Andrew Kerr. Inverleith House, Royal Botanic Garden Edinburgh.

In 1999, Inverleith House presented an exhibition open to all artists living and working in Scotland, called ‘Absolut Open’. The 29 artists chosen to exhibit were selected from submissions by over 350 artists, spanning several generations and encompassing every artistic medium and style. A few of the artists represented were already well-known at the time, but most were not. One of the strangest and most scuccessfuil works in the exhibition was a cardbopard sculpture made by Andrew Kerr, a young artist who had only just graduated from Glasgow School of Art. It took the form of a ‘cast.’ taken from another sculpture – the Garden’s ‘Slate Cone’ (Andy Goldsworthy, 1990; resting on the gallery floor like an upturned carapace it was positioned so that both could be viewed simultaneously by looking out of a window towards the hawthorn tree near which Goldsworthy’s sculpture was sited.

whilst Kerr’s sculpture appeared temporary, inmprovised and possibly even slightly irreverent, both forms demonstated an affinity with nature and culture respectively. Born in 1977, Kerr is one of the younger members of an internationally recognised generation of artists who have made exhibitions for Inverleith House in recent years, including Karla Black, Douglas Gordon, Jim Lambie, Victoria Morton, Tony Swain, Hayley and Sue tompkins and Cathy Wilkes.

The exhibition will feature new and recent work and is Kerr’s first major museum exhibition in Scotland, following a major solo exhjibition in 2009 at the Kunstverein in Bremerhaven, Germany and other recent solo exhibitions in Cologne and Glasgow.

Catalogue

D € 20

Buy

“Alina Szapocznikow. Awkward Objects” is a collection of materials from the international conference “Alina Szapocznikow. Works. Documents. Interpretations.” organised at the Museum of Modern Art in Warsaw by the Museum team and Agata Jakubowska, PhD(May 15-16, 2009). By gathering world-renowned art historians, curators, critics and collectors, both the conference and the publication seek to fully represent and animate the new trends in research concerning works by Alina Szapocznikow.

Termed “post-surrealist” or “proto-feminist”, compared to Eva Hesse and Louise Bourgeois, Szapocznikow and her work today constitute one of the most interesting challenges for researchers dealing with 20th century art. “Alina Szapocznikow. Awkward Objects” is, by contributions by renowned art historians, critics and artists, a combination of multi-faceted insights into the artist’s diverse oeuvre that aim to place her in the context of the international world of art.

Authors: Griselda Pollock, Sarah Wilson, Agata Jakubowska, Ernst van Alphen, Tomáš Pospiszyl, Marta Dziewanska, Anke Kempkes, Paweł Leszkowicz, Jola Gola, Anda Rottenberg.

“Alina Szapocznikow : Awkward Objects”
Edited by Agata Jakubowska
Museum of Modern Art, 2011

Carina Brandes. BQ

“As one views Carina Brandes’ b/w photographs, the gaze seems to penetrate a mysterious realm of innocence and magical presence removed from everyday reality. A half-naked girl in a long white skirt squats on the shore of a lonely, shrub-surrounded, and (blurred reflected light suggests) moonlit woodland lake; opposite her in the water, a similarly dressed figure immerses a largely unidentifiable picture in the lake. Does this represent the symbolic development of a photograph, perhaps?” -Anna Grande

32 Pages / 27 photos
German / English Essay by Anna Grande
Published by BQ, Berlin 2011

D 12€

Buy

Edit #57

Komplizierter Spaß seit 1993, hellwach, seltsam, einzigartig: Edit ist eine der einflussreichsten Literaturzeitschriften im deutschsprachigen Raum. Dreimal im Jahr lässt sich hier Neues entdecken und Altes neu entdecken. Namen oder Kategorien sind dabei weniger wichtig als der individuelle Umgang mit den bewährten Möglichkeiten oder den Grenzen von Literatur – sollte es die geben.

