Bøger udgivet af Sternberg Press

In recent years, it has been possible to discern a growing interest in diagrams. The exhibition Schaubilder (Diagrams) explores how these developments affect the worlds of images in contemporary art. This publication presents ten artists who deal with diagrammatic forms in their work. The additional text contributions from the perspectives of art theory, philosophy, and information design encourage an ongoing discussion of the theme.Copublished with Bielefelder KunstvereinContributorsNicolas Bourquin, Ruth Buchanan, Gerhard Dirmoser, Nikolaus Gansterer, Philipp Hamann, Luis Jacob, Eva Kotátková, Susanne Leeb, Michael Najjar, Alexandre Singh, Marcus Steinweg, Niloufar Tajeri, Thomas Thiel, Jorinde Voigt, Kirsten Wagner

A look, through the work of Ilona Németh, at the transitioning social and economic infrastructure of Eastern Europe. Eastern Sugar was the name chosen by Générale Sucrière and Tate & Lyle for their joint venture to acquire sugar factories across Central Europe after the fall of communism in 1989. In the mid-2000s, the Franco-British consortium cashed in its investment to take advantage of a European Union compensation scheme and permanently shut down its sites. This book takes as its starting point artist Ilona Németh's extensive research into the history of sugar production in the region, from its beginnings in the early nineteenth century, when northern sugar beet emerged as a competitor to southern sugar cane, to the social impact of the rapid decline of the industry in the era of peak globalization. The fate of Eastern Sugar is explored as a microcosm of the mechanisms of postcommunist transition across Central Europe from the opportunism of financial speculators to the endemic corruption of privatization, posing the question of whether neoliberal marketization was the only viable exit strategy from state socialism. Contributions dealing with the social and environmental legacies of Caribbean sugar plantations situate the sugar histories of Eastern Europe within the spread of a monocultural system based on (neo)colonial extractivism. Through critical texts, conversations, and artistic interventions, Ilona Németh: Eastern Sugar restores complexity to the history of the rapid decline of the Slovak sugar industry, and by extension the wider social and economic infrastructure of transition in Central Europe, while at the same time opening up planetary trajectories for postcapitalist alternatives. ContributorsEdit András, Fedor Blasčák and Rado Baťo, Johanna Bockman, Kathrin Böhm, Anetta Mona Chișa, Cooking Sections, Annalee Davis, Maja and Reuben Fowkes, Ferenc Gróf, Dusan Janíček, Edit Molnár, Ilona Németh, Michael Niblett, Raj Patel and Jason W. Moore, Joanna Sokolowska, Imre Szeman, Raluca Voinea copublished with Slovak National Gallery, Bratislava

Jos de Gruyter & Harald Thys's art casts a merciless perspective on reality. Through their numerous artistic approaches--including installations, video, drawing, sculpture, performance, and photographs--the artist duo visualize their imaginings of the parallel world inherent within the modern human psyche, along with how it manifests itself in the everyday aspects of life and civic conformity. Everything from work, leisure, and family, to social class, masculinity, and marginalization are envisaged through convening an unlikely cast of nonprofessional actors, family members, friends, beards, objects, and mannequins alike, often in banal, homespun settings rife with awkward power dynamics. This book accompanies their major exhibition at M HKA of the same title--the term they use for their particular conception of the parallel world. Narratives and criticism by Michael Van den Abeele, Nav Haq, Jennifer Krasinksi, Dieter Roelstraete, and artist Peter Wächtler are presented along with photos, drawings, and text illustrating the unsteady barriers and tense contact between "Optimundus" and the real world. Copublished with M HKA and Kunsthalle Wien

Slow Narration Moving Still takes Florian Zeyfang's 2009 solo exhibition at the Bildmuseet in Umeå as its starting point and ends with the artist's newest work shown at Künstlerhaus Stuttgart and KW Institute for Contemporary Art, Berlin. The arrested film, the silent video still, the rhythm of the slide projector--Zeyfang's videos, slideshows, and installations explore a politics of form. Along the lines laid out by experimental film, the works explore, in the language of a "minor medium," the possibilities of minimal narratives.But this publication is more than a monograph. On the occasion of the 2009 exhibition, Anselm Franke and Marc Glöde prepared lectures on the perception of slides in art, Walter Benjamin's complex notions of the "dialectic image" and the "image sphere," and the horizon as the border of visual operation. For this volume they developed these ideas further into subjective analyses of artistic narration. Ariane Müller tosses a stone in a lake and Adnan Yildiz talks with Zeyfang about image, time, and the narrating archive. An interview by Bildmuseet's director Katarina Pierre runs through the publication, and an extensive index translates the concept of Zeyfang's films into the printed format.Copublished with Bildmuseet, Academy of Fine Arts, Umeå universitet, and Künstlerhaus StuttgartContributorsAriane Müller, Marc Glöde, and Anselm Franke; interviews by Katarina Pierre and Adnan Yildiz

