Bøger udgivet af Sternberg Press

Documenting the artist Stephen Sutcliffe's remarkable and distinctive practice spanning more than twenty years.at Fifty is the first collection dedicated to Stephen Sutcliffe. Both a microcosm and macrocosm of the processes at play in his works, it is also something of an artist's book, one that, typical of the artist's critical practice, formally addresses questions about the value of the monologue, the archive, and the status of the artist.at Fifty documents how Sutcliffe's work has developed and how the means for channeling his deconstructive sensibility have been honed. It includes commissioned essays and an interview with the artist. Dan Fox's essay, "Be In My Broadcast, When This Is Over," looks at television, that one-time pillar of British culture that was as formative for him as it was for Sutcliffe. "Overlaid, Not Removed," by Ilsa Colsell, focuses on Sutcliffe's use of collage for the deft yet deliberately overt repurposing of signs and symbols. And an interview conducted by Michelle Cotton delves into Sutcliffe's assimilation of interruptions, creative blocks, and anxiety. Taken together with the artist's vision for this special publication, at Fifty brings to life, for the first time in book form, a remarkable and distinctive practice that now spans more than twenty years.

Revisiting a project that concatenated art, research, and urban activism into a visionary hybrid framework.For three weeks in October 1968, Stockholm's Moderna Museet was transformed into a sprawling adventure playground that was free to access for all of the city's children. It concatenated art, research, and urban activism into a visionary hybrid framework.Half a century later, through a series of seminars, exhibitions, and new artworks, The New Model revisits this utopian intervention, reviving discussions of public participation, children's agency, and shifting ideals of collective being. Curated by Lars Bang Larsen and Maria Lind, these inquiries took place from 2011 to 2015 at and around Tensta konsthall, in one of Stockholm's late-modernist suburbs. Through essays, exhibition documentation, and dialogues with the participating artists--among them Palle Nielsen, Magnus Bärtås, Hito Steyerl, Ane Hjort Guttu, and Dave Hullfish Bailey--this volume charts the evolution of two artistic, curatorial, and institutional experiments.Contributions by Dave Hullfish Bailey, Magnus Bärtås, Jessica Gogan, Ane Hjort Guttu, Lars Bang Larsen, Gunilla Lundahl, Palle Nielsen, and Hito Steyerl, with an artistic intervention from Metahaven

A bunch of residents cruising the seas of nine temporary realities.From the sun-drenchedness of the Dubaian atmosphere to a feathery encounter in a secret printing workshop, words and materials are discreetly--spectrally, outspokenly--put forward: a bunch of residents cruising the seas of nine temporary realities, the result of an ongoing swapping of facts and speculations from the earthly realm. At one end of the spectrum, players, voyagers, entering the machinery (cacophony) of thought processing. At the other, the anchoring point, The Last Resident, the one who opens a possible scene.ContributorsVerina Gfader, with Victoria Browne, Rebecca Carson, William Forsythe, Claire Hsu, William Kentridge, Mochu, Monica Narula, Pallavi Paul, Lea Porsager, Gerald Raunig, Sif, Lantian Xie

A portrait via interviews and essays of New York City at the end of the 1970s as the center of the African diaspora."Fichte did away with the opposition between objective and poetic writing--his heightened objectivity becomes poetic, his poetry journalistic. He wrote to fight against bigotry and provincialism, and developed approaches in the 1970s that are discussed today in queer studies and postcolonialism."--Diedrich DiederichsenThe Black City is a portrait of New York City written by Hubert Fichte between 1978 and 1980. One of Germany's most important postwar authors, Fichte researched the city as the center of the African diaspora, conducting interviews and composing essays about syncretism in culture and the arts, material living conditions in the city, and political and individual struggles based on race, class, and sexuality. His interview partners include Michael Chisolm, arts educator and coordinator of the Black Emergency Cultural Coalition; German émigré and artist Lil Picard; photographer Richard Avedon; Léopold Joseph, publisher of the exile newspaper Haiti Observateur; and Teiji Ito, composer and Vodou initiate. The book opens with notes on an exhibition of Haitian art at the Brooklyn Museum, and closes with a self-reflective literary analysis of Herodotus, the first white European to write extensively of his travels and (desirous) encounters in Africa.Often compared to the work of Jean Genet and Kathy Acker, Fichte's novels and nonfiction are exuberant and erudite, contesting the stylistic and ethnographic norms of the time to locate a "utopic potential" for poetic and political revolution in the cultural heritage and contemporary life of the African diaspora. Fichte's writing in The Black City provocatively exposes the complexities of its author's subjectivity in a manner that underscores the singularity of his writing, while prompting questions about how notions of exploitation, authority, and authenticity manifest themselves in pseudo-ethnographic practices. Translated into English for the first time, The Black City is part of Fichte's multivolume experimental literary cycle, The History of Sensitivity, which was left unfinished due to his untimely death in 1986. Published in conjunction with the project "Hubert Fichte: Love and Ethnology," a collaboration between the Goethe-Institut and Haus der Kulturen der Welt (HKW), Berlin, supported by S. Fischer Stiftung and S. Fischer Verlag.

