art march 2014

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Flametti, Or The Dandyism Of The Poor Wakefield Press 2014 ISBN 9781939663030 Acqn 23299 Pb 15x23cm 200pp 10ills £13 In 1916, Hugo Ball (1886–1927) cofounded the Cabaret Voltaire in Zurich and penned the "Dada Manifesto," launching what would become the Zurich Dada movement. That same year he completed his semi-autobiographical novel, Flametti, or The Dandyism of the Poor, which would be published two years later. Drawing from his pre-Dada period of struggle and poverty in the vaudeville circuit, Ball immerses us in the rise and fall of Max Flametti and his vaudeville company. Fishing in the local river to feed his company, dabbling in drugs, strolling through the vegetable market on the Gemüsebrücke in Zurich, ducking into a side street to avoid running into the police, Flametti marches through the pages of Ball’s novel passionately pursuing a career that culminates in the presentation of the theatrical extravaganza The Indians at the Krokodil in Zürich (a locale that still exists today as a Spanish restaurant). Overcoming odds and alternately averting, succumbing to and embracing financial ruin, Flametti ultimately emerges as a tragic figure--a Willy Loman of vaudeville. Flametti portrays a frenetic Zurich that had been the backdrop to the Dada movement, and is comparable to other such literary cities and eras as Christopher Isherwood’s Berlin. Afterword by Bernhard Echte. Translated by Catherine Schelbert. Illustrations by Tal R.

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Pierre Louys – Pybrac Wakefield Press 2014 ISBN 9781939663023 Acqn 23300 Pb 12x18cm 180pp 10ills £10.50 By turns amusing and offensive, Pierre Louÿs’ Pybrac is possibly the filthiest collection of poetry ever published, and offers a taste of what the Marquis de Sade might have produced if he had ever turned his hand to verse. First published posthumously in 1927, Pybrac was, with The Young Girl’s Handbook of Good Manners, one of the first of Louÿs’ secret erotic manuscripts to see clandestine publication. Composed of 313 rhymed alexandrine quatrains, the majority of them starting with the phrase "I do not like to see…," Pybrac is in form a mockery of sixteenth-century chancellor poet Guy Du Faur, Seigneur de Pibrac, whose moralizing quatrains were common literary fare for young French readers until the nineteenth century. Louÿs spent his life coming up with his own ever-growing collection of rhymed moral precepts (suitable only for adult readers): a dizzying litany describing everything he "disliked" witnessing, from lesbianism, sodomy, incest and prostitution to perversions extreme enough to give even a modern reader pause. With the rest of his erotic manuscripts, the original collection of over 2,000 quatrains was auctioned off and scattered throughout private collections; but like everything erotic, what remains, collected here, conveys an impression of unending absurdity and near-hypnotic obsession. Introduction and translation by Geoffrey Longnecker. Illustrations by Toyen.

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Acid 2 19 80 Editions 2014 ISBN 9782919159109 Acqn 23264 Pb 17x24cm 128pp 100ills 70col £13.50 Acid is a humble and exploratory publication with surfing as an entry point, made to make you marvel and get in the water. Issue 2 will treat you with an extensive look at Gotland, the Hawaii of the Baltic Sea; a trip underwater to discover artificial reefs; a tale of survival attempts in tropical and polar waters; an examination of the relationship between surfing and coastal developments; an exploration of Ireland by bike; a considerable amount of surf-appetite-whetting photography; and a balsa sculpture of a surfer in a fur coat. And some more.

