He liked the words to other people's songs but sometimes the rhythms were "kind of boggy," and he might change them. One night he delivered some hits composed by his friend, George M. Cohan , another kid who was getting known on Broadway with his own songs. When Berlin ended with Cohan's "Yankee Doodle Boy," notes Whitcomb, "everybody in the joint applauded the feisty little fellow.
Nobel Prize-winning author Rudyard Kipling , living up the coast during that period, said he "was shocked and intrigued by the screeching squalor he found in the dirty gray tenement canyons of immigrant New York. Max Winslow c. Von Tilzer said that Max claimed to have "discovered a great kid," and raved about him so much that Von Tilzer hired Berlin.
Later, in , when he was 20, Berlin took a new job at a saloon named Jimmy Kelly's in the Union Square neighborhood. Ludwig Gruener German newspaper story  : Berlin rose as a songwriter in Tin Pan Alley and on Broadway. In , Emma Carus introduced his first world-famous hit, "Alexander's Ragtime Band", followed by a performance from Berlin himself at the Friars' Frolic of The New York Telegraph described how two hundred of his street friends came to see "their boy" on stage: "All the little writer could do was to finger the buttons on his coat while tears ran down his cheeks—in a vaudeville house!
Richard Corliss , in a Time magazine profile of Berlin, described " Alexander's Ragtime Band " as a march, not a rag , "its savviest musicality comprised quotes from a bugle call and " Swanee River. Add Ray Charles 's big-band version in , and "Alexander" had a dozen hit versions in just under a half century. Initially the song was not recognized as a hit, however; Broadway producer Jesse Lasky was uncertain about using it, although he did include it in his "Follies" show.
It was performed as an instrumental but did not impress audiences, and was soon dropped from the show's score. Berlin regarded it as a failure. He then wrote lyrics to the score, played it again in another Broadway Review, and this time Variety news weekly called it "the musical sensation of the decade. Berlin was "flabbergasted" by the sudden international popularity of the song, and wondered why it became a sudden hit.
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He decided it was partly because the lyrics, "silly though it was, was fundamentally right Furia writes that the international success of "Alexander's Ragtime Band" gave ragtime "new life and sparked a national dance craze. In , Berlin wrote a ragtime revue, "Watch Your Step," which starred the couple and showcased their talents on stage.
That musical revue became Berlin's first complete score with songs that "radiated musical and lyrical sophistication. The song " Play a Simple Melody " became the first of his famous "double" songs in which two different melodies and lyrics are counterpointed against one another. Variety called "Watch Your Step" the "first syncopated musical," where the "sets and the girls were gorgeous. Variety said the show was a "terrific hit" from its opening night.
It compared Berlin's newfound status as a composer with that of the Times building: "That youthful marvel of syncopated melody is proving things in "Watch Your Step", firstly that he is not alone a rag composer, and that he is one of the greatest lyric writers America has ever produced.
Whitcomb also points out the irony that Russia, the country Berlin's family was forced to leave, flung itself into "the ragtime beat with an abandon bordering on mania. Some of the songs Berlin created came out of his own sadness. For instance, in he married Dorothy Goetz , the sister of songwriter E. Ray Goetz. She died six months later of typhoid fever contracted during their honeymoon in Havana.
The song he wrote to express his grief, "When I Lost You," was his first ballad. It was an immediate popular hit and sold more than a million copies. He began to realize that ragtime was not a good musical style for serious romantic expression, and over the next few years adapted his style by writing more love songs. By he had written hundreds of songs, mostly topical, which enjoyed brief popularity. Many of the songs were for the new dances then appearing, such as the "grizzly bear", "chicken walk", or fox trot.
During this period, he was creating a few new songs every week, including songs aimed at the various immigrant cultures arriving from Europe. On one occasion, Berlin, whose face was still not known, was on a train trip and decided to entertain the fellow passengers with some music. They asked him how he knew so many hit songs, and Berlin modestly replied, "I wrote them. An important song that Berlin wrote during his transition from writing ragtime to lyrical ballads was " A Pretty Girl is Like a Melody ," which became one of Berlin's "first big guns," says historian Alec Wilder.
The song was written for Ziegfeld 's Follies of and became the musical's lead song. Its popularity was so great that it later became the theme for all of Ziegfeld's revues, and the theme song in the film The Great Ziegfeld. Berlin wrote the song, "For Your Country and My Country", stating that "we must speak with the sword not the pen to show our appreciation to America for opening up her heart and welcoming every immigrant group.
In , Berlin was drafted into the United States Army , and the news of his induction became headline news, with one paper headline reading, "Army Takes Berlin! While stationed with the nd Depot Brigade at Camp Upton , he then composed an all-soldier musical revue titled " Yip Yip Yaphank ", written to be patriotic tribute to the United States Army.
By the following summer, the show was taken to Broadway where it also included a number of hits, including " Mandy " and " Oh! One song he wrote for the show but decided not to use, he would introduce twenty years later: "God Bless America. He maintained an interest in the theater throughout his life, and even in his last years was known to call the Shubert Organization , his partner, to check on the receipts. In its early years, the theater was a showcase for revues by Berlin.
As theater owner, producer and composer, he looked after every detail of his shows, from the costumes and sets to the casting and musical arrangements. It was the home of Berlin's "Music Box Revue" from to and "As Thousands Cheer" in and today includes an exhibition devoted to Berlin in the lobby. When they quarreled and parted in the bitter-sweetness of the s, it was Berlin who gave eloquence to their heartbreak by way of " What'll I Do " and "Remember" and "All Alone.
This ballad of love and longing was a hit record for Paul Whiteman and had several other successful recordings in Twenty-four years later, the song went to no. Written when he fell in love with Ellin Mackay, who later became his wife. The song became a hit twice for Vincent Lopez and George Olsen in its first incarnation. There were four more hit versions in — In , Sammy Turner took the song to no.
It became Patsy Cline 's postmortem anthem and hit no. Patsy Cline", played a two-year Nashville run that ended in Written after his first daughter's birth, he distilled his feelings about being married and a father for the first time: "Blue days, all of them gone; nothing but blue skies, from now on. In , it returned to the top 10 on the charts with Count Basie and Benny Goodman. In , Willie Nelson made the song a no. An instant standard with one of Berlin's most "intricately syncopated choruses", this song is associated with Fred Astaire , who sang and danced to it in the film Blue Skies.
The song was written in with a separate set of lyrics and was introduced by Harry Richman in of the same name. In , Clark Gable sang it in the movie Idiot's Delight. In it was featured in the movie Young Frankenstein by Mel Brooks , and was a no. It was on the charts at no. Aretha Franklin produced a single of the song in , 31 years later. Performed by Dick Powell in the film On the Avenue. Later it had four top versions, including by Billie Holiday and Les Brown , who took it to no.
