art august 2013

ART

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Albert Contreras Marquand Books Inc. 2013 ISBN 9780988227507 Acqn 22090 Hb 24x28cm 112pp 83ills 73col 27.50 Los Angeles painter Albert Contreras (born 1933) first won public acclaim in the early 1960s, with monochrome paintings featuring a central disc motif. By the early 1970s, with the dematerialization of art in the air, Contreras pursuit of extreme reduction led him to cease painting altogether, and he spent the next two decades driving garbage trucks and resurfacing roads for the City of Los Angeles. He returned to painting in 1997 (following an intensive period of psychotherapy), producing relatively small, square-ish canvases with thick, gridded swathes of bright colours and glitter, seemingly inspired by the aesthetics of cupcake bakeries, cosmetics counters and custom car shops--canvases that critic David Pagel describes as obscenely edible. This first substantial Contreras monograph surveys the painters recent and older works. Text by Dave Hickey, Ed Schad, David Pagel, John Yau.

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Kerry Tribe - Speak, Memory. Power Plant Pages The Power Plant 2013 ISBN 9781894212366 Acqn 22139 Pb 12x19cm 66pp 12ills 9col 11.95 Speak, Memory is a critical reader accompanying Los Angeles-based Kerry Tribes (born 1973) exhibition at the Power Plant. It includes artwork reproductions, an annotated script from her film There Will Be _______(2012), as well as texts by Eli Horwatt, Mark Godfrey and Melanie OBrian.

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Strategies Of Display nai010 publishers 2013 ISBN 9789462080270 Acqn 22627 Pb 17x24cm 288pp 200ills 31.50 In Strategies of Display Julia Noordegraaf offers a unique approach to museum presentation as a part of visual culture. Noordegraaf describes how in the nineteenth and twentieth centuries, museums communicated with their audience through their presentations. Drawing upon ideas developed in film studies, she argues that presentations are based on a script that includes all the elements that mediate between the museum and its audience. These include the location, architecture and layout of the building, the arrangement of the objects, the display techniques and the different means of communicating with the visitor. Strategies of Display contributes to the international discussion about the role and function of the museum in contemporary society among both those in charge of setting up and designing presentations and those who visit them. From its first appearance in 2004 the book has become widely used for research and teaching in the field of museum and curating history and theory internationally. Julia Noordegraaf is associate professor in the Department of Media Studies at the University of Amsterdam.

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Lun Tuchnowski - Shifting Identities Annely Juda Fine Art 2013 ISBN 9781904621515 Acqn 22654 Pb 22x25cm 64pp 52col ills 17.50 The catalogue for an important exhibition of works by the distinguished German sculptor Lun Tuchnowski at Annely Juda Fine Art in London features a selection of his abstract and figurative work over the past thirty years, including his gigantic sculpture Alpha (2010), and two powerful groups of sculptures that have developed from his fascination with lips and tongues. As Richard Cork notes in the introduction, "Tuchnowski feels at liberty in the Lips series to roam between aggression, mirth and erotic greed. Yet, whatever emotion he conveys, the works always retain his acute awareness of abstraction as well."

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Willem Sandberg - Portrait Of An Artist Valiz 2013 ISBN 9789078088738 Acqn 22662 Pb 15x21cm 328pp 20ills 10col 16.95 The famed Dutch typographer and museum curator is portrayed by art historian Ank Leeuw Marcar through interviews compiled more than 30 years ago. Particularly focusing on the period from 1945-1970, during which Sandberg was quite active and passionate in both typographic forms and as director of Amsterdams Stedelijk Museum, this thoroughly edited reprint of the original book closely examines his legacy and influence, its cultural aspects and roles of art historians and curators. His approaches to these topics remain relevant and challenging even today, offering new impulse in the discourse surrounding art and its place in an historic perspective.

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Richard Prince - Cowboys Gagosian Gallery (NY) 2013 ISBN 9781935263784 Acqn 22412 Hb 24x31cm 112pp 69col ills 69.95 Over the last thirty years, the American cowboy has given rise to some of Prince's most celebrated works. Dividing into several phases between the early 1980s and the present, his rephotographing of verit images inspired by cowboy Westerns and produced for the advertising industry, reveals as much about his shifting relationship to an American icon and its construction by the mass media as his use of evolving reprographic technologies.

