Sustainable Societies for the Future, Stephanie Cristello, Kirse Junge-Stevnsborg (Eds.)

Posted in art, books, Motto Books, writing on May 3rd, 2021
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How do we create ideas, paths, and actions for a more sustainable world? How can art function as a catalyst for change? The project Sustainable Societies for the Future is founded on some of today’s most complex and urgent challenges. This publication, released on the occasion of the concurrent exhibition on view at the Malmö Art Museum and a number of seminars and events, directly addresses issues surrounding how cities and human settlements can be transformed into inclusive, safe, resilient, and sustainable environments.

The statements in this book feature individual and collective contributions by artists and scholars from the Nordic and North American art scenes to awaken discussion, reflection, and perspectives that reflect sustainable pathways for the world. Designed by Olga Prader, the navigation of each text is conceptually categorized through a visual lexicon that follows the mission of the 11 Global Goals set out by the UN, including biodiversity, housing, and gender equality, health and safety, and environmental justice, among other key issues.

We are at a point where sustainability alone is not sufficient. As the pages within Sustainable Societies for the Future suggests, contemporary art can serve as a key speculation into how issues of ecological challenges, access to and preservation of natural resources, social exclusion, balance of economy, forms of protest, and collective responsibilities can be approached via a political and social lens.

The exhibition Sustainable Societies for the Future runs at Malmö Art Museum from 1 February to 23 May 2021.

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Fieldnotes Issue 1, Bella Marrin (Ed.)

Posted in books, magazines on April 26th, 2021
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Fieldnotes Issue 1 – the third thing – spring 2021

A quarterly print journal publishing new writing and artworks with a focus on practices that work between disciplines and against type. There is always a third thing between two things that are known; we are interested in whatever there is between translations/transitions, things-in-progress, converging genres, methods of excavation and formal innovation. The purpose of the journal is to provide a test site for ideas and research; a space for experimental modes and new prototypes.

The first issue of Fieldnotes contains new work by Lauren Berlant & Kathleen Stewart, Wytske van Keulen, Zara Joan Miller, Estelle Hoy, Rob Halpern, Ana Vaz & Ben Rivers, Matthias Connor, Wythe Marschall, Sarah Mangold, Patrick Keiller, Helen Marten, Lulu Wolf, Emily Hunt Kivel, Amparo Dávila trans. Audrey Harris & Matthew Gleeson, Ulrike Almut Sandig trans. Karen Leeder, Malcolm Bradley & Juliette Pépin, David Manley, Eloise Lawson.

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Mousse #41. Edoardo Bonaspetti (Ed.). Mousse Magazine.

Posted in art, distribution, magazines on December 9th, 2013
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Mousse #41. Edoardo Bonaspetti (Ed.). Mousse Magazine.

Language: English / Italian
Price: €9.00

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Paper Monument 4. Dushko Petrovich & Roger White (Eds.). Paper Monument.

Posted in art, distribution, Journals, writing on December 2nd, 2013
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Paper Monument 4. Dushko Petrovich & Roger White (Eds.). Paper Monument.

From the Editors

Before the Earth was covered mostly in water, there lived a people who worshipped petrochemicals and spent vast sums of money on things called “art objects.” I kept revisiting this thought as I worked: these far-future humans, or maybe even post-humans, puzzling over this funny piece of sculpture—which was now, thanks to my careful ministrations, almost completely free of water stains. It did somehow get me through the day.

Spasm to Spasm
Christopher Hsu

Even during my lifetime, the world, or at least its representation, has become clearly funnier. It’s not just cultural products, films or TV or magazines, YouTube videos of men and women fist fighting on city buses; I mean that I myself, for example, and seemingly everyone I meet have gotten noticeably funnier. I feel an impulse to preface almost every remark in conversation with something light or even with an outright joke, as a sort of aperitif.

Was Asked to Write About the Experience of Occupy Wall Street and Directing Light Onto Fist of Father
MPA

can we begin at the energetic?
can we all meet there?

our beliefs are not our own.

“we” is quoted culture.

Toward a History (and Future) of the Artist Statement
Jennifer Liese

Some are self-doubting, like Adolph Gottlieb’s: “Surrounded by my materials, canvas, paints, oils, brushes, etc. I feel like a relic of the past because paintings are still among the few things made by hand.” Others process-oriented, as with Karel Appel: “I make myself free, I stand aside, I squeeze myself dry. Then I am ready to begin painting.” Some are droll: “Rembrandt is beautiful, but sad. Boucher is gay but bad. ‘Great Painting’ has never made anyone laugh,” observes Jean Dubuffet.

Painting Under Obama
Julian Kreimer

Months later, as I wandered around the Bushwick open studios, it became clear to me that metallic colors had become (along with neon hues) major signifiers of the “Shwicky” look: the blend of irony and earnestness that denotes, somehow, that the artist is aware of her impossible position in the world, simultaneously seeking ideal truths and the mythical rent of $1.00/sq. ft./month.

Resistant
Martha Schwendener

Why would anyone who opposes torture interrogate painting?

Painting Has Issues
Cameron Martin

It’s hard to know what to think of all the paintings being made right now. A curator recently told me that he feels “the conversation” is so diffuse, at this point it’s next to impossible to talk about contemporary painting as a coherent subject. The heterogeneity of current painting production can leave us feeling deep in the potpourri, unable to separate the orange peel from the rose hips.

Dear Yoko Dear Sierra
Sarah Demeuse

I decided to address my feelings in a personal letter to you because I need not only to get rid of my sense of guilt but also to tease out some of the issues raised by this type of exchange. (If you want, you can share this letter with Rivane.) Though I usually prefer email, I feel a letter is closer to the spirit and original context of your tree. While I long ago mastered the skill of writing profusely detailed exposés to Santa, I am not experienced in writing to a famous artist.

Humanimals
Caroline Picard

Through the horse-blood infusions, Laval-Jeantet claims to have effected a shift in her consciousness in which she experienced the world as an herbivore: sleeping little, being unusually nervous. “In my opinion,” she said, “my essence was not changed, but I was able to respond to an eternal frustration: I could finally feel Animal Otherness in me, outside of a purely anthropocentric point of view.” Of the prosthetic cat device, she wrote, “As soon as I put them on and got used to this strange way of walking, the cats came up to me, sniffed and jumped on me, playing with me in the same way as they played between themselves.”

Portfolios

William Pope.L and David Giordano
Andro Semeiko
Mary Weatherford
Pinar&Viola

Price: €13.00

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