Problems, Trends, and Opportunities for Research. Author: Roger Dahood. Your Access Options. Log In If you have personal access to this content, log in with your username and password here: Email or username: Password: Remember me. Forgotten your password? Log In Via Your Institution. What are the contemporary conditions of labour producing this new state of affairs, and what re-skilling does it ask of artists?
These are some of the questions addressed in The Artist As. The New Performance Turn, Its Histories and Its Institutions The choreographic turn in the visual arts from to can be identified by the sudden emergence of works created by different visual artists around the world. Each used dance or choreographic procedures to reinvent, reimagine, and reimage how the visual arts produced and conceived its images and objects.
Central to this investigation is a refugee crisis that is primarily a crisis of global Western capitalism and its components: modernization, nationalism, structural racism, dispossession, and social, political, and economic violence. Natasha Ginwala, Daniel Muzyczuk Eds. The Museum of Rhythm The Museum of Rhythm is a speculative institution that engages rhythm as a tool for interrogating the foundations of modernity and the sensual complex of time in daily experience. When entering a larger cultural infrastructure such as the art museum, it juxtaposes modern and contemporary art with ethnographic research, cinema, music, and scientific instruments to set in resonance a critical apparatus and conduct exercises in Rhythmanalysis.
This book, and the exhibition upon which it is based, is an outcome of durational research that sees art as one of the means by which the ideologies of rhythm are implemented. The amalgamations of text and image appear in the form of audiovisual transcripts, much of the material scavenged verbatim from popular culture and the user-generated web content of platforms like YouTube, Craigslist, and Reddit.
Alex Klein, Milena Hoegsberg Eds. Ineke Hans Was ist Loos? Wolfgang Tillmans, Brigitte Oetker Eds. What Is Different? Jahresring 64 What Is Different? Since the early s Tillmans has been working on truth study centre , a cycle of works concerned with absolute claims of truth in social and political contexts.
Circling around contemporary issues of newly resurfaced right-wing populism, the phenomenon of fake news, and psychological findings such as the backfire effect, Tillmans, rather than analyzing the status quo, focuses on what has changed in the past ten, twenty, thirty, forty years. Why are societal consensus and institutions now under attack? Pierre Bal-Blanc Ed. This book extends the recollection and mental reconstruction of the artworks and reconstitutes the project's political aims. Ingo Niermann, Joshua Simon Eds.
Solution — Communists Anonymous Communists Anonymous understands the historical incarnations of communism as substantially incomplete in thought and practice, and places communism where it originated—in the realm of fiction. Only as fiction can communism manifest itself again beyond doubt. Armen Avanessian Miamification Armen Avanessian chronicles his stay in Miami as an experiment in writing about our times of individual optimization and digitization.
Can we, it asks, advance from conditions of financial feudalism and climate change to a progressive poetics of the digital? Daniel S. Berger, John Neff Eds. With an extended introduction by the editors, the book invites reflection on how fictions proliferate, take on flesh, and are carried by a wide variety of mediums—including, but not limited to, the written word. Was ist anders? Jahresring 64 Was ist anders? Ausgabe des Jahresrings, die Wolfgang Tillmans als Gastredakteur konzipiert und gestaltet hat.
Lori Waxman Keep Walking Intently The Ambulatory Art of the Surrealists, the Situationist International, and Fluxus Walking, that most basic of human actions, was transformed in the twentieth century by Surrealism, the Situationist International, and Fluxus into a tactic for revolutionizing everyday life. Each group chose locations in the urban landscape as sites—from the flea markets and bars of Paris to the sidewalks of New York—and ambulation as the essential gesture. Keep Walking Intently traces the meandering and peculiar footsteps of these avant-garde artists as they moved through the city, encountering the marvelous, studying the environment, and re-enchanting the banal.
The shifts that occurred in the art field during this time were accompanied by explicit critique and academic analysis that aimed to make the genesis of these transformations comprehensible. Peter G.
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Rowe published his pioneering book Design Thinking. In it, he interrogated conceptual approaches to design in terms of both process and form. Thirty years later, in a lecture at the Harvard University Graduate School of Design, Rowe offered a reappraisal of his earlier work, describing ways in which the capacities of the digital age have changed the way we perceive and understand creative problem-solving in architectural design. Using her photographs as conversation prompts with various residents, historians, and architects, Toukan places the anecdotes collected thereby into political and historical context, weaving together narrative and critique.