Olga Grjasnowa – Der Russe ist einer, der Birken liebt
Konstantin Ames – sTiL.e(ins) Art und Weltwaisen
Miron Białoszewski – Gedichte
Nyk de Vries – Prosaminiaturen LESEN
Felicia Zeller – Helme aus Holz LESEN
Georg Leß – Gedichte
Matthias Senkel – Fidye
Vier Gedichte
Elfriede Czurda, Michael Lentz, Ferdinand Schmatz und
Christian Steinbacher mit Anagrammen zu einem Gedicht
von Carlfriedrich Claus
Bildteil
Fabian Bechtle – The Maximum Force of the Future
Exkurs: Amerikanische Essays
John D’Agata – Was dort geschieht
Nikil Saval – Wall of Sound
Rivka Galchen – Fallbeispiele einer Medizinstudentin aus der psychiatrischen Notaufnahme in East Harlem, Winter 2002
Yara Flores – Spiritus Duplex
Joan Didion – Blaue Stunden
Wayne Koestenbaum – Heideggers Geliebte
David Shields – Mögliche Postkarten von Rachel aus Übersee
David Foster Wallace – Weg von dem Gefühl, von allem bereits ziemlich weit weg zu sein

Geschäftsführung: Mathias Zeiske
Redaktion: Jörn Dege, Kerstin Preiwuß und Mathias Zeiske

D 5€

Buy

Even Running. Judith Raum.

The publication both documents Judith Raum’s solo-shows at uqbar, Berlin and The Return, Dublin and translates the lecture performance harmless entrepreneurs (2011), which was shown at both locations, into a book format. The works presented in the exhibitions deal with modes of production and material culture within German economic imperialism in the Ottoman Empire during the early 20th century. They reveal moments of improvisation and makeshift solutions within the construction of the Baghdad Railway, a continental route of transport, which was supposed to make the resources and markets of Anatolia accessible for a variety of German businesses. The publication contains the complete lecture performance script, historical correspondences from archives in Germany and Turkey documenting the attempt of a technical and entrepreneurial instrumentalization of material and landscape carried out under the leadership of Deutsche Bank, photographic archival material as well as essays by Suhail Malik on Raum’s work revealing the interdependence between early forms of globalized trade and modern international-financial-statehood, and a reflection by Jonathan Carroll on the precariousness of form in Raum’s installations.

Even running refers to a statement by the owner of a German cotton production company founded in South-Eastern Anatolia by Deutsche Bank. In one of his monthly reports, he expresses dissatisfaction with local production methods, but reassures the board of directors that the new machines acquired will guarantee a more consistent cotton quality called even running.

Published by Verlag der Universität der Künste Berlin
November 2011
German/English
Design: HIT

D 16€

Buy

Mousse #31.

Starring by Antonio Scoccimarro
JONATHAS DE ANDRADE: The Advantage of Being Numb by Stuart Comer
CHANTAL AKERMAN: No Idolatry and Loosing Everything that Made You a Slave by Elisabeth Lebovici
AKRAM ZAATARI: The Political Is Personal by Alessandro Rabottini
TALKING ABOUT: To Show or Not To Show by Jens Hoffmann and Maria Lind
SADIE BENNING: Transitory States by Tina Kukielski
REPRINT: So Be It by Nicolás Guagnini
SEAN LANDERS: No Intention To Fail by Beatrix Ruf
TALKING ABOUT: Progress Is Everyone’s Business by Chelsea Haines
NICE TO MEET YOU – TRISHA BAGA: Hands-on by Esperanza Rosales
NICE TO MEET YOU – ERICK BELTRÁN: Some Fundamental Postulates by Max Andrews
NICE TO MEET YOU – EDUARDO BASUALDO: Logic of the Body by Cecilia Alemani
Agenda
Books by Stefano Cernuschi
TEN FUNDAMENTAL QUESTIONS OF CURATING: Chapter 7:What About Collecting? by Jens Hoffmann, Sofía Hernández, Chong Cuy, visuals by Mario Garcia Torres
NEW YORK – LUCY RAVEN: Anamorphic Materialism by Fionn Meade
LOS ANGELES – LIZ GLYNN: The Rise and Fall of Liz Glynn by Andrew Berardini
LONDON – IAN LAW: One Place After Another by Pavel Pys´
BERLIN – DANI GAL: History Channel by Ana Teixeira Pinto
PARIS – NEÏL BELOUFA: All Is Magic by Jarrett Gregory
Diary by Antonio Scoccimarro
LOST & FOUND: Scrutinize, Interrogate, Scrape. Gianikian and Ricci Lucchi Explore Without Surrendering to History by Andrea Lissoni
TALKING ABOUT: The Cinema as a Wayward Form… by Christopher Eamon
IAN WILSON: There was a discussion…by Hans Ulrich Obrist
WHAT’S ALTERNATIVE? ALTERNATIVE TO WHAT?: Anthony Huberman and Yasmil Raymond by Vincenzo de Bellis
HANK WILLIS THOMAS: I Am. Amen by Luigi Fassi
TALKING ABOUT: The Publishing & Exhibiting Questionnaire by Francesco Garutti and Francesco Valtolina
EDWARD KIENHOLZ: A marvellously vulgar artist! by Anja Nathan-Dorn