A richly illustrated retrospective of interdisciplinary artist Joyce Campbell and her three decades of work in photography, film, and video. On the Last Afternoon: Disrupted Ecologies and the Work of Joyce Campbell offers a number of portholes into the relations between photography, philosophy, ecology, material history, science fiction, and the care and reading of sacred and symbolic landscapes, as they have been engaged by artist Joyce Campbell over her near three-decade career. Richly illustrated with a full array of her various bodies of work in photography, film, and video, the publication complements and extends her major 2019 exhibition at Adam Art Gallery Te Pātaka Toi in Wellington, Aotearoa New Zealand. Bringing together new and existing writings by Christina Barton, Geoffrey Batchen, Elizabeth Grosz, Richard Niania, Bernard Stiegler, Mark von Schlegell, and John C. Welchman with the embedded wisdom and inherited narratives of her Māori and Pākehā collaborators, Campbell demonstrates the interconnectedness of complex biological, spiritual, and representational systems, and the potential of photography to resist the global techno-capitalist hegemony that underpins the exponential collapse of biodiversity and the decline of spirit in our contemporary era. Raised in Aotearoa New Zealand's rural hinterland, before spending a decade in Southern California, Campbell's biography mirrors her practice, oscillating between New Zealand's verdant coasts and the smog-choked, climate-stressed systems of the Californian deserts. She has photographed in extreme conditions in North America, New Zealand, and Antarctica, using the full panoply of techniques from photography's two-hundred-year history. This publication is the outcome of a close collaboration with volume editor and contributor John C. Welchman (Professor of Art History, Theory and Criticism, University of California, San Diego, and Chair, Mike Kelley Foundation for the Arts). Copublished with Adam Art Gallery Te Pātaka Toi at Victoria University of Wellington Contributors Christina Barton, Geoffrey Batchen, Joyce Campbell, Elizabeth Grosz, Tungāne Kani, Apikara Niania, Richard Niania, Mark von Schlegell, George Smith, Sebastian Smith, Vicky Smith, Bernard Stiegler, John C. Welchman

A series of drawings by Irma Blank, reproduced in more than three hundred full-color images, with texts by art historians.Linguistic and visual representation intersect in Irma Blank's pastel-colored, script-like Eigenschriften (Self-Writings, 1968-73), a series of drawings considered the starting point of the artist's mature work. The cycle stems from Blank's experience moving to Italy in the 1960s from Germany, where she was born in 1934. No longer surrounded by her native language and unable to express herself through words, this form of writing became a type of escape for Blank. The slender lines of these works are reminiscent of writing, but one that is incomprehensible. Without any specific meaning, the work is pure sensation transmitted from the hand to the surface of the page, from the body to the work. Alongside more than three hundred full-color reproductions of the Eigenschriften works, this volume includes a text by Luca Lo Pinto examining the artistic and historical influences on Blank's cycle of drawings, considered "an exercise of subtraction to reach a basic form of writing," while Douglas Fogle's essay looks at Blank's work through the lens of artists such as Robert Rauschenberg and John Cage, in terms of a shared practice of repetition, as well as the work of the writers Robert Walser and W. G. Sebald.ContributorsDouglas Fogle, Luca Lo Pinto