Khadija von Zinnenburg Carroll Ed. Botanical Drift Protagonists of the Invasive Herbarium Botanical Drift explores the hermeneutics, historicization, semiotics, and symbiosis of plants—past, present, extant, and extinct—around the globe. Plant histories are explored by significant and diverse feminist, art-historical, and anthropological voices—from Germaine Greer to herman de vries—bringing new perspectives through photo-essays, fiction, performance, and interventions in ecological, film, and translation archives.
Cevdet Erek SSS How to imitate the sound of the shore using two hands and a carpet SSS: How to imitate the sound of the shore using two hands and a carpet is, at first glance, exactly what it claims to be: an in-depth manual for staging a private or public performance, in which one uses both hands and a carpet to imitate the sounds of water making contact with land.
Charlotte Birnbaum Bon! Sugar was the building block for edible sculptures and model palaces made for festivals and celebrations thousands of years ago, and the main ingredient in lavish creations for Rococo and Baroque banquets. In Bon! What Was I Thinking? You Fuckers! Annika Bender was one of the pseudonyms of artists Dominic Osterried and Steffen Zillig, who wrote the blog Donnerstag now discontinued under her name. To make the criticism she proposed possible, and make public its conditions and inherent contradictions—as well as articulate the reasons for her disappearance—it proved necessary to confer Bender to the archive.
The prize includes two exhibitions at renowned art institutions in Germany and Belgium, the ars viva catalogue, and an artist residency on Fogo Island Canada. Anne Faucheret, David Jourdan Eds. The prospect of a fully automated future—while acutely reshaping the notions of work, production, and value creation—also feeds emancipatory scenarios ultimately leading to the end of labor. Total automation is upon us but its liberating promise is yet to be claimed. This book surveys the literature on that story.
It tracks its fabric, layers, and mediations, and unfolds a bibliography and chronology of automation and of its promises. The book investigates notions of the script, staging, and the conditions of the exhibition itself. Rethinking Density Art, Culture, and Urban Practices Rethinking Density: Art, Culture, and Urban Practices considers new perspectives and discussions related to the category of density, which for a long time has been part of urban-planning discourses and is now regaining the attention of artists and practitioners from a number of different disciplines.
In an interplay of models, coping strategies, and experimental approaches, this publication combines research from cultural studies, artistic research, sound studies as well as architectural and urban theory. Comprising a series of twenty conversations conducted by Thorne with the artists, curators, and educators behind these schools, the book maps a territory at once fertile and contested.
Michael Tedja The Holarium: Negeren Series Unlike a number of artists who have begun to use negation, detachment, and inaccessibility as tools to reflect upon and problematize the narratives mapped onto them as members of diasporic or immigrant communities, Michael Tedja plays the other extreme. His work seems to exceed and absorb the institutions that attempt to codify him one way or another.
Atelier Bow-Wow with K. Explaining their belief in the behavioral capacities of humans, architecture, and nature, Tsukamoto and Kaijima reveal the generous spirit of their work, and the importance of pushing such capacities to their most yielding limits. The dead must be brought back to life using means of advanced technology—resurrected not as souls in heaven, but in material form, in this world, with all their memories and knowledge. Craig Kalpakjian Intelligence Among the first artists in his generation to employ digital software in the creation of art objects, Craig Kalpakjian engages with both historical art discourses and contemporary issues.
In his work, Kalpakjian focuses on the seduction of technology and digital space from a critical position, questioning utopian ideals and suggesting darker implications. Louise Schouwenberg Ed.
Dragon de glace
Material Utopias In the slipstream of conceptual art, the intimate interweaving of meaning and materialization in art and design came to be discredited in the second half of the twentieth century. Joasia Krysa Ed. Systemics or, Exhibition as a Series Index of Exhibitions and Related Materials, —14 Systemics brings together a collection of new writing and curatorial projects that unfolded at Kunsthal Aarhus, Denmark, over a two-year period from to Contained here are its various parts: details of the four core exhibitions and related events, two commissioned exhibitions, and four essays, together comprising the Systemics series program as a whole.
Like any series, it unfolds over time, in associative parts, using descriptive and poetic exhibition titles to develop a cumulative experience.