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Howard Hodgkin Gagosian Gallery (NY) 2013 ISBN 9781935263760 Acqn 22413 Hb 31x27cm 68pp 29col ills 52 In exploring the very nature of painting both as cultured language and sheer expression, Hodgkin disregards the classical polarities of abstraction and representation, past and present, canvas and frame. Assertive compressed gestures, sweeping complex textures, a lush palette, and the dynamic interchange of light and dark are all traits of his distinctive signature. This new catalogue of recent paintings includes a text by Alberto Fiz.

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Rachel Whiteread Detached Gagosian Gallery (NY) 2013 ISBN 9781935263777 Acqn 22441 Hb 22x28cm 120pp 58col ills 69.95 Whitereads sculpture is predicated on casting procedures, and the traces left on the sacrificial objects and spaces from which the final inverse form is derived. She casts from everyday objects as well as from the space beneath or around furniture and architecture, using single materials such as rubber, dental plaster, and resin to record every nuance. Detached 1, Detached 2, and Detached 3 (2012) render the empty interior of a garden shed in concrete and steel. Cast from generic wooden sheds, the large-scale sculptures render negative space into solid form, and the prosaic into something fantastically disquieting. The sheds recall the monolithic architectural and site-specific works for which Whiteread first became renowned, such as Ghost (1990) and House (1993) and, most recently, the imposing concrete sculpture Boathouse (2010), installed on the waters edge in the remote Nordic landscape of Rykenviken.

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Anthony Caro - Vol. 1 Park Avenue Series; Vol. 2 At Museo Correr Gagosian Gallery (NY) 2013 ISBN 9781935263807 Acqn 22519 Pb 25x30cm 184pp 92ills 79col 87 Steel pipes, beams, disks, and agricultural tools make up Caros latest abstract sculptures, which reveal fresh aspects from every viewpoint. The works evolved out of the planning process for an enormous public sculpture he envisioned for a busy thoroughfare in New York City, and as such are prompted by a sense of ground-parallel speed. The long, low pipes of Clouds, for example, create a latitudinal setting for smaller, curved parts that evoke lighter forms moving through space. Solitude is composed of curved and crumpled steel sheets that seem to float around an upright, cannon-like component. Art historian Michael Fried describes the Park Avenue sculptures as conspicuously open, an apt characterization given the exciting dynamism they achieve with few parts. The catalogue includes an essay by art critic and historian, Michael Fried

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The Whole Earth - California And The Disappearance Of The Outside Sternberg Press 2013 ISBN 9783943365641 Acqn 22655 Pb 26x35cm 208pp 350ills 200col 22.50 With contributions by Sabeth Buchmann, Mercedes Bunz, Diedrich Diederichsen, Kodwo Eshun, Anselm Franke, Erich Hrl, Norman M. Klein, Maurizio Lazzarato, Flora Lysen, Eva Meyer, John Palmesino, Laurence Rickels, Bernd M. Scherer, Fred Turner In the year 1966, a young man named Stewart Brand handed out buttons in San Francisco reading: Why havent we seen a photograph of the whole Earth yet? Two years later, the NASA photograph of the blue planet appeared on the cover of the Whole Earth Catalog. In creating the catalogue, frequently described as the analogue forerunner of Google, Brand had founded one of the most influential publications of recent decades. It mediated between cyberneticists and hippies, nature romantics and technology geeks, psychedelia and computer culture, and thus triggered defining impulses for the environmentalist movement and the rise of the digital network culture. The exhibition The Whole Earth is an essay composed of cultural-historical materials and artistic positions that critically address the rise of the image of One Earth and the ecological paradigm associated with it. The accompanying publication includes image-rich visual essays that explore key themes: Universalism, Whole Systems, Boundless Interior, and Apocalypse, Babylon, Simulation, among others. These are surrounded by critical essays that shed light onto 1960s California and the networked culture that emerged from it. Artists: Nabil Ahmed, Ant Farm, Eleanor Antin, Martin Beck, Jordan Belson, Ashley Bickerton, Dara Birnbaum, Erik Bulatov, Angela Bulloch, Bruce Conner, yvind Fahlstrm, Robert Frank, Jack Goldstein, Nancy Holt and Robert Smithson, Lawrence Jordan, Silvia Kolbowski, Philipp Lachenmann, David Lamelas, Sharon Lockhart, Piero Manzoni, Raymond Pettibon, Adrian Piper, Robert Rauschenberg, Ira Schneider, Richard Serra, Alex Slade, Jack Smith, Josef Strau, The Center for Land Use Interpretation, The Otolith Group, Suzanne Treister, Andy Warhol, Bruce Yonemoto, et al.