Can practice-led research in the arts develop legal frameworks for understanding the future of digital technologies and their relationship to airspace? Topologies of Air and Lesions in the Landscape are two major bodies of work by Shona Illingworth. Informed by the artist's long-term investigations into individual and societal amnesia, these projects critically examine the devastating psychological and environmental impacts of military, industrial, and corporate transformations of airspace and outer space. Employing interdisciplinary research and collaborative processes, Illingworth's practice uses creative methodologies to visualize and interrogate this proliferating exploitation of airspace. Through the development of a proposed new human right, Topologies of Air and Lesions in the Landscape connect diverse cosmologies, knowledges, and lived experiences to counter the colonization of the sky and protect individuals, communities, and ecologies from ever-increasing threats from above. ContributorsCaterina Albano, Amin Alsaden, Jill Bennett, Giuliana Bruno, Martin A. Conway, Anthony Downey, Conor Gearty, Derek Gregory, Nick Grief, Andrew Hoskins, Catherine Loveday, Issie Macphail, William Merrin, Renata Salecl, Gabriele Schwab, Gaëtane Verna

Once described as "Italy gone Marxist," Georgia, located in both an advantageous and vulnerable geopolitical position between the Black Sea, Russia, Central Asia, and the Middle East, enjoys a Mediterranean climate and viniculture in combination with a community-oriented and self-determined spirit. Its informal, vernacular, and palimpsestic architecture--reflected in the stunning former Ministry of Highways erected in 1975--reveals the uncanny anticipatory and progressive potential of a place where the past is neither monumentalized nor destroyed, but built upon. Taking the exhibition "Frozen Moments: Architecture Speaks Back" (2010) as its starting point, this guidebook maps the social, urban, and art discourses of the country's post-Soviet years as seen from its hilly capital of Tbilisi. The publication accompanies the exhibition of the Georgian Pavilion at the 55th International Art Exhibition--la Biennale di Venezia titled "Kamikaze Loggia," curated by Joanna Warsza. Copublished by the Other Space Foundation and Casco--Office for Art, Design and Theory ContributorsEi Arakawa, Ruben Arevshatyan, Levan Asabashvili, Bouillon Group, George Chakhava, Thea Djordjadze, Didier Faustino, Yona Friedman, Nana Kipiani, Nikoloz Lutidze, Marion von Osten, Nini Palavandishvili, Gela Patashuri, Lali Pertenava, Marjetica Potrč, Richard Reynolds, Slavs and Tatars, Gio Sumbadze, Sophia Tabatadze, Éric Troussicot, Jan Verwoert, Aleksandra Wasilkowska, et al.

A singularly authoritative--yet also anti-authoritative--gathering of a life's work in art, education and activism.For more than half a century, the artist Luis Camnitzer has been concerned with the same things. The essays gathered in this book outline a radically democratic and frequently provocative vision of both art and education. In the first essay, written in 1960, Camnitzer proposes curricular change of the Escuela Nacional de Bellas Artes in Uruguay, part of a collective effort to bring the school up to the ideal level Camnitzer and fellow artists, students, and educators desired. And in the final essay Camnitzer sums up what he would want an art school to be if he applied to one today--suggesting (with typical dry wit) that the first effort to improve art education may not have succeeded. Working across such mediums as printmaking, sculpture, language, and installations, Camnitzer's work investigates how power is exercised and can be challenged in society. An influential teacher, over the six decades covered by this volume, he has interrogated the power structures inherent to the practice of art at the same time as he explores its liberating potential. Many of these texts are published here for the first time. The book offers a singularly authoritative--yet also anti-authoritative--gathering of a life's work in art, education and activism.

