Give Up Art is a collection of critical writings by author Maria Fusco. Operating across fiction, criticism, and theory, Fusco’s work forges a contemporary space for critical art writing internationally. Give Up Art brings together nearly two dozen essays, reviews, and smaller pieces published between 2002 and 2017.

Maria Fusco is a Belfast-born writer based in Scotland. Her award-winning writing crosses the registers of criticism, ction, and theory. Her work has been translated into ten languages.

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New Reproductions. David Maljković. Mousse Publishing.

Jurga Daubaraitė (Ed.)

“She, the grid system is aware only of her corners, not of her straight lines. She perceives her own space and those persons who traverse her space as flat entities moving swiftly and without substance.” – Maria Fusco.

The artist book New Reproductions, published in conjunction with David Maljković’s exhibition at CAC Vilnius, is a dense object jn which the textual contributions function as poetic and fictional response to the artist’s collaged 48 images. Here, Maljković provides a certain utilitarian take on re-reading, remembering, incompleteness, and exhaustion as artistic positions in order to assemble filiations between works separated by time span and by his changing ideas.

New Reproduction is part of MIDI, an imprint of Mousse Publishing initiated by Åbäke

25€
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With A Bao A Qu Reading When Attitudes Become Form. Maria Fusco. New Documents.

Experimenting with the form and register of contemporary art writing, With A Bao A Qu Reading When Attitudes Become Form reconfigures the seminal artist’s book / catalog When Attitudes Become Form (1969). Originally edited by Harald Szeemann to accompany the Kunsthalle Bern exhibition of the same name, When Attitudes Become Form brought together new tendencies in the art of its time, including arte povera, conceptual art, and post-Minimalism, to conceive curatorial practice as a linguistic medium.

Working with Szeemann’s artist’s book/catalog as case study, With A Bao A Qu reflects on the form and structure of the artist’s book. By stylistically adopting a subjective literary voice, drawn, at least partially, from Jorge Luis Borges’s Book of Imaginary Beings (published in English in 1969), the book counterintuitively shifts focus away from the reading of art’s conceptual properties to that of its physical, material embodiment.

An entertaining and thought provoking addition to the reexamination of one of art history’s most mythologized exhibitions that demonstrates how language is attitude and how words are form. ⎯ Jens Hoffmann

Language: English
Pages: 142
Size: 11.2 x 18 cm
Binding: Softcover
ISBN: 978-1-927354-14-8

8€
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Discipline is a Melbourne-based contemporary art journal. It has a focus on longer, research-based essays, interviews and artist pages.

While based and published in Melbourne, the writers and artists who have contributed to Discipline are both local and international. In presenting longer-form essays, the journal aims to ground a new body of sustained intellectual writing about contemporary art that does not merely fall back on the crutch of ʻpluralityʼ as a means for theorising art after postmodernism and globalisation.

Edited by Nicholas Croggon and Helen Hughes, Guest edited by Maria Fusco
Design by Annie Wu and Ziga Testen
Language: English
Pages: 176
Size: 30 x 23 cm

Price: €20.00
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If Mind Were All There Was: Nine Themes on Giuseppe Sacchi.

Conceived by Victor Man
Published by Transmission Gallery and Kaleidoscope Press in conjunction with Man’s solo show Lazarus Protocol (September 2011).

With contributions from Maria Fusco, Massimiliano Gioni, Martin Herbert, Francesco Manacorda, Tom Morton, Alessandro Rabottini, Joao Ribas, Torsten Slama and Martin Vincent.

With drawings by Victor Man and Andro Wekua

D 18€

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Again, A Time Machine – A Book Works touring exhibition in five parts

Part two
Book Works archive in collaboration with Archive Books and Sternberg Press,
Simon Fujiwara, Maria Fusco, Stewart Home, Jonathan Monk, Katrina Palmer, Markus Weisbeck and Fons Hickmann

6 May to 2 June 2011 at Motto Berlin/Chert

Performance event
With Simon Fujiwara, Maria Fusco, Stewart Home, Jonathan Monk, Katrina Palmer, Markus Weisbeck and Fons Hickmann
Friday 13 May, start 6.30

music by: “Nat-Ala-Mat “

Forthcoming
The Showroom, London
14 June 2011 to 19 May 2012

Spike Island, Bristol
16 September to 9 October 2011

White Columns, New York
23 October to 19 November 2011

Judgment and Contemporary Art Criticism.
Published by Fillip and Artspeak.

Participants:
Jeff Derksen
Diedrich Diederichsen
Maria Fusco
Kristina Lee Podesva
Tom Morton
William Wood
Tirdad Zolghadr

Over the course of the past decade, we have seen unrelenting levels of market speculation in contemporary and historical art at the same moment that global conflict and war has escalated and world economies have begun to crumble. Concurrent to these developments, there has been a new wave of interest directed toward the efficacy and function of art criticism. Judgment and Contemporary Art Criticism will engage with many of the key issues coming out of these conversations, specifically returning to the role of judgment and valuation in contemporary art writing.

Described by Joseph Koerner and Lisbet Rausing as the “troubled objects of criticism,” value and judgment are—and have always been—at the forefront of debates about the social function of the art critic. For many, the end of the twentieth century saw the mitigation of the importance of critical valuation established within high modernist discourses. Instead, many critics argued for a more open dialogue between texts and objects, pursuing modes of critique that allowed for the exploration of ambiguity and interpretation, thus detaching art writing from questions of quality.

With the start of the new millennium, a growing chorus of critics began to suggest that a return to judgment was a remedy to the cauterized state of contemporary art criticism. Yet can judgment operate within new modalities of writing that hold open a reflexive space for ambiguity and dialogue? How would these new forms read? If, as Boris Groys has claimed, critical discourse today is an attempt to “bridge the divide” between the “inherited older public office” of the critic who judged art “in the name of the public” and the “avant-garde’s betrayal of this office,” can new forms of criticism remake judgment anew, without explicit determinations of quality?

D 15€

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