Daniela Zyman, Cory Scozzari Eds. In projects such as his magnum opus Fish Story —95 , or films like Lottery of the Sea and The Forgotten Space , Sekula provided a view from and of the sea. Demos Against the Anthropocene Visual Culture and Environment Today Addressing the current upswing of attention in the sciences, arts, and humanities to the proposal that we are in a human-driven epoch called the Anthropocene, this book critically surveys that thesis and points to its limitations.
Art historian T. Demos analyzes contemporary visual culture—popular science websites, remote sensing and SatNav imagery, eco-activist mobilizations, and experimental artistic projects—to consider how the term works ideologically, proposing more than merely a description of objective geological periodization. It is often said that we no longer have an addressee for our political demands.
We have each other.
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What we can no longer get from the state, the party, the union, the boss, we ask for from one another. And we provide. With examples of unexpected collectors and serendipitous outcomes, Shaw investigates the obscure desires that shape art collecting and the public goodwill that results from it. Bik Van der Pol Ed.
Her texts record specters and realities of culture, migration, and displacement, compounding the vagaries of rhetoric and poetics with those of personal history and criticism. Andrew Goodhouse Ed. When Is the Digital in Architecture? When is the digital in architecture? What are the conditions that led architects to integrate digital tools into their practices? There are eight million stories of the origins of the digital in architecture, and this book brings together fourteen of them.
The arguments address specific changes in ways of thinking about architecture, building, and cities, as well as the shifts in technology that resulted from these changes, marking both a capstone of Archaeology of the Digital and the start of an investigation into other beginnings of the digital in architecture. These operative terms situate his work between forms of linguistic description and the history of reflexive material practices in art. Rather, they are shaped by always-evolving social, institutional, and physical relations.
At that moment, human-related phenomenological analysis clashes with the media-archaeological close reading of the technological event, in an impossible effort to let the temporeal articulate itself. The Submarine Horizons of Contemporaneity It is said that we know more about far-away galaxies than we do about the bottom of the oceans on earth. One could say something similar about our relationship to the future and to the contemporary.
Searching for the present is a bit like deep sea diving. How to dive without drowning in the turbulent waters of now? How to find and share sources of illumination in submarine darkness? When to surface and how to ride a strong current? These are some of the questions that Raqs Media Collective address in their account of contemporaneity, guided by a motley collection of figures lost and found in the turbulence of their practice.
Projected onto monumental screens in the Boiler House at the KINDL — Centre for Contemporary Art in Berlin from late summer to spring , Olympia aims to exceed the human ability to imagine time, thus radically surpassing our own experience of the world. Nowadays, a large part of it is based on producing and consuming vast amounts of clothing. Collections are manufactured at dizzying speeds and sold for extremely low or incredibly high prices. This fast-changing business is hard to break into, or out of. How, as a designer, do you deal with this system and come up with innovative ways of designing, producing, promoting, financing, and selling?
Stephan Dillemuth Schall und Rauch. The exhibition presented newly conceived works alongside works from the s exhibited for the first time. It gathers more than twenty projects realized between and , including rarely viewed early works that help us see her most recent production from a new perspective. In response to the increasing transformation of public spaces into functional areas toward which individuals are guided to fulfill a given activity, the two artists call upon citizens to become uchronists, to infiltrate public life with physical modules coming from daily behaviors, synchronized and adjusted according to context.
Margarida Mendes Ed. Matter Fictions Matter Fictions addresses fiction as a mode of producing reality as well as the significance of matter—animal, vegetable, mineral, hybrid—beyond binaries. Here, fact and fiction press up against each other and the conflict of one North is reinscribed in another. This extensive volume loosely catalogues four hundred and twenty works from this series at a one-to-one scale, in precisely rendered photographs. Conceived as a field of production and mutual learning, Green light works with refugees, asylum seekers, migrants, and NGOs to fabricate an unlimited edition of fully functional lamps: geometric, stackable modules made from recyclable materials and fitted with a welcoming green light.
Providing fundraising and education opportunities, Green light workshops first took place in Vienna in , and have since been hosted at the Moody Center for the Arts, Houston, and the 57th Venice Biennale. As experience becomes fact, the past turns into objective matter. His paintings and videos are as much investigations of the processes shaping the narration of events in his home country of Albania as they are reflections on the nature of the image as such.
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Transcending the limits of our planet, data collection has become a fundamental tool with which to map the earth and beyond. Launched as the online journal of the biennial, the reader pairs texts or image-based contributions, allowing for a sense of tension and affinity to develop in the feedback loop of the two voices.
