Revolver Publishing Catalogue 2015/2016
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Ruth Wolf - Rehfeldt
RUTH WOLF - REHFELDT PRESS SELECTION ARTFORUM OCTOBER / NOV 2020 for American culture as Black culture, telling open secrets about lives REVIEWS rendered both highly visible and unseen. In “Segregation in the South,” 1956, the first of two series featured in the show, Parks chronicled the racially divided Deep South. We see a family dressed in their elegant best—hats and dresses and starched white shirts—at a Nashville bus station under a sign reading colored BUENOS AIRES life in captivity; the work is timely in a moment characterized by pre- waiting room. Elsewhere, children dressed in fire-engine-red outfits ventative isolation and an urgent need for the social reinsertion of those queue for ice cream under the colored sign. An old white woman who’ve been imprisoned. Florencia Levy’s Tierra de ciervos (Deer “Pensar todo de nuevo” serves them. The store’s brick wall is painted blinding white. Color Land), 2017, is represented by a photograph of an artificial lake of ROLF ART whispers its punishing difference, with the injustice repeated so often— radioactive waste in northern China. Suspected of espionage, the art- white only, lots for colored—that it almost vanishes. The proliferation of online viewing rooms and live streaming since the ist was arrested for taking the picture; the second part of the work, Mr. and Mrs. Albert Thornton, Mobile, Alabama, another work global spread of Covid-19 has challenged us to rethink the time and accessible through a QR code, is made up of shaky footage of her from the series, shows an elderly couple sitting together on a velveteen space of the exhibition. -
Gianni Motti
TRANSFERT Publisher TRANSFERT Editor MARC-OLIVIER WAHLER ART DANS L’ESPACE URBAIN KUNST IM URBANEN RAUM ART IN URBAN SPACE No 10 ESS Biel-Bienne CH 17 06 - 31 08 2000 «I LOOKEDATTHE CITY AND I SAW NOTHING» -F DE 8 INTRODUCTION (F) 28 MARC-OLIVIER WAHLER 176 MARC-OLIVIER WAHLER 320 MARC-OLIVIER WAHLER 14 EINFÜHRUNG (D) “J’AI REGARDÉ VERS LA VILLE “ICH SCHAUTE AUF DIE STADT “I LOOKED AT THE CITY AND ET JE N’AI RIEN VU” UND SAH NICHTS” I SAW NOTHING” 20 INTRODUCTION (E) 36 JOSHUA DECTER 184 JOSHUA DECTER 328 JOSHUA DECTER COMMUNICATION-VILLE KOMMUNIKATION STADT COMMUNICATION CITY 46 JEAN-CHARLES MASSÉRA 194 JEAN-CHARLES MASSÉRA 338 JEAN-CHARLES MASSÉRA PUISSE LE PROCESSUS GLOBAL MÖGE DER GLOBALE AKKUMULATIONS- MAY THE GLOBAL PROCESS OF D’ACCUMULATION TREMBLER PROZESS VOR EINER REVOLUTION DER ACCUMULATION TREMBLE AT THE À L’IDÉE D’UNE RÉVOLUTION DES BENUTZER ERZITTERN (MANIFEST FÜR IDEA OF A USERS’ REVOLUTION USAGERS (MANIFESTE POUR DIE (MANIFESTO FOR CONSCIOUSNESS LA CONSCIENTISATION DE LA BEWUSSTMACHUNG DES DEVELOPMENT ABOUT THE USER CONDITION USAGÈRE) BENUTZERDASEINS) CONDITION) 60 OLIVIER MOSSET 208 OLIVIER MOSSET 350 OLIVIER MOSSET INFORMATION TRANSFER INFORMATION TRANSFER INFORMATION TRANSFER 66 MARTIN CONRADS 214 MARTIN CONRADS 356 MARTIN CONRADS COLORIS GLOCAL “GLOKALKOLORIT” GLOCAL COLOR 74 FRANK PERRIN 222 FRANK PERRIN 364 FRANK PERRIN LE JOGGER, HÉROS DE LA VIE DER JOGGER, HELD DES THE JOGGER, HERO OF POSTMODERNE POSTMODERNEN LEBENS POSTMODERN LIFE 82 LORI HERSBERGER 230 OLIVIER BLANCKART 372 PETER LAND 88 OLIVIER MOSSET 236 JONATHAN -
The History of Rock Music: 1970-1975
The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Sound 1973-78 (These are excerpts from my book "A History of Rock and Dance Music") Borderline 1974-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. In the second half of the 1970s, Brian Eno, Larry Fast, Mickey Hart, Stomu Yamashta and many other musicians blurred the lines between rock and avantgarde. Brian Eno (34), ex-keyboardist for Roxy Music, changed the course of rock music at least three times. The experiment of fusing pop and electronics on Taking Tiger Mountain By Strategy (sep 1974 - nov 1974) changed the very notion of what a "pop song" is. Eno took cheap melodies (the kind that are used at the music-hall, on television commercials, by nursery rhymes) and added a strong rhythmic base and counterpoint of synthesizer. The result was similar to the novelty numbers and the "bubblegum" music of the early 1960s, but it had the charisma of sheer post-modernist genius. Eno had invented meta-pop music: avantgarde music that employs elements of pop music. He continued the experiment on Another Green World (aug 1975 - sep 1975), but then changed its perspective on Before And After Science (? 1977 - dec 1977). Here Eno's catchy ditties acquired a sinister quality. -