An examination of the use of modernism in the twentieth-century battle for US hegemony, through the activities of the CIA-funded Congress for Cultural Freedom.Parapolitics confronts the contemporary fate of intellectual autonomy and artistic freedom by revisiting the use of modernism in the twentieth-century battle for US hegemony. It builds on a major exhibition at Haus der Kulturen der Welt (2017-18) that took as its starting point the Congress for Cultural Freedom (CCF)--an organization covertly funded by the Central Intelligence Agency in order to steer the Left away from its remaining commitment to communism. Paying particular attention to CCF activities in the non-European world during a period of decolonization and the Civil Rights Movement, Parapolitics assembles archival documentation from five continents alongside a selection of historical artworks to explore the context in which artists negotiated the framing and meaning of their work. A rich reference book for future researchers and everybody interested in the legacy of modernism, the publication also presents more than thirty newly commissioned contributions by contemporary artists and scholars.

What comes after end-of-world narratives: visions of just futurity and multispecies flourishing.There is widespread consensus that we are living at the end--of democracy, of liberalism, of capitalism, of a healthy planet, of the Holocene, of civilization as we know it. Drawing on radical futurisms and visions of justice-to-come emerging from the traditions of the oppressed--Indigenous, African-American, multispecies, anti-capitalist--as materialized in experimental visual cultural, new media, aesthetic practices, and social movements, in this book. T. J. Demos poses speculative questions about what comes after end-of-world narratives, arguing that it's as vital to defeat fatalistic nihilism as the false solutions of green capitalism and algorithmic governance. How might we decolonize the future, and cultivate an emancipated chronopolitics in relation to an undetermined not-yet? If we are to avoid climate emergency's cooptation by technofixes, and the defuturing of multitudes by xenophobic eco-fascism, Demos argues, we must cultivate visions of just futurity and multispecies flourishing.

Martin Beck's exhibition "Panel 2--'Nothing better than a touch of ecology and catastrophe to unite the social classes...'" draws on the events of the 1970 International Design Conference in Aspen (IDCA) and the development of the Aspen Movie Map to form a visual environment that reflects the interrelations between art, architecture, design, ecology, and social movements. The 1970 IDCA marked a turning point in design thinking. The conference's theme, "Environment by Design," brought together venerable figures of modern design in the United States, including Eliot Noyes, George Nelson, and Saul Bass; environmental collectives and activist architects from Berkeley such as the Environmental Action Group, Sim Van der Ryn, and Ant Farm; as well as a group of French designers and sociologists, among them Jean Aubert, Lionel Schein, and Jean Baudrillard. The conference quickly escalated into a site of unresolvable conflict about communication formats and the potential role of design for environmental practices in a rapidly changing society. The ensuing decade heralded the development of an interactive navigation system, which used the same Colorado resort town as its test site. The Aspen Movie Map--initiated by MIT's Architecture Machine Group (the predecessor to the Media Lab) and partially funded by the US Department of Defense--is an image-based surrogate travel system using footage filmed in Aspen. Meant to prepare users for quick orientation in places they have never been to, the Aspen Movie Map was a seminal prototype for today's military and consumer navigation systems. The Aspen Complex documents two versions of Beck's exhibition--at London's Gasworks and Columbia University's Arthur Ross Architecture Gallery--and brings together yet unpublished archival material and new research on the 1970 IDCA and the Aspen Movie Map.

A prominent critic and theorist considers the criteria of value for collecting and storing works of art. In modernity, the museum was the institution that made art accessible to the broader public. An artwork was collected if it was considered beautiful, passionate, engaged, or critical--and primarily if it was deemed historically relevant. But today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the display of art. In our age of digital media, how does a particular artwork get selected for a museum collection? Which symbolic criteria must this artwork satisfy for it to obtain value? And in what ways does the institution of the museum remain relevant? Logic of the Collection is framed by Boris Groys's original and provocative proposition: an artwork is considered historically relevant if it fits the logic of the museum collection. In these critical essays, the distinguished philosopher and theorist of art and media analyzes the relationship between the logic of the collection and various modern ideologies. He reflects on the explosion of art production and distribution through the ascendency of digital media as well as the ways in which the accumulated artworks will be collected and preserved in the future, as the potential limits of public and private collections are reached.

