In Nazi Germany, at least 10,000 physically and mentally disabled children and adolescents, including orphans, misfits and other ethnic groups were murdered as part of an ideology based on Social Darwinism. For the first time in history, physicians, nurses and midwives killed by lethal injection, gas poisoning or starvation. It predated the genocide of European Jewry by approximately two years. A rehearsal for the planners of the ‘Final Solution’. “NUMB” is a study of the forgotten children of WWII.
Hand-made and hand-colored by the artists.
French artist duo, Wolfsko, use mediums of expression such as photography, text, drawing, painting and collage. Their work is a long study in the world of unhappy childhood, exploring themes such as love, fear, and survival. Wolfsko currently live and work in Berlin.
was made during – and is the result of – confinement it is a film without images, it is a home-made film, and my home is Berlin, it is the soundtrack of a period during which some activities were stopped and in the silence left behind, have given way to other sounds, other machines, animals too, many animals.. and then events, news, in short a generalized feverishness. And as it is written somewhere on the sleeve : no story no movie no credits released May 30, 2023
master by rashad Becker lacquer-mastercut by andreas (LUPO) Lubich featurings: claudius, dorit Chrysler, thomas Jocher label: Loud Loud
intro/nitropeu 00:54
restructured / part 1 01:28
restructured / part 2 (he wants, she doesn’t) 02:04
interlude – Martinville 1860 03:14
une taille 40 une taille 41 c’est moderne 02:12
snake Plissken 04:05
A4 02:39
underground nostalgia 05:45
does music imitate or speak to wolves? 03:37
[— _ _ [birds]] 02:48
skipping billie 03:12
exhale exhale 01:27
polyuréthane 02 13:09
polyuréthane 03 10:22
the comet Rosetta is speaking loud and clear to some frogs in India 05:50
Max Neuhaus began his career as a musician, a percus-sionist. He continues to use sound as his medium. Why. then, do we find his works in the world of art, in places dedicated to seeing, not to listening? Why, in other words, does so much of his work appear on sites, indoors and out, where we would expect to find painting and sculpture? I think answers to these general questions about Neuhaus entire oeuvre must precede the attempt to say anything in particular about specific pieces. We must account for what appears to be an immense, overarching anomaly before taking up the puzzles presented in turn by each of Neuhaus various works.
Symphony #2 includes reworkings and remixes from Symphony #1 and new material composed while in residency at Hull Time Based Arts, UK 1999 and on tour 1999-2001.
Performance for fourteen dot matrix printers played by an orchestra of personal computers from the early nineties and conducted by a similarly obsolete file server, based on text files composed and orchestrated beforehand.
Track 12 (in keeping with the concept of the cd) is not simply an untitled track. The printers are not printing anything – the track simply consists of the amplified hum of all 14 printers, and then they are all manually switched off, one by one. credits released June 1, 2020
Part of me is this poor architect dealing with the prob lem of existing structures in the city, part of me is this amateur dancer or performer who wants to return ideas of rhythm to the activity of building, or of re-appropriating the built environment. Building is also un-building, re cycling or improvising new uses for what’s already been set up in places like New York, Berlin or Stockholm, whether in a museum or in my own apartment, and th ques tion of re-appropriating privatized, urban space always somehow begins with the body, its ways of moving and the temporalities it engages when it goes to work or opens up spaces of non-work in work. There is an idea of play that prefers not to decide what is and what isn’t work, what is and what isn’t useful in the activity of building. Use, most of the time, means diverting materials or spaces from their prescribed functions, inventing ways of making these things improper again. Aside from my interventions in galleries and museums, I have done things like set up a year-long, free postal service in Stockholm, built an underground house on city property in Berlin, removed ad Vertisements from downtown areas, made music with my house keys and moonwalked around Lower Manhattan.
Artist book on the occasion of the exhibition Non-solo show, Non-group show, interview with Ei Arakawa, Nikolas Gambaroff, Nick Mauss, Nora Schultz and Klara Liden (Engl.), 236 pp. with 200 b/w images, Verlag der Buchhandlung Walther König, Cologne, 2010. The book is a joint project by the artists Ei Arakawa, Nikolas Gambaroff, Nick Mauss and Nora Schultz, realized on the occasion of their exhibition Non-solo, Non-group show in Zurich in 2009. It s the first monograph on Klara Liden and documents her works from the recent years – performances, videos and installations, that often incorporate found materials to explore the conditions of physical as well as of psychic spaces. It choses a form between artist book and catalogue, that draws on the DIY-aesthetic of Liden’s works and gives an overview of her artistic practice.
Wiggle “Best of” USB Drive A USB drive disguised as a cassette tape created for the Berlin concert at Panke Gallery in 2023. Contains tracks selected from all of their releases to date (1996-2023) as well as a megamix of most of their songs.
