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Gianni Motti. Ediz. Inglese
The work of Gianni Motti escapes from the traditional formats of diffusion of art. By derisory gestures the Italian artist constructs a work which turns the strategies of power against themselves. With remarkable savings of means, he investigates the places, twists the exposition and transforms it into a dialectical machine, an advanced set of his critical undertaking. Gianni Motti¿s pieces are in all points out of norms, as well as in their form or in their content. They appear indeed as a suite of punctual interventions, infiltrating the reality or making a parasite of the daily media. Like in 2000, during a week, Gianni Motti appeared in different pages of the journal ¿Neue Luzerner Zei...
Gianni Motti
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Walking and Mapping
An exploration of walking and mapping as both form and content in art projects using old and new technologies, shoe leather and GPS. From Guy Debord in the early 1950s to Richard Long, Janet Cardiff, and Esther Polak more recently, contemporary artists have returned again and again to the walking motif. Today, the convergence of global networks, online databases, and new tools for mobile mapping coincides with a resurgence of interest in walking as an art form. In Walking and Mapping, Karen O'Rourke explores a series of walking/mapping projects by contemporary artists. She offers close readings of these projects—many of which she was able to experience firsthand—and situates them in relation to landmark works from the past half-century. Together, they form a new entity, a dynamic whole greater than the sum of its parts. By alternating close study of selected projects with a broader view of their place in a bigger picture, Walking and Mapping itself maps a complex phenomenon.
In the Spaces Between
CERN is familiar to us as the largest physics laboratory in the world, responsible for many world-first scientific discoveries. Growing alongside this immense human endeavour, an extraordinary arts programme has developed that explores the captivating beauty of particle physics. In the Spaces Between is a multifaceted journey through this unique fusion of art and science. Edited by Mónica Bello, curator and head of Arts at CERN, this volume reflects on the history of a programme that has brought together the perspectives of artists and scientists to explore how the fundamental elements of matter and energy interplay between observation, imagination, and experimentation. From quantum fields and dark matter to the philosophical dimensions of physics, we delve into the profound and speculative realms inspired by CERN. This book is a thoughtful celebration on how creativity and curiosity ignite when diverse minds engage with the still-unknown fields of research, nature and reality.
Politics of Culture and the Spirit of Critique
Gabriel Rockhill opens new space for rethinking the relationship between art and politics. Rather than understanding the two spheres as separated by an insurmountable divide or linked by a privileged bridge, Rockhill demonstrates that art and politics are not fixed entities with a singular relation but rather dynamically negotiated, sociohistorical practices with shifting and imprecise borders. Radical History and the Politics of Art proposes a significant departure from extant debates on what is commonly called "art" and "politics," and the result is an impressive foray into the force field of history, in which cultural practices are meticulously analyzed in their social and temporal dynami...
Hardcore, towards a new activism
Includes work by AAA Corp. (France), Jota Castro (Peru), Shu Lea Cheang (USA), Minerva Cuevas (Mexico), Alain Declercq (France), Michel and Michel Dector Duputy (France), Ocean Earth (USA ), Etoy (Switzerland), Kendell Geers (South Africa), Guerrilla Girls on Tour (USA), Johan GRIMONPREZ (Belgium), Clarisse Hahn (France), Henrik Plenge Jakobsen (Denmark), Gianni Motti (Italy), Anri Sala ( Albania), Santiago Sierra (Mexico), Sislej Xhafa (Kosovo).
Artificial Hells
This searing critique of participatory art—from its development to its political ambitions—is “an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, ‘Now that’s art!’ or ‘That’s art?’” (Library Journal) Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance t...
Nostalgia, Loss and Creativity in South-East Europe
Where nostalgia was once dismissed a wistful dream of a never-never land, the academic focus has shifted to how pieces of the past are assembled as the elements in alternative political thinking as well as in artistic expression. The creative use of the past points to the complexities of the conceptualization of nostalgia, while entering areas where the humanities meet the art world and commerce. This collection of essays shows how this bond is politically and socially visible on different levels, from states to local communities, along with creative developments in art, literature and religious practice. Bringing together scholars from a range of disciplines, the book offers analyses from d...