Authors respond to the architectural true-to-scale models of Peter Friedl's Rehousing series. Rehousing is the title of a series of works by Peter Friedl which comprises a selection of individual, intricate, and true-to-scale models of houses. Collectively, these structures materialize as constructed environments that reflect the recent past, different biographies, and ideologies in diverse ways; they are "case studies for the mental geography of an alternative modernity" Rehousing is also the title of this publication, which revisits and reconceives the series through the juxtaposition of images of the individual models with a diverse collection of short stories and poems. Imagined as an anthology, as well as an artist book, it constitutes a reframing of the houses by the contributing authors who expand on the separate history of the buildings, draw on them to realize alternative fictions, or depart entirely from the origins of the related house altogether. Rehousing furthermore signals a change of location: a literal and metaphorical move to another type of accommodation, space, place, shelter, or home. Contributors Hanif Abdurraqib, Ibrahim Al-Koni, Hala Alyan, Attila Bartis, Dionne Brand, Amina Cain, Ann Cotten, Achmat Dangor, Mark Z. Danielewski, Renee Gladman, Nalo Hopkinson, Annemarie Jacir, Davide Longo, Sabrina Orah Mark, Mohale Mashigo, Céline Minard, Karen Pinkus, Mark Von Schlegell, Madeleine Thien, Mike Wilson

An examination of the relationship between art and cybernetics and their intersections, with works that use the powerlessness of art. Cybernetics of the Poor examines the relationship between art and cybernetics and their intersections in the past and present. From the late 1940s on, the term cybernetics began to be used to describe self-regulating systems that measure, anticipate, and react in order to intervene in changing conditions. Initially relevant mostly in the fields of administration, planning, criminology, and early ecology, under digital capitalism cybernetics has since become an economic factor (particularly in the realm of big data). In such a cybernetic totality, art must respond to a new situation: a cybernetics of the poor. Cybernetics of the Poor presents work that uses the powerlessness of art--its poverty--vis-à-vis the cybernetic machine to propose countermodels: work that is both recent and historical by artists who believed in cybernetics as a participatory, playful practice or were pioneers in delineating a counter-cybernetics. How much of what Thomas Pynchon termed "counterforce" exists within art when it is conceived as a cybernetics of the poor?

Examinations of Francis Ponge's texts on Jean Fautrier's "Hostage Paintings," Jack Whitten's Memorial Paintings, and Banksy's auction stunt Love is in the Bin.This book contains three case studies on very different artists, analyzing their work through their respective historical contexts: the writer Francis Ponge (1899-1988) and his seminal text on Jean Fautrier's "Hostage Paintings" from 1943; visual artist Jack Whitten's (1939-2018) Memorial Paintings and Banksy's notorious auction stunt Love is in the Bin from 2018. Examining all three artistic propositions from a value-theoretical point of view, Graw finds Ponge's text on Fautrier to be "doubly materialist" insofar as it (seemingly) reveals its own material conditions while simultaneously grasping the specific materiality of Fautrier's paintings; suggests that the indications of value in Whitten's painting to be more indirect; and reveals Banksy's value reflections to have a very different generational thrust. Gaw shows that Ponge's text is full of value-reflexive insights but that Ponge himself is an ambivalent figure. She finds that the dedication of Whitten's paintings inscribes them in a system of exchange. And, finally, the deliberate aesthetic meagerness of Banksy's Love Is in the Bin points to an emptiness at the heart of value. Institut für Kunstkritik series

A reader on issues of race, class, and gender in post-Socialist states from an artworld perspective. Come Closer: The Biennale Reader, published on the occasion of the inaugural Prague biennale, considers the present via counter-hegemonic readings of the past. The book explores various perspectives of class, race, and gender differences in post-socialist states, past and present. In societies today that can seem fragmented, alienated, and sealed-off, a feeling of "us" and "them" can potentially emerge. The reliance on a common language to bring people closer often does the opposite, leading to feelings of contempt, anxiety, and fear. By drawing attention to themes of intimacy, care, and empathy, the contributions in this book search for new types of communication that can bring people together. Like language, art can be used to mediate these differences, and to examine issues relating to how people coexist in society. Come Closer comprises republished texts as well as newly commissioned contributions from both emerging and established artists, social and political scientists, and art historians from Eastern Europe, Asia, and the United States. Contributors Jérôme Bazin, Heather Berg, Pavel Berky, Anna Daučíková, Patrick D. Flores, Isabela Grosseová, Vít Havránek, Marie Iljasenko, Rado Istok, Barbora Kleinhamplová, Eva KoťÃ¡tková, Kateřina Lisková, Ewa Majewska, Tuan Mami, Alice Nikitinová, Alma Lily Rayner, Sarah Sharma, Jirka Skála, Adéla Souralová, Edita Stejskalová, Tereza Stejskalová, Matěj Spurný, Ovidiu Tichindeleanu, Simone Wille

