CATALOGUE 2020/2021 HELLO

We are excited to present Black Dog Press’ new and upcoming titles for 2020, as well as a selection of our current titles, over the following pages.

As independent publishers we are entirely focused on delivering a tightly-edited selection of beautiful and bespoke publications to the widest possible range of readers.

From British Abstract art to forward-thinking drawing techniques, from Portuguese gastronomy to iconic vinyl, from the theory of war to Canadian confederation, our books explore a diverse array of subjects in the world of contemporary art and culture.

Read on and enjoy. NEW AND UPCOMING TITLES

FROM TRANSPARENT DRAWING EAT & ART PEDRO LEMOS ALBUQUERQUE MENDES “THE WORLD IS SO CONTEMPORARY NOW”

Pedro Lemos’s eponymous restaurant is locat- But I felt it was about more than me and my body, ed in the old Porto neighbourhood of Foz, in the so I was religious (and I still am). I loved colours, midst of bleak, multi-coloured houses (just as which, at the time, was complicated. When I was Pedro Lemos likes it) and close to the intriguing six, I went to buy my first suit and chose the fabric – Central Alley. The interior is dim, kind of inti- it was an orange, brown and black tartan and I mate, the walls painted a greyish blue and dec- looked like a gangster. At the age of ten, I was us- orated with pottery pieces by Bordalo Pinheiro, ing bright pink and lettuce green. What’s the secret of good Portugal’s greatest ceramicist. Everything is el- “In Coimbra, I started going to concerts at the egant, simple and refined. And we have to sur- age of 14 – seeing the likes of Vinícius Moraes render. The artist Albuquerque Mendes shoots and Nara Leão, operas in Lisbon, and so on. In food? What’s the key to great immediately. “This reminds me of something 1969 I saw an exhibition in Coimbra organised my son once said to me: ‘Dad, the world is so by the CAPC (Coimbra Plastic Arts Circle) and I contemporary now.’ And it’s true, isn’t it?” signed up on the spot. It was a new world. I met We go to the kitchen to shoot the pictures, Paula Rego and Helena Almeida, and my hori- art? And what makes a simple where Albuquerque dresses up and maybe even zons expanded.” lifts up his heels to look taller. “Am I beautiful?” And ideas, where do they come from? Pedro he asks. “I should have brought my clown’s nose.” takes things up. Pedro laughs. But his face grows serious as “At the start, I sought the work of those who tin of canned fish such a he talks about his kitchen. were emerging. I began emulating and, little by “Our strength is our stocks. They are impor- little, I found my path. Our cuisine is wonderful, tant, and difficult, too. But we have to show peo- but monotonous. I admire it but I want to do new striking symbol of innovation ple how we use our time. Stocks give depth to things. The ideas come from memories or from the dishes.” travels. They might come from a chip that we We discover that both Pedro and Albuquerque have missing, or an extra chip in our minds.” were meant to study civil engineering. Pedro Albuquerque talks of how ideas come to him, and tradition? The answer to stayed on the course until the pots and pans got and quotes a verse from José Jiménez: “Artists in the way and led him to other forms of engi- are angels who fall from heaven to their mother’s neering. But the story starts at the beginning… womb.” “I’m always giving ideas to everyone,” he “I had a magical childhood,” says Pedro. “My fa- says. “Even if I tried, I could not keep them.” all these questions is the same: ther was an engineer and my mother was a nurse. Pedro also likes to share, as long as it’s here There was a very traditional culture of great care. in his restaurant. The table was always a special occasion. I learned “I don’t show anything on the internet or on creativity. When we unleash how to cook and, later, when I invited friends to social media,” he says. “People must come and come over, they enjoyed my cooking. I came to see. I’m here, away from the world, with my el- the conclusion that in order to eat properly either derly neighbours whom I love. I used to be very I would need to learn how to cook or become a aggressive, even impolite. Nowadays I’m more our creativity, incredible great engineer. In the end it was all very natural.” calm and I just want to be happy with what I have In matters of childhood and skewed paths, around me. I tell my 92-year-old neighbour that Albuquerque is second to none. “As a child, I was I want to grow old like her, but she tells me the a bit of a sissy,” he says. “I used to read, paint and secret is becoming a widow early.” things can happen. cook. I lived in a house full of women and I loved We smile one to another, notebooks are that. At the age of ten, I moved from Trancoso to closed and the camera lens is covered. “Did it Coimbra and wanted to become a priest. My father, go well?” asks Albuquerque. Everyone seems to — CAN THE CAN Lisbon who was a communist, thought that a nonsense. think it went well, really well. 50 51