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Undoing Property? Sternberg Press 2013 ISBN 9783943365689 Acqn 22656 Hb 17x24cm 256pp 30ills 19.50 With contributions by Agency, David Berry, Nils Bohlin, Sean Dockray, Rasmus Fleischer, Antonia Hirsch, David Horvitz, Mattin, Open Music Archive, Matteo Pasquinelli, Claire Pentecost, Florian Schneider, Matthew Stadler, Marilyn Strathern, Kuba Szreder, Marina Vishmidt; preface by Binna Choi, Maria Lind, Emily Pethick Undoing Property? examines complex relationships inside art, culture, political economy, immaterial production, and the public realm today. In its pages artists and theorists address aspects of computing, curating, economy, ecology, gentrification, music, publishing, piracy, and much more. Property shapes all social relations. Its invisible lines force separations and create power relations felt through the unequal distribution of what is otherwise collectively produced value. Over the last few years the precise question of what should be privately owned and public-ly shared in society has animated intense political struggles and social movements around the world. In this shadow the publications critical texts, interviews and artistic interventions offer models of practice and interrogate diverse sites, from the body, to the courtroom, to the server, to the museum. The book asks why propertization itself has changed so fundamentally over the last few decades and what might be done to challenge it. The "undoing" of Undoing Property? begins with the recognition that something else is possible.

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Solution 247 - 261 Love Sternberg Press 2013 ISBN 9783943365788 Acqn 22657 Pb 11x18cm 188pp 18ills 13.50 With contributions by Etel Adnan, Douglas Coupland, Eva Illouz, Martti Kalliala, Ben Marcus, Chus Martnez, Momus, Eva Munz, Ingo Niermann, David Pearce, Beatriz Preciado, Emily Segal, Alexander Tarakhovsky, Ignacio Vidal-Folch Love is about mixing genes to compete with bacteria and viruses, and to dream together about conquering the cosmos in its various forms. People who do not mix fluids, do not dream, and use hand sanitizer or mouthwash will be extinct. Alexander Tarakhovsky. In its ninth volume, the Solution series departs from its previous geopolitical focus on regions and countries. The issue becomes the infinite prospect of connection as well as transformation: this book explores the bio-political and psychosexual topic of love. With contributions ranging from manifesto to (science) fiction, Solution 247-261: Love realizes that the past, present, and future of love is a demanding mix of charity, sex, trust, lust, economics, genetics, and cybernetics. This volume explores varying ideas of the body, the self, as a spirited micro-region with borders that cannot hold.

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Archaeology Of The Digital Sternberg Press 2013 ISBN 9783943365801 Acqn 22658 Pb 17x24cm 396pp 297ills 279col 25 With text by and interviews with Peter Eisenman, Frank Gehry, Benjamin Gianni, Chuck Hoberman, Greg Lynn, Kenshi Oda, Bill Record, Rick Smith, Tensho Takemori, Joe Tanney, Chris Yessios, Shoei Yoh, Mirko Zardini Archaeology of the Digital delves into the genesis and establishment of digital tools for design conceptualization, visualization, and production at the end of the 1980s and the beginning of the 1990s. Conceived as an object-based investigation of four pivotal projects that established distinct directions in architectures use of digital tools, the book highlights the dialogue between computer sciences, architecture and engineering that was at the core of these experiments. The Lewis Residence by Frank Gehry (198995) was prescient in exploring the power of computer rationalization in describing and fabricating sculptural tectonic elements. On the other hand, Peter Eisenmans Biozentrum (1987) tested the computers ability to generate its own formal language. A vanguard attempt to digitally script the design process, the Biozentrums geometries emerge from abstract representations of DNA structures, manipulated through processes intended to simulate genome replication. The scaffold-like lines of Shoei Yohs unbuilt Odawara Municipal Sports Complex (199091) wood truss ceiling and constructed gymnasium Galaxy Toyama (199092) were verified for integrity by computer analysis, using intensive coding and virtual testing to advance a language of minimalist structural expressionism. Chuck Hobermans Expanding Sphere (1992) is a finely-tuned folding polyhedron that smoothly expands and contracts, opening the way to later explorations in responsive and adaptive architecture. This volume includes conversations with the architects and key collaborators in each of the featured projectsarchitects, engineers, software programmers and university researchers whose interests in these nascent technologies were evident in their own practices. Each project is then presented through a selection of archival material, conveying factual and concrete information on their development through this material history.