Actualisation of Space: the Case of Oda Projesi
10 2004 Actualisation of Space: The Case of Oda Projesi Maria Lind A long, highceilinged room with small trees in boxes in the middle. The walls are punctuated by doors and windows, on all three storeys of the building. Here and there shoes are outside the doors and you glimpse curtains through the windows. One or two pushchairs are parked beside the shoes. Daylight floods the space through a glass ceiling and also filters it through the glass on the short sides of the room. If it weren't for the shoes and the pushchairs you might think of a hospital, or even an Americanstyle prison. In the middle of the room a group of men play Turkish music on instruments, others dance. A little girl, dressed in yellow, attracts attention to herself as she dances an elegant solo. Tinkles of laughter. Suddenly a roll of paper is dropped from a balcony, winding down like a great snake, and some children begin to draw on it. The location is a passage and a gathering place in Galeriahaus, a block of flats in Messestadt Riem in the outskirts of Munich. The occasion is one of many modest events that Oda Projesi organised during their visit there in spring 2003. Just as the name indicates ('oda' means room/space and 'projesi' project in Turkish), the point of departure of Oda Projesi's work is space; how one can create and recreate different places and spatial situations through using them in a number of different ways. For example, how, together with various groups of people, can you find new functions for a public space such as a square? Or an empty space in a flat? Or an architectdesigned passage like the atrium in Galeriahaus, which was closed by the authorities to nonresidents and forbidden as a play area? The three artists, Özge Acikkol, Gunes Savas and Secil Yersel, have been working together since 1997. -
Towards a Politics of (Relational) Aesthetics by Anthony Downey
This article was downloaded by: [Swets Content Distribution] On: 8 February 2009 Access details: Access Details: [subscription number 902276281] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Third Text Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713448411 Towards a Politics of (Relational) Aesthetics Anthony Downey Online Publication Date: 01 May 2007 To cite this Article Downey, Anthony(2007)'Towards a Politics of (Relational) Aesthetics',Third Text,21:3,267 — 275 To link to this Article: DOI: 10.1080/09528820701360534 URL: http://dx.doi.org/10.1080/09528820701360534 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Third Text, Vol. 21, Issue 3, May, 2007, 267–275 Towards a Politics of (Relational) Aesthetics Anthony Downey 1 The subject of aesthetics The aesthetic criteria used to interpret art as a practice have changed and art criticism has been radically since the 1960s. -
New Books on Art & Culture
S11_cover_OUT.qxp:cat_s05_cover1 12/2/10 3:13 PM Page 1 Presorted | Bound Printed DISTRIBUTEDARTPUBLISHERS,INC Matter U.S. Postage PAID Madison, WI Permit No. 2223 DISTRIBUTEDARTPUBLISHERS . SPRING 2011 NEW BOOKS ON SPRING 2011 BOOKS ON ART AND CULTURE ART & CULTURE ISBN 978-1-935202-48-6 $3.50 DISTRIBUTED ART PUBLISHERS, INC. 155 SIXTH AVENUE 2ND FLOOR NEW YORK NY 10013 WWW.ARTBOOK.COM GENERAL INTEREST GeneralInterest 4 SPRING HIGHLIGHTS ArtHistory 64 Art 76 BookDesign 88 Photography 90 Writings&GroupExhibitions 102 Architecture&Design 110 Journals 118 MORE NEW BOOKS ON ART & CULTURE Special&LimitedEditions 124 Art 