AUTHOR | CAN THE CAN Lisbon ALE Eat & Art, from the people behind Lisbon’s famous CAN THE CAN restaurant, brings together some of Portugal’s finest chefs and artists, using the country’s XAN canning industry as the source of inspiration. Using striking photography and contemporary design, the book explores the undeniable affinities between gastronomy and art. It features a fascinating DRE and expansive historical timeline, which charts parallel events in the two fields, such as early SARDINE, CITRUS FRUIT Egyptian tomb painting and the Chinese cultivating AND GRILLED CABBAGE soybeans, rice, wheat and barley to create noodles in 3000 BCE. The book aims to place the canning industry, one of the oldest and most important in Portugal, SEPTEMBER 2020 firmly in the international spotlight, presenting SIL Hardback eighteen dynamic chef and artist pairings. The ISBN 978-1-912165-23-0 combined output of these pairings, either as an SARDINES IN OLIVE OIL WITH LEMON £39.95 · $49.95 inspirational dish or innovative work of art, is a BRAND MARINA 32 × 23 cm · 12.5 × 9 in visual feast that will feed the hearts, heads and VA 354 pages · 240 ills stomachs of readers. 142 143 40 41 ROD COMPLEX 2018 RIGO CANS PAINTED WITH ACRYLIC, CARDBOARD, WOOD AND CEMENT OLIV

80 × 60 × 15 CM EIRA 238 239 FRACTURED LIGHT JOHNNIE COOPER: COLLAGES 1992–1997

Rainbow, 1994

50 51

AUTHORS | Mel Gooding, Gabriella Pounds

SEPTEMBER 2020 Fractured Light focuses on a key body of work Hardback by the British artist Johnnie Cooper, which was ISBN 978-1-912165-24-7 instrumental in his transformation from sculptor £34.95 · $44.95 to painter. Throughout the 1990s, with a renewed 33 × 24 cm · 13 × 9 in dedication Cooper embarked on an industrious 160 pages · 100 ills and experimental trajectory with paint and collage. These works on paper, made by layering multiple strips of paintings, were directly inspired by a series of large assemblage works the artist constructed during the late 1980s, when the culmination of his work in art education brought a new found freedom. The view from a new studio in rural Gloucestershire conjured fresh inspirations and instilled a fascination with the ever-changing colour, shape and light values that fractured through a nearby woodland over the course of a day. This book documents an important part of Cooper’s oeuvre and is a must for enthusiasts of Johnnie’s work or anyone who is into British Expressionism or abstract art. It accompanies JOHNNIE COOPER | SUNSET STRIP an exhibition, also called Fractured Light, and Contributors | Peter Murray, Tom Hastings follows Johnnie Cooper: Sunset Strip, a major HB · ISBN 978-1-912165-09-4 Silver Birch Shadow, 1995 monograph on the artist in 2019, also published £29.95 · $39.95 78 79 by Black Dog Press. 28 × 23 cm · 11 × 9 in 240 pages · 150 ills Thunder Sunset, 1993

112 113

Toward Evening, 1996

130 131 SHAME & PREJUDICE: A STORY OF RESILIENCE KENT MONKMAN

2   

______

Fathers of Confederation ______

Les Pères de la confédération

CONTRIBUTORS | Kent Monkman, Barbara Fischer, Lucy Lippard, Richard Hill and John Ralston Saul

