in the first half of the 20th century. Visual arts, economics, physics, dance, architecture and music were taught here on an equal footing; Teachers and students lived together in a democratically organized community. The first rector of the school was John Andrew Rice, among many other gifts here Josef Albers, John Cage, Walter Gropius and Buckminster Fuller courses. At BMC, many avant-garde concepts were developed. The image-rich band appears on the exhibition Black Mountain. He is the first comprehensive publication on the Black Mountain College in the German-speaking countries and traces the history of this legendary school in its basic features after.

Eugen Blume, Matilda Felix, Gabriele Knapstein, Catherine Nichols (ed.)

Language: German


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Cosmonauts of the Future. Nebula Books & Autonomedia. Mikkel Bolt Rasmussen & Jakob Jakobsen (Ed.)

Posted in art, books, distribution, history, Theory, writing on April 7th, 2015
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Texts from the Situationist Movement in Scandinavia and Elsewhere
Edited by Mikkel Bolt Rasmussen and Jakob Jakobsen
Publisher: Nebula Books & Autonomedia
Language: English
ISBN: 9788799365180

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Curating Research. Paul O’Neill & Mick Wilson (Eds.). Open Editions.

Posted in books, distribution, Theory on December 12th, 2014
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Curating Research. Paul O’Neill & Mick Wilson (Eds.). Open Editions.

This anthology of newly commissioned texts presents a series of detailed examples of the different kinds of knowledge production that have recently emerged within the field of curatorial practice.

Language: English
Pages: 266
Binding: Softcover
ISBN: 9780949004031

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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


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

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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Of Democracy / De la Démocratie, Henri Chopin. Motto Books & Supportico Lopez.

Posted in Artist Book, distribution, Motto Books, politics, Theory, writing on June 25th, 2014
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Of Democracy / De la Démocratie by Henri Chopin

© 1984 Henri Chopin ‘Enluminure’, Fondazione Morra, Naples

Published by Motto Books & Supportico Lopez, June 2014
English and French facsimile
Staple bound
Edition of 1000 copies

Price: €10.00
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Making Worlds. Amelia Barikin & Helen Hughes (Eds.). Surpllus.

Posted in art, books, critique, distribution, film, literature, science, Theory, writing on January 7th, 2014
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Making Worlds. Amelia Barikin & Helen Hughes (Eds.). Surpllus.

Making Worlds: Art and Science Fiction is an anthology of new texts by artists, curators, art historians and writers who are self-confessed science fiction fans. The linking point is the idea of science fiction as a platform for the building of alternate art histories. This collection is concerned with the ways in which science fiction might be performed, materialised or enacted within a contemporary context.

Edited by Amelia Barikin and Helen Hughes, with contributions by: Adrian Martin, Amelia Barikin, Andrew Frost, Anthony White, Arlo Mountford, Brendan Lee, Charles Green, Chris McAuliffe, Chronox, Damiano Bertoli, Darren Jorgensen, Dylan Martorell, Edward Colless, Helen Hughes, Helen Johnson, Justin Clemens, Lauren Bliss, Matthew Shannon, Nathan Gray, Nick Selenitsch, OSW, Patrick Pound, Philip Brophy, Rex Butler, Ryan Johnston, and Soda_Jerk.

Design by Brad Haylock

Softcover, 320 pages.

15 €

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