Bøger udgivet af Sternberg Press

What happens when social scientists write about artworks: helping people blind to economic ideas see something for the first time.What happens when social scientists write about artworks? How does it affect the academic environment of a business school and how does it change the perception of art? Can it be used as a novel scientific method in business studies? This book investigates these matters by analyzing the Goldin+Senneby's retrospective exhibition "Standard Length of a Miracle" set up in Tensta konsthall and multiple other venues in Stockholm in the spring of 2016.While the use of ekphrases goes back to ancient times in our Western literary canon, it is new and unexplored territory for social scientists at business schools--to describe artworks for people who who are blind to economic concepts and ideas, helping them see what they did not see beforeEconomic Ekphrasis: Goldin+Senneby and Art for Business Education is part of the SSE Art Initiative series Experiments in Art and Capitalism.ContributorsMaria Lind, Marie-Louise Fendin, Örjan Sjöberg, Ismail Ertürk, Anastasia Seregina, Jonas Hassen Khemiri, Pamela Schultz Nybacka, Emma Stenström, Katie Kitamura, Clare Birchall, Brian Kuan Wood

A Variation on Powers of Ten uses the opening picnic scene of Charles and Ray Eames's film Powers of Ten as score to guide ten discussions. The result of a research-based residency at the University of California Berkeley Art Museum and Pacific Film Archive, the publication includes four essays and ten interviews with researchers whose work relates to one of the magnitudes of ten of the 1968 IBM-commissioned film. Like the stage of a microscope, the blanket becomes a stage where the act of inventorying and recording becomes the content of the work. Books, journals, food, and objects are recast and serve as cues pointing back to the film and forward to each researcher's own work. Powers of Ten is a short documentary film that depicts the relative scale of the universe in factors of ten. It illustrates the universe as an arena of both continuity and change, of everyday picnics and cosmic mystery. One iconic image from the film depicts a couple picnicking on a blanket, serving as a human-scale grounding for the macro- and micro-explorations in the film. Looking back at the film, Futurefarmers became entranced by the presence of the narrator, Philip Morrison, the production of the film, and the short amount of time the film spends at the human scale.In ten picnics, Futurefarmers journeys through fields of inquiry ranging from philosophy to ecology, microbiology, astrobiology, environmental science, geography, and urban studies. Comparing today's practices with those in 1968, researchers discuss the changing landscape of their field and the tools they use or invent to gather, quantify, and measure their research.Copublished with Bildmuseet, Umeå University, SwedenContributorsAmy Franceschini, Peter Galison, Owen Gingerich, Walton Green, Jake Kosek, Abena Dove Osseo-Asare, Rick and Meagan Shaw Prelinger, Arthur Shapiro, Sara Seager, Michael Swaine, Elizabeth Thomas, Ignacio Valero

Drawing is thinking, thinking is moving. These words summarize the layered work of Belgian artist Ronny Delrue (b. 1957). For many years, drawing has been central to his oeuvre. On the one hand, a drawing is an autonomous artwork, but on the other hand it is the direct crystallization of a fleeting line of thought that systematically opens the door to new work. Drawing is therefore not only the result, but also the engine of creativity for the artist, especially in the case of Delrue who not only "draws" with pencil and paper, but also with photographs, ceramics, and other materials.For Delrue, drawing is the culmination of a mental image, and the genesis of the image and its immediate meaning are contained in the lines of the drawing itself. That is why his drawings offer an intimate look inside the mind of an artist who, on the basis of his own reality -- shaped by memories, emotions, and opinions -- recreates the world a little bit on every page. For this book, Philippe Van Cauteren (director of S.M.A.K., Ghent) selected a series of important drawings from Delrue's extensive corpus. Three different authors focus on this selection and have shed light on the importance of the drawing in Delrue's practice.Copublished with Hannibal

On the abstruse nature of machine learning, mathematics, and the deep incursion of racial hierarchy. To impair the racial ordering of the world, The Black Technical Object introduces the history of statistical analysis and "scientific" racism into research on machine learning. Computer programming designed for taxonomic patterning, machine learning offers useful insights into racism and racist behavior, but its connection to the racial history of science and the Black lived experience has yet to be developed. In this book, Ramon Amaro explores how the history of data and statistical analysis informs the complex relationship between race and machine learning. He juxtaposes a practical analysis of this type of computerized learning with a theory of Black alienation in order to inspire alternative approaches to contemporary algorithmic practice. In doing so, Amaro contemplates the abstruse nature of programming and mathematics, as well as the deep incursion of racial hierarchies.