The song was written by Berlin twenty years earlier, but he filed it away until when Kate Smith needed a patriotic song to mark the 20th anniversary of Armistice Day , celebrating the end of World War I. Berlin's daughter, Mary Ellin Barrett, states that the song was actually "very personal" for her father, and was intended as an expression of his deep gratitude to the nation for merely "allowing" him, an immigrant raised in poverty, to become a successful songwriter.
Over the decades it has earned millions for the Boy Scouts and Girl Scouts , to whom Berlin assigned all royalties. Eisenhower for contributing the song. The song was heard after September 11, , as U. It is often played by sports teams such as major league baseball. The Philadelphia Flyers hockey team started playing it before crucial contests. When the U. Olympic hockey team pulled off the "greatest upset in sports history," referred to as the " Miracle on Ice ", the players spontaneously sang it as Americans were overcome by patriotism.
Though most of his works for the Broadway stage took the form of revues—collections of songs with no unifying plot—he did write a number of book shows. The Cocoanuts was a light comedy with a cast featuring, among others, the Marx Brothers. Face the Music was a political satire with a book by Moss Hart , and Louisiana Purchase was a satire of a Southern politician obviously based on the exploits of Huey Long.
As Thousands Cheer was a revue, also with book by Moss Hart, with a theme: each number was presented as an item in a newspaper, some of them touching on issues of the day. The show yielded a succession of hit songs, including " Easter Parade " sung by Marilyn Miller and Clifton Webb, " Heat Wave " presented as the weather forecast , "Harlem on My Mind", and " Supper Time ", a song about racial violence inspired by a newspaper headline about a lynching, sung by Ethel Waters.
She once said about the song, "If one song can tell the whole tragic history of a race, 'Supper Time' was that song. In singing it I was telling my comfortable, well-fed, well-dressed listeners about my people Berlin loved his country, and wrote many songs reflecting his patriotism. His most notable and valuable contribution to the war effort was a stage show he wrote called " This is the Army ". It was taken to Broadway and then on to Washington, D.
Roosevelt attended. It was eventually shown at military bases throughout the world, including London, North Africa, Italy, Middle East, and Pacific countries, sometimes in close proximity to battle zones. Berlin wrote nearly three dozen songs for the show which contained a cast of men. He supervised the production and traveled with it, always singing " Oh!
The show kept him away from his family for three and a half years, during which time he took neither salary nor expenses, and turned over all profits to the Army Emergency Relief Fund. The play was adapted into a movie of the same name in , directed by Michael Curtiz , co-starring Joan Leslie and Ronald Reagan , who was then an army lieutenant. Kate Smith also sang "God Bless America" in the film with a backdrop showing families anxious over the coming war. The show became a hit movie and a morale-boosting road show that toured the battlefronts of Europe.
His daughter, Mary Ellin Barrett , who was 15 when she was at the opening-night performance of " This is the Army " on Broadway, remembered that when her father, who normally shunned the spotlight, appeared in the second act in soldier's garb to sing "Oh, How I Hate to Get Up in the Morning," he was greeted with a standing ovation that lasted 10 minutes. She adds that he was in his mid's at the time, and later declared those years with the show were the "most thrilling time of his life.
Loosely based on the life of sharpshooter Annie Oakley , the music and lyrics were written by Berlin, with a book by Herbert Fields and his sister Dorothy Fields , and directed by Joshua Logan. At first Berlin refused to take on the job, claiming that he knew nothing about " hillbilly music", but the show ran for 1, performances and became his most successful score.
It is said that the showstopper song, " There's No Business Like Show Business ", was almost left out of the show altogether because Berlin mistakenly thought that Rodgers and Hammerstein didn't like it. However, it became the "ultimate uptempo show tune. On the origin of another of the play's leading songs, Logan described how he and Hammerstein privately discussed wanting another duet between Annie and Frank. Berlin overheard their conversation, and although the show was to go into rehearsal within days, he wrote the song "Anything You Can Do" a few hours later.
One reviewer commented about the play's score, that "its tough wisecracking lyrics are as tersely all-knowing as its melody, which is nailed down in brassy syncopated lines that have been copied—but never equaled in sheer melodic memorability—by hundreds of theater composers ever since. Apparently the "creative spurt" in which Berlin turned out several songs for the score in a single weekend was an anomaly. According to his daughter, he usually "sweated blood" to write his songs. Berlin made two attempts to write a musical about his friend, the colorful Addison Mizner , and Addison's con man brother Wilson.
Wise Guy was completed but never produced, although songs have been published and recorded on The Unsung Irving Berlin After a failed attempt at retirement, in , at the age of 74, he returned to Broadway with Mr. Although it ran for eight months, with the premiere attended by President John F. Kennedy , it was not one of his successful plays. Afterwards, Berlin officially announced his retirement and spent his remaining years in New York. Though he lived 23 more years, this was one of Berlin's final published compositions.
Berlin maintained a low profile through the last decades of his life, almost never appearing in public after the late s, even for events held in his honor. However, he continued to maintain control of his songs through his own music publishing company, which remained in operation for the rest of his life. Top Hat featured a brand new score, as did several more, including Follow the Fleet , On the Avenue , Carefree , and Second Fiddle Starting with Alexander's Ragtime Band , he often blended new songs with existing ones from his catalog.
The film Holiday Inn introduced " White Christmas ", one of the most recorded songs in history. First sung in the film by Bing Crosby along with Marjorie Reynolds , whose voice was dubbed by Martha Mears  , it has sold over 50 million records and stayed no. Crosby's version is the best-selling single of all time. Music critic Stephen Holden credits this partly to the fact that "the song also evokes a primal nostalgia—a pure childlike longing for roots, home and childhood—that goes way beyond the greeting imagery. Richard Corliss also notes that the song was even more significant having been released soon after America entered World War II : [it] "connected with GIs in their first winter away from home.
To them it voiced the ache of separation and the wistfulness they felt for the girl back home, for the innocence of youth This feeling is caught in the song of a thousand jukeboxes and tune whistled in streets and homes. When we sing that we don't hate anybody. And there are things we love that we're going to have sometimes if the breaks are not too bad against us. Way down under this latest hit of his, Irving Berlin catches us where we love peace.
It would also be the last time a Berlin song went to no. Berlin is the only Academy Award presenter and Academy Award winner to open the "envelope" and read his or her own name for "White Christmas". This result was so awkward for Berlin since he had to present the Oscar to himself that the Academy changed the rules of protocol the following year to prevent this situation from arising again. Talking about Irving Berlin's "White Christmas", composer—lyricist Garrison Hintz stated that although songwriting can be a complicated process, its final result should sound simplistic.
Considering the fact that "White Christmas" has only eight sentences in the entire song, lyrically Mr. Berlin achieved all that was necessary to eventually sell over million copies and capture the hearts of the American public at the same time. According to Saul Bornstein a. Sol Bourne, Saul Bourne , Berlin's publishing company manager, "It was a ritual for Berlin to write a complete song, words and music, every day.