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Tina Maria Nielsen - Skin of Mine Revolver Publishing by VVV 2013 ISBN 9783868952872 Acqn 22726 Pb 21x27cm 96pp 48col ills £10.50 The sculptural works included in the presentation Skin of Mine deal with the subject of surface as a membrane or barrier between an outer and an inner - like that of the skin. Tina Maria Nielsen’s minimalist and material-focussed works engage in close dialogue with the architecture and its history that surround the works. Using traditional techniques and conceptual practices, the artist works with the intrinsic qualities of her materials: layered glass plates, paper that absorbs molten wax, plasterboard panels that define our spaces, clothing that protects our bodies, the floor upon which we tread, or bronze that is formed as the pruned organic growth of an apple tree from trunk to bud. The stringent characteristics of the sculptures dissolve upon closer inspection, where details from the creation process emerge. Tina Maria Nielsen was educated at The Royal Danish Academy of Fine Arts, Copenhagen and has since held a number of solo exhibitions both in Denmark and abroad. Among the many awards she has received is a three-year working scholarship from the principal Danish Arts Foundation. Her work is among other included in the collection of Horsens Art Museum.

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Tim O'Riley - Twenty Seven Kilometres Revolver Publishing by VVV 2014 ISBN 9783868952940 Acqn 23431 Pb 23x16cm 72pp 65ills 63col £12.50 Twenty-Seven Kilometres is based on Tim O’Riley’s experience of looking at CERN, the European Laboratory for Particle Physics in Geneva. CERN is a vast project whose centrepiece, the Large Hadron Collider (LHC), is a circular particle accelerator installed 175 metres beneath the land between the Alps and the Jura mountains. Perhaps given the scales involved, the book reflects on scientific endeavour in a broad sense, mulling over how the immensity of nature is squared with more everyday concerns, and exploring the human dimension to science and its status as both an ideal realm and a tangible practice. Perhaps above all, O’Riley looks for those transient, poignant and often-humorous responses that people have to the “machine” and its make up. Predominantly based around O’Riley’s photographs, which focus on ephemerality and signs of life within the machine, it also features a short story by Jorge Luis Borges, in addition to a text by O’Riley.

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Katja Davar - Crystal Networks. Crystal Trees Revolver Publishing by VVV 2014 Acqn 23440 Pb 28x22cm 80pp 41ills £21.50 Katja Davar’s artistic practice centres on drawing. In a nonchalant coexistence of different styles, visual traditions and references, she combines technical figures, switchboards and user interfaces with organic, flowing forms, condensing them into seemingly unreal spatial configurations. She extends these works further by adding a temporal and spatial dimension in the form of animations and projections. A prevalent topos in her work is thus her interest in technical control systems that organise and regulate our everyday life. The Cologne/London-based artist has called her latest publication Crystal Networks. Crystal Trees, ¬clearly exemplifying her fascination for networks. This fascination is immediately apparent upon opening the book, the seemingly infinitely extendable ornamental pattern of Circle Time Circle (2010) spreading out exuberantly across the endpapers. The drawing came about in response to a public space project which took traffic light switching plans as the initial starting point for a heavily abstracted representation of the rhythms of time and movement, condensing them into a crystalline yet seemingly confusing system. Katja Davar’s drawings draw upon the regularised format of diagrams yet simultaneously subvert the posited attempt to depict the world and reality schematically, or indeed to capture, explain, control or subject it to prognosis in any way. They aim at complication rather than its opposite, duly resisting simple forms of appropriating the world, as Barbara Hess ascertains in her essay. Instead, in the words of Annelie Pohlen, Katja Davar’s graphic universe owes its “sheer force […] – beyond all fascination in its technical brilliance – to the network of cognitive lines without beginning or end in an imagined cosmos of dots”. With essays by Barbara Hess and Annelie Pohlen.

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Barbara Steppe - Routine(s) Revolver Publishing by VVV 2014 ISBN 9783868953206 Acqn 23447 Pb 17x24cm 64pp 50col ills £18 Barbara Steppe’s many-faceted artistic practice owes everything to her interest in the everyday life of a variety of people, whether they are friends or people from various occupational fields. The participants minutely documented how they spent their day-to-day lives. Based in these miniature empirical studies, Steppe designed equivalent parameters of shaping. This method recalls scientific recording techniques based on the principles measuring, calculation, systematization, Steppe’s work in fact is submitted to a highly independent production process. The catalogue provides the wealth of her aesthetic methods, ranging from painting through textile objects, sculptures, kinetic objects to performances.

