“Healing The Museum” is a mid-career monograph looking at Grace Ndiritu’s diverse practice over the last twenty years, which encompasses performance, film, shamanism, social actions, painting, publications, textile work, and collection research. The large selection of artworks included in the publication are in a dialogue with each other, further enriched by in-depth conversations with Brook Andrew, Gareth Bell-Jones, and Philippe Van Cauteren, and written contributions from Ifeanyi Awachie, Ann Hoste, and Hammad Nasar. The monograph’s publication coincides with the eponymous exhibition at S.M.A.K.–Stedelijk Museum voor Actuele Kunst in Ghent.
This edition of ZIGG is interested in exploring sex as an evolutionary psychology. It brings together contributions from a network of friends, peers, colleagues who have engaged or encountered the makers of ZIGG through intellectual, psychosexual vibrations. It includes text messages, illustrations, drawings, poetry, code, conversation, rants, and essays.
Contributors: Hala Bint, Alex Cecchetti, Common Accounts, Kelly Fliedner, Chitra Ganesh, Drew Gordon, Margaret Haines, Raja’a Khalid and Ahmad Makia, Amanda Lee Koe, and Deepak Unnikrishnan.
ZIGG is a publishing association engaged in critical thinking from Dubai. It circulates amorphous aesthetics, printed matters, and promotes the disciplinary blurring between sex, media, earth matter, magic, and politics.
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.
‘Critical Designers’ produced by an increasing number of design schools are prompted to address social, political and environmental issues through their practices. Yet, who can afford to continue such effort after graduation?
In a dynamic style holding multiple voices, “Who Can Afford To Be Critical?” discusses the limits that affordability, class and labour impose upon the educational promise of holding a ‘critical’ practice. Why do we tend to ignore the material and socioeconomic constraints that bind us as designers, claiming instead that we can be powerful agents of change? In fact, where does our agency lie?
Instead of focusing on the dream of ethical work under capitalism, could we, instead, focus first on designers’ own working conditions, targeting them as one immediate site for collective action? And can we engage politically with the world not necessarily as designers, but as workers, as activists, as citizens?
With contributions by Silvio Lorusso, J. Dakota Brown, Marianela D’Aprile, Evening Class, Somnath Batt, Danielle Aubert, Jack Henrie Fisher, Alan Smart, Greg Mihalko and DAE students 2021/2022.
Accounting for approximately 10 % of the land mass of Planet Earth, the Antarctic is a Global Commons we collectively neglect. Far from being a pristine natural landscape, the continent is a contested territory which conceals resources that might prove irresistible in a world with an ever-increasing population. The 26 quadrillion tons of ice accumulated on its bedrock, equivalent to around 70 % of the fresh water on our planet, represent the most significant repository of scientific data available. It provides crucial information for future environmental policies, and, at the same time, is the greatest possible menace to global coastal settlements when sea levels rise because of global warming.
On the 200th anniversary of the discovery of Antarctica, Antarctic Resolution offers a high-resolution image of this hyper-surveilled yet neglected continent. In contrast to the fragmented view offered by Big Data companies, the book is a holistic study of the continent’s unique geography, unparalleled scientific potential, contemporary geopolitical significance, experimental governance system, and extreme inhabitation model. A transnational network of multidisciplinary polar experts – represented in the form of authored texts, photographic essays, and data-based visual portfolios – reveals the intricate web of growing economic and strategic interests, tensions, and international rivalries, which are normally enveloped in darkness, as is the continent for six months of the year.
