Edited by Miya Yoshida in collaboration with Christiane M-Schwarz & Kerstin Flasche with special
contributions by Hongjohn Lin, Marucia Bjørnerud, Jimmie Durham & Akio Suzuki. 

How can we reserve time for imagination in the age of digital culture? The publication, Listening to the Stones/ Den Steinen zuhören deals with the contemporary ecology with a metaphor of stones in multi-disciplines. The book, which exists both in a printed and a digital version, consists of images, sounds, silence, and text in three chapters: 1) Time, Planet, Technology, 2) Territory and Politics 3) Body and Performativity. 

It presents two newly commissioned theoretical texts by Hongjohn Lin, art theorist, Prof. Taipei National University of the Arts and Marucia Bjørnerud, geoscientist, Prof. Lawrence University, two special text contributions by Jimmie Durham &

and twenty-two art works from Europe and the Southeast Asia.

The book includes the access to different sound files that excerpt from art works. This invites the reader to initiate the act of listening and attempts to open up an imaginative time-space that s/he can form and reform through their own imaginative power. Utilising “stone” as a pivotal point, the book addresses the significance of aesthetics and politics of time and imaginary in the age of digital culture. 

The publication is based on the synonymous title of the exhibition that held at the Kunsthaus Dresden from Nov. 20, 2021-March 6, 2022, curated by Miya Yoshida in collaboration with the Kunsthaus Dresden (Christiane Mennicke Schwarz & Kerstin Flasche).

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Today We Should Be Thinking About: Jo Baer, Thomas Baylre, Jimmie Durham, Robert Filliou, Haim Steinbach, and Rosemarie Trockel. Anthony Huberman (Ed.). Verlag der Buchhandlung Walther König.

The Artist´s Institute dedicates each six-month season to a single artist, whose work becomes the occasion for a series of exhibitions, public programs, and graduate seminars with leading contemporary thinkers in the fields of art, music, film, literature, science, art history, philosophy, and other creative pursuits. The first six seasons, taking place between 2010 and 2013, were dedicated to Robert Filliou, Jo Baer, Jimmie Durham, Rosemarie Trockel, Haim Steinbach, and Thomas Bayrle. In each context, the Institute convened private and public forums to reflect on each artist by reading relevant texts, displaying artworks, and programming related events, all of which are narrated in this book.

€29.80

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Print Response is a series of prints that were altered by various artists whom Burnoski had approached by mail or in person.
In his request to the artists, Burnoski left it open to what could be done in response to the print, saying only that it could be as simple as they wished.

The artists include:
John Baldessari, Pierre Bismuth, Martin Boyce, Herbert Brandl, Angela Bulloch, Martin Creed, Richard Deacon, Jimmie Durham, Michael Elmgreen & Ingar Dragset, Valie Export, Peter Fischli, Ryan Gander, Joe Goode, Rodney Graham, Wade Guyton, Mary Heilmann, Isabell Heimerdinger, Carmen Herrera, Susan Hiller, Thomas Hirschhorn, Jenny Holzer, Joan Jonas, Jannis Kounellis, Louise Lawler, Paul McCarthy, Jonathan Monk, François Morellet, Olivier Mosset, Marcel Odenbach, Albert Oehlen, Roman Ondák, Tobias Rehberger, Allen Ruppersberg, Ed Ruscha, Anri Sala, Roman Signer, Nedko Solakov, Stephanie Taylor, Jeffrey Vallance, Kelley Walker, Lawrence Weiner, Christopher Williams & Johannes Bendzulla, Jack Youngerman, Heimo Zobernig

Print Response, 2012
by Christian Burnoski
Designed by Daria Holme

Special Edition of 50 + 10 AP includes a DVD titled “Put It Back Together – Tape It Together” 49 mins (A film of Paul McCarthy’s response being taped back together.)
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Limited Edition of 200 + 50 AP
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Mousse #26

Jimmie Durham has an interesting theory about money: it’s a virus that’s using its biology, architecture and art to replace human nature with its own…

Nick Relph is tangled in the weave of a tartan. Kirsty Bell met up with him to discover his sources of inspiration, which range from his own closet to Ellsworth Kelly’s paintings, by way of DIY groups on the web.

In the last twenty-six years, Moyra Davey has photographed almost no one. On the other hand, she has very clear ideas about the role played by literature in her universe of objects and dust. Gigiotto Del Vecchio explored it with the artist.

Ten, twenty, or even thirty years ago, who would have thought that talking about art schools would become cool? Dieter Roelstraete has an astute theory about this epoch-making “educational turn”.

A two-ton asteroid is reason enough to set Guillermo Faivovich and Nicolás Goldberg to work on a project that incorporates scientific knowledge, socio-political history, and the inexplicable magnetism of an alien object. Johan Lundh talked about it with the artistic duo for PART OF THE PROCESS.

Laure Prouvost has a passion for arranging meetings in unusual places, and Francesco Pedraglio had to follow her through muddy tunnels for an interview about her work. Which lies at the border between surrealism and plausibility.
The Chto Delat? collective is inspired by Lenin and carries on the revolution through musicals. But can it keep political symbols from being co-opted by aesthetics? That’s one of the questions raised by Jakob Schillinger.
Běla Kolářová lived in the shadow of her husband, artist and poet Jiří Kolář, and yet her sophisticated, conceptual work, made up of personal objects, deserves a special place in art history. Alice Motard talks about it.

ARTIST PROJECT: Leonor Antunes.

Plus…

For LOST AND FOUND, Jens Hoffmann traces the career of Marta Minujin, a pioneer of happenings and media art, a global artist ante litteram.

Barbara Casavecchia got the rare chance to take a look at his endless archive of useless images. As a result, through SKELETONS IN THE CLOSET, we too get to explore the terraced house in Chalk Farm, north of London, that belongs to John Stezaker.

D 8€

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