A lecture by the originator of object-oriented philosophy, delivered on the occasion of the Sculpture after Sculpture exhibition at Moderna Museet, Stockholm.Can objects be traumatized? How does the commercial value of an art object relate to its aesthetic qualities? How do objects interact? These are some of the questions addressed by Graham Harman, the originator of object-oriented philosophy and a central figure of the Speculative Realism school of thought in contemporary philosophy. This book includes Graham Harman's lecture "What Is an Object?" delivered at Moderna Museet in Stockholm, on the occasion of the exhibition "Sculpture after Sculpture," with Jeff Koons, Charles Ray, and Katharina Fritsch--artists, who have expanded the notion of the object in art and society at large. In his lecture, Harman gives a thorough exposition of the object from an ontological standpoint and puts forward a concept of the object that goes beyond reductionist orientations. He declares a philosophical approach bringing philosophy and the arts closely together, where objects are impenetrable to direct knowledge and paraphrase and instead must be approached obliquely and indirectly. The publication also includes a symposium in which thirteen questions to Graham Harman--among and in relation to the thirteen sculptures of the show--that were posed about the implications of object oriented philosophy for art, business administration, and philosophy. ContributorsGraham Harman, Daniel Birnbaum, Lars Strannegård, Sven-Olov Wallenstein, Pierre Guillet de Monthoux, Marcia Cavalcante, Jo Widoff, Sigrid Sandström, Michael Dahlén, Emma Stenström, Jenny Lanz, Ebba Sjögren, Isak Nilson, Erik WikbergCopublished with the Stockholm School of Economics

Haegue Yang interviewed by Kyla McDonald and Steinar SekkingstadThis catalogue accompanies two parallel solo exhibitions by Haegue Yang held in the fall of 2013: "Journal of Bouba/kiki" at Glasgow Sculpture Studios (October 5-December 20, 2013); and "Journal of Echomimetic Motions" at Bergen Kunsthall (October 18-December 22, 2013). This new collaborative publication, Dare to Count Phonemes and Graphemes, has evolved within the framework of these geographically separate yet collaboratively conceived exhibitions. While each exhibition was an independent manifestation, they both are intrinsically linked to Yang's continuous artistic evolution. The developments shown are emblematic of the artist's recent projects, focusing on the ideas of abstraction and motion. This catalogue presents two newly commissioned texts, as well as an interview between Yang and the respective curators of the exhibitions, which explore the artist's distinctive and diverse work.Haegue Yang's works are internationally appreciated and are well known for an eloquent and seductive language of visual abstraction that she often combines with direct sensory experience. She is an artist who continuously pushes the boundaries of her practice, engaging with new methodologies and ways of making. This approach is evident from her exhibitions at Glasgow Sculpture Studios and Bergen Kunsthall as well as this new publication.Copublished with Bergen Kunsthall and Glasgow Sculpture Studios

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 day--and 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. Even if the exhibitions were organized entirely independently of one another, the joint effort in producing this catalogue made it possible to go beyond simple exhibition documentation and provide a more in-depth view into the work of Kriemann. In a certain sense, this catalogue is connected to the artist's earlier publication entitled Reading Susanne Kriemann (Sternberg Press, 2011), consisting exclusively of texts. Here, however, the main point of the publication is to let the images speak for themselves.Copublished with Kunstverein Braunschweig and Arnolfini, BristolContributorsSteve Rushton, Yvonne Scheja, Axel Wieder