On the aesthetic and intellectual affinities between recent art and conspiracy. Written in the wake of the far-right populist turn in Europe, the US, and beyond, What We Do Is Secret addresses aesthetic and intellectual affinities between recent art and conspiracy, proposing a theory of conspiracy that is not primarily concerned with conspiracy theory. This inquiry takes shape across chapters on the politics of post-internet art aesthetics; the sublime and possessive individualism in recent "critical" art; Cady Noland's security fences, and silkscreens of the Symbionese Liberation Army; and mutuality, secrecy, and improvisation in the work of Ima-Abasi Okon. Larne Abse Gogarty discusses the relationship between culture and contemporary politics, following on from David Lloyd's proposition that through its compensatory qualities, the aesthetic sphere naturalizes forms of life lived under the rule of property. What kind of art can work against this? Can art exist as a conspiracy capable of corroding that rule?

Reflections on Mischa Kuball's site-specific light and sound installation, res-o-nant, at the Jewish Museum Berlin.In this book, writers and artists consider conceptual artist Mischa Kuball's site-specific light and sound installation, res-o-nant, on view at the Jewish Museum Berlin from November 2017 to August 2019. The contributors echo, shed light on, and reflect on Kuball's creation of a resonant space in and outside the museum space.ContributorsChristoph Asendorf, Juan Atkins, Horst Bredekamp, Diedrich Diederichsen, Kathrin Dreckmann, Shelley Harten, Norman Kleeblatt, Alexander Kluge, Daniel Libeskind, Gregor H. Lersch, Léontine Meijer-van Mensch, W.J. T. Mitchell, Hans Ulrich Reck, Richard Sennett, Peter Weibel, Lawrence Weiner, John C. Welchman, Alena Williams

Investigations of people in transit across the informal hubs, terminals, and nodes that crisscross Eastern Europe and Vienna.Stop and Go is a research project by architect and artist Michael Hieslmair and cultural historian Michael Zinganel that focuses on the transformation of the informal hubs, terminals, and nodes along Pan-European transport corridors in Eastern Europe and Vienna. Following the fall of the Iron Curtain and the expansion of the EU, the need to improve infrastructure and develop faster connections between places affected the public realm at the margins and even in the center of cities. Stop and Go investigates the people in transit across these transnational networks with descriptive text, images, and maps.

A collection that looks at the role and use of the human and nonhuman voice in art. The (non)human voice has always been part of modern art, notably within performance art, sound art, and conceptual art. However, the Master of Voice graduate program mutates from this history, examining the voice as a unique "discipline." The focus is on the (non) human voice, as a means to an end or an end in itself, within artistic practice. A special orientation of the Master of Voice curriculum, co-developed with a team of artists with a longstanding interest in the (non)human voice, is the voice in relation to technology and gender. This book captures a two-year-long period of research--of thinking, talking, sharing, learning, making, acting, and creating by students and teachers, artists, and other practitioners--to find possible answers and approaches to the question of the voice and its prominent role in our postindustrial society.Contributors Tyler Coburn, Angelo Custódio, Thom Driver, Paul Elliman, Amelia Groom, Miyuki Inoue, Danae Io, Jamila Johnson-Small, Bin Koh, Snejanka Mihaylova, Maria Montesi, MPA, Natasha Papadopoulou, Duncan Robertson, Marnie Slater, Lisette Smits, Eva Susová, Cécile Tafanelli, Mavi Veloso, Geo Wyeth

The texts in group.sex discuss political groups and languages, abstract radicalism and art, feminism and bohemianism, social hierarchies, and telematic friendship. In his text "Remarks on the RAF Spectre", German sociologist and cultural critic Klaus Theweleit discusses "the unreal linguistic situation in post-war Germany" and analyzes modes of mutual exclusion and hierarchy as they occured within groups such as the RAF (the Red Army Faction)."It's not just the languages that had closed down, the streets were closed as well. The very thing that had been gained--the streets, publicity, openness and linguistic diversity on all sides--disappeared into the gutter of history in two, three years.... In the groups that remained publicly relevant, the 'K-Groups' and the RAF, which were shifting towards the centre of the political movement as the remaining 'radical' groups, language and thought became restricted. This led to what I would now call 'abstract radicalism', a radicalism that limited itself to gestures, claims, demands, revolutionary attitudes broadcast in statements, slogans, but hardly any analysis was carried out.... things had to 'be right' only in a mindlessly abstract sense. The 'concrete' emigrated from radical left-wing politics (and found a home, for a time, in the women's movement)." Klaus Theweleit Edited and designed by artist Eva Grubinger, the book contains a pictorial insert entitled Sacher Torture, an image series illustrating modes of exclusion from a group.ContributorsEri Kawade/James Roberts, Ann Powers, Klaus Theweleit