Editor In Chief: Edoardo Bonaspetti
Art Director: Francesco Valtolina

D: 8€

Buy

Gastronomica #11:4

The journal of food and culture

D € 16

Buy

Apartamento #8

Featuring: Marcelo Krasilcic, Nathalie Du Pasquier, Beda Achermann, Faye Toogood,Rafael de Cardenas, Brian Janusiak and Elizabeth Beer, Pilar Benitez Vibart, Cosimo Bizzarri Michael Stipe, David John, Victoria Camblin, Julie Cirelli, Thea Slotover, Ben Rivers,Patrick Parrish, Athena Currey, Alexander Heminway, Makoto Orui, Valentine Fillol-Cordier Plus: everyday life kids supplement with Olaf Breuning, Phillipe Parreno, Javier Mariscal and Mike Meiré

D € 12

Buy

Bauhaus #2: Israel

Issue 2 is all about Israel, reconstructing the migration and transformation of an idea, supported by fomer Bauhaus students who became the most important architects of the emerging state.

Tel Aviv is more closely associated with the Bauhaus name than any other city outside Germany. But this myth does not stand up to historical inspection. As Sharon Rotbard points out in this magazine, the modern architecture of the ‘White City’ has little to do with the Bauhaus. The myth of the ‘Bauhaus City’ would appear to owe more to the Israelis’ desire to see also, between everything else, the positive in Germany.
But why, then, a magazine on the Bauhaus and Israel? Freed from the myth, the Bauhaus in Israel may be revealed in an entirely new light. In the homes of German-speaking immigrants, or Jeckes, one can find, for example, material vestiges of migration that refer to European modernism and sometimes even to the Bauhaus itself. Admittedly, far more influence was exerted by the work of over two dozen erstwhile Bauhaus students in Palestine, then later in Israel, including photographers and filmmakers, sculptors and weavers, graphic designers and toy makers and, above all else, the renowned architects and town planners. Having migrated from the Bauhaus Dessau to Palestine or vice versa in the 1930s, they influenced the formation of the new State of Israel in the critical phases before and after its foundation in 1948. This embraced the reformation of the state’s leading art school, the Bezalel Academy in Jerusalem, by the Weimar Bauhaus student Mordecai Ardon to the master plan for the settlement of the entire state which came about under the direction of Arieh Sharon. But the Bauhaus students Shmuel Mestechkin, Arieh Sharon and Munio Weinraub made the most significant contribution with their work on the design of the kibbutzim from the 1930s to the 1970s. The main exhibition at the Bauhaus Dessau, the opening of which coincides with the publication of this magazine, is dedicated to these built utopian societies. In these fundamentally democratically organised socialist settlements, Jewish migrants from Central and Eastern Europe, together with the Bauhaus students, realised key ideas and ideals of European Modernism. Their common goal was the creation of the ‘Neue Menschen’ (the new people) and the functional organisation of their living environment. In the process, they adhered to a functional understanding of architecture which had, most notably, been informed by the second Bauhaus director Hannes Meyer. These visions were most clearly manifested in the kibbutzim – where they demonstrated their cogency as well as their weaknesses. The nationwide protests in the Israeli cities this past summer showed how topical Meyer’s motto “Volksbedarf statt Luxusbedarf” (the needs of the people instead of the need for luxury) still is, even if entirely different solutions are being sought today. However, the Jewish resettlement of Palestine in the spirit of modernism also raises questionable aspects: here, the projects of the avant-garde did not impinge on unclaimed dunes, but on the local Arab population. Solutions to the resulting tensions, which were evident at the time have yet to be found.

D 8€

Buy

Catecismo. Sophie Nys, Richard Venlet.

production: Grotto publications
text: Dieter Roelstraete

D 10€

Buy