Artist Kent Monkman’s all-encompassing project, Shame and Prejudice: A Story of Resilience, takes viewers on a journey through Canada’s history, starting in the present and going back to before Canadian confederation. Throughout the book there are clever, albeit controversial, commentaries told by Monkman’s genderfluid, time-travelling, supernatural alter-ego Miss Chief Eagle Testickle. Her narratives take viewers through the history of New France and the fur trade, the nineteenth- century dispossession of First Nations lands through Canadian colonial policies, the horrors 42    43 of the residential school system, and modern 뀠 吠 뀠 L k p>q뀠ᰠ  First Nations experiences in urban environments. 吠뀠r>  ꠠᰠ F吠 吠 ꠠ吠e吠  吠吠 1813 Shame and Prejudice challenges predominant 吠 뀠ꠠ ꠠ    ꠠ 뀠p ( Y    P%) q narratives of Canadian history and honours the ꠠ ꠠ> ꠠ rp  p>   뀠   ꠠ  ꠠ  뀠 ꠠV 뀠V  ꠠ p> 뀠 resilience of First Nations peoples. p   Fᰠ ꠠ ꠠ    ꠠ > ꠠ pr   A  ᰠ  ꠠpV  > p 뀠p ꠠ> ꠠ  p ꠠk ꠠ  This book accompanies Monkman’s largest ꠠ r   V吠u kq  p 뀠 eꠠ 吠 F  ꠠ   k吠   solo exhibition to date, which is currently travelling 吠 P#k  ꠠꠠᰠ k吠  ꠠ  k     2007 across Canada at venues including the Art Museum  뀠  ꠠ吠ꠠ   Jꠠ k ꠠᰠ at the University of Toronto, the Winnipeg Art 吠pp> ꠠ  뀠 ꠠk   k ꠠp p>    ꠠ 吠뀠rꠠ吠  吠ꠠk吠 p  pJk吠 吠 吠 Jp ꠠ ꠠ> > 뀠  Gallery, the Glenbow Museum in Calgary, and ᰠ qꠠe>   >吠 ꠠᰠ  p >吠뀠ꠠ  뀠ꠠk뀠 the Museum of Anthropology in Vancouver. rꠠ V p 뀠 eWpk吠 V吠 ep 吠 吠  uVꠠ V Q >뀠ꠠ The exhibition includes the artist’s own paintings, pk吠    p  뀠 ꠠp 11  k뀠p p p 吠  uV  ꠠ  u e  ᰠ  뀠 ꠠ drawings, and sculptural works, which form a p T u e  p

______dialogue with historical artefacts and artworks Et encore plus. Ce fois çi en Français et un peut plus longue, Même en trois SEPTEMBER 2020 lignes. borrowed from museums and private collections ______Hardback This could be a short caption. And it could across Canada. The book is trilingual with all text continue. ISBN 978-1-912165-26-1 in English, French and Cree. £39.95 · $49.95 ᰠ  |    | 2   吠 28 × 23 cm · 11 × 9 in THIS TITLE IS PUBLISHED IN PARTNERSHIP WITH THE ART 272 pages · 200 ills MUSEUM AT THE UNIVERSITY OF TORONTO. > 78 >> 108, 107

78 could be a cap- tion. This could be a caption. ______

Kent Monkman, Seeing Red, 2014 ______

Kent Monkman, Réincarcération, 2014

tion. This could be a caption. This could be a caption.