A survey and exhibition catalog looking at a century of the migrant experience as realized and expressed through art. How have artists over the past 150 years related to migration and exile? And what role can a museum play in times of mass migration? Taking as its starting point the 2019 exhibition Migration: Traces in an Art Collection, which featured more than a hundred works from Malmö Konstmuseum made between 1880 and today, this publication brings to light the radical approach of museum director Ernst Fischer, who in 1945 transformed the museum into a refugee shelter for survivors of German concentration camps. It also highlights the museum's long-forgotten Latvian Collection, comprised of art acquired in solidarity with the young Baltic nation and its exiles. Contrasting works by exiled artists such as Sonia Delaunay-Terk, Lotte Laserstein, Endre Nemes, and Peter Weiss further animate the discussion, as do the geopolitical concerns of Pia Arke, Öyvind Fahlström, and Charlotte Johannesson. Correspondingly, a conversation with the exhibition's curators foregrounds the ways in which today's artists reflect upon and articulate experiences of migration. Together, these re-readings of the collection and its potential contribute to an urgent debate on the role of museums in our time. Contributors Ernst Fischer, Lars-Erik Hjertström Lappalainen, Maria Lind, Lotte Løvholm, Joanna Warsza, and Cecilia Widenheim

Masters of Reality brings together the first collection of texts by Steve Rushton. Second in a series of publications on contemporary art inaugurated by the Piet Zwart Institute, the book explores the interrelations between art, anthropology, social sciences, psychology, media, politics, and economy. Central to Rushton's research is an investigation into the conception of feedback, social control, and the culture of "self-performance." Through his writings and collaborative work with artists, he has developed and articulated a thorough analysis of the techniques and processes of information management and subjectivization in Western society since the second half of the twentieth century.The structure of this book articulates a clear relationship between diverse subjects and sources, drawing from archival materials produced within a broad range of discursive fields and practices: military experiments in social psychology, press statements by various politicians and governments, anthropological research data, theories of cybernetics, writings by thinkers such as Henri Bergson and Gregory Bateson, television culture, and work by artists and writers such as Ant Farm and Don DeLillo. These investigations take structural form through three strands: the first comprises texts on art and media linked to theories of cybernetics, the second thread shows texts that emerge from Rushton's collaborative projects with Rod Dickinson and Thomson & Craighead, and the third is a collection of fictional and allegorical texts, giving narrative form to the thinking, observations, and analysis found throughout the book.Co-published with Piet Zwart Institute, Willem de Kooning Academy

Thinkers revisit INTRA SPACE, an artistic research project that experiments with the substances, constructions, and manifestations of our bodies. INTRA! INTRA! calls a variety of thinkers to revisit INTRA SPACE, an artistic research project that experiments with the substances, constructions, and manifestations of our bodies in the unchartered architectural waters of the near future. INTRA SPACE is a spatial, biological, technical, and conceptual infrastructure for shared encounters with Carla, Dame (maybe Vivienne), Bob, Old Man and friends. INTRA SPACE is an experimental zone, set up to explore diaphanous relations between engineered virtual figures, humans, technical equipment, and machines. Lingering between cameras, eyes, screens, mirrors, and images of selves, this book is full of movement and flicker, of decreation, of dwelling at the periphery of someone else's vision, of resolutions beyond the eye/I. Strange encounters act as springboards to unforeseen turns and perspectives. INTRA SPACE is the subject of this book, opening an arena for the companions and guests who walked in and out of this space in conversation with us.

A new vision of the ocean.It was the concept of the ocean as a global commons, free for everyone--first formulated by Hugo Grotius in his 1609 treatise, Mare Liberum--that stimulated a free global market. Today, the free market and the free ocean both suffer from rigorous, exploitive use. A new concept of how to relate to the ocean could transform the global economy and global politics. Solution 295-304: Mare Amoris proposes new practical, technological, and metaphysical scenarios of how to fall in love with the sea, and, eventually, have the sea fall in love with us.Solutions series

Average life expectancy can fool you into thinking you still have many years ahead. But what would it be like if you had only one left? What would you want to--what could you--experience in this limited period of time?Artist Erik Niedling would like to be buried in Pyramid Mountain, the largest tomb of all time, conceived by writer Ingo Niermann. To make this goal a reality, Niedling lives one year as though it were his last. The Future of Art: A Diary recounts the joys and horrors of that year. A letter by Tom McCarthy examines the social and philosophical implications.The Future of Art: A Diary is the sequel to The Future of Art: A Manual (2011), in which Niedling joined Niermann on his search for a new, epic artwork. The book is published on the occasion of the exhibition "18.10.1973-29.02.2012" at the Neues Museum Weimar.ContributorsTom McCarthy, Erik Niedling, Ingo Niermann, and Amy Patton