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Susanne Kriemann Sternberg Press 2013 ISBN 9783943365696 Acqn 22659 Pb 17x23cm 128pp 88col ills 16.95 Edited by Hilke Wagner, Axel Wieder Texts by Steve Rushton, Yvonne Scheja, Axel Wieder; with a foreword by Tom Trevor and Hilke Wagner In her photographic projects, Susanne Kriemann takes a research-oriented approach: dealing with archival and forgotten documents in particular is a central aspect to her work. The found photo material then frequently serves as a starting point for her own images. Formal or thematic analogies generate multifaceted layers of association, which address the circumstances in which the historical images were produced, their preservation, as well as their link to the present dayand always also examine her own medium of photography. This publication was created as part of the solo exhibitions Cold Time at the Kunstverein Braunschweig and Modelling (Construction School) at Arnolfini in Bristol.

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Witches - Hunted appropriated empowered queered Editions B42 2013 ISBN 9782917855362 Acqn 22051 Pb 15x22cm 168pp 16.95 Social constructs have given rise to different types of witches, and as such treat witchcraft as a metaphor. These are the particular focus of this book, which combines historical accounts, fictional literature, experiences, theoretical propositions and artistic reflections to form a multidisciplinary examination of gender, myth and alterity. From a sociological perspective, witches are deviants able to survive outside the standard norm, drawing power from unknown, or supernatural, sources. Contributors include Olivier Marboeuf, Marina Warner, Angus Cameron, among others, plus interviews with Silvia Federici, Redfern Barrett, A.A. Bronson and Latifa Labissi.

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Apology Magazine No. 2 Apology Magazine 2013 ISBN 9780985932619 Acqn 22570 Pb 17x24cm 200pp 13.95 Apology is a new magazine of art, fiction, games, humor, essays, interviews, journalism and photography. Founded and edited by former Vice magazine editor-in-chief Jesse Pearson, Apology is inspired in equal measure by the golden ages of The New Yorker and Esquire; by 1980s punk zines like Sick Teen and RE/Search; by the Encyclopedia Britannica and The People's Almanac; and by MAD magazine. In a general 'statement of intent,' Pearson writes: "1) Each new issue of Apology will be just different enough from the one before in that it will be slightly unsettling if you were a big fan of the previous issue. 2) There will be no regular features in Apology, although if a certain kind of piece works really well we might do something very similar in a subsequent issue. 3) You will, however, be able to rely on each and every issue of Apology containing, in varying degrees: Fiction, poetry, photography, interviews, essays, humour and art. 4) I'm trying to think of each issue of Apology as one component of a big, Baroque Apologetic tapestry. Think of it like a season of a good TV show with all the little threads and coincidences. 5) I want Apology to be smart, beautiful and funny but I also want it to be really weird because there aren't any other genuinely weird magazines alive today. (I used those emphatic italics there to drive that point home extra hard.) 6) And now, one last thing: I hereby preemptively call out the fact that pretentious stuff has been said in this statement, and thereby I have stripped anybody else of the power to call me or Apology pretentious--forthwith, in perpetuity, ad infinitum."

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Kippenberger - The Artist And His Families J&L 2013 ISBN 9780982964286 Acqn 22487 Pb 15x23cm 592pp 25ills 22.95 Over the course of his 20-year career, Martin Kippenberger (19531997) cast himself alternately as hard-drinking carouser and confrontational art-world jester, thrusting these personae to the forefront of his prodigious creativity. He was also very much a player in the international art world of the 1970s right up until his death in 1997, commissioning work from artists such as Jeff Koons and Mike Kelley, and acting as unofficial ringleader to a generation of German artists. Written by the artists sister, Susanne Kippenberger, and now available in paperback, this first English-language biography draws both from personal memories of their shared childhood and exhaustive interviews with Kippenbergers extended family of friends and colleagues in the art world. Kippenberger gives insight into the psychology and drive behind this playful and provocative artist. Reviewing the hardcover edition in The New York Times, Roberta Smith wrote: Ms. Kippenberger provides wonderful thumbnail portraits of the many key figures in her brothers life, while using their reminiscences to create a finely diced composite oral history that makes palpable both his charming and his repellent sides.

