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Bit Rot
A thought-provoking, binge-worthy new collection of essays, stories, and musings from Douglas Coupland, Bit Rot explores the different ways in which twentieth-century notions of the future are being shredded, and it is a literary gem of the digital age. "Bit rot" is a term used in digital archiving to describe the way digital files can spontaneously and quickly decompose. As Douglas Coupland writes, "Bit rot also describes the way my brain has been feeling since 2000, as I shed older and weaker neurons and connections and enhance new and unexpected ones." Bit Rot the book is a fascinating meditation on the ways in which humanity tries to make sense of our shifting consciousness. Coupland, ju...
From #1, September 1999, Witte de With Center for Contemporary Art, Rotterdam
Selection and translation of the articles appeared in various journals in various languages.
Para Fictions
What kind of a reader does an artist make?This publication marks the conclusion of Para Fictions, a two-year commissioning series in which ten artists -Dineo Seshee Bopape, Daniel Dewar & Grégory Gicquel, Mark Geffriaud, Calla Henkel & Max Pitegoff, Laure Prouvost (2013 Turner Prize winner), Oscar Santillan, Lucy Skaer, and Rayyane Tabet- responded to works of literary fiction.Deploying strategies of allusion, vandalism, mistranslation and appropriation, the participating artists approached texts by writers such as Bessie Head, Franz Kafka, Jorge Luis Borges, and Virginia Woolf.In the publication, invited writers and curators respond to each work, completing a circle between text and object...
From #2, April 2000, Witte de With Center for Contemporary Art, Rotterdam
From #2 features a series of short essays which provide an art historical and theoretical context for the Witte de With's exhibition program, and will investigate and represent the European cultural identity as seen through the practice of contemporary art.
The Crime Was Almost Perfect
What makes crime stories fascinating is that the divisions between the criminal, the victims, and the audience are constantly blurred: we are all potential victims and could perhaps become criminals ourselves. While the exhibition “The Crime Was Almost Perfect” at the Witte de With Center for Contemporary Art in Rotterdam functioned more as a “space for experimentation,” this publication aims to investigate not only detective fiction but the more theoretical, philosophical, and aesthetic aspects of the genre. Published following the closing of the exhibition, this catalogue should be considered a continuation of the project, as a resource in itself, rather than simply documentation o...
(Squatters)
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Jessica Stockholder
Approaching architectural space and scale with the formal inventiveness and speed common to gestural abstract painting, Stockholder took the art world by storm in the late 1980s. The first half of the catalog chronicles Stockholder's installations from 1983-1991 in 35 beautiful color plates. Accompanying the reproductions are short descriptions, authored by the artist, addressing the architectural and material choices of each installation. The second half of the catalogue contains John Miller's essay "Formalism and Its Other", which keenly places Stockholder's activity somewhere between the rigorous formalism of Clement Greenberg's critical writing and the liberating potential of Allan Kaprow's Happenings. Published in conjunction with the Witte de With Center for Contemporary Art, Rotterdam; text in Dutch and English
Congoville
One hundred years after the founding of the École Coloniale Supérieure in Antwerp, the adjacent Middelheim Museum invites Sandrine Colard, researcher and curator, to conceive an exhibition that probes silenced histories of colonialism in a site-specific way. For Colard, the term Congoville encompasses the tangible and intangible urban traces of the colony, not on the African continent but in 21st-century Belgium: a school building, a park, imperial myths, and citizens of African descent. In the exhibition and this adjoining publication, the concept Congoville is the starting point for 15 contemporary artists to address colonial history and ponder its aftereffects as black flâneurs walking...
Saborami
Poetry. Latino/Latina Studies. Art. First published in 1973, two months after the military coup in Chile, Cecilia Vicuna's SABORAMI is a document of the times and the way in which history can change art. It is filled with the urgent hope that art, too, can change history. Put together when Vicuna was just twenty-five years old, the poems, paintings, and objects of SABORAMI enact a complex and multidimensional conversation. The meanings of the works (which were created over a seven year period) shifted radically after the events of September 11, 1973. Their meanings continue to shift and resonate in light of political events today. This recreation of the original SABORAMI is published with a new afterword Vicuna wrote especially for this edition."