______

Objects made by Kapawe’no First Nation students of the Grouard Residential School for the principal of the school, 1925–1931. ______

Tous ces objets ont été confectionnés par des élèves du pensionnat Grouard pour le directeur de l’école

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72 tion. This could be a caption. This co

______

Kent Monkman, The Scream, 2017 (detail) ______

Kent Monkman, Le Cri, 2017 (détail) Contents TRANSFORMATIVE

7 Introduction: Reading IDENTITY/CULTURAL 175 Open Transmission 263 Making of Out/Inside(rs) Wodiczko PROSTHETICS 2000 AN INTERVIEW WITH ROSALYN DEUTSCHE JAROSLAV ANDEˇL 94 Beyond Hybrid State 2013 WARREN NIESŁ UCHOWSKI AND MONUMENT/PROJECTION 276 Casting Shadows: DEMOCRACY/AVANT-GARDE KRZYSZTOF WODICZKO If You See Something... 1992 184 I Want to be a Catalyst AN INTERVIEW WITH 16 Maine College of Art 101 An Interview with Bruce Robbins AN INTERVIEW WITH KATHLEEN MACQUEEN AVANT-GARDE AND Commencement Address 1996 WILLIAM FURLONG 2014 2004 107 On Alien Staff 1988 287 The Inner Public 20 Creating Democracy AN INTERVIEW WITH 187 Memorial Projection 2015 AN INTERVIEW WITH TOM FINKELPEARL 1986 PATRICIA C PHILLIPS 2001 190 Public Projection 2003 112 Xenology: Immigrant Instruments 1983 WAR/UN-WAR 26 The City, Democracy 1996 193 A Conversation between Douglas and Artistic Practice 114 Cultural Prosthetics Crimp, Rosalyn Deutsche, Ewa Lajer- 302 Message from the Artist OTHER WRITINGS 2007 2015 Burcharth and Krzysztof Wodiczko 1999 38 Realism as a Course of Life 121 Designing for the City of Strangers 1986 304 City of Refuge: A 9/11 Memorial AN INTERVIEW 1997 206 The Venice Projections 2009 WITH SCAPEGOAT 129 The Prophet’s Prosthesis 1986 310 Response to the October Questionnaire 2012 AN INTERVIEW WITH 208 The Homeless Projection: AUGUST 2007 45 I’m for the Academy CHRISTIANE PAUL A Proposal for the City of New York 317 Constructing Peace AN INTERVIEW 1999 1986 AN INTERVIEW WITH WITH K BANACHOWSKA 135 A Conversation with Marek Bartelik 210 Projection on the Monument CAROL BECKER 1977 DECEMBER 2006 to Friedrich II, Kassel 2012 48 West/East: The Depoliticization 1987 322 Arc de Triomphe: World Institute for the of Art 212 Speaking Through Monuments Abolition of War | KARL BERVERIDGE AND INTERROGATIVE DESIGN 1988 2010 AUTHOR Krzysztof Wodiczko KRZYSZTOF WODICZKO 214 City Hall Tower Projection, Kraków 328 The Culture of War 1980 142 Interrogative Design 1996 2012 51 Personal Instrument: 1994 218 Instruments, Monuments, Projections 334 Tomb of the Unknown Soldier: A Response to Maria Morzuch 144 Homeless Vehicle Project 2003 The Józef Rotblat Institute for 1992 DAVID LURIE AND 227 Monumental Interruption the Abolition of War 54 For the De-incapacitation KRZYSZTOF WODICZKO 2004 2015 of the Avant-Garde in Canada 1988–1989 232 Communicating Through Statues 341 Un-War Cities 1984 149 Poliscar 2004 2012 62 Avant-Garde as Public Art: 1991 344 The American Civil War The fourth publication of Krzysztof Wodiczko the Future of a Tradition 153 An Interview with Bruce W Ferguson Memorial Institute 1998 1991 PARRHÉSÍA/INNER PUBLIC 2018 AND 2019 66 Liberate the Avant-Garde 161 Alien Staff (Xenobacul) 352 The 70th Anniversary GREGORY SHOLETTE AND 1992 236 The Fearless Monument Speaks of the Hiroshima Bombing KRZYSZTOF WODICZKO 163 2003 AUGUST 2015 with Black Dog Press, exploring the artist and The Mouthpiece (Le porte-parole) 2014 1993 240 Critical Guests 357 Global Warming and Nuclear Weapons 74 Transformative Avant-Garde: 166 Variants of the Mouthpiece JOHN RAJCHMAN AND AUGUST 2017 A Manifest of the Present (Le porte-parole) KRZYSZTOF WODICZKO 2014 1995–1997 2009 writer’s distinctive oeuvre. Transformative Avant- 85 Art, Design and Education 168 Ægis: Equipment for a City of Strangers 246 Art, Trauma and Parrhésía 360 Bibliography 2015 1998 2011 172 Dis-Armor 254 War Veteran Vehicle 361 Acknowledgments 1998 AN INTERVIEW WITH BEN PARRY 2012 362 Index Garde and Other Writings is a comprehensive