On the possibility to merge art and life, fiction and reality, and on the importance of this process for the future of artistic practice. Does art possess the power to cause structural and meaningful changes in daily life? How can we inject our daily reality with the estranging, binding, and reflective qualities of theater, performance art, and the visual arts? Using the artist's desire to escape institutional space as a point of departure, the temporary master Reinventing Daily Life investigated the implications, the possibilities, and the limits of daily life as inspiration, as a place for presentation, and as a central material. This publication marks the completion and distillation of this inquiry. By means of a critical essay, correspondence with kindred spirits from the field, and visual impressions of the alumni's work, this book reflects on the possibility to merge art and life, fiction and reality, and on the importance of this process for the future of artistic practice.

The notion of time travel marked by both possibility and loss: making the case for cultural research that is oriented toward the future.Visual Cultures as Time Travel makes a case for cultural, aesthetic, and historical research that is oriented toward the future, not the past, actively constructing new categories of assembly that don't yet exist. Ayesha Hameed considers the relationship between climate change and plantation economies, proposing a watery plantationocene that revolves around two islands: a former plantation in St. George's Parish in Barbados, and the port city of Port of Spain in Trinidad. It visits a marine research institute on a third island, Seili in Finland, to consider how notions of temporality and adaptation are produced in the climate emergency we face. Henriette Gunkel introduces the idea of time travel through notions of dizziness, freefall, and of being in vertigo as set out in Octavia Butler's novel Kindred and Kitso Lynn Lelliott's multimedia installation South Atlantic Hauntings, exploring what counts as technology, how it operates in relation to time, including deep space time, and how it interacts with the different types of bodies--human, machine, planetary, spectral, ancestral--that inhabit the terrestrial and extraterrestrial worlds. In conversation, Hameed and Gunkel propose a notion of time travel marked by possibility and loss--in the aftermath of transatlantic slavery and in the moment of mass illegalized migration, of blackness and time, of wildfires and floods, of lost and co-opted futures, of deep geological time, and of falling.Copublished with Goldsmiths, University of London

The Mill is the second of three projects to engage the resource industries of Vancouver Island (mining, forestry, and fisheries) through contemporary art and writing. This volume responds to forestry: a mobile industry of logging camps that follow the trees; prices that rise and fall; mills that open and close; communities that boom and bust. In The Mill, artworks are accompanied by a multiplicity of voices, including forestry workers, plant ecologists, and indigenous land stewards. Together, these perspectives chart the cultural and material shifts brought about when trees become commodities.Expanded from two contemporary art exhibitions, Silva Part I: O Horizon and Silva Part II: Booming Grounds, The Mill examines forgotten or under-acknowledged histories, while considering both local sites and forms of cultural expression that surround international forestry practices.

Igor Grubic's project for the Venice Biennale, documenting Croatia's transition to capitalism.Igor Grubic has been actively working as a multimedia artist from the beginning of the 1990s. His work includes photography, film, and site-specific interventions in public spaces. Since 2000 he has been a producer and author of documentaries, TV reports, and socially committed commercials. Grubic's project for the Venice Biennale, Traces of Disappearing in Three Acts (2006-19), is already thirteen years in the making. It consists of three interrelated photo essays and an animated film, set in a specially designed mise-en-scène. The project began in 2006 when the artist began documenting the transition Croatia was facing after the war, with a particular focus on the shift from socialism to capitalism, from a central, stated-planned system to a free market economy. It explores how this has affected changes in habitation, the urban fabric, public space, and social relations. Also included are essays by Katerina Gregos and WHW.

