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Aloïs Godinat
Like other artists of his generation, for Aloïs Godinat the idea was to start over again without disowning, use without quoting, propose without constraining, question without using rhetoric. Re-pasted posters, reconstructed obsolete objects, and generic elements (rods, sticks, and suchlike) indicating some potential use, make up the artist's repertoire of forms and gestures. Forms and gestures, for, as with the American, Trisha Donnelly or the American-Cuban duo, Allora & Calzadilla, underlying Godinat's art there is a two-fold paradigm of music and performance. This duality is present both in the works and in the concepts used (amplification, repetition, partition, register, play, etc.). ...
Otobong Nkanga
Otobong Nkanga's first monograph, Luster and Lucre, charts an intensely productive period from 2013 to 2016, which includes exhibitions at the 8th Berlin Biennale; Portikus, Frankfurt am Main; KADIST, Paris; and M HKA, Antwerp. Its title encapsulates the complex concerns that underpin these shows: "luster," the illustrious shining of materials; and "lucre," profits and gains. With the mineral mica as her starting point, Nkanga's research took her to archives in Berlin, Strasbourg, and Windhoek, and led her along a colonial railroad in Namibia to the historic Tsumeb mine. This rich research became works that probe the ambivalence of that which shines: poems, intricate drawings, modular sculpt...
Garden State
GARDEN STATE - Cinematic Space and Choreographic Time is the third issue of the SAC JOURNAL and explores the garden as a utopia wherein time and space may be thought of in archi- tectural terms yet not easily deciphered against architecture's traditions and practices. The garden herein is a changeable and vulnerable condition, embodying the ephemerality of life, which in turn contrasts with the customary expectations of architec- ture's longevity. However, Garden State also engages with the contemporary arts, specifically video, cinema and ballet, and with it time and space open up with new, fragile dimensions. A choreographic framework emerges which is at once more precise yet loose, more r...
Luc Tuymans
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Willem de Rooij: Pierre Verger in Suriname
Ayrson Heraclito, Glorai Wekker, Karin Amatmoekrim, Philippe Pirotte
徐震
Xu Zhen (b. 1977, lives and works in Shanghai) came to prominence at the 49. Biennale di Venezia with Rainbow, 1998, a visceral video performance of his back being slapped, turning red, with hand marks visible but never the hands. Further actions including sawing off the summit of Mount Everest equivalent to his own height, 8,8481.86, 2005, invading neighboring countries with radiocontrolled tanks, ships and helicopters, 18 Days, 2006, the controversial The Starving of sudan, 2008, and Untitled, 2009, a vast house of poker cards in the form of the Potala Palace. With essays by David Elliott, Philippe Pirotte and Christopher Moore and an interview with Li Zhenhua, this is the first monograph concentrating on Xu Zhen's practice, focuses on his early career until 2009, when he subsumed his identity within the corporatecollective MadeIn (in Chinese No Roof), and with a postscript on MadeIn's recent adoption of a new brandXu Zhen.
Climates. Habitats. Environments.
Artists and writers go beyond disciplinary boundaries and linear histories to address the fight for environmental justice, uniting the Asia-Pacific vantage point with international discourse. Modeling the curatorial as a method for uniting cultural production and science, Climates. Habitats. Environments. weaves together image and text to address the global climate crisis. Through exhibitions, artworks, and essays, artists and writers transcend disciplinary boundaries and linear histories to bring their knowledge and experience to bear on the fight for environmental justice. In doing so, they draw on the rich cultural heritage of the Asia-Pacific, in conversation with international discourse...
Gerwald Rockenschaub: Swing
With Gerwald Rockenschaub, Kunsthalle Bern is putting into the spotlight a pioneer of the crossover of pop, design and club culture who has revolutionised traditional concepts of art. In this book, Gerwald Rockenschaub introduces the reader to his works created since 2005. He presents 33 installations in chronological order: shows in galleries, museums, and fair booths, but also digital prints. Rockenschaub's early works all represent half-abstract, peculiarly humorous shapes and objects that are reminiscent of pictograms, though neither legible nor interpretable; an alphabet devoid of semantic meaning and with strongly associative content. Since the early 1990s, he has been exhibiting large...
Knut Åsdam
For several decades Norwegian artist Knut sdam has worked independently and uncompromisingly with his artistic projects, and he is today considered one of the central contemporary practitioners of film and video art. This book appears as a result of sdam's 2010 exhibition at Bergen Kunsthall, and the production of his two new films Abyss and Tripoli (both 2010). Concepts like transformation and relocation constitute a thematic framework for most of sdam's works. In his films and photographs, for example, relocation is about the migration of people between land areas, or about physical movement and the bodily experience of architecture in urban surroundings. Transformation is a key word in te...
