Bøger udgivet af Badlands Unlimited

In 1984, the art critic and theorist Craig Owens (1950-90) gave a wide-ranging interview with Lyn Blumenthal and Kate Horsfield for their extraordinary video series On Art and Artists. At once personal, political and forward-thinking, Owens recounts his experiences with Rosalind Krauss and the founding of the journal October, the "Pictures Generation" artists and critics, and his evolving understanding of the art market, and how it impacts the thinking around art itself.Along the way, he talks about his journey from a small town in Western Pennsylvania to the Off-Broadway theater world of New York in the '70s, and offers insights into his struggles grappling with the aesthetic and political contradictions haunting contemporary art then--as much as now. The interview, newly edited and updated, is published here for the first time and tells the intimate story of one of the most compelling minds in art theory and criticism. Novelist Lynne Tillman provides an introduction.

Paul Chan's monumental projection Sade for Sade's Sake takes the work of the notorious pornographer and philosopher, the Marquis de Sade (1740-1814), as a departure point for a nearly six-hour-long rhythmic study of bodily ecstasy and bodily repetition. Chan brilliantly renders the foremost quality of Sade's pornography--its fanatical appetite not just for the identifying of sexual possibilities, but for their enumeration and classification--as a rhythmic play of silhouetted bodies that fragment into parts, recombine and atomize, in a mechanized copulation poised between manic repetition and wild abandon. This artist's book brings together for the first time the drawings, writings, notes and fonts created during the production of Sade for Sade's Sake. It elaborates the full scope and thoughtfulness of the projection as a fascinating treatment of sex and eroticism, compulsion and joy, the social body and the sexual body.

Wittgenstein's dictionary for children: a rare and intriguing addition to the philosopher's corpus, in English for the first time"I had never thought the dictionaries would be so frightfully expensive. I think, if I live long enough, I will produce a small dictionary for elementary schools. It appears to me to be an urgent need." -Ludwig Wittgenstein In 1925, Ludwig Wittgenstein, arguably one of the most influential philosophers of the 20th century, wrote a dictionary for elementary school children. His Wörterbuch für Volksschulen (Dictionary for Elementary Schools) was designed to meet what he considered an urgent need: to help his students learn to spell. Wittgenstein began teaching kids in rural Austria in 1920 after abandoning his life and work at Cambridge University. During this time there were only two dictionaries available. But one was too expensive for his students, and the other was too small and badly put together. So Wittgenstein decided to write one. Word Book is the first-ever English translation of Wörterbuch. This publication aims to encourage and reinvigorate interest in one of the greatest modern philosophers by introducing this gem of a work to a wider audience. Word Book also explores how Wörterbuch portends Wittgenstein's radical reinvention of his own philosophy and the enduring influence his thinking holds over how art, culture and language are understood. Word Book is translated by writer and art historian Bettina Funcke, with a critical introduction by scholar Désirée Weber, and accompanied with art by Paul Chan. Ludwig Wittgenstein (1889-1951) was an Austrian-born British philosopher, regarded by many as the greatest philosopher of the 20th century. He played a decisive if controversial role in 20th-century analytic philosophy, and his work continues to influence fields as diverse as logic and language, perception and intention, ethics and religion, aesthetics and culture.

How an 18th-century maverick philosopher anticipated cryptocurrency: the first English collection of aphorisms from Tominaga NakamotoThis book introduces English readers to the life and ideas of Tominaga Nakamoto (1715-46), an 18th-century maverick Japanese philosopher who is rumored to have been an inspiration for the inventor of Bitcoin, known only by the pseudonym Satoshi Nakamoto. In January 2009, Satoshi released Bitcoin, a decentralized digital cash currency that allows anyone to use and develop its software. The rest is history. The identity of Satoshi remains a mystery to this day. But rumors during the early days of Bitcoin suggest Satoshi was inspired in part by Tominaga Nakamoto, an obscure and largely forgotten "merchant" philosopher from the Edo period in Japan. Tominaga's philosophical and aesthetic ideas are radical even by today's standards. And it is not hard to see how his most vital insights--the need to decentralize authority among them--echo in how Bitcoin functions as a cryptocurrency. Newly translated by the noted translator Yuzo Sakuramoto, Above All Waves distills Tominaga's most audacious writings into a set of quotes and passages that captures the forwarding-thinking quality of his thought. A critical introduction by Paul Chan tells the story of Tominaga's remarkable life and speculates on the rumored relationship between Satoshi and Tominaga, as well as how Tominaga's outlook may have influenced how Bitcoin exists as a technology and cultural phenomenon. Artwork by Chan captures the spirit of Tominaga's world and recasts the philosopher in compositions that express his enduring influence.