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Ivonne Dippmann - Meine Feindseligkeiten Sind Gerechtfertigt Verteilt Revolver Publishing by VVV 2014 ISBN 9783868953268 Acqn 23466 Pb 24x17cm 336pp 300ills 200col £36 Meine Feindseligkeiten Sind Gerechtfertigt Verteilt [My Hostilities Are Distributed In A Justified Way] is a book, which is an archive of a work process throughout the past five years of living and working in Israel. MFSGV shows a personal approach and companionship of a young, upcoming German artist within a foreign country, its history, and cultural identity. Based on a deep and complex relationship within German and Israeli history – in a very subtle and sensitive way – you may get to know a person who works her way through the themes and contradictions of the Middle East. By choosing Israel as a centre of living and work, the intention of this book is to present a thought process which aims to be free of restrictions, conventional stereotypes and preconceived ideas in a place which is very much “troubled” throughout past centuries ever since. On one hand by being very close and to the spot physically, but on the other hand by being continuously distant through a lack of experience and cultural identity, one feels the depth and the struggle within this journey. This book aims to manifest a point of view which is relevant and needed in times of intercultural competence, tolerance, dialogue and sustainability. Through the dialogue, between the monstrously violent and the sublime good, between the two Israeli Philosophers Joseph Cohen and Raphael Zagury-Orly, the theme and the context of this work becomes its very political though personal touch.

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Eva Steen Christensen - No Tomorrow Revolver Publishing by VVV 2013 ISBN 9783868952889 Acqn 22725 Hb 21x27cm 64pp 43ills 38col £7.95 The title No Tomorrow refers to Eva Steen Christensen’s solo exhibition at Kunsthallen Brandts. The book covers recent works by the Danish artist and includes an extensive text by art historian Ann Lumbye Sørensen. The book deals with the notion of a here and now, and the concept of time is a central and common theme throughout Steen Christensen’s work. Taking inspiration from Dante’s Divine Comedy, where we follow the author’s journey through the underworld, the exhibition focuses upon existential themes that – through the medium of sculpture – deal with the subject of human existence. Eva Steen Christensen (b. 1969) was educated at The Chelsea School of Art in London. She has exhibited both in Denmark and abroad, and her work is included in the collection of Herning Museum of Contemporary Art, KUNSTEN Museum of Modern Art Aalborg, Horsens Art Museum and Vejen Art Museum.

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Haegue Yang - Dare To Count Phonemes And Graphemes Sternberg Press 2014 ISBN 9783943365917 Acqn 23457 Pb 18x25cm 202pp col ills £24.95 Texts by Ute Meta Bauer, Kathy Noble; Haegue Yang interviewed by Kyla McDonald and Steinar Sekkingstad This 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.

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Outsourced Critics And Critical Conversations In A Limo AC Books 2013 ISBN 9781939901002 Acqn 23041 Pb 18x23cm 192pp 12ills £8.50 This book documents a 2006 project by Holly Crawford in which she recruited ten people from around the world to contribute to a piece about art fairs based on the Armory Art Fair catalogue. Additionally, it reprints the transcripts of the project’s other side: conversations that took place with art critics, collectors and appreciators, all of whom had attended at least one art fair, inside a limo while being driven around Manhattan for an hour drinking champagne. The result is a humorous and lively engagement with the art world featuring such names as Julian Zugazagoita, Holly Block, Eitan Buganim, Yonatan Amir, Claude Closky, Carolee Thea, Jerome Sans, Sven Lütticken and many more.

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Patacritical Interrogation Techniques Anthology Vol.3 AC Books 2013 ISBN 9780988471580 Acqn 23042 Pb 18x26cm 410pp 100ills £16.95 Edited by Los Angeles-based critic, curator and artist Doug Harvey, this book implements French playwright Alfred Jarry’s science of “pataphysics”, in which texts are subject to extreme stress in order to reveal their true significance. Located on the brink between paranoid conspiracy theory and avant-garde literature, it reprints and interprets key documents in patacritical research, generating new artefacts in a sampling of the field’s latest developments and offering an introduction to this fringe discipline. Its content includes transcripts from Craig Blegvad and excerpts from artist/musician Steve Roden, plus writings by Clayton Eshleman, Peter Frank, John Higham and many others.

