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Nomeda and Gediminas Urbonas
The artists Nomeda & Gediminas Urbonas are representing Lithuania at the 52nd International Art Exhibition La Biennale di Venezia. This book documents the artistic process of the Villa Lituania project, from its inception in 2006 through to the realization of the first performance event and pavilion exhibition in June 2007. It collects the archival material associated with the challenge of building a pigeon loft in Rome, and a visual and textual artists' diary. Nomeda & Gediminas Urbonas have established an international reputation for their socially inter-active and inter-disciplinary practice that engages with the fabric of everyday life, public social space, and even political space, focu...
Swamps and the New Imagination
Contributors consider the vital urgency of human cohabitation with other forms of life, beginning a dialogue with possible futures. It is not easy to define a swamp, even in biology. The term is frequently used to characterize marshes, bogs, mires, wetlands, meadows, and other grey zones between land and water. In that sense, “swamp” is a metonym for a variety of transitional ecosystems and functions. This book invokes that concept as a tool to address the vital urgency of human cohabitation with other forms of life, placing the swamp at the crossroad of disciplines and practices. It is more than a biological ecosystem; it is a milieu of manifold sympoietic relationships, a locus of imag...
Commonism
Following half a century of neoliberalism, there appears to be a new ideology in the making, called 'commonism.' This book attempts to map these new ideological notions through examples and artistic practices, as well as critical reflection. How are the commons constituted in society? How do they shape the reality of our living together? What strategies and aesthetics do artistic commoners adopt? Is there an alternative and more just future imaginable through the political ideology of the commons? Commonism claims to be better aligned with the ecological and social reality of today than capitalism. Perhaps it is also closer to how social relationships actually function.
Working with Feminism: Curating and Exhibitions in Eastern Europe
This edited collection, bringing together art historians and curators working both in the ‘East’ and the ‘West’ of Europe, is a result of a growing interest in the theorisation and historical analysis of feminist curating as a distinct practice with its own transnational history and politics. In most former state-socialist countries of Eastern Europe, the emergence and public visibility of feminist curating and exhibitions usually dates back to the 1990s and is associated with the radical transformation of art practices, ideologies and art systems as well as with wider socio-political and intellectual changes, and challenges, of post-socialist transition. This history, and its legacy...
Feminisms is Still Our Name
Feminisms have played a crucial part in art, art history and curatorial practices over the last forty years. Hence, it is by now imperative to scrutinize the history of feminist theories and methods within both fields. Feminisms is Still Our Name is an anthology that critically debates the current status of feminisms in visual art and its relation to past art histories and possible feminist futures. It brings together essays by leading scholars in order to meet the urgent need both for a critical historiography and for re-vitalizations of feminist practices within written as well as visual narratives of modern and contemporary art. From a variety of perspectives, the editors and contributors...
Writing in the Vicinity of Art
Tracey Warr’s art texts have been developed as an ‘embedded’ writer, writing with rather than about artists. Throughout her various modes of art writing, she argues against binaries and focuses on the stream of consciousness, the more than human, and remoteness. Her essays tangle with punk art, art and ecology, endurance art, performance art, site-specific art, and women’s art. Warr’s writing engages with the making processes of contemporary artists, including Marina Abramovic, Ackroyd and Harvey, Tine Bech, Brook and Black, Bruce Gilchrist, Marcus Coates, Elpida Hadzi-Vasileva, London Fieldworks, Hayley Newman, Optik, Alan Smith, Emily Speed, Christian Thompson, James Turrell, Urbonas Studio, and more.
Lithuanian Architecture and Urbanism
This volume brings together essays focused on Lithuania’s architectural and urban legacy, as well as recent developments since 1990, when the country said a firm farewell to the era of dependence and the Soviet communist regime. Nevertheless, as the book argues, the legacy of the past still dominates due to an uncritical adoption of Modernist dogmas in architecture and urban design by architects and urban designers during the last two decades of Soviet colonization. It offers a critical overview of urban developments during the last three decades which were marked by the emergence of private capital, the market economy and the growth of the real estate sector. The rapid expansion of the bu...
The Baltic Atlas
The Baltic Atlas, a handsome in-depth reader published in conjunction with the Baltic States Pavilion at the Venice Architecture Biennale 2016, asks two questions. The first: What is it possible to imagine? focuses on interpretations, fictional stories, analyses and reflections on ongoing processes, and proposals for the future. The second: What is possible? is an inquiry into the methods, resources, and parameters that define space. Over 30 texts explore what lies ahead as countries that have long suffered uncertainty regarding borders break from modernist ideologies. The chapters are configured like an atlas, with writings overlaid and positioned next to each other to illustrate the Baltic states region as an intensification of networks, agendas and ideas. Relevant on a global scale, Baltic Atlas highlights an open-ended ecology of practices, offering a taste of what is to
Diplomatic: Letter from the Architectural Enclave
Seeing Architecture as a political art, this book concerns itself with boundaries: those of regimes, of culture, of law, and of social strata. In a silent crisis where sustained inscription of physical and social boundaries evacuates urban space into archipelagos of enclaves, Architecture with only ambiguous claims of public space is rendered both an accomplice and a victim, impotent against forces of capital and concerns of security. Exposing the absurdities in urban geopolitics and persistent spatial logics of exclusivity is as important as proposing to hack into them. Critical of the innocence of so-called public space and the underlying architectural impasse, the book offers an investiga...