A comprehensive look at the unique artistic work of Annette Kelm, with rich color illustrations of emblematic pieces from her oeuvre.Tomato Target takes a comprehensive look at the unique artistic work of Annette Kelm and the visual idiom she has developed over the course of her career. The book contextualizes Kelm's practice, which deftly probes the medium of photography and uses heterogeneous subjects decisively, to signifiy and act as telling abstractions within her visually opulent object worlds. Kelm's work is at once intellectually astute, concise and enigmatic. Her photographs quote the genres of still life, studio, or architectural photography without fully complying with the conventions that govern them. Tomato Target offers essays, installation views from the artist's solo Tomato Target exhibition at Kunsthalle Wien, and rich color illustrations of emblematic pieces from her oeuvre. The texts unravel the puzzles in Kelm's work, touching on the history of photography, design, and display as well as scientific elements that continue to reappear within Kelm's work. ContributorsVanessa Joan Müller, Anna Voswinckel; conversation between Nicolaus Schafhausen and Brigitte Kölle

Blending memoir and social critique, elegantly written essays explore a world that feels different, from Brexit and Trump to #MeToo and the death of parents.This book merges memoir and social critique in an original fashion. By combining personal observations with a general systemic analysis, it seeks to propose a new genre of writing. Isabelle Graw manages to capture radical political, social, and cultural changes that have occurred since 2014 in elegantly written observations, also analyzing how these macro-shifts reach into her own life. Addressing topics that range from Brexit, Trump, and a general rightward turn to #MeToo, men with beards, and Balenciaga, Gaw registers the symptoms of a world that clearly feels different. Meditating on irretrievable personal losses, she describes how we find ourselves literally "in another world" after the death of our parents. With a theme of mourning running throughout, her book is an attempt at exposing and analyzing painful emotions.

Writings by exhibition maker and writer Jens Hoffmann, charting a highly unique curatorial trajectory.This volume brings together a wide selection of writings by exhibition maker and writer Jens Hoffmann that outline his deep understanding of the interconnections among art, curating, theater, film, and literature. The nearly fifty texts include essays on artists, exhibitions, and curating; reviews of large-scale international group exhibitions; catalogue texts from exhibitions Hoffmann curated; and interviews and conversations with artists and other cultural practitioners. Collectively, these texts map the development of Hoffman's thoughts and agenda, articulating a highly unique curatorial trajectory.

Since the 1960s, artists in Hungary have displayed a penchant for abstraction when it comes to complex social conditions and efforts to enact political change.The abstracted visual language of Hungarian artists is the focus in the Künstlerhaus exhibition "Ábstract Hungary" curated by Ákos Ezer, a painter who in this catalog hastranslated the present-day reality in his home country through the framework of "abstraction." This theme is, in fact, a revival, as the Künstlerhaus has previously presented the group exhibition "Abstract Hungary" in 2017. With a sweeping selection of twenty-four Hungarian artists, including Imre Bak, Tamás Kaszás, Dóra Maurer, and Zsolt Tibor, the show was devoted to methods of abstraction of varying dialogical nature. The exhibition represented a broader narrative blueprint of the hotly debated term "abstraction" and showed both established and aspiring artistic positions, some of which were exhibited there in Austria for the first time.This exhibition catalogue seeks to expand these two eponymous projects, and consolidate the abstracted view of Hungary.ContributorsDávid Fehér, Áron Fenyvesi, Michael Wimmer, Mónika ZsiklaPublished by Sternberg Press and Künstlerhaus Halle für Kunst und Medien, Graz AT

An investigation of digital archiving as an integral technology of warfare and how artists respond to these changes. Digital and data technologies are actively transforming the archives of contemporary warfare. Bringing together a range of scholarly perspectives and artistic practices, (W)ARCHIVES investigates digital archiving as an integral technology of warfare and how artists respond to these changes. Throughout the book, the (w)archive emerges as a term to grasp the extended materiality of war today, wherein digital archiving intersects with images, bodies, senses, infrastructures, environments, memories, and emotions. The essays explore how this new digital materiality of war reconfigures the archival impulses that have shaped artistic practices over the last decades, and how archives can be mobilized to articulate political demands, conjure new forms of evidence, and make palpable the experience of living with war.

More then eighty works by nearly sixty artists from the Pearl River Delta region of China, accompanied by essays by critics and curators.This book is the catalogue for the namesake inaugural exhibition of Times Art Center Berlin, founded in November 2018. Through four essays by critics and curators, as well as texts and images of the works on exhibit--more than eighty works by nearly sixty artists--the book aims to present a vital component of the Chinese art world that is underrepresented on the global art scene: the contemporary art production from the Pearl River Delta (PRD). A region of China with distinct cultural characteristics and traditions, the PRD has become a creative hub for international exchange and art activities. Influenced by Hong Kong's popular culture and by international new media art, PRD artists' video practices represent the most groundbreaking and powerful visions of contemporary art and culture in the region. Their experimentation with video art reflects their search for freedom and forms of resistance against dominant ideology and powers as they turn ordinary gestures into artistic strategies to construct diverse "personal utopias."