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Fred Sandback Decades Radius Books 2013 ISBN 9781934435588 Acqn 22096 Hb 27x32 120pp 90col ills 47 Outlining planes and volumes in space with the humblest of materials, American artist Fred Sandbacks (19432003) work makes ingenious use of the Minimalist artistic vocabulary. Though Sandback employed metal wire and elastic cord in his earliest works, he soon dispensed with these materials and began using acrylic yarn to create sculptures that produced perceptual illusions while addressing their physical surroundings--what the artist termed the pedestrian space of everyday life. Sandbacks work has been exhibited internationally since the late 1960s; several of his works are on permanent display at Dia:Beacon, and he was the subject of an extensive survey exhibition organized in 2005 by the Kunstmuseum Liechtenstein in Vaduz. With 90 reproductions in color, this beautifully produced publication presents significant works from five decades of the artists career and also includes a fully illustrated chronology with selected biographical and bibliographical material.

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When Attitudes Become Form - Bern 1969/Venice 2013 Progetto Prada Arte 2013 ISBN 9788887029550 Acqn 22488 Hb 22x29cm 728pp 516ills 140col 77 To present, today, an exhibition from 1969 just as it was, maintaining its original visual and formal relations and links between the works, has posed a series of questions on the complexity and very meaning of the project, which has developed through a profound debate from various perspectives: the artistic, the architectural and the curatorial. Underlining and highlighting the transition from the past to the present, the complex identity of which it is important to conserve, it has been decided to graft the exhibition in its totalitywalls, floors, installations and art objects, including their relative positionsonto the historical architectural and environmental structure of Ca Corner della Regina, thereby insertingon a full-size scalethe modern rooms of the Kunsthalle, delimited by white wall surfaces, into the ancient frescoed and decorated halls of the Venetian palazzo. The intention is to breathe new life into the exhibition process with which When Attitudes Become Form was staged, so as to go beyond the necessity for photographs and films of the past event, and to be able to experience and analyze it literally, just as it was, even though it has been transported from the past to the present. The project has entailed the understanding that the language with which an exhibition is mounted and the relations between the works set out by its curator have become a founding element of the history of modern and contemporary art. Text by Miuccia Prada, Patrizio Bertelli, Germano Celant, Thomas Demand, Rem Koolhaas, Gwen L. Allen, Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martnez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi and Jan Verwoert.

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Richardson - Issue A7 Richardson 2013 no ISBN Acqn 22653 Pb 23x31cm 198pp 188ills 120col 27.95 The last issue of Richard features Antoine DAgata, Araki, Bret Easton Ellis, Breyer P-Orridge, Christopher Wool, Cy Twombly, Dan Colen, Daniel Johnston, Harmony Korine, James Dearlove, Jenny Saville, Pope John Paul II, Paul McCarthy, Peter Saville, Robert Crumb, Raymond Pettibon, Richard Prince and Stewart Home plus many others.

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Sarah Morris - Bye Bye Brazil White Cube 2013 ISBN 9781906072827 Acqn 22666 Hb 24x30cm 104pp 95ills 93col 37.50 Morris describes her paintings and filmmaking parallel activities within her practice as a way of investigating, tracing and playing with urban, social and bureaucratic typologies. In Rio (2012), Morris eleventh film, she depicts the multifarious and complex layers of this most contradictory of cities, from its highly orchestrated and eroticised surface image, to the infinite realities of its vast urban sprawl, industrial production and the minutiae of its day-to-day living. In the new series of Rio paintings, Morris both expands and reduces her abstract compositions, or what the artist refers to as diagrams, utilising dynamic new forms and colours that act like collective after-images or codes. Drawing inspiration from a wide range of sources the work of Roberto Burle Marx, Lina Bo Bardi, Oscar Niemeyer, lunar cycles, fruit and even Bossa Nova album covers her canvases are made up of vivid compositions whose curves, vectors and interlocking spheres reference a way of perception as well as the sharp contrasts of Rios many social forms. This catalogue features essays by Roger Avary and Bettina Funcke.