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Kerry James Marshall - Paintings And Other Stuff Ludion 2013 ISBN 9789461301260 Acqn 23118 Pb 23x26cm 190pp 133ills 85col £31.50 Born in Alabama, Kerry James Marshall is regarded as one of the most important American painters of his generation. Seen through the filter of Afro-American identity and history, Marshall’s work both critiques the assumptions of the art system and confronts racial stereotypes within contemporary American society using a formal language of highly stylised, stereotypical figures. The book is published in conjunction with a major travelling exhibition, to date the largest in Europe and the most substantial overview of his career. It features both old and new work, including a selection of sculptures by the artist, as well as collages, photographs, installations and critical texts.

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The Quay Brothers' Universum nai010 publishers 2014 ISBN 9789462081277 Acqn 23249 Pb 17x23cm 144pp 95ills 50col £21 Published in conjunction with an extensive solo exhibition of the work of the Quay Brothers at the EYE Film Institute in Amsterdam, this book presents the experimental and extraordinary oeuvre of these film-makers, arranged as an inventory of their various references and sources of inspiration. Special focus is given to their short films, especially imagery derived from 19th and early 20th-century Central Europe, when art and science flourished in a new society and wherein private obsessions, melancholia and enigmatic collections are unravelled and revealed. With numerous illustrations, an introduction by curator Jaap Guldemond and a detailed essay by Suzanne Buchan.

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Essaying Essays - Alternative Forms Of Exposition AC Books 2013 ISBN 9780988471542 Acqn 23461 Pb 18x25cm 480pp 40ills £16.95 Compiled and edited by American artist, author and critic Richard Kostelanetz, this dense volume of texts and imagery presents a radical insight into the revolutionary aesthetic of the late 1960s and early ‘70s. From conceptual art and modern composers to concrete writing, Constructivism and the Fluxus movement, this pivotal reprint remains just as vivacious and fresh today. Reformatted from the original 1975 newsprint version, the contents feature an array of over 100 notable contributors, among them, John Cage, Sol Lewit, El Lissitzky, Bruce Nauman, Claes Oldenburg, Ad Reinhardt, Richard Serra, Robert Smithson, R. Buckminster Fuller and Marcel Duchamp.

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Esther Shalev-Gerz - The Contemporary Art Of Trusting Uncertainties And Unfolding Dialogues Art And Theory Publishing 2013 ISBN 9789198087475 Acqn 23462 Pb 17x23cm 272pp 90ills 80col £40 Esther Shalev-Gerz produces work that simultaneously records, critiques and contributes to the understandings of societal roles and value of artistic practice through an ethical exploration into the transitional qualities of time and space, individual and collective memory, and the narration of histories. The first illustrated anthology to be published on her work, this book aims to stimulate debate on notions of trust and dialogue and their interrelations as seen through the lens of her oeuvre. It combines images of her photographs and videos alongside critical contributions by Stefanie Baumann, Lisa Le Feuvre, Jacques Ranciére, Annika Wik, James E. Young and others.

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Records By Artists 1958-1990 Danilo Montanari Editore 2013 ISBN 9788897753087 Acqn 23463 Pb 16x24cm 288pp 600ills 250col £36.50 The catalogue to an exhibition curated by Giorgio Maffei at the Biblioteca Universitaria, Bologna, during Artelibro 2013 explores diverse artistic experiences using sound and audio storage media since its beginnings around 1960. Central to the interdisciplinary context of dematerialisation of the work of art, visual, literary, performance and other artists have increasingly experimented with the record and sound as a vehicle for investigating the possibilities of verbal and non-verbal expression, considerations of the body and avant-garde tendencies. Hundreds of examples are presented in this impressively researched and carefully documented and illustrated book.

