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Exposing Tears
Lighting the Archive, which went online in 2020, is an open-ended series of conversations with artists like Annette Kelm, Elfie Semotan, Wolfgang Tillmans, and Ulrich Wüst about photographic techniques, structures of order, and materialities. The conversations are invariably framed by questions about where the photographers see their life's works and legacies over the long term--what, in other words, is to become of their oeuvres one day. In Exposing Tears, Lighting the Archive engage the writer and curator Mike Sperlinger in dialogue. Sperlinger studied the careers of the photographers Marianne Wex and Chauncey Hare through the lens of the art market's economy of attention and interwove biographical facts with external circumstances shaping their paths, including their withdrawals from the art system and their eventual rediscovery as "forgotten artists." An essay by Mike Sperlinger relates how the latter was possible; Lighting the Archive's Maren Lübbke-Tidow and Rebecca Wilton spoke to the author to discuss the central role that the question of the archive played in his efforts.
Afterthought
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Ed Atkins: a Seer Reader
One of the most prominent artists of his generation, Ed Atkins works primarily with High Definition video and text, exploiting and subverting the conventions of moving image and literature. Focussing on the artist's use of language within his practice, A Seer Reader is both the title of the book and of the extraordinary new text written by Atkins especially for the publication.00Focussing on the artist’s use of language within his practice, A Seer Reader is both the title of the book and of the new text written by Atkins which also includes his distinctive drawings. In addition, it features a foreword by Serpentine Galleries directors Julia Peyton-Jones and Hans Ulrich Obrist as well as an essay by writer, curator and academic Mike Sperlinger, which explores and contextualises Atkins’ writing.00Exhibition: Serpentine Gallery, London, U.K. (11.06-25.08.2014).
A Seer Reader
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Let's Take Back Our Space
'Let's Take Back Our Space' evaluates the 1970s encyclopaedic photographic archive by the German artist Marianne Wex. Wex's vast project was based on 'female and male body language as a result of patriarchal structures'. The exhibition brings together the work of three artists who explore body language as something at once urgent and inherently ambiguous.
The Pictures Generation, 1974-1984
Artists: John Baldessari, Ericka Beckman, Dara Birnbaum, Barbara Bloom, Eric Bogosian, Glenn Branca, Tony Brauntuch, James Casebere, Sarah Charlesworth, Charles Clough, Nancy Dwyer, Jack Goldstein, Barbara Kruger, Jouise Lawler, Thomas Lawson, Sherrie Levine, Robert Longo Allan McCollum, Paul McMahon, MICA-TV (Carole Ann Klonarides and Michael Owen), Matt Mullican, Tom Otterness, Richard Prince, David Salle, Cindy Sherman, Laurie Simmons, Michael Smith, James Welling, Michael Zwack.
Mute Magazine Graphic Design
Introduction by Adrian Shaughnessy. Text by Simon Worthington, Damian Jaques, Pauline van Mourik Broekman.
David Lamelas
Published by the University Art Museum, California State University, Long Beach in association with Getty Publications The renowned Argentine conceptual artist David Lamelas (born 1946) has an expansive oeuvre of sensory, restive, and evocative work. This book, published to coincide with the first monographic exhibition of the artist’s work in the United States, offers an incisive look into Lamelas’s art. The guiding analytic theme is the artist’s adaptability to place and circumstance, which invariably influences his creative production. Lamelas left Argentina in the mid-1960s to study at Saint Martin’s in London. Since then, he has divided his time among various cities. While the typical narrative invoked about artists like Lamelas is one of “internationalism,” his nomadic movement from one place or conceptual framework to the next has always been more “postnational” than “international.”
After Uniqueness
Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity—or both at on...