Workshop of the Film Form provides an in-depth overview of the achievements of Warsztat Formy Filmowej (WWF; Workshop of the Film Form), a group of avant-garde artists who were working at the Leon Schiller National Higher School of Film, Television and Theatre in Lodz, Poland, between 1970 and 1977. WWF was founded by the students and graduates of the school, now known as the National Film School, and included: Wojciech Bruszewski, Pawel Kwiek, Andrzej Różycki, Józef Robakowski, Zbigniew Rybczyński, Kazimierz Bendkowski, Antoni Mikolajczyk, Janusz Polom, and Ryszard Waśko. As pioneers of video art in Poland and structural cinema in Central and Eastern Europe, the artists refused classical narrative and traditional film media, working instead somewhere between cinematography and contemporary art. This publication examines all aspects of WFF's activity, from their films, photographic experiments, video art, and performative actions to their teaching work, which includes previously unexplored pedagogical contributions to the National Film School. Drawing on the private archives and oral testimonies of the WWF, Workshop of the Film Form attempts to provide a full account of the group's history as well as a comprehensive survey of each member's practice. The writers who were invited to respond to the WWF for this book provide insightful new readings of the group's output and activities, contextualizing their work in the history of the prewar Polish avant-garde and the politics of experimental filmmaking in Poland under the rule of the Polish United Workers' Party (PZPR).Copublished with Fundacja Arton

A study of art's drive to blur art and life and to transform the latter, through the lens of modern biopower.Art and (Bare) Life: A Biopolitical Inquiry analyzes modern and contemporary art's drive to blur with life, and how this is connected to the democratic state's biologized control of life. Art's ambition to transform life intersects in striking ways with modern biopower's aim to normalize, purify, judge, and transform life--rendering it bare. In these intersecting yet different orientations toward life, this book finds the answer to the question: How did autonomous art become such an effective tool of the capitalist state? From today's "creative cities" to the birth of modern democracy and art in the French Revolution, Art and (Bare) Life explores how the Enlightenment's discovery of life itself is mirrored in politics and art. The galvanizing revelation that we are, in Michel Foucault's words, "a living species in a living world," free to alter our environment to produce specific effects, is compared here to the discovery that art is an autonomous system that can be piloted toward its own self-determined ends--art for art's sake. But when both art and the capitalist state seek to change life rather than reflect it, they find themselves set on a collision course.

Examining the theories and practices of radical leftist politics of the 1960s and 1970s and the relationship between politics and aesthetics.This is the final chapter of a long-term project curated by Edit Molnár, Lívia Páldi, and Marcel Schwierin that started with a group exhibition at Edith-Russ-Haus für Medienkunst, Oldenburg, in 2016. The show looked back on the epoch of Cold War radicalism and anticolonial revolution--an era characterized by a proliferation of ideas about how radical social change could permeate the globe. The book, like the exhibition itself, presents a variety of approaches that, through specific events and historical contexts, survey the theories and practices of radical leftist politics of the 1960s and 1970s and the relationship between politics and aesthetics. It also investigates the ways in which artists rethink the possibilities of new political subjects and how complex sociohistorical connections can be questioned and revisited in the realm of art.ContributorsStefanie Baumann, Felix Gmelin, Ho Tzu Nyen, Rajkamal Kahlon, Sarinah Masukor, Kirill Medvedev, Edit Molnár, Lívia Páldi, Rachel O'Reilly, Ana Teixeira Pinto, Marcel Schwierin, Catarina Simão, Suzanne Treister, Jan Verwoert

In the style of a catalogue raisonné, Reto Pulfer's comprehensive monograph, Zustandskatalog: Catalog of States and Conditions, follows the artist's work over the past fifteen years. Excerpts from the artist's novels as well as insightful texts by Anselm Franke and Benoît Maire are juxtaposed with 475 documentary photographs of Pulfer's technical drawings, one-off exhibitions, large-scale installations, and performances. Categories such as living ceramics, food advice, ghostology, synesthesia, and transformation are woven throughout the book, giving unique insight into the ideas and imagination that are part of the work itself.Published in collaboration with Centre d'Art Contemporain Genève; Musée régional d'art contemporain Occitanie / Pyrénées-Méditerrannée, Sérignan; Spike Island, Bristol; Centre international d'art et du paysage de l'île de Vassivière; Fórum Eugénio de Almeida, ÉvoraContributorsAnselm Franke, Benoît Maire, Reto Pulfer