Handmade by Gil Kuno using glitching techniques on a laser cutter.
Wiggle “Best of 1996-2023”
01 Boik 02 Warning 03 Daisuki Me (Alternative Mix featuring Sexy Funko) 04 Signal Fault (featuring Cristian Vogel) 05 Feedback 06 Headbash (featuring Ken Ishii) 07 Krictl 08 Wadjala Spirit (featuring Ken Ishii) 09 Pejuta (featuring Tatsuya Yoshida [Ruins]) 10 Let It Wiggle (featuring Ken Ishii) 11 Fridgeon 12 Amphibian 13 Discoship 14 Megamix
Wiggle members (past and present): Gil Kuno, Simon Bennett, Brett Boyd, Tatsuya Oe, Linda, RinaRina, Murochin, Eiichiro Suzuki
(In)dependent Contemporary Art Histories Artist-run initiatives in Lithuania
This is the third attempt (1st volume of the book was published in 2011, the 2nd in 2014) to compile stories about the genesis and evolution of contemporary art in Lithuania from the period of cold 1980s, Revival (1987) and the restoration of Lithuania’s Independence (1990) to this day. History unfolds in the critical texts by art critics and artists themselves, as well as in first-hand accounts – conversations with the initiators of art events. Texts are accompanied by abundant visual evidence – the documentation of forty-two years’ worth of events and works of art. The book offers a captivating kaleidoscope of subjective stories about artists’ and curators’ initiatives in Vilnius and other cities in Lithuania as well as abroad.
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Tai trečias bandymas (I tomas išleistas 2011 m., II tomas – 2014 m.) sudaryti istorijų rinkinį apie šiuolaikinio meno genezę ir raidą Lietuvoje nuo šaltųjų 1980-ųjų, Sąjūdžio ir Nepriklausomybės atkūrimo iki šių dienų. Istorija skleidžiasi kritiniuose menotyrinink(i)ų bei meninink(i)ų tekstuose ir liudijimuose iš pirmų lūpų – įvykius ir meno renginius inicijavusių meninink(i)ų, kritik(i)ų ir kuratorių pasakojimuose. Tekstus gausiai papildo vaizdiniai liudijimai – keturiasdešimt dvejų metų renginių ir kūrinių dokumentacija. Knyga patraukia subjektyviomis istorijomis apie menines ir kuratorines iniciatyvas ir savivaldas įvairiuose Lietuvos miestuose ir užsienyje.
Conversations with artists, curators and art critics / Pokalbiai su menininkais, kuratoriais ir menotyrininkais
Česlovas Lukenskas, Rūta Drabavičiūtė-Lukenskienė, Ramūnas Paniulaitis, Arūnas Kulikauskas, Aleksas Andriuškevičius, Darius Čiuta, Redas Diržys, Sigitas Krutulys, Benas Šarka, Juozas Milašius, Audrius Šimkūnas, Armantas Gečiauskas-Arma Agharta, Vita Zaman, Mantas Kazakevičius, Tomas Danilevičius, Reda Aurylaitė, Rolandas Marčius, Skaistė Marčienė, Ignas Gleixner, Saulius Paukštys, Rytis Bartkus, Stasys Banifacius Ieva, Inesa Brašiškė, Gerda Paliušytė, Lina Rukevičiūtė, Laurynas Skeisgiela, Milda Dainovskytė, Justina Zubaitė, Tomas Lučiūnas, Simonas Nekrošius, Živilė Lukšytė, Marius Juknevičius, Vilma Fiokla Kiurė, Aistė Kisarauskaitė, Aistė Ulubey, Kristina Savickienė, Robertas Narkus, Evelina Šimkutė, Juozas Laivys, Lina Praudzinskaitė, Jurgita Žvinklytė, Tomas Karklinis, Laura Garbštienė, Elena Juzulėnaitė, Stanislovas Tomas, Gintaras Čaikauskas, Sabina Daugėlienė, Margarita Kaučikaitė, Matas Šiupšinskas, Šarūnas Petrauskas, Svetlana Šuvajeva, Ilja Budraitskis, Vytautas Michelkevičius, Kęstutis Šapoka, Karolina Rybačiauskaitė
“Local Stickerbook” is an independent magazine exhibiting works of contemporary Ukrainian artists. For each edition, around twenty artists are selected to represent their creations through the sticker format. The project was launched in February, 2021 as an initiative of Kyiv-based artists and curators. Since that time, the team successfully hosted several multi-format events uniting various local musicians, artists and enthusiasts to explore metamodernistic ideas and approaches.
The Local Stickerbook team also provides artists and their families with financial aid. The team intends to create a special financial support foundation giving a part of the profits and donations to the Ukrainian artists in need. Together we make a difference!