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Darren Almond - To Leave A Light Impression White Cube 2014 ISBN 9781906072858 Acqn 23468 Hb 23x30cm 104pp 67ills 59col £31.25 ‘To Leave a Light Impression’ is an exhibition catalogue of new work by Darren Almond that includes photographs from the ‘Fullmoon’ and ‘Present Form’ series as well as a group of small-scale bronze sculptures. The ‘Fullmoon’ series of photographs, which have taken Almond to every continent over a period of 13 years, are taken under the light of a full moon using long exposure, enabling details undetectable to the human eye to be revealed. For works in this show he has travelled to Patagonia, Tasmania, Cape Verde and the Outer Hebrides. Almond’s interest in what the landscape reveals is echoed in his ‘Present Form’ photographs of standing stones on the Isle of Lewis in the Outer Hebrides. These photographs of individual upright stones, wrought out of the oldest known rocks in the British Isles, ravaged and partially covered with vegetation, form part of a stone circle dating from 3,000 BC, and are thought to have been used as an astronomical observatory to measure 18.6-year moon cycles. Almond has photographed the stones as evidence of our primal need to measure and quantify the passing of time. Includes a text by T.J. Demos.

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Stephen Willats - Control. Work 1962-69 Raven Row 2014 ISBN 9780956173980 Acqn 23458 Pb 21x27cm 92pp 55ills 33col £12.95 This is the first survey of work by Stephen Willats from the sixties. In 1968 Willats made an exhibition at the Museum of Modern Art Oxford in which he presented constructions involving movement and light – some wall-mounted, others large-scale environments – that were informed by his interest in contemporary theories: about probability and prediction, behavioural science, subliminal advertising, and colour in relation to motivation and learning. The display of these at Raven Row will be based on the darkened maze in which they were installed at Oxford, where they were proposed as experimental stimuli for 'states of consciousness'. With texts by Antony Hudek, Emily Pethick, Christabel Stewart and Andrew Wilson.

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Jan Verwoert - Cookie! Sternberg Press 2014 ISBN 9783943365924 Acqn 23471 Hb 12x18cm 252pp 13ills £14.95 Edited by Vivian Sky Rehberg and Marnie Slater This new volume brings together a selection of Jan Verwoert's most recent writings. COOKIE! is a sequel to Verwoert’s Tell Me What You Want, What You Really, Really Want (edited by Vanessa Ohlraun, 2010), and third in a series of books published with the Piet Zwart Institute. If we don’t merely reduce art to clever code play in the arenas of representation, how do we speak about what is at stake? In response to this question, Verwoert addresses the forces at the heart of the tragicomedy that making, showing, and critiquing art implicates us in. He honors the basic joys of turning one thing into another, and the miracles of rhythm and rhyme that characterize the residual level of mimetic magic in art. In this key, the unverifiable is practiced daily: bodies are remade, feelings transfigured. As Alina Szapocznikow wrote, the mouth chews and out comes sculpture. Verwoert’s COOKIE! renders visible the endless emotional labor of setting the stage (for others), poses the thorny question of whether there could ever be a labor union for con-artists (like us), and gestures toward an ethics of disappointment to battle false expectations and as a way to come to terms with the fact that, no matter how you look at it, criticism hurts.