The City, Democracy, democracy will die and it will be like it was in the communist Poland before I left. Nobody told me about all that before I left Poland. I suspect that then nobody collection of Wodiczko’s writing from the 1970s to and Artistic Practice really knew it. Who then would dare say that when democracy reaches the point of stability and the safeguarded guarantee of its existence, it disappears? Who 2007 would dare say that democracy often equals risky work and a battle? As an immigrant from Poland rooted in the Polish tradition and in the emigrant tradition, I started to think more and more about Adam Mickiewicz. I the present day, providing a new perspective on remembered that the title Trybuna Ludu (The Tribune of People) was a loan name from a socialist and Christian journal, La Tribune des Peuples, co-established by War/Un-War Mickiewicz who was also its editor-in-chief. In this journal the poet published the 27 so-called “constitution for Europe” that is a “set of principles” in which he put this often controversial artist. An in-depth book that forward the issue of “otherness”, stressing the importance of equal rights for peasants, women and Jews and where he also formulated a certain social program. How was it possible to learn the democratic tradition if the words themselves such as: “democracy”, “socialist democracy”, “citizen”, “social good”, “conditions of existence”, “equality of rights”, “social activism”, “political represents the many political, social and theoretical activism”, “economic equality”, “social equality”, “political awareness”, “social class”, etc all sounded like petrifying slogans from the communist newspaper Trybuna Ludu and belonged to the language of the place I wanted to run away from as far as I could? Already I realized then that irrespective of the language, which was made infamous and corrupted by the communist regime, everything motivations and concerns of Wodiczko’s work, this that is democratic has to have a close link with what is social, political, ethical and artistic. The work for the cause of democracy has to be continued. We need Aeschylus: Why should we admire a poet? to restore and refresh the meaning of the language of democracy. Euripides: For his intelligence and his admonishments, his warnings, and Today Ladies and Gentlemen, you and I are at the same point of the is a must for art and culture theorists and fans alike. because we make men in the cities better. above mentioned restoration of meaning to the language of democracy and are Aristophanes, The Frogs in the process of working for democracy; myself, who as many others was exiled from Poland by communism, and you, who forced communism to be exiled from Poland. Today, we meet on the same democratic grounds. Introduction This overarching publication highlights the In 1977 I left the then undemocratic Poland in my quest for democracy. However, The City I have not managed to find democracy as something ready-made that could give The city—the civitas, topos, locus that means “a place”. Since the 18 April me something concrete. I thought erroneously that, contrary to the bad ‘presents’ 1791 Free Royal Cities Act, an integral part of the Constitution of 3 May 1791 which we had always