125 GroupExhibitions 147 Photography 157 Catalogue Editor Thomas Evans Architecture&Design 169 Art Direction Stacy Wakefield Forte Image Production Nicole Lee BacklistHighlights 175 Data Production Index 179 Alexa Forosty Copy Writing Sara Marcus Cameron Shaw Eleanor Strehl Printing Royle Printing Front cover image: Mark Morrisroe,“Fascination (Jonathan),” c. 1983. C-print, negative sandwich, 40.6 x 50.8 cm. F.C. Gundlach Foundation. © The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur. From Mark Morrisroe, published by JRP|Ringier. See Page 6. Back cover image: Rodney Graham,“Weathervane (West),” 2007. From Rodney Graham: British Weathervanes, published by Christine Burgin/Donald Young. See page 87. Takashi Murakami,“Flower Matango” (2001–2006), in the Galerie des Glaces at Versailles. See Murakami Versailles, published by Editions Xavier Barral, p. 16. GENERAL INTEREST 4 | D.A.P. | T:800.338.2665 F:800.478.3128 GENERAL INTEREST Drawn from the collection of the Library of Congress, this beautifully produced book is a celebration of the history of the photographic album, from the turn of last century to the present day. -
ANDRO WEKUA Education Awards & Grants Solo Exhibitions
ANDRO WEKUA Born 1977 Sokhumi, Georgia Lives and works in Berlin and New York Education 1991 National Art School, Sokhumi, Georgia 1994 Studied at Phil. Institute “Gogebashvili,” Tbilisi, Georgia 1999 Visual Art School, Basel, Switzerland Awards & Grants 2011 Nominated for National Gallery Prize for Young Art, Berlin, Germany 2006 Manor Art Award, Zürich, Switzerland 2005 Kiefer Hablitzel Foundation Prize 2004 Artist in Residence for city of Zürich, Zürich, Switzerland 2003 Swiss Federal Award for Fine Arts, Zürich, Switzerland 2002 Binz 39 Foundation Studio Grant, Zürich, Switzerland Solo Exhibitions 2019 “Andro Wekua,” Gladstone Gallery, New York 2018 “Andro Wekua: All is Fair in Dreams and War,” Kunsthalle Zürich, Zürich, Switzerland [traveled to: Sprüth Magers, Berlin, Germany (2019)] “Andro Wekua,” Sprüth Magers, Berlin, Germany “Andro Wekua. Dolphin in the Fountain,” Garage Museum of Contemporary Art, Moscow, Russia 2017 “A Dog’s Fidelity,” Gladstone 64, New York 2016 “Andro Wekua – Anruf,” Kölnischer Kunstverein, Cologne, Germany “Andro Wekua: Some Pheasants In Singularity,” Sprüth Magers, London, United Kingdom 2015 “Andro Wekua,” 032c Workshop, Berlin, Germany 2014 “Some Pheasants in Singularity” Sprüth Magers, London, United Kingdom “Andro Wekua: Pink Wave Hunter,” Benaki Museum, Athens, Greece 2012 “Dreaming Dreaming,” Gladstone Gallery, New York 2011 “Never Sleep With a Strawberry In Your Mouth,” Kunsthalle Wien, Vienna, Austria “Pink Wave Hunter,” Kunsthalle Fridericianum, Kassel, Germany “A Neon Shadow,” Castello di Rivoli, Torino, Italy 2010 “Gott ist tot aber das Mädchen nicht,” Schinkel Pavillon, Berlin, Germany “Books, Editions, and the Like,” Swiss Institute, New York “1995,” Gladstone Gallery, Brussels, Belgium 2009 “Workshop Report,” Wiels, Brussels, Belgium “28. August,” Galerie Peter Kilchmann, Zürich, Switzerland “Workshop Report,” Museion, Bolzano, Italy 2008 “My Bike and Your Swamp,” Camden Art Center, London, United Kingdom [traveled to: De Hallen, Haarlem, Netherlands] “Sunset. -
Afterword: Before and After Science1
Afterword: Before and After Science1 The processes of design and construction for these houses were grounded as much in the subjectivity of art and creativity as they were in the objectivity of any ‘pure’ scientific rationality. All of the clients’ requests regarding technical and functional aspects were faithfully incorporated into the finished designs. But these requirements did not, in themselves, generate the design of any of the houses; they were simply added to the mix. Each house was based, primarily, on an architectural concept that originated from a variety of sources—overseas examples, a contemporary reworking of traditional designs or the geometry of a road. Although most of the clients were directly involved in many aspects of their design, all