Relationships around the artwork as site of evidence and testimony are thus reoriented. The multidimensional readings are not restricted to the active apparatus of law and discipline, but instead seek to unravel the synchronies of our times—the mesh of injustice in our midst. The presentation of some fifty works is not necessarily categorically or linearly organized; rather, it appears completely free of hierarchy, with photographic styles, subjects, and techniques displayed on equal footing.
First Things First emphasizes a juxtapositional approach, a dynamic and free arrangement of various subjects and styles. Through multiple exchanges between members of thirty-two Huni Kuin communities in Brazil, this publication brings together threads from anthropology, art, and science that are interwoven, like the movement of a serpent, with essay contributions, oral histories, drawings, and traditional song.
At the heart of this collection are three provocative texts extracted from important artworks by Rosen, offered here as genre-defying literature at the intersection between reality and fiction, speculative narrative and historical-political critique, humor and eroticism. Omar Berrada Ed.
This publication is conceived as a parallel exhibition in book form, and contains original interventions by and in collaboration with the artists. Armen Avanessian Overwrite Ethics of Knowledge—Poetics of Existence The original ideals of the Enlightenment research university and the rise of aesthetics in modernity have been decisive in shaping neoliberal capitalism. How, then, might we endeavor to change the academic status quo? Philosopher and political theorist Armen Avanessian argues that the ethical dimension of knowledge can produce a new reality. Looking beyond aesthetics and its critical imagination, can the speculative poetics of collaborative writing free us from the dominant regime of the academy and, by extension, the art world?
It examines the space of arrival as a complicated and disjointed nexus between departure, displacement, and return. In a present moment teeming with erosions—where even history and the human are called into question— Cultural Revolution: Aesthetic Practice after Autonomy reconsiders these changing values, for relegating such notions safely to the past betrays their possibilities for potential today. Minouk Lim United Paradox What role does historiography play in the formation of the present?
How does contemporary experience inform the commemoration of historical events or lack thereof? Minouk Lim explores history in the present tense—its media representation, collective memory, ritual, and trauma—through her exhibition, publication, and broadcasting station United Paradox. The collaboration is structured around Maiwar Performance, in which the CityCat ferries that ply the Brisbane River Maiwar execute unannounced maneuvers near a site of significance to the Aboriginal people who lived on the lands around Brisbane before British colonization in the early nineteenth century.
Helke Bayrle Portikus Under Construction, — In , Helke Bayrle began videotaping the installation of each exhibition at the Portikus exhibition space. These videos form a remarkable and intimate archive of the storied Frankfurt contemporary art institution and the exceptional artists and personnel that have worked within it. The Flood of Rights It is difficult to imagine making claims for human rights without using images. For better or worse, images of protest, evidence, and assertion are the lingua franca of struggles for justice today. And they seem to come in a flood, more and more, day and night.
But through which channels does the torrent pass? The Flood of Rights examines the pathways through which these images and ideas circulate—routes that do not merely enable, but actually shape human-rights claims and their conceptual background. Taken together the works are a collection and an archive of time shown in modern images, raising questions on how we contemplate ideas of nature. Categories such as living ceramics, food advice, ghostology, synesthesia, and transformation are woven throughout the book, giving unique insight into the ideas and imagination that are part of the work itself.
Luca Lo Pinto Ed. Marcus Verhagen Flows and Counterflows Globalisation in Contemporary Art Over the past quarter century, artists have made powerful interventions in debates around globalisation, addressing various dimensions of cross-border exchange, from mass migration to the dynamics of translation, and devising new ways of conceptualising them.
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At least not without magic. And a touch of trickery. Robert Stadler, Alexis Vaillant Eds. Devised largely in response to the gradual breakdown of the divide between art and design that began over a century ago, this book sheds light on the ways that the concept of the thing as idea has been considered over time.
However, at the last minute the project was censored by the Chinese Cultural Bureau, turning what was to be an investigation of libraries and the institutional sharing of culture into an intimate reflection on power and censorship, political art, and the historical experiences shared across formerly divided Germany and the two Koreas.
Joanna Warsza Ed. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From to , biennials in Istanbul, St. The contributions also look across and beyond the field of media art, staking out new paths for understanding and working in the transversal territories between theory, technology, and art.
