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Read By, Written by
This book was born on a blue carpet in the lobby of a down-market Shanghai hotel, in the days and nights of the opening of the Shanghai Biennale. A motley collection of artists, curators, writers, filmmakers, none of them professional poets, gathered each night after the day?s events for drinks and conversation in the hotel lobby. Some of these people ought to have been foes, given the geo-politics of our time, but they ended up being friends. The cadence of poetry passed between bodies, especially between speaking mouths and listening ears. This was poetry shared, by word of mouth, in praise and in passing, by those who listened and remembered. It was this experience that suggested the form and content of this book."0þRead By, Written Byþ is a poetry book compiled to accompany Bonniers Konsthall?s exhibition 'The Image of War'. In a kind of poetic relay the editors, Raqs Media Collective from Delhi and Theodor Ringborg from Stockholm, the curator of the exhibition, contacted people from around the world to?read? a poem to us.00Exhibition: Bonniers Konsthall, Stocokholm, Sweden (20.09.2017 - 14.01.2018).
Éva Mag
A recurring theme throughout Éva Mag?s work is the question of standing. Quite obviously this is the topic of the performance turned video Stand up, I said stand up! (2014). In it, the artist attempts to get a life-size clay body to stand, which is of course impossible. Its clay legs buckle and fold at each attempt as Mag continues to struggle with the lifeless body-shaped lump. After a while it becomes ludicrous, almost funny, yet also exceedingly painful. For each of Mag?s attempts, the clay body becomes more animated, more ?real,? and the failure to stand all the more distressing for a viewer to see.00Exhibition: Bonniers Konsthall, Stockholm, Sweden (22.04.-14.06.2020).
MATERIAL WITNESS
The evidential role of matter—when media records trace evidence of violence—explored through a series of cases drawn from Kosovo, Japan, Vietnam, and elsewhere. In this book, Susan Schuppli introduces a new operative concept: material witness, an exploration of the evidential role of matter as both registering external events and exposing the practices and procedures that enable matter to bear witness. Organized in the format of a trial, Material Witness moves through a series of cases that provide insight into the ways in which materials become contested agents of dispute around which stake holders gather. These cases include an extraordinary videotape documenting the massacre at Izbica...
PETER GESCHWIND
Geschwind developed a unique technology for creating -reality animations-. Using sound and light to create animations of real things in the physical space. The result is for example dancing brooms or popcorn appearing to pop. Just like in the classic artistic trompe l-oeuil technique, the works are experienced as true, while you simultaneously understand that you-re being tricked.[Bokinfo].
Let Them Haunt Us
Let Them Haunt Us analyzes contemporary aesthetics engaged in trauma and critically challenges its canonical status as »unrepresentable«. Focusing on case studies in the aesthetic practices of Janet Cardiff and George Bures Miller, Omer Fast, Forensic Architecture, and Paul McCarthy this book proposes to redefine trauma as a productive framework to exploring individual, collective, and cultural conflicts addressed in current artistic and curatorial practices. Anna-Lena Werner considers the aesthetic realm as a potential forum that provides methods of understanding the humanitarian consequences of violence and warfare, and to reveal the effects of trauma on visual culture, collective memory, and politics.
Concentrationary Art
Largely forgotten over the years, the seminal work of French poet, novelist and camp survivor Jean Cayrol has experienced a revival in the French-speaking world since his death in 2005. His concept of a concentrationary art—the need for an urgent and constant aesthetic resistance to the continuing effects of the concentrationary universe—proved to be a major influence for Hannah Arendt and other writers and theorists across a number of disciplines. Concentrationary Art presents the first translation into English of Jean Cayrol’s key essays on the subject, as well as the first book-length study of how we might situate and elaborate his concept of a Lazarean aesthetic in cultural theory, literature, cinema, music and contemporary art.
