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Janek Simon
Essays, conversations, and documentation map the work of the artist Janek Simon. Artist Janek Simon tends to say he is interested in many, even too many, things: from globalization and political geography to artificial intelligence and financial speculation, from DIY strategies to postcolonial theories within Eastern Europe. This reader decodes fifteen years of his work. It opens with the world of synthetic folklore, a speculative visual language between particularism and universalism, created with the help of AI and composed of mosaics generated by algorithms combining motifs from India, Africa, South America, Europe, and Poland. Simon's work asks if AI can protect us from the traps of homo...
EMPTY STAGES, CROWDED FLATS. PERFORMATIVITY AS CURATORIAL STRATEGY.
During its impressive career over the last decades the term 'performative' has been attributed with many parallel meanings in the humanities, philosophy, arts, or economics. Empty Stages, Crowded Flats additionally applies the notion of the performative to the context of curating with the aim to unfold a potential that so far has been mostly unused. The book is following J. L. Austin, Judith Butler, and others in their belief in the performative capacity to transform reality with words and other cultural utterances, but it also emphasises the often dismissed, colloquial notion of the performative as something being 'theatre-like', believing that those two strands are in fact interdependent a...
Ma?gorzata Mirga-Tas. Re-enchanting the World
Re-enchanting the World' is a publication accompanying Malgorzata Mirga-Tas?s exhibition of the same name, shown in the Polish pavilion at the 59th Venice Biennale. The exhibit is Mirga-Tas?s manifesto on Roma identity and art, drawing inspiration from the Renaissance frescoes of the Palazzo Schifanoia in Ferrara and thus attempting to expand the European iconosphere and history of art with representations of Roma culture.00The title of the project and this book is inspired by Silvia Federici?s book Re-enchanting the World: Feminism and the Politics of the Commons (2018), in which re-enchanting ? a non-violent process in which women play an important role ? reverses the unfortunate fate of t...
I Can't Work Like This
In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can't just carry on as if nothing had happened. This reader is the result of Joanna Warsza's course at the Salzburg International Summer Academy of Fine Arts in 2015. It examines four recent cases of boycotts, presenting their political, ideological, and economic contexts, timelines, statements, as well as interviews with parties involved. It reflects on how certain biennials became the place where the power of art is renegotiated and why one simply “can't work like this.”
Finnish Landscape
"Finnish Landscape is a reader resulting from an exhibition curated by Joanna Warsza at the ethnographic open-air museum on the island of Seurasaari." -- Checkpoint Helsinki website.
Re-enchanting the World
"Re-enchanting the World is a publication accompanying Małgorzata Mirga-Tas's exhibition of the same name, shown in the Polish pavilion at the 59th Venice Biennale. The exhibit is Mirga-Tas's manifesto on Roma identity and art, drawing inspiration from the Renaissance frescoes of the Palazzo Schifanoia in Ferrara and thus attempting to expand the European iconosphere and history of art with representations of Roma culture.The title of the project and this book is inspired by Silvia Federici's book Re-enchanting the World: Feminism and the Politics of the Commons (2018), in which re-enchanting - a non-violent process in which women play an important role - reverses the unfortunate fate of th...
Janek Simon
Essays, conversations, and documentation map the work of the artist Janek Simon. Artist Janek Simon tends to say he is interested in many, even too many, things: from globalization and political geography to artificial intelligence and financial speculation, from DIY strategies to postcolonial theories within Eastern Europe. This reader decodes fifteen years of his work. It opens with the world of synthetic folklore, a speculative visual language between particularism and universalism, created with the help of AI and composed of mosaics generated by algorithms combining motifs from India, Africa, South America, Europe, and Poland. Simon's work asks if AI can protect us from the traps of homo...
TYT (Take Your Time), Vol. 7: Olafur Eliasson - Open House
Studio Olafur Eliasson - Open House is one of Eliasson's contributions to the Venice Biennale 2017 This beautifully bound and printed artist's book is the seventh volume in the studio's TYT [Take Your Time] series. Edited in collaboration with the independent curator Joanna Warsza, this self-portrait of the studio gives an idea of how Eliasson's artworks are made and thought about before they enter museums, collections, public space, and the world. In doing so, the publication reverses the relationship between final artworks and artistic processes and includes conversations with many members of the studio team, texts by friends of the studio, and quotes from texts and books that inspire the studio's current research.
And Warren Niesluchowski Was There
A composite portrait of a wandering dandy scholar whose life and art merged in the margins of the art world Warren Niesluchowski (1946-2019), one of the most charismatic and eccentric figures in the art world, was at once an exhilarating conversationalist, a polymath, an attentive companion of artists, a polyglot translator, a networker without status, a walking bibliography and a dandy, to name a few. From 2003 till the end of his life, he had no home of his own, instead traveling from city to city to live as the guest of others. He lived--as he himself used to say, paraphrasing Duchamp and Derrida--the life of a "guest, host, ghost." This publication focuses on Niesluchowski's homeless years, and features his email correspondence with close friends, many of whom are remarkable artists and intellectuals; artworks made about, or in partnership with, Niesluchowski; and documentation of his travels. This material offers a complex picture of a radical, transcultural existence, with contributions from Barry Schwabsky and Carol Szymanski, Bettina Funcke, Joan Jonas, Michael Taussig, Raymond Pettibon, Rebecca Quaytman and many more.