Jesse Birch Ed. Black Diamond Dust This publication expands a multisite contemporary art exhibition that took place in Nanaimo, British Columbia, a small city on the eastern edge of Vancouver Island. The title refers to coal mining, an industry that has formed and fragmented communities through economic development, racial segregation, and labor inequity, while fueling the modern world.
In this book, forgotten or under-acknowledged histories are investigated and discussed along with cultural forms that surround the practices of international coal mining. Contemporary artworks, poetry, essays, literature, folk songs, and archival images come together to extract meaning from this fossilized black carbon that continues to power our cities. CATPC brings together a unique gathering of individuals—along with its members and partner institutions that are engaged in dialogue with it—and attempts to rethink postcolonial power relations within the global art world.
And so we find Vincenzo Latronico attempting to get in touch with E. Alex Coles Ed. EP Vol. Practitioners and theorists explore this strategy by pushing the debate into both speculative and real-fictitious terrains. Newly commissioned interviews, artist projects, and essays shed light on topics such as parafiction and algorithmic ambiguity. It is the first volume in a series of books that focuses on what is happening both inside and outside of the art institute.
Cultures of the Curatorial 3 Hospitality: Hosting Relations in Exhibitions A curatorial situation is always one of hospitality. This publication analyzes the curatorial within the current sociopolitical context, through key topics concerning immigration, conditions along borders, and accommodations for refugees. The contributions in this volume, by international curators, artists, critics, and theoreticians, deal with conditions of decontextualization and displacement, encounters between the local and the foreign, as well as the satisfaction of basic human needs.
The artist situates his paintings in complex interrelationships, where connections and relevancies are constantly reconfigured, forming a continuously growing web. Lydia Okumura Situations For almost fifty years, Lydia Okumura has explored the realm of geometric abstraction. She challenges our perception of space through sculptures, installations, and works on paper that blur distinctions between dimensions.
Spaces of Commoning Artistic Research and the Utopia of the Everyday Spaces of Commoning: Artistic Research and the Utopia of the Everyday is the outcome of a research project pursued by a group of artists, architects, and social theorists. In the face of an exhilarating politics of accumulation and dispossession, the group explores commoning as the subject as well as the means of its study.
This has been a key undercurrent to a practice that spans painting, sculpture, video, and installation. Following the lure of the fringes, the artist culls her imagery from fan-gore magazines, true-crime TV shows, fetish websites, obscure online forums, and hidden chat rooms tucked away in the darker reaches of the Web.
Boris Groys Ed. Martin Herbert Tell Them I Said No This collection of essays by Martin Herbert considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity.
By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Hannah Rickards Grey light Left and right back, high up, two small windows Grey light. Left and right back, high up, two small windows is a major new work by London-based artist Hannah Rickards commissioned by Fogo Island Arts.
Anthony Downey Ed. Future Imperfect Contemporary Art Practices and Cultural Institutions in the Middle East Future Imperfect critically examines the role played by cultural institutions in producing present-day and future contexts for the production, dissemination, and reception of contemporary art in the Middle East and North Africa. It offers historical contexts for discussions that have become increasingly urgent in recent years—the role of culture in a time of conflict and globalization—and an in-depth critique of the state of cultural institutions in an age of political upheaval, social unrest, exuberant cultural activity, ascendant neoliberal forms of privatization, social activism, and regional uncertainty.
Since , however, her main focus and passion has been painting. The title of this publication describes the main focus of her work: the still life. Texts by writers and artists and an interview with Du Pasquier provide an informative and subjective view of her artistic practice. The diversity of voices in this publication mirrors the complexity of the region itself: its various curatorial spaces, infrastructures, and political systems.
Welcome to Transciency Preis der Kunsthalle Wien Addressing possible configurations of art and nature, Margit Busch, recipient of the Kunsthalle Wien Prize , created a laboratory-cum-experiment that included mealworms and beetles that consume, and thus recycle, polystyrene plastic. Andrej Polukord The Sarcophagus Preis der Kunsthalle Wien Andrej Polukord, corecipient of the Kunsthalle Wien prize, draws on painting, installation, performance, and video art to create unpredictable environments and absurd situations that produce double meanings and ambiguity.
