Texture Magazine Issue #2 is about proximity, growth, and the art of feeling as much as understanding – a fractallised approach to what sound can mean now.
From a radical relistening of silence to the intellectual demise of music altogether, the words contained within are to be held, shared, caressed and torn asunder. Also featured is writing on the sociopolitics of the nightlife industry, the place-making of UK Drill, and the meaning of gatherings in northern Sweden through the eyes of Pliny the Elder. Among many others, of course.
ca. 100 Hundetüten gesammelt von Simon Freund, kuratiert von Leonie Herweg, gesetzt von Paul Jürgens, mit Texten von Sophia Eisenhut und Olga Hohmann. Jedes Buch ist ein Unikat, die Anordnung der Bilder variiert.
Yves Klein (1928–62) first traveled to Japan as a young man in 1952, motivated primarily by his interest in judo. During his 15 months abroad, Klein had numerous important creative and philosophical revelations that culminated in the launch of his artistic career upon his return to Paris.
Prepared in collaboration with the Yves Klein Archives, this volume details Klein’s relationship with Japan through nearly 150 archival documents, photographs and letters, inviting the reader on his journey from martial arts to fine art at the very beginning of his career. Along the way we learn of Klein’s important encounters with art critic Takachiyo Uemura, painter Keizo Koyama and design professor Masaki Yamaguchi. “Yves Klein Japon” provides essential insight into the origins of Klein’s oeuvre as both a groundbreaking visual artist and prolific writer whose short-lived career helped to transform postwar art.
“I’m Not Sad, The World Is Sad” is an autotheoretical, semi-fictional account of a performance artist who lands a part-time job as an Embedded Artistic Researcher in an art institution. Invested in queer theory and institutional critique, she sets out to perform the artist “differently” through a process of negation and passivity, inadvertently causing her relationship with the institution’s curator to grow increasingly speculative and paranoid. Louwerens’ labor as tour guide, security guard, artist, hostess and researcher at different institutions begins to overlap and blend under the name of “performance.” “I’m Not Sad, The World Is Sad” is a fragmented story of paranoid and reparative reading, script and utterance, exposure and vulnerability.
Pia Louwerens is a performance artist and researcher from the Netherlands, living in Brussels. Her research revolves around the becoming of the artistic subject, the I who writes, speaks and makes, in relation to the (institutional) context. From 2019 – 2020 Louwerens was working as embedded artistic researcher at a big research project, for which she was embedded in an art institution. Through this research she attempted to perform or practice the artist, and thereby the institution, differently. Her work usually takes the shape of a performance in which she speaks, switching between registers of the actual, the possible, the professional and the anxious artist.
Attached is a collection of texts that document a diverse range of artworks made by Jessie Bullivant (AU/FI) over the past decade. By replacing the default photographic documentation with written accounts, the artist raises questions about how immaterial artworks are preserved, accessed and ultimately remembered, allowing space for nuances often lost in photographic documentation. As an incomplete survey of the artists’ work, the book blurs the boundaries between art and its documentation, between a conventional monograph and an experimental artist’s book. It gives an exciting glimpse into a committed artistic practice tackling a variety of issues from representation, power and access to subtle social interactions.
Aren’t we all familiar with the deeply personal experience of waking up alone, in anguish and despair, from the depths of a nightmare? Whether it’s disordered sleeping, sleep paralysis or the more regular frightening dream, the night and its terrors have kept us occupied since the very beginning of humanity. For this issue of Simulacrum, we – together – delve into the furthest corners of our minds to discover the dark and disorienting meaning we might find there. But a nightmare is much more than something to be fearful of. The nightmare is entangled with our histories and can lead us to our deepest selves, by bringing up feelings which we don’t dare to feel in real life. It has provided many creators with inspiration for their art of many forms. As we will discover within this issue of Simulacrum, this personal aspect of the nightmare can lead to incredibly diverse approaches and interpretations that we hope will allow you to reconsider the meaning and feeling that nightmares can bring us.
Authors: Neža Kokol, Joyce Poot, Niels Noot, Jonas van Kappel, Jérémy Bernard, Kenneth Geurts, Denise van Rooij, Kim Mulder, Frank van der Wulp, Laure Vanrijckeghem, Sanne Kabalt.