He would typically begin writing after dinner and continue until 4 or 5 in the morning. Not always certain about his own writing abilities, he once asked a songwriter friend, Victor Herbert , whether he should study composition. Herbert told him. In , Berlin joined him as a charter member of the organization that has protected the royalties of composers and writers ever since. In later years, Berlin emphasized his conviction, saying that "it's the lyrics that makes a song a hit, although the tune, of course, is what makes it last.
As a result, Wilder says that many admirers of the music of Jerome Kern , Richard Rodgers and Cole Porter were unlikely to consider Berlin's work in the same category because they forgot or never realized that Berlin wrote many popular tunes, such as "Soft Lights and Sweet Music," "Supper Time," and "Cheek to Cheek. There is nothing of the hothouse about his work, urban though it may be. Composer Jerome Kern recognized that the essence of Irving Berlin's lyrics was his "faith in the American vernacular" and was so profound that his best-known songs "seem indivisible from the country's history and self-image.
Berlin, however, did not follow that method. Instead, says music critic Stephen Holden , Berlin's songs were always simple, "exquisitely crafted street songs whose diction feels so natural that one scarcely notices the craft Among Berlin's contemporaries was Cole Porter, whose music style was often considered more "witty, sophisticated, [and] dirty," according to musicologist Susannah McCorkle.
Of the five top songwriters, only Porter and Berlin wrote both their own words and music. However, she notes that Porter, unlike Berlin, was a Yale -educated and wealthy Midwesterner whose songs were not successful until he was in his thirties. She notes further that it was "Berlin [who] got Porter the show that launched his career. In February , after a brief whirlwind courtship, he married year-old Dorothy Goetz of Buffalo, New York , the sister of one of Berlin's collaborators, E. During their honeymoon in Havana , she contracted typhoid fever , and doctors were unable to treat her illness when she returned to New York.
She died July 17 of that year and was buried in Buffalo. Years later in the s, he fell in love with a young heiress, Ellin Mackay, the daughter of Clarence Mackay , the socially prominent head of the Postal Telegraph Cable Company, and an author in her own right. They met in , and her father opposed the match from the start. He went so far as to send her off to Europe to find other suitors and forget Berlin. However, Berlin wooed her with letters and song over the airwaves such as "Remember" and " All Alone ," and she wrote him daily. Variety reported that her father vowed that their marriage "would only happen 'over my dead body.
The wedding news made the front-page of the New York Times. The marriage took her father by surprise, and he was stunned upon reading about it. The bride's mother, however, who was at the time divorced from Mackay, wanted her daughter to follow the dictates of her own heart.
Berlin had gone to her mother's home before the wedding and had obtained her blessing. There followed reports that the bride's father now disowned his daughter because of the marriage. In response, Berlin gave the rights to "Always", a song still played at weddings, to her as a wedding present. For years, Mackay refused to speak to the Berlins, but they reconciled after the Berlins lost their first son, Irving Berlin Jr. Their marriage remained a love affair and they were inseparable until she died in July at the age of In , in the earlier phase of Berlin's career, producer and composer George M.
Cohan , during a toast to the young Berlin at a Friar's Club dinner in his honor, said, "The thing I like about Irvie is that although he has moved up-town and made lots of money, it hasn't turned his head. The tens of thousands of people who used to live in the mountainous Galain-Chaz district of southern Chechnya were deported by the Soviet authorities in the winter of , wrongly accused of having collaborated with Nazi Germany.
It is also the title of his film from , in which Khasueva returns to the site of her ancestral village for the first time in seventy-three years. What are the cultural and social implications of war and violence, and how does society respond to war? Witnessing becomes a way of understanding and also resetting memory. How do you trace the roots of one of the most significant cross-disciplinary unions in fashion today?
Offering complimentary perspectives on a bond that has matured over the span of a decade, and a body of work that transcends boundaries, Ruby and Simons spoke with mutual respect, trust, and a deep investment in the future. This is a story, and an exchange, that is beyond collaboration. The book thematizes television as a cultural container, both in its format as a box for content and as an ideologically saturated apparatus for reception.
Accompanying her solo exhibition at Henie Onstad Kunstsenter, this book includes stills from her film Wild Relatives , a meditative documentary capturing the transit of seeds between the Svalbard Global Seed Vault in Norway and the fields of the Bekaa Valley in Lebanon. The artist raises questions of mutual understanding through constructing forums that address shared experience. Meg O'Rourke Ed. Babette Mangolte Selected Writings, — A single black-and-white photograph taken by Babette Mangolte has come to epitomize New York's downtown art scene of the s.
Perhaps It Is Time for a Xeno-architecture to Match documents a conversation series from January to March that explored what an intervention of the xeno might bring to bear on contemporary and future infra structure. Hermione Spriggs Ed. Launched in tandem with the eponymous exhibition at greengrassi and Corvi-Mora in London, the publication features visual documentation of multiple art-anthropology exchange processes, ethnographic texts, and further written contributions that introduce contemporary Mongolia as a dynamic site for conceptual and creative experimentation.
With this strategy, Thomas worked against his own historicization, erasing his name from the reigning European and North American art fields. The uniqueness of his oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied art. Mikkel Bolt Rasmussen Hegel after Occupy Hegel after Occupy is a Western Marxist analysis of different attempts to understand the present historical situation and the way theories of postmodernity, globalization, and contemporaneity implicitly or explicitly conceptualize the relationship between the historical present and political action.
They all persuasively describe a breakdown of former historical categories but paradoxically end up understanding this breakdown as the end of politics tout court. The book is both part and result of the intensive sharing of ideas to produce something that captures the spirit of both discussions at that time and the publication process as a temporal form. The only performances that make it all the way Yes, but is it performable? Written between and , the texts range from public statements, poetic short prose, and film scripts to reflections on the role of the artist and essays on art for children.
Working from the dual vantage points of South Africa and Europe, the project considers plants as both witnesses to, and dynamic agents in, history. It links nature and humans, rural and cosmopolitan medicine, tradition and modernity across different geographies, histories, and systems of knowledge—exploring the variety of curative, spiritual, and economic powers of plants.
Focusing on a rich ten-year period of production that began in the mid-sixties, it brings new attention to the artistic and intellectual practice of a figure known primarily as one of the main exponents of the Radical Architecture movement. For two years the writing process and the artistic process were interwoven, feeding each other as they evolved. Omar Kholeif Goodbye, World! No longer a placid slow-moving orb, the world is now perceived as a hothouse of activity and hyper-connectivity that cannot keep up with its inhabitants.