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Marcius Gallen - Geometric Progression White Cube 2013 ISBN 9781906072841 Acqn 22667 Pb 17x23cm 64pp 35col ills 18.75 In the short story On Exactitude in Science, Jorge Luis Borges narrates the tale of a kingdom so obsessed with the precision of maps that its cartographers end up creating a map of the empire that has a scale of 1:1. Borges extremely succinct but powerful account of how cartography becomes completely useless when taken to the utmost degree of literality seems to be a fitting entry point to the work of Brazilian artist Marcius Galan. Throughout his career the artist has repeatedly appropriated and somehow short-circuited the logic pertaining to different scientific disciplines, making this the guiding principle of smaller objects and works on paper to larger sculptures and installations. Text by Kiki Mazzucchelli.

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Douglas Coupland - Shopping in Jail: Ideas Essays and Stories for the Increasingly Real 21st Century Sternberg Press 2013 ISBN 9783943365863 Acqn 22675 Pb 13x20cm 94pp 8.95 With an introduction by Shumon Basar In Douglas Coupland's writing, the doldrums of a world afflicted by the pains of dotcom booms and busts, the ascendency of subcultures to pop cultures, and the subsequent struggle for identity are counterbalanced by droll, personal, and incisive analyses. This collection of non-fiction essays provides an illuminating meander through what we call culture today. Douglas Coupland is a Canadian writer, visual artist, and designer. His first novel, Generation X, was an international bestseller. He has published fourteen novels, two collections of short stories, and seven non-fiction books; written and performed for the Royal Shakespeare Company; and has penned a number of works for film and television. He is a regular contributor to the New York Times, Wired magazine, and the Financial Times.

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Hans Ulrich Obrist - Sharp Tongues, Loose Lips, Open Eyes, Ears to the Ground Sternberg Press 2013 ISBN 9783943365955 Acqn 22678 Pb 13x20cm 172pp 10.50 Introduction by Paul Chan, afterword by Etel Adnan, ode by Olafur Eliasson Edited By April Lamm Following Everything You Always Wanted to Know About Curating* *But Were Afraid to Ask, this second volume in the series on international curator Hans Ulrich Obrist presents a selection of his key writings from the past two decades, which elaborate on the manifold thinkers, curators, and events that influence his interdisciplinary practice of exhibition making. The collected essays form the compartments of Obrists curatorial toolbox, along with elucidating his views on stewardship, patronage, and art itself. Influences and interlocutors cited and discussed here include, among others, Alexander Dorner, douard Glissant, Claude Lvi-Strauss, Jean-Franois Lyotard, Dominique de Menil, Josef Ortner, Cedric Price, and Sir John Soane, and Harald Szeeman.

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Sven Lutticken - History in Motion: Time in the Age of the Moving Image Sternberg Press 2013 ISBN 9783943365894 Acqn 22679 Pb 14x13cm 312pp 82ills 16.50 The moving image has irrevocably redefined our experience and construction of history. In the contemporary economy of time, history has become an image in motion, a series of events animated and performed through various media. Analyzing a variety of films, video pieces, and performances, Sven Ltticken evaluates the impact that our changing experience of time has had on the actualization of history in the present. In the process, he considers the role of shock and suspense, of play and games, the rise and ubiquity of television, transformed notions of leisure and labor time, and a new natural history marked by climate change. The interplay between the time of daily life and historical time end between live event and mediatization is at the core of History in Motion. In this context, Ltticken questions the relation between the representations or restagings of the past and the events of a history that is currently in progress. This history in motion constitutes a fractured present in which possible futures are implicit.

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Monday Begins on Saturday: Bergen Assembly 2013 Sternberg Press 2013 ISBN 9783943365740 Acqn 22680 Pb 18x24cm 320pp 100col ills 30.50 Contributions by Jan Verwoert, Our Literal Speed, Boris Groys, Pavel Pepperstein, Renata Salecl, Benedict Seymour, Konstanze Schmitt, Pelin Tan and Anton Vidokle, Ritwik Ghatak, Aleksandr Rodchenko, Clemens von Wedemeyer, Stephan Dillemuth, Roee Rosen, Christian von Borries, Keti Chukhrov, Josef Dabernig, Olga Chernysheva, Wadysaw Strzemiski, Carlfriedrich Claus et al. Monday Begins on Saturday is the title of a fantasy novel from the 1960s about a magical research institute in the Soviet Union, written by Arkady and Boris Strugatsky. It is also the title of the first edition of Bergen Assembly, a new triennial of contemporary art. The projectwhich takes the form of an exhibition and this bookimagines a contemporary rewriting of the novel as an archipelago of fictitious research institutes. Through an aggregate narrative of essays, works of fiction, artworks, heterogeneous research materials, and curatorial notes, it delves into the idea that contemporary artistic research may be the place where the dialectical materialist magic of Monday Begins on Saturday has its afterlife.