The artistic universe of Israeli artist and filmmaker Roee Rosen. "We're all like carpets, craving suction action--or dirty, dirty is the cleaning market!"--Maxim Komar-Myshkin Can fiction be more real than reality? Can hybrids teach us about politics? How do we remember the past, and is satire a tool for both subalterns and power players? In this book, the animation of commodity objects magically connects erotic frolics and political horrors, from a DC07 vacuum cleaner to a detention center for refugees; from little irons, socks, and sweaters to the particulars of post-Soviet power and Vladimir Putin. Roee Rosen: Desire and Dust collects poems, eighteenth-century jokes, a sci-fi text based on files from Mars, a retro-garde manifesto and, in Roee Rosen's Vengeful Animism, biographies of both objects and subjects. Rosen has created an artistic universe that undermines normative hegemonies, using fiction and satire as he merges Israeli and global politics with myths and historical references. This book, with images of artworks, stills, and sketches, examines works from The Mosquito-Mouse and Other Hybrids and the process behind them. It includes the newly commissioned text "The Dust Files," written by Paul B. Preciado, and the classic "The Biography of the Object" by Sergei Tretíakov as well as texts by Roee Rosen and his fictive identities, Maxim Komar-Myshkin and the Buried Alive Group. ContributorsThe Buried Alive Group, Maxim Komar-Myshkin, Paul B. Preciado, Roee Rosen, Sergei Tretíakov

On artist Zach Blas's wide-ranging practice that scrutinizes the relationship between digital technologies and the cultures and politics that animate them. Zach Blas: Unknown Ideals offers an inquiry into Zach Blas's singular practice, exemplary among his generation of digital artists, through a series of newly commissioned essays by Alexander R. Galloway, Pamela M. Lee, Mahan Moalemi, Kris Paulsen, and Marc Siegel; an interview with Ovül Durmuşoğlu; and writings by the artist himself. These insightful contributions expand on the technological, queer, filmic, and cultural inquiries that comprise the rich world of Blas's practice. Across his works, Blas closely engages the materiality of digital technologies while also drawing out the philosophies and imaginaries lurking in artificial intelligence, the internet, predictive policing, airport security, biometric recognition, and biological warfare. Blas embraces the media of computation, video, sculpture, and music in his installations that sharply confront biometric surveillance, the cult of optimization, and the reification of data bodies. Blas uses research-based practices to scrutinize the relationship between digital technologies and the cultures and politics that animate them. Critical of today's corporate internet giants and their ideological fascination with Ayn Rand, Blas extensively considers the beliefs, desires, fantasies, histories, and symbols latent in technical systems, but he also dwells on the horizons and edges, or what he calls the "outside," of dominant power structures. Reclaiming Ayn Rand's phrase the "unknown ideal," Blas points to both liberatory potentialities and political challenges of the present: he imagines a proliferation of "unknown ideals" in order to dispute Rand's vision of the future. Refusing technological determinism, Blas's work makes space for escape through its celebration of queer ideality.

Dizziness is more than feeling dizzy. In this multidisciplinary reader, artists, philosophers, and researchers from a range of experimental sciences and cultural studies trace dizziness not only as a phenomenon of sensory input impacting our vestibular system, but also as a twofold phenomenon of "sense"--creating meaning and triggering emotions. It is an interdependence of sense and sensing, of cultural constructs and sensuality, of somatic and cognitive knowledge, that can only be conceived of as a complex relation of both formation and dissolution, habituations and transformations, pertaining to our shared reality and our individual experiences. This is further reflected in the programmatic claim that states of dizziness can be seen as a resource.co-published with Academy of Fine Arts ViennaContributorsRuth Anderwald, Mathias Benedek, Oliver A. I. Botar, Katrin Bucher Trantow, Davide Deriu, Karoline Feyertag, Leonhard Grond, François Jullien, Sarah Kolb, Rebekka Ladewig, Jaroslaw Lubiak, Alice Pechriggl, Oliver Ressler, Maya M. Shmailov, Maria Spindler, Marcus Steinweg

