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Fucking Good Art : the interviews
Rotterdam was het centrum van de kunstwereld, met internationale coryfeeën als Chris Dercon, Catherine David en nationale als Wilma Sütö en Arno van Roosmalen, maar opeens waren ze allemaal weg, gedeeltelijk vervangen door Sjarel Ex en Hans Maarten van den Brink. Vijftien jaar werden er interessante tentoonstellingen georganiseerd en buitenlandse tentoonstellingsmakers ingevlogen. Wat ging er verkeerd? Wil de lokale politiek geen moeilijke kunst, maar publieksevenementen? Interviews met de Rotterdamse betrokkenen.
Italian Conversations
"We made this book at the invitation of the Nomas Foundation in Rome. It took about a year and a half before we got the financing sorted and could start planning our travelling residency. The funding is a mix of private and public money. This too is a reality this age, in which art and science are increasingly at the mercy of market forces, even in the Netherlands, considered by many to be an art-funding paradise: where money grows on trees and everyone agrees that art is important for society's welfare. Well, things are changing faster than we could have imagined, even in the 10 months we've been working on this publication. Throughout Europe there are dramatic cutbacks in public spending, including culture, and nothing will be the same. Is the Italian situation soon to be our future? But there is one big difference: in Italy, at least you'll always have Italy!"--Publisher's description.
What Live Could Be. The Ambivalence of Success
Tiré du site Internet de Fink: "Künstlerbuch. Auf Einladung der Stadt Zürich Kultur hat im Herbst 2017 das Künstlerduo FGA (Nienke Terpsma, Rob Hamelijnck) aus Rotterdam seine Recherchen im Rahmen der geplanten "Regionale" aufgenommen. Während eines Atelieraufenthalts in Zürich Anfang dieses Jahres ist daraus das Projekt eines Künstlerbuches zur Kunstszene entstanden. Die Publikation enthält zahlreiche Gespräche und Beiträge von Kulturschaffenden aus Zürich und der weiteren Schweiz und erscheint im Rahmen der "Kunst: Szene Zürich 2018". Nienke Terpsma und Rob Hamelijnck waren schon mehrfach in der Schweiz künstlerisch aktiv. 2008 ist als Beitrag zur Ausstellung "Shifting Identit...
The Making of PAPA
"PAPA - participating artists' press agency - is an international, curated network of artist-correspondents, initiated and led by Lino Hellings. PAPA is nomadic, it doesn't have a fixed office but works from temporary offices in cities all over the world. Projects can be self-initiated or commissioned by third parties. PAPA is an instrument for world mapping, gently fixing even the most stubborn pieces into meaningful patterns. PAPA's street level observations inspire a broad audience and inform specialist arenas as art, city development, politics and the news industry. PAPA's working method is based on 'reading the street'. The correspondents go out with a camera and picture 'what catches t...
Never Odd Or Even
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It's Play Time
Structured around 4 conversations, 'Fucking Good Art 31' takes as its starting point the 1938 book 'Homo Ludens', a study of the play-element in culture by Johan Huizinga. The artists spoke with the following people as part of their research into the importance of play in different fields: Tijs Goldschmidt, Dutch writer and evolutionary biologist, on why and how animals play; Joris Luyendijk, Dutch journalist who writes for the BBC's experimental Banking Blog, which looks at the world of finance from an anthropological perspective; Evelyne Reeves, director of Le Bureau des Temps in Rennes, an agency that devises improvements in the way the city structures its time; and Zoë Gray about her ideas for the biennale in Rennes.
The Natural Body in Somatics Dance Training
"Doran George's The Natural Body in Somatics Dance Training examines the development of Somatics as it has been adopted by successive generations of practitioners since its early beginnings in the 1950s. The study elucidates the ways that Somatics has engaged globally with some of the various locales in which it was developed and practiced, both in terms of its relationships to other dance training programs in that region and to larger aesthetic and political values. The book thereby offers a cogent analysis of how training regimens can inculcate an embodied politics as they guide and shape the experience of bodily sensation, construct forms of reflexive evaluation of bodily action, and summon bodies into relationship with one another. Throughout it focuses on how the notion of a natural body was implemented and developed in Somatics' pedagogy"--
The Swiss Issue
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