Polukord installed The Sarcophagus at Kunsthalle Wien, an environment that takes the form of a cave. In this installation mushrooms grow from the ceiling of the Kunsthalle, transforming the gallery into the space of an inverted forest floor. Hubs and Fictions On Current Art and Imported Remoteness Hubs and Fictions , originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures are invented against its background. The book functions as a deliberately discontinuous reader; it juxtaposes documents, negotiations, and reflections from and on these conversations.
Monica Ross Ethical Actions A Critical Fine Art Practice British artist Monica Ross — left behind forty years of socially engaged, feminist, and performative artwork, which has had a deep effect on contemporary art and society. Boris Groys Particular Cases This collection of essays does not aim to illustrate a prefabricated theory of art, but rather follows the impulses given by artworks themselves.
Philosopher and art critic Boris Groys writes about significant artists and artworks of the last century that have pushed his thinking and writing in a new direction.
Summary Bibliography: Robert Holdstock
His striking and original arguments do not try to substitute the singular content or message of an artwork. Rather, the writings are inspired by art as a mind-changing practice—as if contemporary artists, completely secularized, can still produce a sort of conversion within the spectator. Jan Paul Evers, Leon Kahane, Jumana Manna ars viva The ars viva Prize has been awarded annually since to young artists living in Germany whose work stands out for its innovative potential and high artistic quality.
These objects consist of collapsible and modular furniture-like elements, as well as seemingly nonfunctional sculptures made of light materials Karina Mendreczky Preis der Kunsthalle Wien With delicate lyricism, Karina Mendreczky creates fictional landscapes using light and shadow. Silhouettes of acrylic trees, whose details were hand-carved with an etching needle, were projected onto the back wall of the gallery to create the impression of actual large-format drawings.
Signature Strengths The No-Frills book series was developed in the early s as a translation of the non-branding strategy of supermarket staples to mass-market genre fiction. An immediate response would be that contemporary art is an art of the present, that it somehow addresses and expresses the present. But what is this present? What constitutes the present present or the contemporary contemporary? This first book in the Contemporary Condition series introduces some of the key issues concerning contemporaneity as a defining condition of our historical present.
It thus acts as an extended preface to the series as a whole, calling for a rethinking of the deep structures of temporalization that render our present the way it is. This is approached through art and design practices that unfold this multiplicity of time, closely entwined with contemporary concerns in aesthetic theory, to understand and engage with the planetary time scales of slow environmental violence. Terry Smith The Contemporary Composition Can we speak of composition when we are in a state of unfathomable decomposition?
Art being made today defies coherent categorization, and the world presents itself, day after day, as spinning into confused chaos, structural disintegration, and violent disorder. Revising his well-known histories of contemporary art, Terry Smith argues that we must respond to the compelling need for coeval composition at a time defined by the contemporaneity of divisive difference. This book traces how—despite many obstacles—visual artists across the globe are rising to this challenge. Listening is a political act, a pedagogical process, and an activity that can lead to the development of an organized protocol for engagement.
In his art and research, Beirut-based artist Lawrence Abu Hamdan explores the perception of language, sound, and listening. National identity, human rights, and the administration of justice are recurrent themes in his work. The exhibition and publication are the first to present the work of Bennett since his death. The works in the show tackle narratives from his own geographical region—Asia Pacific, in which his home country of Australia plays a colonial role—and weaves them into a bigger picture to take into account the global economy, resource extraction, and the ultimate power of the sun.
Angela Bulloch, Maria Zerres Considering Dynamics and the Forms of Chaos This volume accompanies the eponymous exhibition at the Sharjah Art Museum—two parallel solo shows by Angela Bulloch and Maria Zerres brought together under one title, framed by the notion of entropy. A key term that characterizes the movement toward chaos, entropy appears in a variety of fields such as physics, probability theory, sociology and information technology. Within contemporary art, entropy has emerged to refer to installations often associated with representations of order, disorder and information, and their homogeneity.
Tirdad Zolghadr Traction Traction argues that contemporary art is defined by a moral economy of indeterminacy that allows curators and artists to imagine themselves on the other side of power. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. Un monument de la fantasy, mais une lecture difficile, quoique que fascinante. Sem Morgenstern rated it it was amazing Mar 05, Rapha Nunu rated it it was amazing Jul 07, Nadia rated it liked it Dec 08, Snowsheep rated it it was amazing Feb 17, Jolly Jullie rated it it was amazing Mar 29, Raphael Severan rated it liked it Aug 05, Geoffrey Foret rated it it was amazing Jul 20, Daisy M.
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