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Rainer Jacob - JustICE
Rainer Jacob (b. Jena, 1970; lives and works in Leipzig) has anonymously installed objects made of ice in public settings in cities including Berlin, Leipzig, Paris, Moscow, Oslo, Prague, and Budapest since 2013. He then allows them to dematerialize and records the process in photographs. Radiators, wall outlets, QR codes, and the Duchampian pissoir are among his recurrent motifs. The impermanence of the ice objects builds bridges to street art, Fluxus, and action art. Critical observations on the unequal distribution of resources and political power in contemporary society, his works reflect on our perceptions and question the idea of originality in art while also probing the outer limits of sculpture. The publication showcases the ice objects of the past ten years, embedding them in a decade that has marked a sea change in the life of humankind: JustICE captures an artist's distinctive perspective on societal processes.
Postanarchism and Critical Art Practices
"Engaging with contemporary debates about the political role of art in an era of total market subsumption, this book shows how artists respond to the challenges of political authoritarianism, police violence, right-wing populism, 'post-truth' discourse, economic inequality, pandemics, and the environmental crisis, transforming the public sphere in new and unexpected ways. It argues that the best way to understand these new critical discourses and practices is through an updated political theory of anarchism - or what we call postanarchism - where the insurrection against power and the politics of singularity are central"--
Schimanski, Kumpel, Currywurst?
Jenseits der Klischees von Schimanski, Kumpel und Pommes-Currywurst bleibt die Identität des Ruhrgebiets und seiner Bewohner:innen merkwürdig blass. Dass es hier eine Pluralität von vordergründig sichtbaren oder versteckten Identitäten gibt, legen die Beiträge dieses interdisziplinär angelegten Bandes aus der Perspektive der Geschichts- und Politikwissenschaft, der Kulturwissenschaft sowie der Theologie offen. Im Zeitraum »nach dem Boom« der 1950er- und 1960er-Jahre entfalteten sich hier – so die These – um die Kern-Identität des schwer malochenden Kumpels unter Tage Teilidentitäten, die in ihrem Kern zwar noch eng mit Bergbau und Stahlindustrie verwoben waren, sich aber in »Subkulturen« wie Sport, Musik, Kunst oder Religion zeigten. Entstehungszeitraum dieser Identitäten waren die 1970er Jahre: eine Zeitspanne, in der die Deindustrialisierung des Ruhrgebiets schon seit einigen Jahren lief, nun aber weitreichende Transformationen – etwa eine erhöhte Arbeitslosigkeit oder der Ölpreisschock – hinzukamen, die das Ruhrgebiet als einst wichtigste Montanregion Europas vor besondere Herausforderungen stellten.
ICOM Code of Ethics for Museums
Contains minimum standards of professional practice and performance for museums and their staff.
Museum Activism
Only a decade ago, the notion that museums, galleries and heritage organisations might engage in activist practice, with explicit intent to act upon inequalities, injustices and environmental crises, was met with scepticism and often derision. Seeking to purposefully bring about social change was viewed by many within and beyond the museum community as inappropriately political and antithetical to fundamental professional values. Today, although the idea remains controversial, the way we think about the roles and responsibilities of museums as knowledge based, social institutions is changing. Museum Activism examines the increasing significance of this activist trend in thinking and practice...
Fostering Empathy Through Museums
Fostering Empathy through Museums features fifteen case studies with clear take-away ideas, and lessons learned by vividly illustrating a spectrum of approaches in the way museums are currently employing empathy, a critical skill that is relevant to personal, institutional, economical, and societal progress. The need is rapidly growing for empathy to serve as a lens through which we find our purpose and connection in a complex world. This demand brings with it an appetite to cultivate it through safe and trusted platforms. Museums are uniquely equipped to undertake this important mission. This book will help museum staff and leadership at all levels working at a variety of museums (from anim...
Herakut
For four remarkably productive years, the graffiti loving and street art affiliated "storytellers," Hera and Akut, have combined their artistic skills and individual specialties in order to create one odd but always exquisitely beautiful, instantly recognizable style: Herakut. It's an extremely contradictory mix of ingredients - Akut's autodidactic but top-level photorealism and Hera's classically educated though Don't-Give-A-Shit-roughness - that results in a surprisingly well-balanced fusion of respect for each other's qualities and the shared urge to capture life's anecdotes with brush and spray can. For the first time this book explores the interpersonal and creative processes behind the duo's murals and canvas paintings, which have attracted the attention of the international art scene.
Contested Spaces Concerted Projects
European cultural heritage is inherently complex and layered. In the past, conflicting or controversial perspectives on different historical memories and experiences have been colliding in the rich cultural landscape of Europe and continue to do so in the present. Contemporary projects of re-activation of contentious spaces seem to challenge both the traditional design parameters and the role of spatial practitioners. They require new strategies that effectively mix top-down and bottom-up impulses, through a new design approach that is still in search of a clear definition. Contested Spaces, Concerted Projects collects the stories of some selected cases of difficult built heritage, in order to highlight the most innovative methodologies of re-activation, by which architects, artists, designers and collectives have developed new participatory public interfaces.
The Roof Garden Commission
Celebrated Argentinian artist Adrián Villar Rojas is known for his site-specific sculptural installations. For The Theater of Disappearance, the artist mines The Met’s collection, drawing on the five thousand years of world history within its galleries, to create an elaborate ahistorical work. Set atop the Iris and B. Gerald Cantor Roof Garden, Villar Rojas’s installation transforms the space into a performative diorama, where banquet tables occupy an oversize black-and-white checkerboard floor punctuated by sculptures that fuse together human figures and artifacts found within the museum. The resulting juxtapositions put forth a radical reinterpretation of museum practices. This illust...
Interpreting the Art Museum
Oral history and art: sculpture forms part of a series of three books - the other two focus on paiting and phtooraphy - drawn from oral history transcripts in the collection of the Archives of American Art, Smithsonian Institution. Containing the complete transcripts of unique interviews with ground breaking artists whose work has profoundly changed both our understanding of the world and the course of art itself.