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ICA London 1946-1968 Institute of Contemporary Art 2014 ISBN 9789491843136 Acqn 23486 Hb 20x26cm 208pp 136ills 65col £20 The ICA is delighted to present Institute of Contemporary Arts: 1946 – 1968, the first in-depth examination of this extraordinary period. No other book can claim to capture the founding spirit of this incredible organisation in quite the same way. The early ICA hosted the most important shows in the history of post-war British art, including Growth and Form, Parallel Of Life and Art, and Cybernetic Serendipity, as well as ground-breaking exhibitions by Francis Bacon, Pablo Picasso and Jackson Pollock. Home to the Independent Group, whose members included Richard Hamilton and Eduardo Paolozzi alongside architects Alison and Peter Smithson, the ICA became the birthplace of Pop Art, Op Art and Brutalist Architecture. Illustrated with previously rare and unseen items from the ICA archive, Institute of Contemporary Arts: 1946 – 1968 is written by art historian Anne Massey with a foreword by ICA Executive Director Gregor Muir. The timing of this publication is connected to three related events, two of which directly concern Richard Hamilton, a remarkable artist whose work and career is inextricably linked to the ICA. The first is Tate Modern’s 2014 Hamilton retrospective, a comprehensive survey show held in the wake of the artist’s passing in 2011. The second is a parallel exhibition, Richard Hamilton at the ICA, which is dedicated to two of Hamilton’s seminal early installations – Man Machine and Motion (1955) and an Exhibit (1957). The third is an ICA Off-Site project, a takeover of Dover Street Market, the former home of the ICA. This publication takes us on a journey from the ICA's origins, to its earliest outings on Oxford Street, its arrival on Dover Street and the eventual move to its present location on The Mall. The supporting text outlines key exhibitions and events, as well as critical responses to the ICA programme at the time. By examining and contemplating these developments, Institute of Contemporary Arts: 1946 - 1968 makes a vital contribution to the history and understanding of contemporary art.

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Sweet Sixties - Specters and Spirits of a Parallel Avant-Garde Sternberg Press 2014 ISBN 9783956790393 Acqn 23493 Pb 17x25cm 528pp 350ills £21.95 Sweet Sixties is a long-term trans-regional research initiative working between art, research, media, and educational contexts in Europe, the Middle East, western and central Asia, Latin America, and northern Africa. Involving a particular group of experimentally oriented arts and research groups as well as individual artists, researchers, and media, Sweet Sixties investigates hidden histories or underexposed cultural junctions and exchange channels in the revolutionary period of the 1960s. In the 1960s, the landscapes and cities of protectorates and former colonies from India to the Maghreb, from the Soviet Republics to the new states in the southern hemisphere were replete with the spirit and forms of modernity, forms that transmogrify and then dissolve into the thin air of the vernacular. The star maps that are used to survey these artificial worlds often serve to navigate the boundaries between private and public domains. The world full of eerie displacements, gestures of the uncanny, and the constellation of the real exists in a plethora of doubled forms. Question marks and meanderings are all part of this picture. Instruments of communication emerge and are locked away before they have a chance to become immaterial, disappear, and corrode in postmodernity. The air of the 1960s echoes a spirit of emancipation. And the newly arising art-scapes are interspersed with double agents: diasporas bring their academies; the streams between Soviet, North and South American, Western European, Non-Aligned, etc., are full of interlocutions, hidden pathways, and narratives of trade routes beyond the seemingly stable hegemonies of the blocs. The stories and spirits of a parallel avant-garde, whose silhouettes have yet to be found on the walls of the Western canon, are the theme of this publication.

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Timing: On the Temporal Dimension of Exhibiting - Cultures of the Curatorial 2 Sternberg Press 2014 ISBN 9783943365993 Acqn 23494 Pb 14x21cm 396pp ills £15.95 Contributions by Pierre Bal-Blanc, Bassam El Baroni, Claire Bishop, Beatrice von Bismarck, Sabine Breitwieser, Barbara Clausen, Maeve Connolly, Rike Frank, Adrian Heathfield, Inka Meißner, Benjamin Meyer-Krahmer, Maria Muhle, Philippe Parreno, Jörn Schafaff, Bennett Simpson, Kerstin Stakemeier, Thomas Weski, et al. Processuality and performativity, and more recently dramaturgy and choreography, are terms often used in analyses of exhibitions and other curatorial formats. These attributions reflect the changes curatorial practice has undergone over the past twenty years in the wider context of cultural and economic globalization and the related notions of acceleration, action orientation, and mobility. In this light, the exhibition manifests itself as a transdisciplinary and transcultural set of spatiotemporal relations, which is time-based by its very nature. Focusing on time instead of the typically predominant category of space, this publication—the second volume in the series “Cultures of the Curatorial”—takes up the key aesthetic, social, political, and economic issues of the early twenty-first century running through the field and framed by the axes of exhibiting and the temporal.