Essays, conversations, and documentation map the work of the artist Janek Simon.Artist Janek Simon tends to say he is interested in many, even too many, things: from globalization and political geography to artificial intelligence and financial speculation, from DIY strategies to postcolonial theories within Eastern Europe. This reader decodes fifteen years of his work. It opens with the world of synthetic folklore, a speculative visual language between particularism and universalism, created with the help of AI and composed of mosaics generated by algorithms combining motifs from India, Africa, South America, Europe, and Poland. Simon's work asks if AI can protect us from the traps of homogenization, xenophobia, and essentialism, and what a new universalism would look like in the era of the identity politics. Essays, conversations, and documentation map Simon's footsteps, extensively presenting for the first time his work and life, which has been from time to time supported by art institutions such as the Ujazdowski Castle Centre for Contemporary Art, where he held his survey show in Spring 2019.ContributorsInke Arns, Max Cegielski, Ekaterina Degot, Lukasz Gorczyca, Nav Haq, Virginija Januskevičiūte and Monika Lipsic, Nina Katchadourian, Joanna Kordiak, Lev Manovich, Daniel Muzyczuk, Sina Najafi, Lech Nowicki, Ana Teixeira Pinto, Aleksandra Przegalińska, Mohammad Salemy, Sumesh Sharma, Jan Sowa, Joanna Warsza and others.

A novel reading of the work of one of the most influential designers of the twentieth century.In this provocative intellectual biography, architectural historian Mark Wigley makes the surprising claim that the thinking behind modernist architect Konrad Wachsmann's legendary projects was dominated by the idea of television. Investigating the archives of one of the most influential designers of the twentieth century, Wigley scrutinizes Wachsmann's design, research, and teaching, closely reading a succession of unseen drawings, models, photographs, correspondence, publications, syllabi, reports, and manuscripts to argue that Wachsmann is an anti-architect--a student of some of the most influential designers of the 1920s who dedicated thirty-five post-Second World War years to the disappearance of architecture. Wachsmann turned architecture against itself. His hypnotic projects for a new kind of space were organized around the thought that television enables a different way of living together. While architecture is typically embarrassed by television, preferring to act as if it never happened, Wachsmann fully embraced it. He dissolved buildings into pulsating mirages that influenced the experimental avant-gardes of the 1960s and 1970s; but Wigley demonstrates that this work was even more extreme than the experiments it inspired. Wigley's forensic analysis of a career shows that Wachsmann developed one of the most compelling manifestos of what architecture would need to become in the age of ubiquitous electronics.

Essays that forge a path to a truly radical "bad" modernism in art and literature.What, exactly, constitutes the "bad"? Can one consciously produce in the name of "badness," or is badness a value judgment that comes after the fact, from an Other? How does one begin to assign aesthetic value to an object? If one is to accept the "bad" as "good," or to find aesthetic value in badness, then when does the bad succeed and when does it fail? If, pace Beckett, we are to embrace failure as an inevitable goal, then isn't it necessary to invent a new mode of criticism that accommodates this aesthetic reality? Travis Jeppesen's Bad Writing offers a series of interconnected essays, many of which appear in print for the first time, forging a pathway for a truly radical "bad" modernism in art and literature. He explores the terrain of failure, assessing the situation of the twenty-first century literary avant-garde; considers the work of perennial outsiders; and offers "ficto-criticisms," including his controversial, no-holds-barred takedown of the 2015 Venice Biennale, originally published in Art in America. Erudite, irreverent, witty, and occasionally controversial, Bad Writing reinvigorates the too-often staid medium of art criticism as an iconoclastic and inventive literary art form.