The members of Communists Anonymous (COMA) share an extreme sense of empathy and justice, and therefore detest more or less any form of private property. COMA members restrain themselves from any effort to overcome capitalism before there is a new convincing model at hand of how to actually implement communism. The speculative self-help of COMA understands the historical incarnations of communism as substantially incomplete in thought and practice, and places communism where it originated--in the realm of fiction. Only as fiction can communism manifest itself again beyond doubt. Solution 275-294: Communists Anonymous is a document of some imageries of communism and a testament to the current predicament of our political imagination. Atomized, privatized, and deprived of any infrastructure for solidarity--without any internationalist project, with moralizations compensating for the disappearance of political organization, with micro-politics replacing macro-politics--communists can only be anonymous in this world of ours. Edited by writer Ingo Niermann and curator Joshua Simon, this collection of essays and stories--written from the fields of art, literature, law, philosophy, activism, design, and science--proposes resolutions to current social contradictions, covering topics such as bacteria, bliss, immortality, queerness, interculturality, poetry, transportation, childhood and motherhood, and all-encompassing sensual love.Solution Series edited by Ingo NiermannContributorsSantiago Alba Rico, Heather Anderson, Ann Cotten, Fiona Duncan, Anthony Dunne and Fiona Raby, Boris Groys, Elfriede Jelinek, Georgy Mamedov and Oksana Shatalova, Metahaven, Momus, Ingo Niermann, David Pearce, Frank Ruda, Georgia Sagri, Joshua Simon, Alexander Tarakhovsky, Timotheus Vermeulen

Essays that form a dynamic discussion among leading feminist thinkers on Zelimir Zilnik's film Early Works (1968). This collection of short essays brings together a dynamic discussion among feminist thinkers, on the filmic fate of Jugoslava, the leading character in Zelimir Zilnik's film Early Works (1968). The cinematic narrative follows Jugoslava as she leaves her lumpenproletariat family to lead a small group of vagabonds after the failed 1968 student movement in Socialist Yugoslavia. The group travels to the countryside to bring the teachings of young Marx and Engels to the peasants. Jugoslava passionately wants to emancipate local village women, delivering motivational lessons on contraception. However, the group's attempt to instigate a revolutionary program among the peasants fails miserably; instead, the villagers attack the young men and sexually assault Jugoslava. Her revolutionary passion burns fast and gloriously, and for this she is punished, through the film's own allegorical reflexivity. In the last scene, the male comrades chase the heroine through the barren, foggy, muddy fields of Pannonia, harassing her, only to finally shoot her and set her body on fire. Jugoslava dies in flames. Canonical within the Yugoslav New Film--a dissident cinema faction questioning the status quo of bureaucratic state socialism in the late 1960s and early 1970s--Early Works has received limited discussion in terms of its gendered representation of revolutionary action and the presence and absence of feminist critique addressing this historical period. The volume is a part of Antonia Majaca's ongoing collaborative investigation Feminist Takes which considers the relation between the Non-Western cinema and feminist theory and practice and is itself a material trace and redaction of a series of focused gatherings approaching the film to re-read its significance from multiple, indisciplined, feminist locations.

People have used honey, dates, and fruits to sweeten their dishes since time immemorial, but with the introduction of sugar--"white gold"--into cooking and baking, a whole array of delightful flavors and culinary possibilities was unearthed. Sugar was the building block for edible sculptures and model palaces made for festivals and celebrations thousands of years ago, and the main ingredient in lavish creations for Rococo and Baroque banquets. A life without cakes, pastries, tarts, soufflés, meringues, petits fours, or marzipan would be unimaginable! In Bon! Bon!, Charlotte Birnbaum uncovers the wonderful world of all things sugary through surprising anecdotes and historical accounts, each accompanied by delectable recipes that are sure to satisfy any sweet tooth.On the Table is a series of publications edited by Charlotte Birnbaum that explores the encounter between food and art.

A supplement to exhibitions held at Museum Abteiberg, Mönchengladbach, and Muzeum Sztuki, Lódz, this book centers around the apple as an art object and as a case study in biodiver sity under threat. Developed over the course of an ongoing, five-year correspondence between artist Antje Majewski and the Polish conceptual artist Pawel Freisler, the project explores the idea of diversity in all of its possible meanings and manifestations, tying together collaborative and associatively connected works by Majewski and Agnieszka Polska, Freisler, Piotr Zycienski, and Jimmie Durham in a museum exhibition dealing with the apple.The remarkable range of ornaments in Freisler's collection of carved, dried apples is echoed in the diverse colors and shapes found in Majewski's paintings of different apple varieties, while her film The Freedom of Apples traces the fruit's genetic reduction to a handful of commercially profitable varieties, an undertaking that requires making sense of the complex relationships behind global food production in capitalism, genetic technology developments in the agricultural sector and in politics and legislation, but also of dissenting voices in favor of another kind of community economy and the pr eservation of diversity. Freisler and Majewski founded a new tradition of planting apple trees in the city space as a communal activity that brings together diverse groups and individuals. So far, two hundred local-variety apple trees have been planted by tree adopters in Mönchengladbach and Lódz.Copublished with Museum Abteiberg, Mönchengladbach, and Muzeum Sztuki, LódzContributorsJimmie Durham, Anders Ettinger, Pawel Freisler / Piotr Zycienski, Katherine Gibson / Ethan Miller, Antje Majewski, Agnieszka Polska, Joanna Sokolowska, Susanne Titz, Fundacja Transformacja

