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Joachim Koester
Joachim Koester's installations, mostly in public institutions, manipulate interior spaces.
Afterall
Offers in-depth considerations of the work of contemporary artists, along with essays that broaden the context in which to understand it. This journal features essays on art history and critical theory.
Afterall
Afterall, a journal of contemporary art, provides a forum for analysis of art's context and seeks to inspire artists to see art as an agency for change. Each issue contains in-depth considerations of the work of contemporary artists, along with essays that discussing the work from various perspectives. The journal also features essays on art history and critical theory. Issue 37 looks at connectivity and the role of the museum in the contemporary age. Artists and projects considered are Boris Charmatz, Juan Downey, Janice Kerbel, Otobong Nkanga, and the Museum of American Art. In contextual essays, Melissa Gronlund looks at the representation of identity in the online age, Anders Kreuger revisits the Museum of African Art in Belgrade, and Dieter Roelstraete explores the Association for the Advancement of Creative Musicians in Chicago.
Afterall
Issue 42, Autumn/Winter 2016 of Afterall addresses the crisis of representation in contemporary art through the work of Pierre Huyghe and Tania Bruguera, reflecting on how they each intervene into biological and political systems. We also put a spotlight on the contributions of two lesser-known women artists Indonesian Arahmaiani and Egyptian Inji Efflatoun and their capacity to speak truth to power in their respective contexts. Finally, accompanying essays include Charles Esche on Chinese artist Li Mu, Diedrich Diederichsen on political art and an interview with Walter Benjamin. Editor Bios: Helena Vilalta works as a curator, critic and editor in London. Anders Kreuger is Director of the Malmo Art Academy and Exhibition Curator at Lund Konsthall, Sweden. David Morris is a writer, researcher and teacher; he is an editor at Afterall and a lecturer at University of the Arts, London. Charles Stankievech is assistant professor and director of the Visual Studies Program in the John H. Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto."
Robert Filliou
This is the first substantial English-language overview on the legendary '60s Fluxus artist and poet Robert Filliou (1926-87). With illustrations of nearly 192 works, it also features the transcript of an extensive conversation between Filliou and the Brussels-based art critic Irmeline Lebeer, recorded on seven cassette tapes in August 1976 in Flayosc in southern France. This conversation is structured as an abécédaire and touches on a variety of topics pertaining to Filliou's art and thinking, from amitié (friendship) to zen. This conversation was intended to form the backbone of an extensive monograph but was never published--until now. Robert Filliou: The Secret of Permanent Creationilluminates the mind and the practice of this massively underpublished artist, whose influence on subsequent generations has been both clandestine and colossal.
Afterall
Since its launching in 1999, Afterall, a journal of art, context and enquiry, has offered in-depth considerations of the work of contemporary artists, along with essays that broaden the context in which to understand it. Published three times a year, Afterall also features essays on art history and critical theory. Issue 36, Summer 2014 looks at artistic practices that question notions of marginality, with special attention to the work of Panamarenko, Nilbar Güres, Alejandra Riera and K.P. Krishnakumar and the Kerala Radicals. Curator Clémentine Deliss contributes a contextual essay on the 1990s Dakar collective Laboratoire Agit’Art, and economist Yanis Varoufakis examines the social and economic conditions of rural communities. Other essays look at the activist project Midwest Radical Culture Corridor as well as artworks by Andrea Büttner and Carla Zaccagnini.
Afterall
Afterall, a journal of contemporary art, provides a forum for analysis of art's context and seeks to inspire artists to see art as an agency for change. Each issue contains in-depth considerations of the work of contemporary artists, along with essays that discuss the work from various perspectives. The journal also features essays on art history and critical theory. Issue 41 looks at how information technologies such as television and the internet have transformed relations of intimacy. The issue features in-depth studies of the work of Stuart Marshall, Ion Grigorescu, Holly Herndon, and Cooperativa Cráter Invertido, as well as essays by Chris Kraus on Kathy Acker, Hannah Black on intimacy and Nikos Papastergiadis on On Kawara. Finally, a number of case studies focus on historical experimental projects built around intentional communities, such as Iván Illich's Intercultural Documentation Centre in Cuernavaca, Mexico.
K̇ayçu-Yuxe
The words on the cover of Aslan Gaisumov's first monograph are names of places no longer inhabited. 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 1944, wrongly accused of having collaborated with Nazi Germany. One of these words, Kayçu-Yuxe or Keicheyuhea, names the birthplace of Zayanu Khasueva, the artist's maternal grandmother. It is also the title of his film from 2017, in which Khasueva returns to the site of her ancestral village for the first time in seventy-three years. The monograph features Gaisumov's recent work (including photographs of the previous settlements of the Galain-Chaz district that have not been shown elsewhere) and contains new essays by the researchers Aleida Assmann, Georgi Derluguian and Madina Tlostanova and the curator Anders Kreuger. Contributors Aleida Assmann, Georgi Derluguian, Anders Kreuger, Madina Tlostanova Published with support from the Han Nefkens Foundation, Barcelona; Kohta, Helsinki; Galerie Zink, Waldkirchen; and Emalin, London