In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York's Artists Space entitled Nigger Drawings. In 1969, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest. 'Whitewalling: Art, Race, & Protest in 3 Acts' reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world - no less than the country at large - has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. 'Whitewalling' takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?

Previously unpublished poetry from one of the America's greatest living artistsFrom her work in dance and choreography to her films and writings, Yvonne Rainer (born 1934) has established herself as one of the America's greatest living artists. This first collection of her poems, which were written from the late 1990s onwards and have never before been published, affirms her ability to endow words with corporeality, propulsion and swift-moving narrative. Full of wit and candor, Rainer's poems evoke the rhythm of an urban landscape peopled with old friends and colleagues, trying to make art or simply trying to make ends meet. Memories entangle with news headlines and conversations overheard on the subway, making the poems feel both intimate yet social. Accompanying the poems is a selection of black-and-white images curated by Rainer, varying from news clippings to intimate photographs from Rainer's personal archive. Poet and critic Tim Griffin contributes an introduction.

What makes Odysseus such a contemporary character even after 2,000 years? Why is the quality that Homer attributes to him (polytropos, which loosely translates as "cunning" or "many-sided") so evocative of questions that bind art and reason, creativity and ethics, freedom and conformity? Odysseus and the Bathers documents the 2018 eponymous exhibition by the internationally acclaimed artist Paul Chan (born 1973) at the Museum of Cycladic Art in Athens, Greece. Inspired by the "polytropic" nature of Odysseus, Chan has created a body of work he calls "breathers" kinetic sculptures that are unlike anything else in contemporary art. An essay by Chan explores the concept and history of polytropos and its relationship to what Marcel Duchamp called "the creative act." This book also features an essay by curator Sam Thorne, a conversation between Nikolaos Stampolidis, Director of the Museum of Cycladic Art, and Elina Kountouri, Director of NEON, on the notion of "polytropism," and fragments by the pre-Socratic philosopher Parmenides, newly translated by classicist Alexandra Pappas, which illuminate how Odysseus' "cunning" echoes traditions of thinking in ancient philosophy.

A provocative dialogue about art as a form of wrongdoingOne of Plato's most controversial dialogues, Hippias Minor details Socrates' claims that there is no difference between a person who tells the truth and one who lies, and that the good man is the one who willingly makes mistakes and does wrong. But what if Socrates wasn't merely championing the act of lying--as the dialogue has been traditionally interpreted--but, rather, advocating the power of the creative act? In this new translation by Sarah Ruden, Hippias Minor is rendered anew as a provocative dialogue about how art is a form of wrongdoing. The accompanying introduction by artist Paul Chan and essay by classicist Richard Fletcher argue that an understanding of the dialogue makes life more ethical by paradoxically teaching one to be more cunning.

Think Like Clouds collects for the first time the drawings, notes and diagrams of curator, writer and Serpentine Gallery co-director Hans Ulrich Obrist. For the past 22 years, Obrist has curated exhibitions around the world and has interviewed major and minor personalities in nearly every field of endeavor; from architect Rem Koolhaas to painter Gerhard Richter; from astronomer Dimitar Sasselov to journalist and activist Studs Turkel. Obrist draws obsessively during his work in order to help him remember and expand the conversation at hand. But these drawings are more than mere memory aids. Beautiful and enigmatic, they reveal, upon closer scrutiny, constellations of names, ideas, dates, quotes and loose bits of information entangled in wavering lines and undulating scribbles. Each drawing is a conceptual portrait of a conversation or an event. Taken as a whole, they map in visual form the intellectual and historical terrain of one of the most active and curious minds in contemporary art today. Think Like Clouds includes an introduction by scholar and archivist Michael Diers and an interview with Obrist conducted by artist Paul Chan.