In this innovative take on early video art, Ina Blom considers the widespread notion that analog video was endowed with lifelike memory and agency. Reversing standard accounts of artistic uses of video, she follows the reflexive unfolding of a technology that seemed to deploy artists and artistic frameworks in the creation of new technical and social realities. She documents, among other things, video's emergence through the framework of painting, its identification with biological life, its exploration of the outer limits of technical and mental time control, and its construction of new realms of labor and collaboration. Enlisting a distinctly media-archaeological approach, Blom's new book--her second from Sternberg Press--is a brilliant look at the relationship between video memory and social ontology.

In essays, poems, sketches, and photographs, twenty authors challenge the exclusive human claim to intelligence. Can contemporary art's practitioners change the way we perceive nature? In The Wild Book of Inventions, twenty authors employ a variety of forms, including speculative essays, poems, pencil sketches, and photo essays, to challenge the exclusive human claim to intelligence by pointing to, or inventing, new forms of coexistence for all life-forms. Far more complex than the necessary and continuous exercise of critique, these contributions introduce new ways to experience culture. Contributors Nabil Ahmed, Armen Avanessian, Hannah Black, Kristina Buch, Tyler Coburn, Ann Cotten, Paul Feigelfeld, Fernando García-Dory, Kenneth Goldsmith, Anke Hennig, Ingela Ihrman, Tiphanie Kim Mall, Chus Martínez, Momus, Ingo Niermann, Trevor Paglen, Filipa Ramos, Lin May Saeed, Emily Segal, Johannes Willi

Cave is a series of publications featuring commissioned and republished explorations, anecdotes, research, documents, case studies, essays, and scenarios on how to think and practice contemporary collecting. The first issue of Cave looks into the territory of the public collection considering it both a semantic ground for institutional collecting as well as political and cultural infrastructure.Artists, scholars, and other thinkers address the role of museums and collections for identity-making and territorial representation, the increasing invisibility of the collection, productive and problematic processes of inclusion and exclusion, and what seems to be a general distrust towards history in the contemporary art museum. As such they speculate on radical yet tangible strategies for the activation and sedimentation of the collection in the contemporary art museum from the point of view of its architecture, scale, locality, history, organizational model, display, research, and collecting methodologies.Published with CAHF--Contemporary Art Heritage FlandersContributorsBeirut, Clémentine Deliss, Kersten Geers, Jef Geys, Anders Kreuger, Maarten Liefooghe, Jens Maier-Rothe, Doris Maninger, Winke Noppen, Louise Osieka, Jasper Rigole, Marije Sennema, Els Silvrants-Barclay, 3Maarten Van Den Driessche, Richard Venlet, Pieternel Vermoortel

New Institutionalism, a mode of curating that originated in Europe in the 1990s, evolved from the legacy of international curator Harald Szeemann, the relational art advanced by French critic and theorist Nicolas Bourriaud, and other influential factors of the time. New Institutionalism's dispersed and varied approaches to curating sought to reconfigure the art institution from within, reshaping it into an active, democratic, open, and egalitarian public sphere. These approaches posed other possibilities and futures for institutions and exhibitions, challenging the consensual conception, production, and distribution of art. Practitioners engaged the art institution with renewed confidence by imbuing it with the potential for new aesthetic experiences and different relationships among artists, institutions, and spectators beyond engrained modernist ideologies. Working in these new modes, the art institution could become a site of fluidity, unpredictability, and risk. What Ever Happened to New Institutionalism? reflects upon the aspirations of these curatorial strategies and assesses their critical efficacy today within the landscape of contemporary art and globalized culture. The first in a series of readers examining changing characteristics of art institutions, this publication thinks through New Institutionalism by bringing together facsimiles of seminal texts, new critical essays, a history of trends and practices, and commissioned artist projects and contributions. These are complemented by documentation from the inaugural year of programming at the Carpenter Center for the Visual Arts at Harvard University focused on reimagining CCVA as a twenty-first-century institution.Copublished with Carpenter Center for the Visual ArtsContributorsMartin Beck, Nina Beier, Silvia Benedito, Ulla von Brandenburg, Katarina Burin, Simon Dybbroe Møller, Jonas Ekeberg, Alex Farquharson, Fernanda Fragateiro, Simon Fujiwara, James Goggin, Tone Hansen, Owen Hatherley, Henriette Huldisch, Damon Krukowski, Le Corbusier, Maria Lind, Markus Miessen, Eline Mugaas, Elise Storsveen, Gloria Sutton, James Voorhies, Naomi Yang, Amy Yoes