The internet has collectively bound human society, replacing the world as the network of all networks. Looking at Art in the Digital Age , writer and curator Omar Kholeif traces the birth of a culture propagated but also consumed by this digitized network. This much-hyped view is rejected in favor of a more rigorous Marxist interpretation of the nature of surplus value, and its role in a systematic law of value. Erik Hagen, Mario Pfeifer Eds. Profit over Peace in Western Sahara How commercial interests undermine self-determination in the last colony in Africa Profit over Peace in Western Sahara examines the role of natural resources in the occupation of the Western Sahara, a territory considered by the United Nations to still be awaiting decolonization.
Josephine Pryde lapses in Thinking By the person i Am In the body of work documented here, Pryde combines a series of color photographs of hands touching objects with a scale-model freight train and track, replete with miniaturized graffiti, that took visitors in a short ride through the exhibition. Through photography and sculpture, Pryde pays close attention to the nature of image making and the conditions display, subtly reworking codes and conventions to alter our cultural perception and understanding of each.
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Su-Mei Tse Nested Marked by her cosmopolitan origins, between Europe and Asia, and by an attention to the sonorous dimension of the world, the practice of Su-Mei Tse involves issues such as time, memory, musicality, and language. Ellen Cantor A history of the world as it has become known to me Ellen Cantor — combined ready-made materials with diaristic notes and drawings to probe her perceptions and experiences of personal desire and institutional violence.
Jennifer Bornstein Prints Prints by Jennifer Bornstein gathers together a body of work encompassing her latest projects in printmaking during a recent fellowship at the Radcliffe Institute for Advanced Study at Harvard University. These works are contextualized by earlier projects in drawing, film, and artist books that span the s to the present.
Presenting new research on the artist and providing an unprecedented overview of two decades of work, the book features eleven essays and two interviews, alongside richly illustrated project pages and texts by the artist. How do artists work today? Has the pluralism of art given way to a pluralism of roles that artists may occupy?
What are the contemporary conditions of labour producing this new state of affairs, and what re-skilling does it ask of artists? These are some of the questions addressed in The Artist As. The New Performance Turn, Its Histories and Its Institutions The choreographic turn in the visual arts from to can be identified by the sudden emergence of works created by different visual artists around the world. Each used dance or choreographic procedures to reinvent, reimagine, and reimage how the visual arts produced and conceived its images and objects.
Central to this investigation is a refugee crisis that is primarily a crisis of global Western capitalism and its components: modernization, nationalism, structural racism, dispossession, and social, political, and economic violence. Natasha Ginwala, Daniel Muzyczuk Eds. The Museum of Rhythm The Museum of Rhythm is a speculative institution that engages rhythm as a tool for interrogating the foundations of modernity and the sensual complex of time in daily experience.
When entering a larger cultural infrastructure such as the art museum, it juxtaposes modern and contemporary art with ethnographic research, cinema, music, and scientific instruments to set in resonance a critical apparatus and conduct exercises in Rhythmanalysis. This book, and the exhibition upon which it is based, is an outcome of durational research that sees art as one of the means by which the ideologies of rhythm are implemented. The amalgamations of text and image appear in the form of audiovisual transcripts, much of the material scavenged verbatim from popular culture and the user-generated web content of platforms like YouTube, Craigslist, and Reddit.
Alex Klein, Milena Hoegsberg Eds. Ineke Hans Was ist Loos? Wolfgang Tillmans, Brigitte Oetker Eds. What Is Different? Jahresring 64 What Is Different? Since the early s Tillmans has been working on truth study centre , a cycle of works concerned with absolute claims of truth in social and political contexts. Circling around contemporary issues of newly resurfaced right-wing populism, the phenomenon of fake news, and psychological findings such as the backfire effect, Tillmans, rather than analyzing the status quo, focuses on what has changed in the past ten, twenty, thirty, forty years.
Why are societal consensus and institutions now under attack? Pierre Bal-Blanc Ed. This book extends the recollection and mental reconstruction of the artworks and reconstitutes the project's political aims. Ingo Niermann, Joshua Simon Eds. Solution — Communists Anonymous Communists Anonymous 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. Armen Avanessian Miamification Armen Avanessian chronicles his stay in Miami as an experiment in writing about our times of individual optimization and digitization.
Can we, it asks, advance from conditions of financial feudalism and climate change to a progressive poetics of the digital? Daniel S. Berger, John Neff Eds. With an extended introduction by the editors, the book invites reflection on how fictions proliferate, take on flesh, and are carried by a wide variety of mediums—including, but not limited to, the written word. Was ist anders? Jahresring 64 Was ist anders? Ausgabe des Jahresrings, die Wolfgang Tillmans als Gastredakteur konzipiert und gestaltet hat.
Lori Waxman Keep Walking Intently The Ambulatory Art of the Surrealists, the Situationist International, and Fluxus Walking, that most basic of human actions, was transformed in the twentieth century by Surrealism, the Situationist International, and Fluxus into a tactic for revolutionizing everyday life.
Each group chose locations in the urban landscape as sites—from the flea markets and bars of Paris to the sidewalks of New York—and ambulation as the essential gesture. Keep Walking Intently traces the meandering and peculiar footsteps of these avant-garde artists as they moved through the city, encountering the marvelous, studying the environment, and re-enchanting the banal. The shifts that occurred in the art field during this time were accompanied by explicit critique and academic analysis that aimed to make the genesis of these transformations comprehensible.
Peter G. Rowe published his pioneering book Design Thinking. In it, he interrogated conceptual approaches to design in terms of both process and form. Thirty years later, in a lecture at the Harvard University Graduate School of Design, Rowe offered a reappraisal of his earlier work, describing ways in which the capacities of the digital age have changed the way we perceive and understand creative problem-solving in architectural design.
Using her photographs as conversation prompts with various residents, historians, and architects, Toukan places the anecdotes collected thereby into political and historical context, weaving together narrative and critique. Khadija von Zinnenburg Carroll Ed. Botanical Drift Protagonists of the Invasive Herbarium Botanical Drift explores the hermeneutics, historicization, semiotics, and symbiosis of plants—past, present, extant, and extinct—around the globe. Plant histories are explored by significant and diverse feminist, art-historical, and anthropological voices—from Germaine Greer to herman de vries—bringing new perspectives through photo-essays, fiction, performance, and interventions in ecological, film, and translation archives.
Cevdet Erek SSS How to imitate the sound of the shore using two hands and a carpet SSS: How to imitate the sound of the shore using two hands and a carpet is, at first glance, exactly what it claims to be: an in-depth manual for staging a private or public performance, in which one uses both hands and a carpet to imitate the sounds of water making contact with land. Charlotte Birnbaum Bon! 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.
In Bon! What Was I Thinking? You Fuckers! Annika Bender was one of the pseudonyms of artists Dominic Osterried and Steffen Zillig, who wrote the blog Donnerstag now discontinued under her name. To make the criticism she proposed possible, and make public its conditions and inherent contradictions—as well as articulate the reasons for her disappearance—it proved necessary to confer Bender to the archive.