How do you tell the story of a friendship? How do you trace the roots of one of the most significant cross-disciplinary unions in fashion today? Artist Sterling Ruby and fashion designer Raf Simons did just that when they sat on stage with curator Jessica Morgan at the Harvard University Graduate School of Design. Offering complimentary perspectives on a bond that has matured over the span of a decade, and a body of work that transcends boundaries, Ruby and Simons spoke with mutual respect, trust, and a deep investment in the future. This is a story, and an exchange, that is beyond collaboration.The Incidents is a book series based on uncommon events at the Harvard University Graduate School of Design from 1936 to tomorrow.Edited by Jennifer Sigler and Leah Whitman-SalkinContribution by Jessica MorganCopublished with the Harvard University Graduate School of Design

How an art school can be a pedagogic nexus dedicated to the transmission of knowledge as well as a locus for civic and critical debate.The artist as entrepreneur has become a common topic of discussion. This book, however, puts forward the notions of "self" and "system." First, every artistic practice is self-reflexive and self-contextualizing. Second, each system an artist builds allows for innovation. Let us construct a space where we inevitably find ourselves together with others, even if we feel lonely, like a witch lost in a library of artists' books. Let us invent our right to do so. Let us enter the world of smell and write about a megalomaniac art school while documenting a generation of art students and their studios with analogue photography. This book arises from the 2018 activities of the Masters of Fine Arts program at the Zurich University of the Arts (ZHdK). It reflects the conviction that an arts school can be a pedagogic nexus dedicated to the transmission of knowledge, experimentation, and research, as much as a locus for civic and critical debate and exhibition, involved in its community, locally and globally.ContributorsJeremy Ayer, Velibor Barisic, Donatella Bernardi, Amos Bollag, Katharina Brandl, Clifford E. Bruckmann, Gioia Dal Molin, Philip Frowein, Désirée Myriam Gnaba, Noëlle Guidon, Adrian Hanselmann, Vanessà Heer, Dijan Kahrimanovic, Maya Lama, Matthias Liechti, Romain Mader, Marisa Meier, Javor Milanov, Fidel Morf, Angi Nend, Dominic Neuwirth, Leila Peacock, Elodie Pong, Dorothee Richter, Nils Röller, Evan Ruetsch, Antonio Scarponi, Christoph Schifferli, Claudia Stöckli, Aurélie Strumans, Raphael Stucky, Jan Vorisek

Photographs, essays, fiction, poetry, and an interview document an immersive installation by Marseille-based artist Wilfrid Almendra.Light Boiled like Liquid Soap is an immersive installation by Marseille-based artist Wilfrid Almendra featuring radio transmissions and a series of sculptural elements made of copper, plaster, and silicone in various states of dematerialization. Combining found and repurposed materials, the works attest to notions of desire, circulation, and flux, from protective spaces of retreat to global economies of exchange.The seventh volume in the Fogo Island Arts publication series accompanies the eponymous exhibition curated by Alexandra McIntosh and Nicolaus Schafhausen and presented at the Fogo Island Art Gallery in 2016. Richly illustrated with color photographs of Almendra's installation, the book features a critical essay by Anne Faucheret, a work of speculative fiction by Nicolas Idier, poetry by Jorge Armando Sousa, and a conversation between Wilfrid Almendra, Alexandra McIntosh, and Nicolaus Schafhausen.Copublished with Fogo Island ArtsContributorsWilfrid Almendra, Anne Faucheret, Nicolas Idier, Alexandra McIntosh, Nicolaus Schafhausen, Jorge Armando Sousa

Writings, Conversations, Scripts is the first survey of text works by Ane Hjort Guttu. Written between 2003 and 2018, the texts range from public statements, poetic short prose, and film scripts to reflections on the role of the artist and essays on art for children. With a special focus on the significance of "image-text constellations," this anthology, edited by Rike Frank and designed by HIT, suggests connections between artistic writing and curatorial publishing.The publication was conceived in connection with the solo exhibition "Films" by Ane Hjort Guttu at Tromsø Kunstforening in 2018, co-curated by Rike Frank and Leif Magne Tangen, and was generously supported by Oslo National Academy of the Arts, Norsk Kulturråd, Office for Contemporary Art Norway, and Fritt Ord.Copublished with Torpedo Press, Kunsthøgskolen, Oslo