Chen Zhen (1955-2000) is largely recognized as one of the most important artists of the global art scene. His work thrived from his singular and intense life experience of migrating and working across different continents and cultures. The recent exhibition at the Rockbund Art Museum in Chen's native city of Shanghai reflected on his lifework, at once unique and complex, critical and optimistic, and its attempts to provide innovative responses to the diverse challenges of the changing world, from the end of the Cold War to the rise of of global capitalism and new geopolitical conflicts. Chen proposed to constantly reexamine the realities and histories of what he viewed as an exciting new world, full of problems--like a giant with an overmuscled body and an exhausted heart.This catalogue presents an art-historical angle on Chen Zhen's unique way of questioning his experience of globalization through art. It includes documentation of the eponymous exhibition at Rockbund Art Museum (May 30-October 7, 2015), along with detailed sketches of both existing and unrealized projects.Copublished with Rockbund Art Museum, ShanghaiContributorsLarys Frogier, Hou Hanru

On Productive Shame, Reconciliation, and Agency prompts a unique crossdisciplinary inquiry into the productive potential of the affect of shame. This book contests the ontological understanding of shame and the psychoanalytical interpretation of it based on personal traumatic experiences linked to lack, loss, memory repression, and absence. Rather, the book builds on complex issues (initially proposed by Paul Gilroy) that concern the coming to terms with a grim colonial and imperial past: How can one deal with the personal and collective memories of "paralyzing guilt" after dreadful atrocities and genocides? How can such negative experiences be transformed into "productive shame" (not only for the perpetrators but also for the victims and witnesses)? This collection of essays, discussions, and interviews reflects on the intersection of the historicity, materiality, and structures behind culturally constructed race and racism, anti-Semitism, anti-Romaism, and queer shame across different disciplines, fields, and theories (for example, in philosophy, art and art history, visual culture, architecture, curating, postcolonial history, gender and queer studies). Various case studies and artistic projects employing collaborative and participatory research methods are analyzed as practices that empower the process of turning shame into productive agency. The ensuing role of productive shame is to prevent the recurrence of the institutional structures, patterns, and events that are responsible and constitutive of racism, and has been contextualized in recent debates on political responsibility and reconciliation in Europe and Africa.ContributorsTal Adler, Eva Blimlinger, Andrea B. Braidt, Jasmina Cibic, Das Kollektiv, Zsuzsi Flohr, Eduard Freudmann, Tímea Junghaus, Jakob Krameritsch, Jean-Paul Martinon, Suzana Milevska, Helge Mooshammer, Peter Mörtenböck, Trevor Ngwane, Karin Schneider, Primrose Sonti, Gayatri Chakravorty Spivak, Working Group Four Faces of OmarskaPublication Series of the Academy of Fine Arts Vienna, vol. 16

This publication documents the exhibition "United States of Latin America," held at the Museum of Contemporary Art Detroit (MOCAD), in collaboration with the Kadist Art Foundation. Bringing together their shared and ongoing engagement with artistic practices from Latin America, Jens Hoffmann and Pablo León de la Barra have assembled one of the most significant contemporary survey's of recent art from the region. Hoffmann and de la Barra's project draws attention not only to the geographic territories of Latin America itself, but also to its relation within the wider scope of the Americas, and its position in a global artistic context. This book offers a framework for critical insight into artworks dealing with crucial social, industrial, or ecological concerns, and also for interrogating the very categories and terminologies used to construct the notion of Latin America. This catalogue includes a conversation between Stefan Benchoam, Fernanda Brenner, Eduardo Carrera, Camila Marambio, and Marina Reyes Franco (moderated by Heidi Rabben), a glossary, a reflective essay by Hoffmann "after the fact," and images from the exhibition.Copublished with Museum of Contemporary Art Detroit and Kadist Art FoundationContributorsStefan Benchoam, Fernanda Brenner, Eduardo Carrera, Jens Hoffmann, Pablo Léon de la Barra, Camila Marambio, Heidi Rabben, Marina Reyes Franco

