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Mikhael Subotzky
Retinal Shift is the catalogue for Mikhael Subotzky's 2012 Standard Bank Young Artist Exhibition, which will tour every major museum in South Africa. Retinal Shift investigates the practice and mechanics of looking - in relation to the history of Grahamstown, the history of photographic devices, and Subotzky's own history as an artist. The works draw on archival portraits from the last century, found surveillance footage, as well as Subotzky's own photographs from various series' that he re-contextualizes. The opening work in the book is a self-portrait that Subotzky made with the assistance of an optometrist. High-resolution images of his left and right retinas sit side by side. Says Subotzky: "I was fascinated by this encounter. At the moment that my retinas, parts of my essential organs of seeing, were photographed, I was blinded by the apparatus that made the images.
Being Your Symphony
Beautiful blue angel Bethelda encourages us to beam our feelings above as Symphonies. She sings a brilliant lovely poem, inspiring poems from Richard. A story, Avian Verse, then shows how angels of air eloquently speak and help us through the flights of birds.
Continuities and Discontinuities of the Habsburg Legacy in East-Central European Discourses since 1918
In 1918 the Danube Monarchy ceased to exist and its provinces became parts of the Monarchy's successor states, which increasingly assumed the character of nation-states. The regimes of these countries were usually oblivious and/or hostile to remnants of the erstwhile Austrian rule due to ideological reasons: they treated them as traces of a superimposed imperial power and an alien – democratic, pluralistic, liberal – tradition. Notwithstanding that fact, erasing the Habsburg Empire from maps of Europe did not entail the entire cancelation of its legacy on the former Habsburg territories. Although officially neglected or suppressed, this legacy made itself felt, overtly or tacitly, in discourses present in the public sphere of the countries that superseded the Monarchy.
The Horn Call
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The New Yorker
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