received from an undemocratic system, a democratic system adopted by the Polish-Lithuanian Commonwealth, the city is the place where equal merits of Wodiczko’s writings in respect of his would give me good ‘presents’. Fairly quickly I came to realize that my hope for city-dwellers are equal and free. However, despite this highly inspiring promise, finding democracy and receiving its presents is a utopia. Crossing more and more and perhaps because of it, the city’s egalitarianism and its freedoms and rights new frontiers of different countries and cities I came to realize that democracy is are being put to test every day. The city promises all its citizens to be protective, something that has to be made by ourselves because nobody can make it via ‘a supportive, open to newcomers, open to new cultures, practices and discourses directive from above’. Democracy cannot be made for us without us. Democracy and yet the city does not always manage to deliver this promise and be open artistic practice, demonstrating the overlapping cannot be ordered upon us, unless we are willing to accept the ‘democracy’ of and inclusive enough. The city is both the stage and the stake of democracy. President Putin. By its very nature democracy cannot offer anything definite Paraphrasing Jacques Derrida, it is possible to say that, “the city does not exist”. beyond constitutional rights, which are in fact only a conceptual ‘legal right’, the Like democracy the city is a phantom, “a thing to come” (a venire), a “thing to right to have rights, to persistently ask for human and political rights, to strive become”. And this is where our ethical and political responsibility comes in as for the rights to be stable and all inclusive for ourselves and for others. a continuous, constantly repeated effort (encore un effort) and work on the city. influences and considerations that run throughout In my unending pilgrimage to democracy I also started to understand that This effort and work requires political passion and the freedom to express one’s the privilege of having the rights which democracy can offer is connected to the views, the right to disagree (dissensus), to protest, to contradict and to intervene. duty to wake it up from the lethargic sleep it has a tendency to drift into it. I saw Emmanuel Levinas said that “the political hierarchy and totality of Athens” and clearly that there is nothing worse for democracy than the passiveness of its “the ethical and anarchic individualism of Jerusalem” are equally indispensable his life. citizens. I came to understand that if dominated by those who will strengthen in order to suppress violence and secure the democratic process. The city as a their own rights at the expense of limiting access to these rights of others, community must be continuously and simultaneously created and delegitimized Wodiczko is famed for his large-scale, Transformative Avant-Garde and Other Writings Democracy/Avant-Garde politically-charged video and slide projections, Arc de Triomphe: World Institute for the Abolition of War, 2010 projected onto prominent architectural structures. Monument/ SEPTEMBER 2020 Since the 1980s, his work has been engaging Projection Hardback marginalised residents of cities to make their