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Metahaven - Black Transparency. The Right To Know In The Age Of Mass Surveillance Sternberg Press 2014 ISBN 9783956790065 Acqn 23496 Pb 13x20cm 288pp 100ills 50col £18.50 Contributions by Benjamin Bratton, James Grimmelmann, Vinay Gupta, Smári McCarthy, Eleanor Saitta, Liam Young, et al. A Google executive once said: “If you want to liberate a society just give them the Internet.” But how does one liberate a society that already has the Internet? Publicly, liberal democracies adhere to the twin ideals of institutional transparency and personal privacy. In reality, the two are often shifted around: while citizens are subjected to mass surveillance, government practice goes unchecked, shrouded in secrecy. Now, a new generation has taken to the Internet to defend the right to governance without secrets. From Bradley Manning and WikiLeaks to LulzSec and Anonymous, from the Icelandic Modern Media Initiative to the revelations of Edward Snowden, a wide-ranging and multifaceted coalition is now busy revealing the militarized dystopia at the core of the modern state. Metahaven, a design and research studio from Amsterdam, has been vocally supporting WikiLeaks through their graphic design work. In this book, the studio engages transparency’s junctions with design and pop culture. Black Transparency sets out on a starry night journey with transparency activists and legal scholars.

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Forensis - The Architecture Of Public Truth Sternberg Press 2014 ISBN 9783956790119 Acqn 23497 Pb 17x24cm 744pp 500ills 350col £23.50 With contributions by Lawrence Abu Hamdan, Nabil Ahmed, Maayan Amir, Hisham Ashkar & Emily Dische-Becker, Ryan Bishop, Jacob Burns, Howard Caygill, Gabriel Cuéllar, Eitan Diamond, DAAR (Decolonizing Architecture Art Residency), Anselm Franke, Grupa Spomenik, Ayesha Hameed, Charles Heller, Helene Kazan, Thomas Keenan, Steffen Krämer, Adrian Lahoud, Armin Linke, Jonathan Littell, Modelling Kivalina, Model Court, Working Group Four Faces of Omarska, Gerald Nestler, Godofredo Pereira, Nicola Perugini, Alessandro Petti, Lorenzo Pezzani, Cesare P. Romano, Susan Schuppli, Francesco Sebregondi, Michael Sfard, Shela Sheikh, SITU Research, Caroline Sturdy Colls, John Palmesino & Ann Sofi Ronnskog / Territorial Agency, Paulo Tavares, Fu ̈ üsun T retken, Robert Jan van Pelt, Srdjan Jovanovic Weiss / NAO, Eyal Weizman, Ines Weizman, Chris Woods Forensics originated from the term "forensis" which is Latin for “pertaining to the forum.” The Roman forum was a multidimensional space of negotiation and truth-finding in which humans as well as objects participated in politics, law, and the economy. With the advent of modernity, forensics shifted to refer exclusively to the courts of law and to the use of medicine, and today as a science in service to the law. The present use of forensics, along with its popular representations have become increasingly central to the modes by which states police and govern their subjects. This book presents the work of the architects, artists, filmmakers, lawyers, and theorists who participated directly in the “Forensic Architecture” project in the Centre for Research Architecture at Goldsmiths University of London, as well as the work of associates and guests. It includes forensic investigations undertaken by the project and its collaborators aimed at producing new kinds of evidence for use by international prosecutorial teams, political organizations, NGOs, and the UN. It also brings together research and essays that situate contemporary forensic practices within broader political, historical, and aesthetic discourse.

art march 2014

Documents

flametti marches

max flametti

zurich dada movement

pierre lous pybrac

frenetic zurich

vaudeville company

dada manifesto

lous secret erotic manuscripts