With contributions by Doaa Abdel-Motaal, Conrad Anker, Ryan Ashworth, Francesco Bandarin, Carlo Barbante, James N. Barnes, Thomas Barningham, Carlo Baroni, Susan Barr, Elisa Bergami, Marcelo Bernal, Anne-Marie Brady, Ralf Brauner, Cassandra M. Brooks, Shaun T. Brooks, Hugh Broughton, Bert Bücking, David Burrows, Sol Camacho, Sanjay Chaturverdi, Swadheet Chaturvedi, Christy Collis, Peter Convey, Geoff Cooper, Gabriele Coppi, Ilaria Corsi, Lino Dainese, Klaus Dodds, Julian Dowdeswell, Juan Du, Graeme Eagles, Tess Egan, Alexey Ekaykin, Fausto Ferraccioli, Joe Ferraro, James Rodger Fleming, Adrian Fox, William Fox, Bob Frame, Peter Fretwell, Jacopo Gabrielli, Hartwig Gernandt, Andrew Gerrard, Neil Gilbert, Karsten Gohl, Francis Halzen, Kael Hanson, Ursula Harris, Judith Hauck, Robert Headland, Beth Healey, Alan D. Hemmings, Adrian Howkins, Kevin A. Hughes, Andrew T. Hynous, Julia Jabour, Stéphanie Jenouvrier, Solan Jensen, Andrea Kavanaugh, Daniel Kiss, Georg Kleinschmidt, Alexander Klepikov, Peter Landschützer, Louis John Lanzerotti, Elizabeth Leane, Sang-Lem Lee, Inti Ligabue, Daniela Liggett, Bryan Lintott, Vladimir Y. Lipenkov, Cornelia Lüdecke, Arturo Lyon, James Madsen, Craig McCormack, Tony McGlory, Hans-Jürgen Meyer, Christel Misund-Domaas, Nicholas de Monchaux, Chiara Montanari, Michael Morrison, Teasel Muir-Harmony, John Nelson, Camilla Nichol, Miranda Nieboer, Anne Noble, Dirk Notz, Shaun O’Boyle, Madeleine O’Keefe, Nouschka Očenášek, Lawrence A. Palinkas, Scott Parazynski, Carolina Passos, Michael Pearson, Francesco Pellegrino, Rick Petersen, Katherina Petrou, Andrea Piñones, Jean-Yves Pirlot, Ceisha Poirot, Jean de Pomereu, Alexandre Ponomarev, Brian Rauch, Ron Roberts, Donald R. Rothwell, Juan Francisco Salazar, Jean-Baptiste Sallée, Sir Philippe Samyn, Bojan Šavrič, Mirko Scheinert, Didier Schmitt, Thomas Schramm, Daniel Schubert, Karen Nadine Scott, Cara Seitchek, Maria Ximena Senatore, Jonathan Shanklin, Yuri Shibaev, Tim Stephens, Pavel G. Talalay, Steve Theno, Paul Thur, Philip Trathan, David Vaughan, Emerson Vidigal, Claudio Willams, Gary Wilson and Angela Wright.
The question that motivates this issue is simple: how come so many of us outside the settler colony called the United States of America, are so deeply influenced by and interpret our own contexts through the political ‘software’ created by U.S.-based academics and activists? The goal here is less to disqualify this U.S. political framework, than to demonstrate that the successful ways through which it analyzes its own context may not be as useful when analyzing other situations. Throughout the issue, we aim to reflect on U.S. exceptionalism, including in its own anti-imperialist critique (Zoé Samudzi), on what Blackness misses when it is mostly centered on African American espitemologies (Cases Rebelles), on transfused U.S.-forged concepts of “brownness” or “BIPOC” (Sinthujan Varatharajah), on illusory attempts to translate struggles into (U.S.) English (Bekriah Mawasi), on the complete blind spot casteism constitutes in this U.S. ‘software’ (Shaista Aziz Patel & Vijeta Kumar), on the need for a pluriversal approach of queerness (Rahul Rao)… Even within the U.S., the political framework that categorizes all people (from Indigenous people to white settlers) coming from the south of its border as “Latinx” needs to be problematized as settler colonial creations (Floridalma Boj Lopez). With this issue, we aim at doing just that: not letting go of the precious epistemologies U.S.-based thinkers have brought us, but simply decentering them to favor the pluriversality of our influences.
The cover was created for us by Michael DeForge and the News from the Fronts section brings us reflections on Taiwan (Szu-Han Ho & Meng-Yao Chuang), Cameroon (Ethel-Ruth Tawe), the Ainu (Kanako Uzawa) and Fusako Shigenobu’s political legacy, a few weeks before her release from prison in Japan (May Shigenobu).
The artist Rita McBride was Director of the Düsseldorf Art Academy from 2013 to 2017. During this time she gave ten groundbreaking speeches connecting contemporary artistic production with art education, processing the classic lecture format with passion and humor. Manifestos and performative elements found their way into the speeches, illuminating the artistic and educational aims of these public events. Speech! brings these lectures together for the first time. This book is a guide for artistic activity, a critical reaction on the present, and an invitation to look at our society from new perspectives.