Documenting a project that turned a suburb of Stockholm into a museum that produced concrete images of a Sweden where divides are intensifying.This book documents and discusses Tensta konsthall's experimental multiyear project "Tensta Museum: Reports from New Sweden" that ran from 2013-18 in the Stockholm suburb of Tensta and beyond. Tensta is dominated by a late modernist housing estate, built on old farmland with traces from both the Iron Age and the Viking era, where today nearly 20,000 people live, a majority with a trans-local backgrounds. More than fifty artists, architects, performers, sociologists, cultural geographers, philosophers, and others contributed artworks, research projects, seminars, guided walks, workshops and much more, reporting on the past and present of Tensta, creating a "museum." The project produced concrete images of what can be described as the New Sweden--a place with people of vastly different backgrounds, where economic and social divides are intensifying. Tensta Museum also engaged with the concept of cultural heritage and the complicated matter of how it is used in Sweden and elsewhere.ContributorsAction Archive, Adam Tensta, Ahmet Ögut, Babi Badalov, Carl Larsson, Dominique Gonzalez Foerster, Emily Fahlén, Erik Stenberg, Irene Molina, the Kurdish Association, Lawrence Abu Hamdan, Mekonen Tekeste, Meron Mangasha, Petra Bauer, Ricardo-Osvaldo Alvarado, Spånga Local Heritage Association, Tarek Atoui, the Tensta Hjulsta Women's Center, Tensta Library, Beatrice von Bismarck, Boris Buden, Christina ZetterlundCopublished with Tensta konsthall

Documenting Florian Hecker's multichannel psychoacoustic installation with essays, images, and data.This book documents an exhibition at Kunsthalle Wien that took place from November 2017 to January 2018. In Hecker's multichannel installation Resynthese FAVN, the auditory stimuli produced from the objects within the exhibition space and the synthetic sounds he composed were designed to subliminally override the mechanical processes of human sense. The result was an intervention into the psychoacoustics of the audience, dramatizing their subjective experience through auditory hallucinations.The catalogue collects essays by curators, researchers, theorists, and art historians on Hecker's work and its relation to topics ranging from musique concrète, Mallarmé's poem "The Afternoon of a Faun," and computer music. The psychoacoustic phenomenon of Resynthese FAVN is illustrated with a series of tensor acoustic measurements resembling the colorized impressions of thermal imaging, which is followed by 270 pages of densely sprawling data tables abstracting sound and its textures into text.ContributorsMatthew Fuller, Vincent Lostanlen, Vanessa Joan Müller, Michael Newman, Axel Röbel, Magnus Schaefer

The script for, and conversations around, artist Jesse Ash's multi-dimensional project built around a play about a bitter argument between two ex-lovers. Avoidance--Avoidance is a multi-dimensional project built around a play about a bitter argument between two ex-lovers. The project incorporates artworks which act as props, set pieces, and stage, and as individual artworks in their own right. Brought together through an evolving script, the narrative unfolds to reveal a multiplicity of secrets through an ongoing, interrogative dialogue. The individual artworks act both as backdrops to, and reflections on this repetitive exercise in extracting and concealing information. The culmination of which shines a light on public and private forms of disclosure within a contemporary context of state and commercial surveillance. Bringing together material from each iteration of the project, spanning multiple continents and languages--including annotated and translated scripts, rehearsal and performance stills, studio sketches and intricate newspaper collages--the book explores the theme of transparency in emotional, material and political terms. The project is introduced through a text by curator Elsa Coustou. Conversations with actor Ansu Kabia, writer Peter Pomerantsev, and artist Daniel Sinsel consider issues such as "performed" intimacy, troll farms, and trompe l'oeil through the lens of the Avoidance--Avoidance project.

Profit over Peace in Western Sahara examines the role of natural resources in the occupation of Africa's last colony. Not well known to the wider public, the territory of Western Sahara is considered by the United Nations to be awaiting decolonization. Its liberation from colonial rule has come to a standstill due to Morocco's continued military occupation of a part of the territory. The protracted conflict has dramatic consequences for the Sahrawi people of Western Sahara. This book details, among other things, a remarkable vote in the European Parliament in 2011 when EU offshore fisheries were rejected by the territory. The battle over the fisheries elegantly illustrates how the EU--for political reasons and financial self-interest--has ignored basic principles of international law. This publication is edited by Erik Hagen and the artist Mario Pfeifer, who has been researching the region since 2011 and provides visual material for the book. Erik Hagen has followed the issue of resources in Western Sahara since 2002, both as a journalist and as a campaigner for the organization Western Sahara Resource Watch. An essay by lawyer Jeffrey J. Smith examines the 2017 landmark judgment in South Africa concerning a bulk vessel carrying conflict minerals from the territory.English/Arabic, with a German insertContributorsErik Hagen, Mario Pfeifer, Jeffrey J. Smith