The Survivors of Survivors groups, communities and society at large, as those who can offer a unique and The person who assists another person in surviving is a survivor also, and she or valuable contribution to it. he may also be in a need of cultural-prosthetic equipment. The lost breast or prostate of one member of the family is a lost breast or War Veterans ISBN 978-1-912165-28-5 voice and experience public. He is Professor in prostate for an entire family. The lost leg of a father in the fog of war is a lost leg War veterans suffer—perhaps even more than other survivors—a loss of capacity suffered by his entire family. For the family whose members have been physically to communicate and express emotions, to convey their overwhelming feelings or psychologically traumatized in war the trauma is of the loss of the persons that and memories of war and post-war events and experiences. For psychological they once were. and cultural reasons only a small percentage of them, and almost none of their £29.95 · $39.95 Residence at Harvard University, and was awarded Cultural prostheses are clearly required not only for survivors, but also for families or those close to them, speak of this publicly. 116 their loved ones, those who suffer traumatic symptoms via secondary trauma: the Their incapacitation denies them a chance to share their experience with 117 survivors of survivors. society at large, especially with younger people (including those who might wish to Family members and partners who are caregivers for those impaired by war, join the military) and to help people learn the realities of war rather than absorbing congenital defect, accident, or illness also have a primary need for prostheses, romanticized media phantasms of war and military recruitment propaganda. 25 × 17 cm · 10 × 6.7 in the Hiroshima Prize in 1998 for his contribution as so that they too should have the possibility and means to bear their loss together, Veterans’ communicative incapacitation contributes to a distorted public image and without the moral blackmail that prevents them from also being recognized among imagination of war, leading only to the perpetuation of wars. As a result, the public the wounded and amputees: as survivors in their own right. remain unaware of what they and their families may face in the event that they join What kind of cultural-prosthetic equipment might they both need, and, the military and go to war. The development of cultural prostheses would therefore 368 pages · 7 ills an artist to world peace. when appropriate, collectively, in tandem or separately, use or share? play a vital role in helping veterans in the vital task of developing and disseminating a greater societal awareness of war. Communicative Prostheses Technically advanced prosthetic substitutes for parts of our bodies are within US War Veterans reach, but the loss of a breast, eye, hand, foot, arm, or leg also constitute a Only those who have been through war can tell us what war has done to them and charged cultural and psychological domain. Responding to the physical and their comrades, to their ‘enemies’ and to civilians, and what war will continue to emotional needs of the survivors of such loss, we must envisage innovative do should it occur again. psycho-social and techno-aesthetic approaches. Such new cultural-prosthetic Unfortunately the wall that separates those who know what war is and those equipment can aid in the process of recoding the ‘self’ beyond mere substitution who do not is a thick one. To challenge such a social divide is a difficult task, not and improvement; to empower the impaired with new abilities, including the only because of the very small number of veterans who are inclined to and able to virtuosity to regain and acquire an invigorated sense of personal and social speak of war but also, and especially, because uninformed and misguided younger worth. The design and technology of cultural prostheses must offer its users both people, potential new soldiers and future veterans, are not inclined to listen. They inspiration and assistance in the process of developing new forms and skills of are poisoned by our war-based national and ethnic cultures and by the recruitment communication and expression, which will aid users in resuscitating lost social propaganda with which they were brought up. They will not listen as they seek an ties and connections or to create new ones. ideological path to noble missions. In order to proceed, we must respond to the core questions in the In such a situation, to close the divide between the minority who are development of prostheses. What kind of prosthesis can be designed, equipped, conscious of war and the unconscious majority who are not, requires extraordinary and ‘fitted’ to overcome survivors’ physical, cultural and social impairment? cultural and artistic measures. It requires an invention of some thing in-between, How will our prosthetic design resolve those impaired zones and other aspects some transitional artifice through which veterans experienced in war can of their emotional, family, cultural and social lives? Could, for example, today’s communicate in public. Both war veterans and the path to a war-free world require technologically advanced prostheses be further enhanced by integrated the design of special kind of cultural prosthesis. communications like electronic memory, interactive software, sensors, audio- visual display and projection components, as well as wireless communication A New Type of War and transmission functions? We are engaged in a new type of warfare in which 80 per cent of soldiers have been Finally, via a greater inventiveness, elegance, artistry and symbolic trained and desensitized so as to better be able to kill (in contrast to 20 per cent Proposal for a public projection at Place de La République, 2000 articulation, can we displace, disrupt, and challenge the stereotypical and of those who killed in the Second World War). At the same time advanced medical often degrading perceptions of survivors of illness, displacement, social and field technology and armor saves more lives. Every US soldier killed leaves