The prize includes two exhibitions at renowned art institutions in Germany and Belgium, the ars viva catalogue, and an artist residency on Fogo Island Canada. Anne Faucheret, David Jourdan Eds. The prospect of a fully automated future—while acutely reshaping the notions of work, production, and value creation—also feeds emancipatory scenarios ultimately leading to the end of labor.
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Total automation is upon us but its liberating promise is yet to be claimed. This book surveys the literature on that story. It tracks its fabric, layers, and mediations, and unfolds a bibliography and chronology of automation and of its promises. The book investigates notions of the script, staging, and the conditions of the exhibition itself. Rethinking Density Art, Culture, and Urban Practices Rethinking Density: Art, Culture, and Urban Practices considers new perspectives and discussions related to the category of density, which for a long time has been part of urban-planning discourses and is now regaining the attention of artists and practitioners from a number of different disciplines.
In an interplay of models, coping strategies, and experimental approaches, this publication combines research from cultural studies, artistic research, sound studies as well as architectural and urban theory. Comprising a series of twenty conversations conducted by Thorne with the artists, curators, and educators behind these schools, the book maps a territory at once fertile and contested. Michael Tedja The Holarium: Negeren Series Unlike a number of artists who have begun to use negation, detachment, and inaccessibility as tools to reflect upon and problematize the narratives mapped onto them as members of diasporic or immigrant communities, Michael Tedja plays the other extreme.
His work seems to exceed and absorb the institutions that attempt to codify him one way or another. Atelier Bow-Wow with K. Explaining their belief in the behavioral capacities of humans, architecture, and nature, Tsukamoto and Kaijima reveal the generous spirit of their work, and the importance of pushing such capacities to their most yielding limits.
The dead must be brought back to life using means of advanced technology—resurrected not as souls in heaven, but in material form, in this world, with all their memories and knowledge. Craig Kalpakjian Intelligence Among the first artists in his generation to employ digital software in the creation of art objects, Craig Kalpakjian engages with both historical art discourses and contemporary issues. In his work, Kalpakjian focuses on the seduction of technology and digital space from a critical position, questioning utopian ideals and suggesting darker implications.
Louise Schouwenberg Ed. Material Utopias In the slipstream of conceptual art, the intimate interweaving of meaning and materialization in art and design came to be discredited in the second half of the twentieth century. Joasia Krysa Ed. Systemics or, Exhibition as a Series Index of Exhibitions and Related Materials, —14 Systemics brings together a collection of new writing and curatorial projects that unfolded at Kunsthal Aarhus, Denmark, over a two-year period from to Contained here are its various parts: details of the four core exhibitions and related events, two commissioned exhibitions, and four essays, together comprising the Systemics series program as a whole.
Like any series, it unfolds over time, in associative parts, using descriptive and poetic exhibition titles to develop a cumulative experience. Daniela Zyman, Cory Scozzari Eds. In projects such as his magnum opus Fish Story —95 , or films like Lottery of the Sea and The Forgotten Space , Sekula provided a view from and of the sea. Demos Against the Anthropocene Visual Culture and Environment Today Addressing the current upswing of attention in the sciences, arts, and humanities to the proposal that we are in a human-driven epoch called the Anthropocene, this book critically surveys that thesis and points to its limitations.
Art historian T. Demos analyzes contemporary visual culture—popular science websites, remote sensing and SatNav imagery, eco-activist mobilizations, and experimental artistic projects—to consider how the term works ideologically, proposing more than merely a description of objective geological periodization. It is often said that we no longer have an addressee for our political demands. We have each other. What we can no longer get from the state, the party, the union, the boss, we ask for from one another.
And we provide. With examples of unexpected collectors and serendipitous outcomes, Shaw investigates the obscure desires that shape art collecting and the public goodwill that results from it. Bik Van der Pol Ed. Her texts record specters and realities of culture, migration, and displacement, compounding the vagaries of rhetoric and poetics with those of personal history and criticism.
Andrew Goodhouse Ed. When Is the Digital in Architecture? When is the digital in architecture?
Henry Wadsworth Longfellow
What are the conditions that led architects to integrate digital tools into their practices? There are eight million stories of the origins of the digital in architecture, and this book brings together fourteen of them. The arguments address specific changes in ways of thinking about architecture, building, and cities, as well as the shifts in technology that resulted from these changes, marking both a capstone of Archaeology of the Digital and the start of an investigation into other beginnings of the digital in architecture. These operative terms situate his work between forms of linguistic description and the history of reflexive material practices in art.
Rather, they are shaped by always-evolving social, institutional, and physical relations. At that moment, human-related phenomenological analysis clashes with the media-archaeological close reading of the technological event, in an impossible effort to let the temporeal articulate itself. The Submarine Horizons of Contemporaneity It is said that we know more about far-away galaxies than we do about the bottom of the oceans on earth. One could say something similar about our relationship to the future and to the contemporary. Searching for the present is a bit like deep sea diving.
How to dive without drowning in the turbulent waters of now? How to find and share sources of illumination in submarine darkness? When to surface and how to ride a strong current? These are some of the questions that Raqs Media Collective address in their account of contemporaneity, guided by a motley collection of figures lost and found in the turbulence of their practice. Projected onto monumental screens in the Boiler House at the KINDL — Centre for Contemporary Art in Berlin from late summer to spring , Olympia aims to exceed the human ability to imagine time, thus radically surpassing our own experience of the world.
Nowadays, a large part of it is based on producing and consuming vast amounts of clothing. Collections are manufactured at dizzying speeds and sold for extremely low or incredibly high prices. This fast-changing business is hard to break into, or out of. How, as a designer, do you deal with this system and come up with innovative ways of designing, producing, promoting, financing, and selling? Stephan Dillemuth Schall und Rauch. The exhibition presented newly conceived works alongside works from the s exhibited for the first time.
It gathers more than twenty projects realized between and , including rarely viewed early works that help us see her most recent production from a new perspective. In response to the increasing transformation of public spaces into functional areas toward which individuals are guided to fulfill a given activity, the two artists call upon citizens to become uchronists, to infiltrate public life with physical modules coming from daily behaviors, synchronized and adjusted according to context.
Margarida Mendes Ed. Matter Fictions Matter Fictions addresses fiction as a mode of producing reality as well as the significance of matter—animal, vegetable, mineral, hybrid—beyond binaries. Here, fact and fiction press up against each other and the conflict of one North is reinscribed in another. This extensive volume loosely catalogues four hundred and twenty works from this series at a one-to-one scale, in precisely rendered photographs. Conceived as a field of production and mutual learning, Green light works with refugees, asylum seekers, migrants, and NGOs to fabricate an unlimited edition of fully functional lamps: geometric, stackable modules made from recyclable materials and fitted with a welcoming green light.