Illustrated essays that consider emergent consistencies and overarching issues that defined the first decade of e-flux journal. In Wonderflux you will find yourself in front of disappearing mirrors held up to curators, critics, and artists; sailing through counterfactual universes; face-to-face with cold-blooded killers, faceless men, weary but buoyant prophets; all the while imbued with stubborn thriving and stubborn refusal to be moved or monetized, and once in a while having earnest conversations with robot(s and) workers. The authors included here have shaped the varied concerns and urgencies of e-flux journal since 2008. As a theory-driven art journal made up entirely of hypertext and digital images and embraced by academic circles, we sometimes wonder about the artistic and sensual use of text and image. Does the thinking of some of our favorite authors also speak to a place beyond floods of automatic links and references and rectangular photographic portals? To a broader and more applied artistic domain like the imaginative sensibility of illustration, where entire worlds arise from the simple and deliberate placement of lines on paper? ContributorsFranco "Bifo" Berardi and Andrew Alexander, Raqs Media Collective & Freddy Carrasco, Liam Gillick, Elizabeth A. Povinelli & Clara Bessijelle Johansson, Martha Rosler & Josh Neufeld, Reza Negarastani & Keith Tilford, Hu Fang & Mojo Wang, Keller Easterling & Meijia Xu

In his work, Yorgos Sapountzis appropriates public space and the statues, monuments, and memorials that inhabit it. The Athens-born artist concentrates less on their historical-political meanings and much more on their function as a medium of recollection. Sapountzis consciously tries to ignore historical information about the sculptures and instead allows them to "speak" through their gestures, poses, and ornaments. Like an anthropologist--or parasite--Sapountzis hunts the urban, figurative myths by night or sounds them out for days on end with his camera. He then stages a confrontation, a dialogue, and a "dance," in which the preceding expedition is consolidated to form a theatrical choreography. Sapountzis drapes scarves, makes plaster casts, and builds constructions out of aluminum rods and tape, ensnaring his stone or bronze protagonists, whom he tries to involve in his seemingly futile, exhausting activities. His video camera also records this action. The performance is therefore just as much part of the artistic strategy as the video material produced during the performance. A statue has remembered me gives an in-depth survey of his work in ten chapters from 2000 to the present. It is published on the occasion of his two-part solo exhibition, "Videos and Picnic" at the Ursula Blickle Stiftung (May 19-July 8, 2012) and "The Gadfly Festival" at Westfälischer Kunstverein Münster (June 16-September 2, 2012).Copublished with Ursula Blickle Stiftung and Westfälischer Kunstverein Münster

In this book Gabriel Lester's prolific adventures and art practice are illustrated through an alphabetical assortment of his most prominent installations, interventions, sculptures, and films of the past fifteen years. Alongside comprehensive exhibition documentation, the actual construction and installation of the artworks is presented. Pairing result and production enables an exclusive insight into the teamwork and organization that allowed each work to be realized. This blend provides a glimpse behind the scenes and demonstrates the inherent performativity and narrative of all of Lester's artworks, affecting their creation, result, and the ultimate experience.Forced Perspectives is Lester's second monograph. It is designed by acclaimed graphic designer Irma Boom and contains essays by Philippe Pirotte, director of the Städelschule and Portikus in Frankfurt am Main; Lee Ambrozy, art historian and editor of artforum.com.cn; and Vivian Sky Rehberg, historian, art critic, and course director of the Master of Fine Art at the Piet Zwart Institute, Rotterdam.

How the shift from montage to navigation alters the way images--and art--operate as models of political action and modes of political intervention. Navigation begins where the map becomes indecipherable. Navigation operates on a plane of immanence in constant motion. Instead of framing or representing the world, the art of navigation continuously updates and adjusts multiple frames from viewpoints within and beyond the world. Navigation is thus an operational practice of synthesizing various orders of magnitude. Only a few weeks prior to his untimely death in 2014, Harun Farocki briefly referred to navigation as a contemporary challenge to montage--editing distinct sections of film into a continuous sequence--as the dominant paradigm of techno-political visuality. For Farocki, the computer-animated, navigable images that constitute the twenty-first century's "ruling class of images" call for new tools of analysis, prompting him to ask: How does the shift from montage to navigation alter the way images--and art--operate as models of political action and modes of political intervention? Navigation Beyond Vision originated in a conference organized by the Harun Farocki Institut (HaFI) and e-flux at the Haus der Kulturen der Welt (HKW) in Berlin in 2019. ContributorsJames Bridle, Kodwo Eshun, Jennifer Gabrys, Tom Holert, Ramon Amaro and Murad Khan, Doreen Mende, Matteo Pasquinelli, Laura Lo Presti, Patricia Reed, Mariana Silva, Nikolay Smirnov, Oraib Toukan, Brian Kuan Wood