cultural exclusion, accident or war? A cultural prosthesis must help its users, 16 comrades who survive. The greater survival rate contributes to a greater Democracy/Avant-Garde wearers, operators, and performers transform themselves into agents who number of traumatized veterans, survivors who have killed more ‘enemies’ and have are different from others not by virtue of their psycho-logical and physical witnessed more killing and wounding. More of them will return alive and more of them disadvantage, but through their new bodily and mental skills and expressive traumatized. An estimated one-fifth of current veterans of the Iraq and Afghanistan communicative capacities. Cultural prostheses must allow users to be conflicts report suffering from PTSD. Upon their return from war, many will live as if admired, desired, respected, and welcomed as legitimate members of social dead, or have a deadly and violent life. Many will commit suicide.

Transformative Avant-Garde and Other Writings Identity/Cultural Prosthetics

A Personal Note Art, Design and Education Being ahead of oneself and beside oneself, ahead and beside the ways of one’s own upbringing, ahead and beside acquired and outdated norms, values and 2015 patterns of thinking, beyond acceptance of one’s own conditions of life, is a psycho-social, political and ethical imperative for changing such norms, patterns, values and conditions in oneself and in the larger outside world. To transform the world one must transform oneself, and transforming the world helps self-transformation. This is the conviction that informs the pursuits of my own work and of the work of many fellow artists who have chosen to join 84 or are an unintentional part of the transformative avant-garde. Art is a communicative, developmental psycho-aesthetic, and socio- expressive tool, as well as a prophetic and magical force. The transformative avant-garde is born of the artists’ existential, social, political and ethical consciousness, their critical motivation and visionary will, and of their capacity and skills in making full use of and mastering such force. It is a true task to match our avant-garde predecessors in the ambition, scale, and scope of their transformative projects, in the impact they have had on public consciousness, in their fearless and proactive challenge to our conservative patterns of thinking and feeling, and to our addictions to the ideologies of our cultures and to our life immersed in everyday phantasms. I am not ashamed and afraid to see myself, call myself and be seen by others as an avant-garde artist. I am only afraid that in my attempts to respond to the present world, and to myself within it, in a critical, transformative and proactive way, I may not be, or have been, avant-garde enough. What art works most influenced your ideas about the role of the artist when you were starting out? Krzysztof Wodiczko: Before answering any questions, I want to say that I find it This text was inspired by the book by Andrzej Turowski, Manifest/Manifesto. very difficult to advise people on the basis of my own experience because I don’t Sztuka, ktora wznieca niepokoj/Art That Sparks Unrest: The Artistic-Political want anyone to simply follow me. Everyone is different! In any case, I don’t know Manifesto Of Particular Art, Warsaw: Ksiazka i Prasa, 2012. Originally published what use my own art experience may be for young artists today. So, please take in Third Text, vol 28, issue 2, 2014, pp 111–122. note of this qualification. In this context I would say to them: listen to me, if you wish, but do not ‘believe’ me, nor take me as an example, especially as your ‘best’ or only example. 1 Such general feeling prevails in most countries but is especially evident in the United States. In responding to you question it is difficult to suggest one single image or art 2 Arendt, Hannah, “We Refugees”, Menorah Journal 1, 1942, p 77. object that has been the most important for me, but I can suggest a few things that 3 See Bürger, Peter, Theory of the Avant-Garde, Michael Shaw trans, Minneapolis: University of Minnesota Press, (1974) 1984. set the course for my work. First and foremost, there were things that I have read. KRZYSZTOF WODICZKO CITY OF REFUGE | A 9/11 MEMORIAL THE ABOLITION OF WAR 4 Joseph Pine II, B and James H Gilmore, The Experience Economy: Work Is Theater Reading the book by Linda Nochlin, called Realism, 1971, was a real event in my and Every Business a Stage, Boston: Harvard Business Review Press, 2011, p 17. 5 Pine and Gilmore, The Experience Economy, p 255. life. It was translated into Polish quite quickly and I read it when still living in Poland 6 See the Wikipedia entry on “Creative Class”. See also Florida, Richard, The Rise of in the early 1970s, quite soon after I graduated from the Academy of Fine Arts in the Creative Class... And How It’s Transforming Work, Leisure, Community and Everyday Contributors | Rosalyn Deutsche, Author | Krzysztof Wodiczko Author | Krzysztof Wodiczko Life, New York: Basic Books, 2002, p 8. Warsaw. Another important reference was the book Design for the Real World by 7 I speak here of conflict transformation, rather than conflict management or conflict Victor Papanek, 1971, and also writings On Theatre by Bertolt Brecht, 1978. resolution. See for instance Miall, Hugh, Conflict Transformation: A Multi-Dimensional Task, Berghof Research Center for Constructive Conflict Management, 2004, In terms of art, learning about the Soviet Constructivist, and Productivist available online at http://www.berghof-handbook.net/documents/publications/ art inspired me. Thinking of a specific artwork that always stays in my mind, I miall_handbook.pdf. