Bøger udgivet af Whitechapel Gallery

The artist's most comprehensive monograph to date, traversing thirty years of Eisenman's engagement with the technological, political and social changes which have shaped our lives. From drawing and painting to print-making and sculpture, Nicole Eisenman's practice combines formal experimentation with wide-ranging references to art history. Her critical and often humorous commentary on the ever-changing nature of public life consistently challenges power structures and normative conceptions of gender. Nicole Eisenman: What Happened documents the breadth of the artist's career with over 200 color illustrations, explored in ten newly commissioned texts. Essays by curators Mark Godfrey and Monika Bayer-Wermuth survey developments in Eisenman's work since the 1990s, while Chloe Wvma considers Eisenman's recent engagements with national and institutional politics.

Accompanying a major large-scale thematic exhibition at Whitechapel Gallery, this extensive catalogue charts the artists' studio through the last century: as a laboratory or stage set; as place of refuge, or a public space; as a site of resistance or an arena for communal activity. Featuring over 80 artists and collectives from around the world, the catalogue will focus in two sections on 'the public studio' and 'the private studio', accompanied by six thematic essays and full colour plate sections of works by Brancusi, Fischli & Weiss, Roni Horn, Bruce Nauman, Cindy Sherman, Andy Warhol, Nikhil Chopra, Gutai Group, Inji Efflatoun, Francesca Woodman, Ai Weiwei, Marisa Merz, Faith Ringgold and Francis Bacon, amongst many others.

A richly illustrated, double-cover publication that unites two artists by examining their shared move towards participation in art. 'Lygia Clark: The I and the You' and 'Sonia Boyce: An Awkward Relation', presented concurrently at Whitechapel Gallery in 2024, have been especially conceived to be in dialogue with each other. Both exhibitions explore pivotal moments in the artists' careers, where each began experimenting with participatory practices. Although separated by time and geography, and working in different cultural and socio-political contexts, the artists share a deep interest in addressing and shifting the relationship between artist, artwork and audiences, often inviting direct engagement with their works, including touch, manipulation, even inhabitation. In pairing the two artists in this way, interconnected art histories are brought to light. This publication traces these histories, presenting an expanded rather than atomised perspective on transnational art practices. The book features an essay by Lygia Clark scholar and curator Michael Asbury as well as a conversation between Sonia Boyce and Gilane Tawadros.

Deadweight is a new body of work by Dominique White, winner of the 9th Max Mara Art Prize for Women, during a six-month residency in Italy. Published to accompany the work's debut at Whitechapel Gallery, this exhibition catalogue includes installation photography, texts by Olamiju Fajemisin and Alexis Pauline Gumbs, an interview between the artist and Bina von Stauffenberg, and poems by June Jordan.  An exploration of rebellion and transformation, Deadweight features four large-scale sculptural works that reflect the artist's deep connection with the sea and her enduring fascination with shipwrecks. Combining force and fragility, the sharp, angular structures evoke material forms - anchors, a ship's hull, the carcass of an unknown mammal - which also act as symbols of defiance. The title Deadweight, originally a nautical term for a ship's carrying capacity, is inverted by White to signify disruption instead of stability. It symbolises a breaking point, suggesting that freedom might be achieved through abolition.

Bio-Data Flows and Other Rhythms - A Local Story, the first publication on London-based artist Andrew Pierre Hart, accompanies his major new commission at Whitechapel Gallery. Both a visual artist and an electronic music producer, Hart has consistently explored the interrelationship between sound and painting. An illustrated essay by writer Allie Biswas discusses how Hart materialises these overlapping sensory qualities across recent exhibitions and artworks. Curator and director Gilane Tawadros introduces Hart's new commission, which is grounded in Hart's research into the Whitechapel area and his conversations with those who live and work locally. Extensive illustrations document the resulting installation, which features colourful abstract and figurative paintings, a large-scale collaborative mural, a towering bamboo sculpture and video shot with three dancers in the streets surrounding the Gallery. Extended captions by curator Cameron Foote draw out how these imaginative artworks engage with Whitechapel's history of anti-racist activism. A conversation between Hart and artist Larry Achiampong outlines synergies between their work and their shared experiences growing up in rapidly gentrifying parts of east and west London. Hart intervenes in the book with a playful and disruptive artist's section, fusing journal-like snapshots taken in Whitechapel, and on recent trips to Nigeria and Barbados, with concrete poems, reflections and annotations that reveal the motivations surrounding his artwork.

Walking surveys the proliferation of pedestrian practices across contemporary art, taking an avowedly political stance on where and how the three practices of art, walking and writing intersect. Across the world, walking remains a vital way to assert one¿s presence in public space and discourse. Foregrounding work by Black artists, Indigenous artists and artists of colour, working-class artists, LGBTQI+ artists, disabled artists and neurodiverse artists, as well as many others, Walking maps the terrain of contemporary walking practices while examining the diverse voices and bodies of those who incorporate walking into their art. This anthology contends that, as a relational practice, walking inevitably touches upon questions of access, public space, land ownership and use; it is therefore always a political act. Walking offers a vital opportunity to draw attention to the work of those who are frequently denied the right to take their places in public space, not only in the street or the countryside but also in art discourse. Artists included: Stanley Brouwn, Annalee Davis, Laura Grace Ford, Regina Jose Galindo, Emily Hesse, Tehching Hsieh, Steffani Jemison, Kongo Astronauts, Myriam Lefkowitz, Sharon Kivland, Andre Komatsu, Steve McQueen, Jade Montserrat, Sara Morawetz, Bruce Nauman, Paulo Nazareth, Camilla Nelson, Ingo Niermann, Carmen Papalia, Ingrid Pollard, Issa Samb, Moneta Sleet Jr, Mikey Smith, Sop, Iman Tajik, Tentative Collective, Amanda Thomson, Robert Walser, Anna Zvyagintseva. Writers included: Jason AllenPaisant, Katherine Bailey, Tanya Barson, Andre Brasil, Amanda Cachia, Sarah Jane Cervenak, Annie Dillard, Jacques Derrida, Dwayne Donald, Darby English, Kate Fletcher, Susan Gibb, Edouard Glissant, Steve Graby, Antje von Graevenitz, Stefano Harney & Fred Moten, Elise Misao Hunchuck, Kathleen Jamie, Carl Lavery, JeeYeun Lee, Michael Marder, Chus Martinez, Giordano Nanni, Gabriella Nugent, Sonia Overall, Roger Owen, Julie Pellegrin, Isobel Parker Philip, Caroline Filice Smith, Cherise Smith, Rebecca Solnit, Stephanie Springgay and Sarah E. Truman.

Activism is a critical point of contention for institutions and genealogies of contemporary art around the world. Yet artists have consistently engaged in activist discourse, lending their skills to social movements, and regularly participating in civil and social rights campaigns whilst simultaneously boycotting cultural institutions and exerting significant pressure on them. From ACT UP and its affiliate groups since the dawn of the AIDS crisis to the mediatised counterspectacle and street theatrics of the socalled Arab Spring and Occupy, to ongoing protest movements such as Black Lives Matter, Rhodes Must Fall and Decolonize This Place, activist aesthetics has proven increasingly difficult to define under traditional classifications. Resurgent campaigns for decolonial reckoning, ecological justice, gender equality, indigenous rights and antiracist pedagogies indicate that the role of activism in contemporary art practice urges a critical reassessment. One pressing question is whether contemporary art¿s most radical politics now takes place outside, against, or in spite of, conventional sites of display such as museums, biennials, and galleries. This volume addresses an extraordinary moment in debates over the institutional frameworks and networks of art including largescale direct actions, as well as a radical rethinking of art venues and urban spaces according to racial, class or genderbased disparities, including demonstrations against the extractive and exploitative practices of neoliberal accumulation and climate catastrophe.

In May 2010, Glasgow-based sculptor Claire Barclay made an installation titled "Shadow Spans" for the Whitechapel Gallery in London. Barclay attached clothes, birdcages and other objects to frames recalling windows and doors, suggesting a collapsed interior, which several dancers use as a set throughout the work's year-long installation. This volume records the occasion.

Oceans cover more than 70 percent of the Earth's surface, dividing and connecting humans, who carry saltwater in their blood, sweat and tears. At the same time, oceans represent a powerful nonhuman force, rising, flooding, heating, and raging in unprecedented ways as the climate crisis unfolds. The sea has long enthralled artists, who have envisioned it as a sublime wilderness, a home to countless mythical creatures as well as bizarre real species, a source of life and death, a site of new beginnings and tragic endings, a force both wondrous and disastrous. From migration to the melting of the polar ice caps, the sea is omnipresent in international news and politics, leaking into popular culture in the wake of the 'Blue Planet effect' and proliferating in contemporary art and visual culture. This collection gathers together some of today's most exciting contemporary artists and writers to address the ocean not only as a theme but as a major agent of artistic and curatorial methods. Artists surveyed include Bas Jan Ader, Eileen Agar, John Akomfrah, Eva Barois De Caevel, Betty Beaumont, Heidi Bucher, Marcus Coates, Tacita Dean, Mark Dion, Ellen Gallagher, Ayesha Hameed, Barbara Hepworth, Klara Hobza, Isuma, Brian Jungen, Ana Mendieta, Kasia Molga, Eleanor Morgan, Wangechi Mutu, Jean Painleve and Genevieve Hamon, Zineb Sedira, Shimabuku, Christine & Margaret Wertheim, Alberta Whittle. Writers include Stacy Alaimo, Michelle Antoinette, Bergit Arends, Erika Balsom, Karen Barad, Rachel Carson, Marion Endt-Jones, Kodwo Eshun, Vilem Flusser, Paul Gilroy, Epeli Hau'ofa, Eva Hayward, Stefanie Hessler, Luce Irigaray, Zakiyyah Iman Jackson, Celina Jeffrey, Koyo Kouoh, Lana Lopesi, Jules Michelet, Astrida Neimanis, Celeste Olalquiaga, Ralph Rugoff, John Ruskin, Marina Warner.

In recent years, music videos, celebrity dance contests and TikTok challenges have shaped the way we experience choreography and dance culture. During the Covid-19 pandemic when live performance events were cancelled, people confined to their homes turned to making and viewing short dance videos: created on mobile phones and designed to be easily replicable and shared on social media platforms. Dance has long had a relationship to film and the screen, from early films of Loie Fuller's Serpentine Dance (c. 1890s) which highlighted the mediums ability to capture movement and light, to the multi-screen presentations of the choreography of Merce Cunningham transposed into video by Charles Atlas. Visual artists today are inventively reformatting dance and choreographed movement for not only film and the screen but also specifically for the gallery setting, with its repeatable presentation and spatialised viewing conditions. Between Poetics and Politics will feature 10-12 short films by contemporary artists and choreographers that explore the intersection of dance, movement and moving image. These moving image works focus on performing bodies, and unfold as both as individual works but also as collective storytelling, exploring timely topics, ranging from gender politics and desire to bodily memory, resistance and personal healing, to indigeneity and collective identities. The works will be contextualised by three new essays.

Engaging with the question of speculation in ways that encompass the artistic, the economic and the philosophical, with excursions into the literary and the scientific, this collection approaches the theme as a powerful logic of contemporary life, whose key instantiations are art and finance. Both are premised on the power of contingency, temporality, and experiment in the creation (and capitalisation) of possible worlds: artistic autonomy, and the self-legislation of the space of art, was once and often still is seen as the freedom to speculate wildly on material and social possibilities, with the artist as a speculative subject seen as the paragon of creativity - the complete opposite of the bean-counter obsessed with balance sheets and value-added. However once social reality becomes speculative and opaque in its own right, risky and algorithmic, overhauled by networked markets in everything, what becomes of the distinction between not just art and finance, but art and life? This new anthology surveys material and social inventiveness from the ground up: speculating with constructs of the family, speculating with technologies, speculating with gender, speculating with systems of logistics and co-ordination. An ecology of speculation is traced, as broken, specific and enthralling as the world.Artists surveyed include Bertolt Brecht, Jerzy Ludwinski, Cameron Rowland, Salvage Art Institute, Andy Warhol, Mi You, PiraMMMida, Sam LewittWriters Include Lisa Adkins, Ramon Amaro, Brenna Bhandar, Octavia Butler, Cédric Durand, Georg Wilhelm Friedrich Hegel, Sophie Lewis, Dougal Dixon, Stanislaw Lem, Isabelle Stengers and Phillip Pignarre, Steven Shaviro, Can Xue, Daniel Spaulding

The Cute tracks the astonishing impact of a single aesthetic category on post-war and contemporary art, and on the vast range of cultural practices and discourses on which artists draw. From robots and cat videos to ice cream socials, The Cute explores the ramifications of an aesthetic 'of' or 'about' minorness - or what is perceived to be diminutive, subordinate, and above all, unthreatening - on the shifting forms and contents of art today. This anthology is the first of its kind to show how contemporary artists have worked on and transformed the cute, and in ways that not only complexify its meaning, but reshape their own artistic practices. Artists surveyed include Peggy Ahwesh, Cosima Von Bonin, Nayland Blake, Paul Chan, Henry Darger, Adrian Howells, Juliana Huxtable, Larry Johnson, Mike Kelley, Dean Kenning, Wyndham Lewis, Jeff Koons, Sean-Kierre Lyons, Mammalian Diving Reflex, Tala Madani, Annette Messager, Mariko Mori, Charlemagne Palestine, Mika Rottenberg, Allen Ruppersberg, Jack Smith, Carolee Schneeman, Kara Walker, Andy Warhol, Yoshitomo Nara Writers include Sasha Archibald, Roland Barthes, Leigh Claire La Berge, Ian Bogost, Lauren Berlant, Jennifer Doyle, Lee Edelman, Stephen Jay Gould, Angelik Vizcarrondo-Laboy, Bridget Minamore, Juliane Rebentisch, Frances Richard, John Roberts, Friedrich Schiller, Peter Schjeldahl, Kanako Shiokawa

Part of the acclaimed series of anthologies which document major themes and ideas in contemporary art. This anthology explores the ethical, aesthetic and political significance of practices, positions and theories connected to health in contemporary art.

Accompanying his first major retrospective in the UK, this beautifully-produced catalogue documents recent and new work by German-born artist Kai Althoff presented together with ceramics by Bernard Leach, selected by Althoff.

The last of four special publications to accompany a year-long display of works from Barcelona's "la Caixa" Collection at Whitechapel Gallery, selected by and featuring newly-commissioned fictional works by some of the most original English and Spanish-language writers working today.

The third of four special publications to accompany a year-long display of works from Barcelona's "la Caixa" Collection at Whitechapel Gallery, selected by and featuring newly commissioned fictional works by some of the most original English and Spanish-language writers working today.

Part of the acclaimed series of anthologies which document major themes and ideas in contemporary art. An essential collection of texts reflecting on the cultural and political complexities of translation in global contemporary artistic practices.

The second of four special publications to accompany a year-long display of works from Barcelona's `la Caixa' Collection at Whitechapel Gallery, selected by and featuring newly-commissioned fictional works by some of the most original English and Spanish-language writers working today.

The first of four special publications to accompany a year-long display of works from Barcelona's "la Caixa" Collection at Whitechapel Gallery, selected by and featuring newly-commissioned fictional works by some of the most original English and Spanish-language writers working today.

Taking as its model the seminal 1956 exhibition This is Tomorrow, Is This Tomorrow? will feature twelve groups of architects, artists and other cultural practitioners to highlight the potential of collaboration, to address key issues we face today and to offer a vision of the future.

This publication provides a comprehensive document of Josiah McElheny's site-specific Bloomberg Commission exhibiting at the Whitechapel Gallery. Reflection, light and transparency are defining themes of Modernism and provide a leitmotif for the American sculptor Josiah McElheny's 2011 Bloomberg Commission, The Past Was A Mirage I'd Left Far Behind. Seven mirrored, sculptural screens double, triple and refract the projections of reconfigured abstract films, proposing a new history of abstraction as a fragmented, sensory experience. New York-based artist Josiah McElheny is a sculptor, performance artist, writer and filmmaker, best known for his use of glass with other materials. For his Bloomberg Commission he uses light and mirrors to transform the Whitechapel Gallery into a Hall of Mirrors. This book provides an introduction to the artist, a record of his new work, and locates both within the history of art. Lisa Le Feuvre, Head of Sculpture Studies at the Henry Moore Institute, introduces the work of McElheny as an observer of history. Daniel F. Herrmann, Eisler Curator and Head of Curatorial Studies at the Whitechapel Gallery presents an in-depth account of the commission. Tamara Trodd, Lecturer for Twentieth Century and Contemporary Art at Edinburgh University, joins the artist and the curator for a conversation about the ideas and interests behind this major new commission.