Gastronomica 12:1, Spring 2012
The Journal of Food and Culture.
Published by: University of California Press
D 16€
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
Invalid Format: An Anthology of Triple Canopy, Volume 1. Triple Canopy.
The book, designed in collaboration with Project Projects, is at once an archive of Triple Canopy’s widespread publishing activities and a translation into print of projects that originally appeared in other forms. The design of Invalid Format reflects this problem: How might works produced for the screen be transposed to the codex in a way that recalls that former context, though not slavishly, and while also fully inhabiting the page? How can the form and function of interactive, audiovisual works be degraded elegantly, without disappearing entirely, in print?
Invalid Format will be published at least annually, and will be available at select bookshops worldwide as well as on Triple Canopy’s website. The initial volume of Invalid Format includes artist projects and literary work published in the first year of Triple Canopy’s existence, documentation of public programs, and a sampling of foundational correspondence. Contributors include Lene Berg, Joseph Clarke, Rivka Galchen, Adam Helms, Sheila Heti, Dan Hoy, the International Necronautical Society, Craig Kalpakjian, Jon Kessler, Wayne Koestenbaum, Rachel Mason, Amir Mogharabi, Rachel Owens, Ed Park & Rachel Aviv, the Poetic Research Bureau, John Powers, Emily Richardson & Iain Sinclair, Michael Robinson, and Diane Williams.
D 22 €
PWR Paper #6. H-T Nilsson & Rasmus Svensson.
Winter 2011/2012
CONTRIBUTORS:
2029
Aaron Graham
Andreas Banderas
Anonymous
Ben Schumacher
Brad Troemel
Carson Fisk-Vittori
Deterretorial Support Group
Energy:Pangea
FAUX/real
Goodiepal
Ingo Niermann
Inka Lindergård &
Niclas Holmström
Jaakko Pallasvuo
Johannes Thumfart
Jon Rafman
Juliette Bonneviot
Kareem Lotfy
Katja Novitskova
Martin Kohout
Nathalie du Pasquier
Oregon Painting Society
Rachel de Joode
Sarah Hartnett
Shawn C. Smith
Travess Smalley
D € 12
Frieze d/e #3
Frieze d/e is a fully bilingual German/English magazine with its own editorial team and independent content. d/e stands for Deutsch and English. With editing and production based in Berlin, the new magazine offers in-depth coverage of contemporary art and culture throughout Germany, Austria and Switzerland while closely following the international artist communities in this region.
D 8.50 €
Manifesta Journal #12
Manifesta Journal is an international journal focusing on the practices and theories of contemporary curatorship. Manifesta Journal explores and analyzes current developments in curatorial work, in correspondence with the evolution of the Manifesta Biennial over the course of the past decade. The main aim of the journal is to give a stronger voice to an up-and-coming group of (non-) institutional curators, intellectuals, theorists and critics, and to function as a platform for the articulation and discussion of their positions within a pan-European and transcontinental context.
Justified by what is now the “stable” status of the curator, by the diversity within the broader community of professional curators and by the network of curatorial schools, programs and courses in Europe and beyond, Manifesta Journal intends to continue stimulating the establishment of curatorial self-reflection and investigation.
D 15 €