On the occasion of Ane Hjort Guttu's 2015 Festival Artist exhibition at Bergen Kunsthall, presenting her latest film work, this substantial monograph gathers reflections on recent projects and offers insight into the artist's work and methodology. Guttu's new film Time Passes (2015), and commissioned by the institution, debates the contradictory and complex issues around the uses of and rights to public space, urban poverty and inequality, and the responsibility of the artist to produce commentary. An essay by Kim West introduces Guttu's work as portraiture filmmaking crossing the gaze of the documentarian with a decidedly subjective point of view; Pablo Lafuente situates the work in relation to the responsibility of education and critical consciousness; and Ekaterina Degot draws out questions on the egalitarian character of contemporary art, particularly in light of the ideals highly present in the social imagination of Norway, "the last welfare state." The texts are accompanied by visual essays and an artist interview with Halvor Haugen. This publication presents a framed view on this artist's recent works, and takes a position on the role of the artist and the potential of art as a critical and political tool.Copublished with Bergen KunsthallContributorsMartin Clark, Ekaterina Degot, Ane Hjort Guttu, Halvor Haugen, Pablo Lafuente, Steinar Sekkingstad, Kim West

Equal parts Borges, Burroughs, Baudrillard, and Black Ops, Dispute Plan to Prevent Future Luxury Constitution charts a treacherous landscape filled with paranoid master plans, failed schemes, and dubious histories.Benjamin H. Bratton's kaleidoscopic theory-fiction links the utopian fantasies of political violence with the equally utopian programs of security and control. Both rely on all manner of doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns to realize their propagandas of the deed, threat, and image. Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture.The cast of characters in this ensemble drama of righteous desperation and tactical trickery shuttle between fact and speculation, action and script, flesh and symbol, death and philosophy: insect urbanists, seditious masquerades, epistolary ideologues, distant dissimulations, carnivorous installations, forgotten footage, branded revolts, imploding skyscrapers, sentimental memorials, ad-hoc bunkers, sacred hijackings, vampire safe-houses, suburban enclaves, big-time proposals, ambient security protocols, disputed borders-of-convenience, empty research campuses, and robotic surgery.In this mosaic we glimpse a future city built with designed violence and the violence of design. As one ratifies the other, the exception becomes the ruler.e-flux journal Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle

This volume is a collection of dynamic and engaged writings by art historian John C. Welchman on a range of contemporary European artists: Vasco Araújo, Cosima von Bonin, Jan De Cock, Orshi Drozdik, Susan Hiller, Andy Hope 1930, Michael Kunze, Nathaniel Mellors, Miguel Palma, José Álvaro Perdices, Sascha Pohle, Thomas Raat, Nicola Stäglich, and Xavier Veil-han. Anchored in concerns that emerged in the late 1960s and 1970s, Welchman poses thoughtful and provocative questions about how these artists receive and negotiate the social and aesthetic histories through which they live and work. Past Realization inaugurates XX-XXI, John C. Welchman's two-part series on European art from this and the last century, which will be followed by a series on West Coast artists and one on the work of Mike Kelley.

Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. This second edition of a collection of his essays whirls around the appearance of the unworldly in art, culture, history, and the present.

Meditations inspired by Polys Peslikas's exhbition at the Cyprus Pavilion at the 2017 Venice Biennale.Faint on stage? Umm Kulthum never did. It was the the audience that swooned when she sang. ButwWhat if, overcome by the power of her song, the singer herself had passed out? What would have ensued during the sudden silence? Umm Kulthum faints on stage is the title Polys Peslikas coined for one of the paintings in his exhibition The future of colour at the Cyprus Pavilion during the 57th Venice Biennale in 2017. This book offers stories and thoughts inspired by Peslikas's paintings. A retrospective meditation on the exhibition, the book includes a piece of punk existentialist poetry by the artist group Neoterismoi Toumazou; an interview of celebrated ceramist Valentinos Charalambous by pavilion curator Jan Verwoert, conducted during a visit to Nefertiti's bust at the Neues Museum in Berlin; a short story by New York-based artist-writer Mirene Arsanios, echoing the 1980s childhood experience of temporarily living in Cyprus; and a contextual essay about the work of Peslikas.ContributorsMirene Arsanios, Valentinos Charalambous, Louli Michaelidou, Neoterismoi Toumazou, Jan Verwoert