left the formulation of the concept entirely to their architects. This was where the binuclear plan, the one-box square plan, the building blocks, the courtyard plan and the crescent-shaped plan originated. So robust were these sketch concepts that the clients could adjust various aspects to improve functionality—internal circulation, materials and details—without destroying the integrity of the idea. While Fenner and Zwar believed that functional and environmental considerations were important, they were not the main reasons they rejected accepted architectural styles and adopted Boyd’s and Seidler’s visions of modernity. The principal reason was the aesthetic imperative: the visual appearance of modern architecture, art and design. What was important to these scientists was that their new houses incorporated forms, materials, details and equipment that represented particular physical attributes of the modern world. Whether or not these related to the functional requirements of a suburban house was often of secondary importance. -
John BOYLE Before and After Science: Esoteric Traces in the Formation Of
Journal of the Irish Society for the Academic Study of Religions 7 59 © ISASR 2019 John BOYLE Before and after Science: Esoteric Traces in the Formation of the Freudian Psychoanalytic Subject ABSTRACT: This paper argues that traces of the Western esoteric traditions can be found within Freudian psychoanalysis and proposes that the significance of such traces for the development of a specifically psychoanalytic understanding of the human subject has thus far been largely neglected. A critical-realist hauntology is proposed to act as the transmissive milieu for the persistence of such traces. The paper then provides a brief introduction to Western esotericism as an academic discipline prior to turning its attention to the conceptual metaphor of 'trace' as a means of articulating relations between esotericism and psychoanalysis at the latter's inception. The paper goes on to adumbrate a complex conceptual matrix conjoining Freudian psychoanalysis to fin de siècle occultism, psychical research, telepathy and the Jewish Kabbalah. The paper concludes by drawing attention to the persistence of esoteric traces in contemporary psychoanalysis and reflects on the synergistic potential of psychoanalytic ideas for the academic study of Western esotericism. KEYWORDS: Freud, psychoanalysis, Western esotericism, occultism, telepathy, Kabbalah John BOYLE is a part-time doctoral candidate with the Department of Psychosocial and Psychoanalytic Studies at the University of Essex. He has completed clinical MSc degrees in Integrative and Psychoanalytic Psychotherapy, and is registered with the UKCP as a psychotherapist and clinical supervisor. He also has a MA in Western Esotericism from the University of Exeter. He is employed full-time as a community forensic practitioner in Northern Ireland and has previously published papers in journals such as the British Journal of Psychotherapy and American Imago. -
Guide to the Maria Lind Manifesta Papers MSS.005 Finding Aid Prepared by Ann Butler; Collection Processed by Lydia Aikenhead in Summer 2011
CCS Bard Archives Phone: 845.758.7567 Center for Curatorial Studies Fax: 845.758.2442 Bard College Email: [email protected] Annandale-on-Hudson, NY 12504 Guide to the Maria Lind Manifesta Papers MSS.005 Finding aid prepared by Ann Butler; Collection processed by Lydia Aikenhead in Summer 2011. This finding aid was produced using the Archivists' Toolkit July 14, 2015 Guide to the Maria Lind Manifesta Papers MSS.005 Table of Contents Summary Information..................................................................................................................................3 Biographical/Historical note.........................................................................................................................4 Scope and Contents note........................................................................................................................... 