Providing fundraising and education opportunities, Green light workshops first took place in Vienna in , and have since been hosted at the Moody Center for the Arts, Houston, and the 57th Venice Biennale. As experience becomes fact, the past turns into objective matter. His paintings and videos are as much investigations of the processes shaping the narration of events in his home country of Albania as they are reflections on the nature of the image as such. Transcending the limits of our planet, data collection has become a fundamental tool with which to map the earth and beyond.
Launched as the online journal of the biennial, the reader pairs texts or image-based contributions, allowing for a sense of tension and affinity to develop in the feedback loop of the two voices. Relationships around the artwork as site of evidence and testimony are thus reoriented. The multidimensional readings are not restricted to the active apparatus of law and discipline, but instead seek to unravel the synchronies of our times—the mesh of injustice in our midst.
The presentation of some fifty works is not necessarily categorically or linearly organized; rather, it appears completely free of hierarchy, with photographic styles, subjects, and techniques displayed on equal footing. First Things First emphasizes a juxtapositional approach, a dynamic and free arrangement of various subjects and styles. Through multiple exchanges between members of thirty-two Huni Kuin communities in Brazil, this publication brings together threads from anthropology, art, and science that are interwoven, like the movement of a serpent, with essay contributions, oral histories, drawings, and traditional song.
At the heart of this collection are three provocative texts extracted from important artworks by Rosen, offered here as genre-defying literature at the intersection between reality and fiction, speculative narrative and historical-political critique, humor and eroticism. Omar Berrada Ed.
This publication is conceived as a parallel exhibition in book form, and contains original interventions by and in collaboration with the artists. Armen Avanessian Overwrite Ethics of Knowledge—Poetics of Existence The original ideals of the Enlightenment research university and the rise of aesthetics in modernity have been decisive in shaping neoliberal capitalism. How, then, might we endeavor to change the academic status quo?
Philosopher and political theorist Armen Avanessian argues that the ethical dimension of knowledge can produce a new reality. Looking beyond aesthetics and its critical imagination, can the speculative poetics of collaborative writing free us from the dominant regime of the academy and, by extension, the art world? It examines the space of arrival as a complicated and disjointed nexus between departure, displacement, and return.
In a present moment teeming with erosions—where even history and the human are called into question— Cultural Revolution: Aesthetic Practice after Autonomy reconsiders these changing values, for relegating such notions safely to the past betrays their possibilities for potential today.
Minouk Lim United Paradox What role does historiography play in the formation of the present? How does contemporary experience inform the commemoration of historical events or lack thereof? Minouk Lim explores history in the present tense—its media representation, collective memory, ritual, and trauma—through her exhibition, publication, and broadcasting station United Paradox. The collaboration is structured around Maiwar Performance, in which the CityCat ferries that ply the Brisbane River Maiwar execute unannounced maneuvers near a site of significance to the Aboriginal people who lived on the lands around Brisbane before British colonization in the early nineteenth century.
Helke Bayrle Portikus Under Construction, — In , Helke Bayrle began videotaping the installation of each exhibition at the Portikus exhibition space. These videos form a remarkable and intimate archive of the storied Frankfurt contemporary art institution and the exceptional artists and personnel that have worked within it. The Flood of Rights It is difficult to imagine making claims for human rights without using images.
For better or worse, images of protest, evidence, and assertion are the lingua franca of struggles for justice today. And they seem to come in a flood, more and more, day and night. But through which channels does the torrent pass? The Flood of Rights examines the pathways through which these images and ideas circulate—routes that do not merely enable, but actually shape human-rights claims and their conceptual background.
Taken together the works are a collection and an archive of time shown in modern images, raising questions on how we contemplate ideas of nature. 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.
Luca Lo Pinto Ed. Marcus Verhagen Flows and Counterflows Globalisation in Contemporary Art Over the past quarter century, artists have made powerful interventions in debates around globalisation, addressing various dimensions of cross-border exchange, from mass migration to the dynamics of translation, and devising new ways of conceptualising them. At least not without magic.
And a touch of trickery. Robert Stadler, Alexis Vaillant Eds. Devised largely in response to the gradual breakdown of the divide between art and design that began over a century ago, this book sheds light on the ways that the concept of the thing as idea has been considered over time. However, at the last minute the project was censored by the Chinese Cultural Bureau, turning what was to be an investigation of libraries and the institutional sharing of culture into an intimate reflection on power and censorship, political art, and the historical experiences shared across formerly divided Germany and the two Koreas.
Joanna Warsza Ed. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From to , biennials in Istanbul, St. The contributions also look across and beyond the field of media art, staking out new paths for understanding and working in the transversal territories between theory, technology, and art.
Jesse Birch Ed. Black Diamond Dust This publication expands a multisite contemporary art exhibition that took place in Nanaimo, British Columbia, a small city on the eastern edge of Vancouver Island. The title refers to coal mining, an industry that has formed and fragmented communities through economic development, racial segregation, and labor inequity, while fueling the modern world.
In this book, forgotten or under-acknowledged histories are investigated and discussed along with cultural forms that surround the practices of international coal mining. Contemporary artworks, poetry, essays, literature, folk songs, and archival images come together to extract meaning from this fossilized black carbon that continues to power our cities. CATPC brings together a unique gathering of individuals—along with its members and partner institutions that are engaged in dialogue with it—and attempts to rethink postcolonial power relations within the global art world.
And so we find Vincenzo Latronico attempting to get in touch with E. Alex Coles Ed. EP Vol. Practitioners and theorists explore this strategy by pushing the debate into both speculative and real-fictitious terrains. Newly commissioned interviews, artist projects, and essays shed light on topics such as parafiction and algorithmic ambiguity. It is the first volume in a series of books that focuses on what is happening both inside and outside of the art institute. Cultures of the Curatorial 3 Hospitality: Hosting Relations in Exhibitions A curatorial situation is always one of hospitality.
This publication analyzes the curatorial within the current sociopolitical context, through key topics concerning immigration, conditions along borders, and accommodations for refugees. The contributions in this volume, by international curators, artists, critics, and theoreticians, deal with conditions of decontextualization and displacement, encounters between the local and the foreign, as well as the satisfaction of basic human needs. The artist situates his paintings in complex interrelationships, where connections and relevancies are constantly reconfigured, forming a continuously growing web.
Lydia Okumura Situations For almost fifty years, Lydia Okumura has explored the realm of geometric abstraction. She challenges our perception of space through sculptures, installations, and works on paper that blur distinctions between dimensions. Spaces of Commoning Artistic Research and the Utopia of the Everyday Spaces of Commoning: Artistic Research and the Utopia of the Everyday is the outcome of a research project pursued by a group of artists, architects, and social theorists.
In the face of an exhilarating politics of accumulation and dispossession, the group explores commoning as the subject as well as the means of its study. This has been a key undercurrent to a practice that spans painting, sculpture, video, and installation. Following the lure of the fringes, the artist culls her imagery from fan-gore magazines, true-crime TV shows, fetish websites, obscure online forums, and hidden chat rooms tucked away in the darker reaches of the Web. Boris Groys Ed. Martin Herbert Tell Them I Said No This collection of essays by Martin Herbert considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms.
Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Hannah Rickards Grey light Left and right back, high up, two small windows Grey light.
Left and right back, high up, two small windows is a major new work by London-based artist Hannah Rickards commissioned by Fogo Island Arts. Anthony Downey Ed. Future Imperfect Contemporary Art Practices and Cultural Institutions in the Middle East Future Imperfect critically examines the role played by cultural institutions in producing present-day and future contexts for the production, dissemination, and reception of contemporary art in the Middle East and North Africa.
It offers historical contexts for discussions that have become increasingly urgent in recent years—the role of culture in a time of conflict and globalization—and an in-depth critique of the state of cultural institutions in an age of political upheaval, social unrest, exuberant cultural activity, ascendant neoliberal forms of privatization, social activism, and regional uncertainty.
Since , however, her main focus and passion has been painting. The title of this publication describes the main focus of her work: the still life. Texts by writers and artists and an interview with Du Pasquier provide an informative and subjective view of her artistic practice. The diversity of voices in this publication mirrors the complexity of the region itself: its various curatorial spaces, infrastructures, and political systems.
Welcome to Transciency Preis der Kunsthalle Wien Addressing possible configurations of art and nature, Margit Busch, recipient of the Kunsthalle Wien Prize , created a laboratory-cum-experiment that included mealworms and beetles that consume, and thus recycle, polystyrene plastic. Andrej Polukord The Sarcophagus Preis der Kunsthalle Wien Andrej Polukord, corecipient of the Kunsthalle Wien prize, draws on painting, installation, performance, and video art to create unpredictable environments and absurd situations that produce double meanings and ambiguity.
Polukord installed The Sarcophagus at Kunsthalle Wien, an environment that takes the form of a cave. In this installation mushrooms grow from the ceiling of the Kunsthalle, transforming the gallery into the space of an inverted forest floor. Hubs and Fictions On Current Art and Imported Remoteness Hubs and Fictions , originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures are invented against its background.
The book functions as a deliberately discontinuous reader; it juxtaposes documents, negotiations, and reflections from and on these conversations. Monica Ross Ethical Actions A Critical Fine Art Practice British artist Monica Ross — left behind forty years of socially engaged, feminist, and performative artwork, which has had a deep effect on contemporary art and society. Boris Groys Particular Cases This collection of essays does not aim to illustrate a prefabricated theory of art, but rather follows the impulses given by artworks themselves. Philosopher and art critic Boris Groys writes about significant artists and artworks of the last century that have pushed his thinking and writing in a new direction.
His striking and original arguments do not try to substitute the singular content or message of an artwork. Rather, the writings are inspired by art as a mind-changing practice—as if contemporary artists, completely secularized, can still produce a sort of conversion within the spectator. Jan Paul Evers, Leon Kahane, Jumana Manna ars viva The ars viva Prize has been awarded annually since to young artists living in Germany whose work stands out for its innovative potential and high artistic quality.
These objects consist of collapsible and modular furniture-like elements, as well as seemingly nonfunctional sculptures made of light materials Karina Mendreczky Preis der Kunsthalle Wien With delicate lyricism, Karina Mendreczky creates fictional landscapes using light and shadow. Silhouettes of acrylic trees, whose details were hand-carved with an etching needle, were projected onto the back wall of the gallery to create the impression of actual large-format drawings.
Signature Strengths The No-Frills book series was developed in the early s as a translation of the non-branding strategy of supermarket staples to mass-market genre fiction. An immediate response would be that contemporary art is an art of the present, that it somehow addresses and expresses the present. But what is this present? What constitutes the present present or the contemporary contemporary? This first book in the Contemporary Condition series introduces some of the key issues concerning contemporaneity as a defining condition of our historical present. It thus acts as an extended preface to the series as a whole, calling for a rethinking of the deep structures of temporalization that render our present the way it is.
This is approached through art and design practices that unfold this multiplicity of time, closely entwined with contemporary concerns in aesthetic theory, to understand and engage with the planetary time scales of slow environmental violence. Terry Smith The Contemporary Composition Can we speak of composition when we are in a state of unfathomable decomposition? Art being made today defies coherent categorization, and the world presents itself, day after day, as spinning into confused chaos, structural disintegration, and violent disorder. Revising his well-known histories of contemporary art, Terry Smith argues that we must respond to the compelling need for coeval composition at a time defined by the contemporaneity of divisive difference.
This book traces how—despite many obstacles—visual artists across the globe are rising to this challenge. Listening is a political act, a pedagogical process, and an activity that can lead to the development of an organized protocol for engagement. In his art and research, Beirut-based artist Lawrence Abu Hamdan explores the perception of language, sound, and listening.
National identity, human rights, and the administration of justice are recurrent themes in his work. The exhibition and publication are the first to present the work of Bennett since his death. The works in the show tackle narratives from his own geographical region—Asia Pacific, in which his home country of Australia plays a colonial role—and weaves them into a bigger picture to take into account the global economy, resource extraction, and the ultimate power of the sun.
Angela Bulloch, Maria Zerres Considering Dynamics and the Forms of Chaos This volume accompanies the eponymous exhibition at the Sharjah Art Museum—two parallel solo shows by Angela Bulloch and Maria Zerres brought together under one title, framed by the notion of entropy. A key term that characterizes the movement toward chaos, entropy appears in a variety of fields such as physics, probability theory, sociology and information technology.
Within contemporary art, entropy has emerged to refer to installations often associated with representations of order, disorder and information, and their homogeneity. Tirdad Zolghadr Traction Traction argues that contemporary art is defined by a moral economy of indeterminacy that allows curators and artists to imagine themselves on the other side of power. This self-positioning, in turn, leaves us politically bankrupt, intellectually stagnant, and aesthetically predictable.
In his memoir-polemic, curator and writer Tirdad Zolghadr candidly reflects on his own experiences and the work of others. Each person written about is represented by a letter, and when an object turns into a subject it is marked in bold. This book was written from the middle.
The contents of these pages have been modified numerous times. Notes were taken, ideas were rewritten—the ones that survived bare the most essential guidelines and wisdom for life Shezad Dawood Kalimpong Kalimpong is an artist project in book form by the London-based artist Shezad Dawood. There are explorers and spies, poets and travelers, lovers and strangers, princesses and humanoids, all strangely connected across the globe through this curious Indian town.
David Harvey Abstract from the Concrete Marxist geographer David Harvey opened his lecture with a fact: between and China consumed 50 percent more cement than the United States had in the entire twentieth century. In Abstract from the Concrete , he asks why. They were frequently looted together with other valuables from Bosnian homes.
It was acquired at a public auction in It is missing volume number All over Europe, young people are occupying central public squares to demonstrate for more social justice. In Berlin, their agenda is different. The completists gathered at Alexanderplatz aspire for justice primarily on an intimate level.