It’s fall (or autumn) 2018. The Trump administration wants to fortify the United States-Mexico border, Robert ‘Beto’ O’Rourke is running for Senate, and British grifter Nicki Smith has just secured a “low-paid glamour job” at the University of Texas’ Jacques Lacan Foundation. In between sleeping with the air-conditioning repair guy (or man) and watching Kate Moss make-up commercials (or advertisements) Nicki completes the first ever American-English translation of Lacan’s newly discovered and highly controversial notebook – without knowing any French. An Anglo-American comedy of manners about identity and class The Jacques Lacan Foundation reveals—and revels in—the numerous pretensions that surround academia and authorship, and the institutions that foster them.
Contributors: Ramon Amaro, Calum Bowden, Jaya Klara Brekke, Mitchell F. Chan, Cade Diehm, eeefff, Carina Erdmann, Primavera De Filippi, Charlotte Frost, Max Hampshire, Lucile Olympe Haute, Sara Heitlinger, Lara Houston, Cadence Kinsey, Nick Koppenhagen, Kei Kreutler, Laura Lotti, Jonas Lund, Massimiliano Mollona, MetaObjects, Rhea Myers, Omsk Social Club, Bhavisha Panchia, Legacy Russell, Tina Rivers Ryan, Nathan Schneider, Sam Skinner, Sam Spike, Hito Steyerl, Alex S. Taylor, Cassie Thornton, Suzanne Treister, Stacco Troncoso, Ann Marie Utratel, Samson Young
First publication to document the use and potential of Decentralised Autonomous Organisations in the arts that use blockchain technology and build on NFT innovations.
Decentralised Autonomous Organisations (DAOs) offer unique tools for translocal peers to encode rules, relations and values into their joint ventures using blockchain technology. This new book, edited by Ruth Catlow and Penny Rafferty, who have been at the forefront of investigations into the relationship between DAOs and the arts, constitutes over 5 years of research with essays, interviews, exercises and prototypes from leading thinkers, artists and technologists across this emerging field.
Radical Friends is an urgent book for the 21st Century and beyond. It shows us, in the spirit of the legendary poet and artist Etel Adnan, that the technology of the future needs to be about “togetherness, not separation. Love, not suspicion. A common future, not isolation.” –Hans Ulrich Obrist
How things are run is often more important than what is done. It may not be easy to establish alternative formats and infrastructures, but it’s certainly necessary… This collection shows that it is possible too. –Sadie Plant
This book is about friendship, despair and hope — a beautiful, must-read for all people who are asking unanswerable questions about life, love and the end of the world. –Franco “Bifo” Beradi
Second edition of the short story by Chilean writer Romina Reyes about female love and friendship in a public school of Chile during student protest. Includes drawings by Chilean artist Violeta Cereceda.
Hambre Hambre Hambre is a lesbian initiative from Santiago, Chile, that amplifies the work of women and dissidents in Latin America. We experiment from a feminist perspective with economic publications, unconventional formats and propaganda. Each fanzine is a unique recipe, cooked intimately with its collaborators. Our editions include similar interventions that value manual trades. Among the authors are the artists and writers Oni88, Fernanda Ivanna, Lucia Reissig, Romina Reyes and Paz Ortúzar.
asterism – | ˈastərɪsm | (noun) a group of stars that form a pattern in the night sky.
Asterisms – a new map reinterpreting the celestial sphere with 35 new star patterns.
Much like the 88 constellations that make up the officially recognized map of the celestial sphere, this new map is composed of recognizable shapes that reference people, animals and inanimate objects, expanding across the sky. In the tradition of Hellenistic astrology, each asterism is based on viewable celestial formations and references our continuous hope in the stars. All star formations have been complemented with a modern myth, each based on a verifiable certainty (i.e. a fact) that addresses modern concerns.
NAOMI B. COOK (b. 1982) lives and works in-between Montréal and Paris, studied art and philosophy at Concordia university, Montréal and received a Master 2 / Diplôme des Beaux-Arts de l’ESADHaR, Le Havre, France. Her work consists of research into large data sets as a way of creating visual representations that reveal embed patterns and poetry. She will be exhibiting in the NOVA_XX Biannual and NEMO Biannual as part of the exhibition at the Canadian Cultural Centre in Paris – “Decision Making: The Decisive Instant”. Her next solo show is December 10th at Christie Contemporary – Toronto who represents her. She has been a member of CLARK since 2014.
