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Renée Green
Über zwei Jahrzehnte hinweg hat sich Renée Green in ihrer außergewöhnlichen multimedialen Kunstpraxis fortlaufend mit der Beziehung zwischen Ästhetik und Macht auseinandergesetzt. Ihre Filme, Skulpturen, Schriften, Fotografien, Druckgrafiken und Soundarbeiten untersuchen und beleuchten unterrepräsentierte Geschichten von Migration, Vertreibung, Ethnografie und kultureller Repräsentation. Dieser außergewöhnliche Künstlerkatalog zeigt Greens Werk in seinen vielen Facetten und kombiniert frühe und undokumentierte Kunstwerke mit neueren Arbeiten, begleitet von einer Vielzahl von Texten neuer Autoren, die ihr Kunstwerk für ein zeitgenössisches Publikum rekontextualisieren. Das Buch erlaubt die einzigartige Einsicht in einen Prozess, in dem Sehen und Wissen in neue Konstellationen gebracht werden.
Mediated Monologues
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The Conditions of Being Art
The Conditions of Being Art is the first book to examine the activities of groundbreaking contemporary art galleries Pat Hearn Gallery and American Fine Arts, Co. (1983-2004), and the transnational milieu of artists, dealers and critics that surrounded them. Drawing on the archives of dealers Pat Hearn and Colin de Land--both, independently, legendary players on the New York art scene of the 1980s and '90s, and one of the great love stories of the art world--this publication illustrates their distinctive artistic practices, significant exhibitions and events, and daily business. Hearn and de Land championed art that challenged the business of running an art gallery; artists like Renée Green...
Oreet Ashery: How We Die Is How We Live Only More So
Queer death and digital afterlife: responses to Oreet Ashery's Revisiting Genesis This publication gathers artists' written responses to London-based Israeli artist Oreet Ashery's (born 1966) film Revisiting Genesis--a fictional story of a dying artist--alongside conversations with artists with critical medical conditions.
REALTY
How to transcend land grab economies, even by means of art? The reader REALTY moves from the safety of critique to the vulgarity of suggestions. The pandemic's effect on mobility presents a historic opportunity. Rarely has criticism of our extractive artworld logic of one-place-after-another been louder. REALTY is a long-term curatorial program by Tirdad Zolghadr (*1973), initially commissioned by the KW Institute for Contemporary Art. With the help of numerous artists and experts who contributed over 2017–2020, this reader revisits how contemporary art can contribute to decisive conversations on urbanism. TIRDAD ZOLGHADR (*1973) is a curator and writer. He is currently artistic director of the Sommerakademie Paul Klee. Curatorial work over the last two decades includes biennial settings as well as long-term, research-driven efforts, most recently as associate curator at KW Institute for Contemporary Art Berlin, 2016-20.
Stefano Cerio
Der Boden ist schneebedeckt, der Horizont eine dunkle Gebirgslinie, tiefhängende milchige Wolken verdecken den Himmel. Im Vordergrund erhebt sich eine seltsam unförmige Masse in leuchtenden Farben – rot, blau und gelb. In weniger als einer Minute materialisiert sich eine aufblasbare Hüpfburg, wie man sie oft auf Kinderspielplätzen, Jahrmärkten und Dorffesten sieht. Unbeholfen ragen diese Luftschlösser in ihrer einer Fata Morgana ähnlichen Form von Doppelrutschen, Drachenburgen, Fußballfeldern verloren aus bizarren Szenerien heraus, die Stefano Cerio mit Aquila erschaffen hat. Aufgenommen zu unterschiedlichen Jahreszeiten vor der eindrucksvollen Kulisse der Abruzzen, nicht weit entfernt von L’ Aquila, ist eine Serie von großer Melancholie entstanden.
Donald Rodney
An illustrated examination of Donald Rodney’s seminal digital media work Autoicon (1997–2000). Donald Rodney's Autoicon, a work originally produced as both a website and CD-ROM, was conceived by the artist in the mid-1990s but not completed until two years after his death in 1998. Referencing Jeremy Bentham’s infamous nineteenth-century "Auto-Icon," the work proposes an extension of the personhood and presence of Rodney, while critically challenging dominant conceptions of the self, the body, and historicity. Grounded in a partial collection of medical documents that constitute biomedicine’s attempts to comprehensively "know" and maintain Rodney’s body during his lifelong experienc...
Memory and Intermediality in Artists’ Moving Image
This book addresses the preoccupation with memory in contemporary artists’ moving image installations. It situates artists’ moving image in relation to the transformations of digitalization as hybrid intermedial combinations of analogue film, video and digital video emerge from mid 1990s onwards. While film has always been closely associated with the process of memory, this book investigates new models of memory in artists’ remediation of film with video and other intermedial aesthetics. Beginning with a chapter on the theorization of memory and the moving image and the diverse genealogies of artists’ film and video, the following chapters identify five different mnemonic modes in artists’ moving image: critical nostalgia, database narrative, the ‘echo-chamber’, documentary fiction and mediatized memories. Stan Douglas, Steve McQueen, Runa Islam, Mark Leckey and Elizabeth Price are of a generation that has lived through the transition from analogue to digital. Their emphasis on the nuances of intermediality indicates the extent to which we remember through media.
Works for Works, Book 1
Works for Works, Book 1: Useless Beauty tackles "legacy" issues of intellectual property rights (IPR) in artistic production and academic scholarship and proposes a category or class of works that has no relation to IPR nor to proprietary regimes of copyright and academic privilege. Keeney's book is a structuralist argument for establishing new forms of artistic scholarship that operate in direct opposition to established norms in both the art world and neoliberal academia, and is also rigorously contextualized within past and present-day arguments for and against patrimonial and paternalistic, avant-garde and normative, forms of censure and conformity across cultural production. Works for W...