Seven years in twenty-first century contemporary art, as seen in a series of columns by curator and writer Maria Lind.Seven Years offers a subjective chronicle of contemporary art during the second decade of the twenty-first century, seen through a series of columns by curator, writer, and educator Maria Lind. Writing for the print edition of ArtReview, Lind considers individual artworks and exhibitions and contributes to conversations and debates developing in the art world and beyond. She explores work by Haegue Yang, Hassan Khan, Uglycute, Tania Perez-Cordova, and Walid Raad, among others, and discusses such exhibitions as dOCUMENTA (13), the Sharjah Biennial 12, the 3rd Ural Industrial Biennial, and several editions of the Venice Biennale.Lind's writings are accompanied by other texts: artists Goldin+Senneby discuss Lind's materialist approach through the use of the word "hand" in the introduction to the volume; Sofía Hernández Chong Cuy reflects on how writing can affect curatorial work, and vice versa; artist Ahmet Öğüt conducts an imagined interview with Lind; and Philippe Parreno weaves a summary of the years between 2010 and 2018, highlighting the notion of potentiality. A postscript by Lind's fellow curator Joanna Warsza compiles a glossary of the book's key ideas and terms.ContributorsGoldin+Senneby, Sofía Hernández Chong Cuy, Ahmet Öğüt, Philippe Parreno, Joanna Warsza

One day I went to interview Dan Graham about the legendary John Daniels Gallery in New York, which he ran from 1964 to '65. Right after I arrived, Dan started talking to me about Michel Butor and his fascination with the writer's work back in the 1960s. I merely asked: "And did you ever meet him?" Dan answered: "No. Some people wanted to introduce us, but it never happened." I asked: "And would you like to meet him?" And he said, with his very own smile: "Of course I would." --From the editor's prefaceIn the fall of 2013, Dan Graham and Mieko Meguro traveled with Donatien Grau to a town in the French Alps to meet Michel Butor, one of the foremost innovators of postwar literature. This is their conversation.Michel Butor is a writer. He redefined the genre of the novel, notably with Second Thoughts (1957), further developing new forms with Mobile (1962) and other fundamental works. Dan Graham is an artist. A major retrospective of his work was held in 2009 at the Museum of Contemporary Art, Los Angeles; Whitney Museum, New York; and Walker Art Center, Minneapolis.

One common feature of the wave of recent revolutions and revolts around the world is not political but rather architectural: many erupted on inner-city roundabouts. In thinking about the relation between protest and urban form, Eyal Weizman starts with the May 1980 uprising in Gwangju, South Korea, the first of the "roundabout revolutions," and traces its lineage to the Arab Spring and its hellish aftermath.Rereading the history of the roundabout through the vortices of history that traverse it, the book follows the development of the roundabout in Europe and North America in the early twentieth century, to its subsequent export to the colonial world in the context of attempts to discipline and police the "chaotic" non-Western city. How did an urban apparatus put in the service of authoritarian power became the locus of its undoing? Today, as the tide of revolt that characterized the Arab Spring seems to ebb, when nations and societies disintegrate by brutal civil wars and military oppression, the series of revolutions might seem like Dante's circles of hell. To counter this counter-revolution, Weizman proposes that the immanent power of the people at the roundabouts will need to find its corollary in sustained work at round tables--the ongoing formation of political movements able to enact political change. The sixth volume of the Critical Spatial Practice series stems from Eyal Weizman's contribution to the Gwangju Folly II in 2013, an exhibition curated by Nikolaus Hirsch with Philipp Misselwitz and Eui Young Chun for the Gwangju Biennale. Weizman and the architect Samaneh Moafi constructed a folly composed of seven roundabouts and a round table in front of the Gwangju train station, one of the central points in the events of May 1980.Critical Spatial Practice 6With Blake Fisher and Samaneh MoafiEdited by Nikolaus Hirsch, Markus MiessenFeaturing photography by Kyungsub Shin