Beton Insel, Inventory, 2004, Courtesy of the artists
Giselle’s Books and Motto invite you to the screening of Inventory’s film. For the occasion, we will be showing the following videos: Ostalgia (2004), Beton Insel (2004), Sleepwalkers (2003) and Flesh and Stone, a geology of an Urban Existence (2003). Friday, 12 November 2021 at 7pm
First Screening at 7:15
Second Screening at 8:15
Motto Berlin Skalitzer Str. 68, im Hinterhof
10997 Berlin
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British art collective Inventory was founded in London in 1995 by Damian Abbott, Paul Claydon and Adam Scrivener. Since 2004, they are based in Kent (UK) and Toulouse (France).
Inventory’s previous solo exhibitions were at the Rob Tufnell gallery, London (2014 and 2016) White Columns, New York (2005); The Approach, London (2004, 2002 and 1999) and at The Modern Institute, Glasgow (1999). Recent collective exhibitions include: Condo London, Rob Tufnell (2018); The Revolutionary Suicide Mechanised Regiment Band, Rob Tufnell, Cologne (2016); Corruption Feeds, Bergen Kunsthall (2014); Make the Living Look Dead, 2nd Cannons Project Space, Los Angeles (2014); Ruin Lust, Tate Britain (2014); Keywords, INIVA (2013); A journey through London’s subculture, the ICA at Old Selfridges Hotel, London (2013), De Appel, Amsterdam (2008); Kunstverein Hamburg (2007); Museum of Contemporary Art, Belgrade (2007); Kunsthaus Dresden (2006); Aspen Art Museum (2006); Portikus, Frankfurt (2004); ICA, London (2003); Whitechapel Gallery, London (2003); Lenbachhaus, Munich (2002); the Courtauld Institute of Art, London (2001); their work is held in the collections of the Centre Pompidou, Paris and the Tate Gallery, London. Their work is represented by Rob Tufnell.
Giselle is conceived as a system for enabling interactions that focuses on the dissemination and gathering of artistic practices. It was conceived by Lucas Jacques-Witz and Ryder Morey-Weale as an experimental exhibition space and currently operates as Giselle’s Books, an independent Archive Library of foreign Artist’s Books, editions, and printed material in Marseille. The space is dedicated to researchers and amateurs with an interest in contemporary art books.
Between the unpublished poem “Déclinaison du temps premier I” and a translation of “Nelson Mandela “Non à l’apartheid””, this collective work brings together a series of 19 articles which present for the first time Véronique Tadjo’s oeuvre from critical perspectives. The articles examine how Tadjo, poet, storyteller and writer who situated herself as a Pan-Africanist, questions the political drifts of African current affairs and the “univocity” of history, and rethinks the plurality and complexity of European and African rituals, traditions and more in a contemporary bygone world.
Introduction
Sarah Davies Cordova & Désiré Wa Kabwe-Segatti – Véronique Tadjo, unpublished poem
Speaking (out) to Tell
Micheline Rice-Maximin – Anna-Marie De Beer
Pamela Nichols – Pierre-Louis Fort – Catherine Mazauric
Literature and Politics
Romuald Fonkoua – Dina Ligaga – Abdoulaye Imorou – Marzia Caporale
Words and Images
Odile Cazenave – Walter Putnam
Cahier d’Images / Gallery of Images
Poetics of the Imaginary
Obed Nkunzimana – Antoinette Sol – Doris L. Obieje – Charles Yaovi Mensah Kouma
Tadjo and the Art of Translation
Elisabeth Mudimbe-Boyi – Amy Baram Reid
Round table: Amy Baram Reid, Peter Thompson, Christopher Fotheringham & Nataša Raschi
Following Institutions by Artists: Volume One and the eponymous convention from which both volumes take their name, this second anthology of texts continues the work of unpacking artists’ relationships to—and creation of—a larger set of structures that increasingly regulate, demarcate, and codify contemporary artistic practice: centers of economic and cultural capital; state and private apparatus; and sites of display, storage and production.
This volume’s contributing authors present a series of historical and contemporary case studies, investigating artists’ connections to various manifestations of institutionalized practice. These case studies describe practices that developed in places as disparate as Vancouver, London (Ontario), East Los Angeles, Scotland, and Trinidad and Tobago. Also included are transcripts of two debates held during the 2012 Institutions by Artists Convention, which asked: “Is there space for art outside the market and the state?” and “Should Artists Professionalize?”
With contributions by Tania Bruguera, Julia Bryan-Wilson, Dana Claxton, Christopher Cozier, Jeff Derksen, Sean Dockray, Candice Hopkins, Jesi Khadivi, Jaleh Mansoor, Philip Monk, Christopher Régimbal, Slavs and Tatars, Claire Tancons, Tania Willard and others