They believe that only when the redistribution of material wealth includes equal chances of finding sex and love—no matter how elderly, disabled, or ugly you are—communism will become real. Michalis Pichler Ed. Books and Ideas after Seth Siegelaub Books and Ideas after Seth Siegelaub spans an arc of tension between the works of Seth Siegelaub and contemporary cultural production.
It features an interview with Seth Siegelaub, two essays by Regine Ehleiter and Michalis Pichler, and an extensively illustrated catalogue with bibliographic details. Putting Rehearsals to the Test Practices of Rehearsal in Fine Arts, Film, Theater, Theory, and Politics Although the format of the rehearsal is used across a number of disciplines—film and theater as well as fine arts—it has been scarcely considered in historical and contemporary art discourses. With this in mind, Putting Rehearsals to the Test investigates the role and function of the rehearsal as a methodology, modus operandi, medium, site of representation, and reflection on processes of artistic production.
Samuel Bianchini, Emanuele Quinz Eds. How can it be analyzed, understood, theorized, experienced, and how can we conceive of works that possess the faculty of action and reaction to their environment and public? The double-projection film installation is based on a script that borrows texts from American punk-poet Kathy Acker, as well as chats and materials by convicted whistle-blower Chelsea Manning that speak of her reasons for revealing nearly one million secret military and diplomatic documents through WikiLeaks, at the same time exposing her transgender identity to her superiors.
Through poetic gestures of appropriation and recombination, Boudry and Lorenz examine issues around gender, sexuality, the performance of identity, and the nature of collaboration. Demos Decolonizing Nature Contemporary Art and the Politics of Ecology While ecology has received little systematic attention within art history, its visibility and significance has grown worldwide in relation to the pressing threats of climate change, global warming, and environmental destruction. The festival has continuously produced projects with international artists that experiment with various institutional frameworks.
This book is both a question and a manual, collecting ideas, knowledge and experiences that stem from the theory and practices developed over the past few years. Producing images becomes akin to building infrastructure; her computer-generated bodies are imbued with power and put to work. This publication accompanies the first institutional solo show by Cooper, winner of the Schering Stiftung Art Award. Dysfunctional Comedy A Reader Dysfunctional Comedy documents a series of public events, performances, and workshops conceptualized by German-American artist Olav Westphalen and organized with different partners, mainly in Sweden, between and It is a solidary school by refugees, asylum seekers and migrants who contribute to the program as lecturers, consultants and researchers.
Abraham Adams, Lou Cantor Eds. The first volume, Language and Misunderstanding , addresses concretism and its discontents. The essays and performance texts herein argue for an expanded consideration of concretism in contemporary practices oriented toward the embodiment of language, in works that challenge the privileging of the body of the word over the body of the artist. James Voorhies Ed. What Ever Happened to New Institutionalism?
New Institutionalism , a mode of curating that originated in Europe in the s, 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.
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These approaches posed other possibilities and futures for institutions and exhibitions, challenging the consensual conception, production, and distribution of art. For the exhibition, two complementary yet autonomous artists were brought into dialogue with each other: German artist and computer composer Florian Hecker, and the late American sculptor John McCracken.
He treats his paintings as objects, often created through more or less laborious, serial, or deterministic processes where time itself, as well as various external factors, become active cocreators in the making of the work. Cave 1—Territories 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.
Featuring essays on the highs and lows of the conceptual turn in poetics, avant-garde literary genealogies, and monographic pieces on Paul B. Preciado, Chris Kraus, and Pierre Guyotat, among others, Brutalist Readings explores the radical histories of writing, as well as its potential now. Jens Hoffmann Ed. Charlemagne Palestine GesammttkkunnsttMeshuggahhLaandttttt Charlemagne Palestine works from a highly personal universe of ritual, intoxication, and shamanism. Over the last four decades the artist has created an extensive body of experimental musical compositions, bodily performances, and, in later years, visual artworks inhabited by stuffed animals.
Ina Blom The Autobiography of Video The Life and Times of a Memory Technology In her innovative take on early video art, Ina Blom considers the widespread notion that video technology was endowed with lifelike memory and agency. She follows the reflexive unfolding of an analog technology that seemed to deploy artists and artistic frameworks in the creation of new technical and social realities.
Olivia Plender Rise Early, Be Industrious As the first significant overview of the work by artist Olivia Plender, this monograph navigates through the evolving attitudes to historical and contemporary forms of communication and education that her research-based practice has explored for the last ten years.
The art prize aims to put into practice and to question intra-Asia art connections, gaps, and combinations that build very active art scenes from specific contexts to ongoing extensions. The Archive as a Productive Space of Conflict The applied research project and publication The Archive as a Productive Space of Conflict deals with archival practice and its spatial repercussions. Annette Gilbert Ed. Publishing as Artistic Practice What does it mean to publish today? In the face of a changing media landscape, institutional upheavals, and discursive shifts in the legal, artistic, and political fields, concepts of ownership, authorship, work, accessibility, and publicity are being renegotiated.
How the traditional publishing framework has been cast adrift, and which opportunities are surfacing in its stead, is discussed here by artists, publishers, and scholars through the examination of recent publishing concepts emerging from the experimental literature and art scene, where publishing is often part of an encompassing artistic practice.
Developed over the past ten years of her practice, these works explore communication and interaction between individuals, often against the backdrop of a unique public location, in order to cast attention on repressed, incomplete, and unresolved histories. Nav Haq Ed. Syntax and Society , the first volume, reflects on the exhibition premise that considered the structure and meaning of language and the role it plays in society, with a focus on the work of the three shortlisted artists, Dina Danish, Mahmoud Khaled, and Basir Mahmood while the second volume, Oh Shining Star Testify , focuses on the work of award-winning artist duo Basel Abbas and Ruanne Abou-Rahme.
It includes documentation of the eponymous exhibition at Rockbund Art Museum May 30—October 7, , along with detailed sketches of both existing and unrealized projects. Painting beyond Itself The Medium in the Post-medium Condition In response to recent developments in pictorial practice and critical discourse, Painting beyond Itself: The Medium in the Post-medium Condition seeks new ways to approach and historicize the question of the medium.
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Reaching back to the earliest theoretical and institutional definitions of painting, this book—based on a conference at Harvard University in —focuses on the changing role of materiality in establishing painting as the privileged practice, discourse, and institution of modernity. Individual Stories Photographs, books, and knickknacks: artists collect a variety of objects. While artists generate personal collections, which often address different formal, aesthetic, or conceptual concerns, it is difficult to separate this activity from their artistic practices.
Over time, whether intended or not, such accumulations of items may become works of art. Individual Stories considers the collection as a portrait of its collector and also as an artistic method—as a process rather than an end result. This catalogue is a compilation of individual collections that could not be more different.
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