4 Arrangement note....................................................................................................................................... 7 Administrative Information...........................................................................................................................7 Controlled Access Headings.......................................................................................................................8 Collection Inventory...................................................................................................................................10 Series I: Manifesta 2...........................................................................................................................10 -
VILLA ROMANA the Artists House in Florence 22 November 2013 – 9 March 2014
VILLA ROMANA The Artists House in Florence 22 November 2013 – 9 March 2014 Media Conference: 21 November 2013, 11 a.m. Content 1. Exhibition Dates Page 2 2. Information on the Exhibition Page 4 3. Wall Quotation Page 6 4. List of exhibited Artists Page 8 5. Winners of the Villa Romana Prize Page 9 6. Catalogue Page 21 Head of Corporate Communications / Press Officer Sven Bergmann T +49 228 9171–204 F +49 228 9171–211 [email protected] Exhibition Dates Duration 22 November 2013 – 9 March 2013 Director Rein Wolfs Managing Director Dr. Bernhard Spies Curator Angelika Stepken, Director of the Villa Romana Exhibition Manager Susanne Kleine Head of Corporate Communications / Sven Bergmann Press Officer Catalogue / Press Copy € 25 / € 10 Opening Hours Tuesday and Wednesday: 10 a.m. to 9 p.m. Thursday to Sunday: 10 a.m. to 7 p.m. Public Holidays: 10 a.m. to 7 p.m. Closed on Mondays Admission Florence and Villa Romana standard / reduced / family ticket € 10 / € 6.50 / € 16 Happy Hour-Ticket € 6 Tuesday and Wednesday: 7 to 9 p.m. Thursday to Sunday: 5 to 7 p.m. (for individuals only) Advance Ticket Sales standard / reduced / family ticket € 11.90 / € 7.90 / € 19.90 inclusive public transport ticket (VRS) on www.bonnticket.de ticket hotline: T +49 228 502010 Admission for all Exhibitions standard / reduced / family ticket € 15 / € 10 / € 24 Guided Group Tours information T +49 228 9171–243 and registration F +49 228 9171–244 [email protected] Public Transport Underground lines 16, 63, 66 and bus lines 610, 611 and 630 to Heussallee / Museumsmeile. -
Corinna Schnitt 1964 Born in Duisburg Lives and Works in Dortmund And
Corinna Schnitt 1964 born in Duisburg lives and works in Dortmund and Braunschweig 1986-1989 Hochschule für Gestaltung, Offenbach Kunstakademie Düsseldorf 1995 Meisterschülerin in Nan Hoover's class, Kunstakademie Düsseldorf 1996 Akademiebrief der Kunstakademie Düsseldorf since 2009 Professor for Film/Video, HBK Braunschweig Awards and Fellowships 2006 Stipendium Artist in Residence, Edith-Ruß-Haus für Medienkunst, Edith Russ Site for Media Art, Oldenburg 2005 Aufenthaltsstipendium, Artist in Residence, Casa Baldi/Villa Massimo, Olevano Romano Förderung/Grant, Else-Heiliger-Fonds, Konrad-Adenauer-Stiftung, Berlin German Film Award in the category experimental film, "Living a Beautiful Life" 2004 Award, German Competition, "Living a Beautiful Life", 50. Kurzfilmtage Oberhausen, Oberhausen Artist in Residence, Chinati Foundation, Marfa Artist in Residence, Stiftung Kunst und Kultur des Landes Nordrhein-Westfalen, Schloss Ringenberg, Hamminkeln 2003 Artist in Residence, Villa Aurora, Los Angeles 2002 Media Art Award, Kunstadapter/Kulturamt, Wiesbaden German Film Award in the category experimental film, "Das schlafende Mädchen" 2001 HAP-Grieshaber-Preis, VG Bild-Kunst, Stiftung Kunstfonds, Bonn Artist in Residence, Akademie Schloss Solitude, Stuttgart 2000 DG Bank Kunststipendium, Frankfurt 3sat-Förderpreis, "Raus aus seinen Kleidern", 46. Internationale Kurzfilmtage Oberhausen 1997 Studio-Grant, Competition “art and architecture”, NPC, Düsseldorf Gründung | Launch, Schnittraum, Cologne Solo Shows 2019 Futures. Selected Work (2003–2015) of