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Kate Newby - Let the other thing in Sternberg Press 2013 ISBN 9783943365870 Acqn 22681 Pb 15x21cm 144pp 63col ills 20.95 Contributions by Paul Dean, Jennifer Kabat, Mami Kataoka, Kate Newby, Daniel Wong Edited by Rosemary Heather, Nicolaus Schafhausen In Kate Newbys site-responsive installations, handcrafted and found objects are often combined with words or phrases to form artworks that engage with the particularities of place. The New Zealand artists intimate engagement with materials and nonhierarchical involvement with space exhibit a sophisticated understanding of the role that architecture plays in the shaping of thought and perception, our sense of self in the body and in community. Copublished with Fogo Island Arts, this catalogue accompanies Newbys exhibition at the Fogo Island Gallery on Fogo Island, off the northeastern coast of Newfoundland in Canada. The publication features an interview with Newby by Mami Kataoka, an essay by Jennifer Kabat, and a conversation between Newby, geologist Paul Dean, and strategist Daniel Wong, as well as the artists "Skim Stone Pictures," a photo series of people skimming her ceramic stones into various bodies of water.

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Scandalous - A Reader on Art and Ethics Sternberg Press 2013 ISBN 9781934105870 Acqn 22684 Pb 17x23cm 178pp 22ills 16col 16.50 Texts by Petra Bauer and Annette Krauss, Franco Bifo Berardi, Galit Eilat, Ronald Jones, Maria Karlsson and Mns Wrange, Nina Mntmann, Peter Osborne, Marcus Steinweg, Nato Thompson; conversations between Simon Critchley and Miguel . Hernndez-Navarro, Renzo Martens and T. J. Demos Recent encounters between art and real life, the ubiquity of images of violence and humiliation in visual culture and the media, and the persistence of controversial debates on public and participatory art projects are raising fundamental questions about the importance of ethical decisions in art and curating. How far can provocation in art go, before it becomes cynical and abusive? Does good censorship exist? Are ethical decisions seen as more urgent in participatory art? This reader introduces current notions of ethics in several contexts related to the cultural field. Responding to the instrumentalization of ethics as a privileged tool of neoliberalism, the reader claims the need for an ethics that critically reflects the mechanisms of contemporary global power structures. The contributions discuss models of subjective and situational ethics and pit them against a canon of unquestioned principles and upturned notions of ethics and human rights.

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Cerith Wyn Evans The What If?... Scenario (after LG) Sternberg Press 2013 ISBN 9783943365887 Acqn 22690 Pb 24x30cm 128pp 61ills 56col 25 Edited by Eva Wilson and Daniela Zyman Contributions by Liam Gillick, Florian Hecker, Carsten Hller, Robin Mackay, Jeannie Moser, Molly Nesbit, Olaf Nicolai, Martin Prinzhorn, Maria Spiropulu, Eva Wilson, Cerith Wyn Evans, Daniela Zyman. A reality where matter meets dark matter, where the existence of a new elementary particle is conjured from theorylike an alternative world unlocked by psychotropic drugsand results in the most complex experimental facilities ever built, brings us to the heart of Wyn Evanss new work at the Augarten, A Community Predicated on the Basic Fact Nothing Really Matters, but also figures as a conceptual model for the publication. CERNthe European Laboratory for Particle Physicsis devoted to the detection of a particle of the most labile and liminal nature, the Higgs boson. The Higgs is an afterthought, the materialization of wishful thinking: the Large Hadron Collider at CERN is constructed entirely on the fiction of a simulated projection of the missing particle whose necessity was postulated long before its discovery. A Community Predicated on the Basic Fact Nothing Really Matters centers on the Higgs on the one hand and the formula for LSD on the other, both containing the potential of generating new worlds.

art august 2013

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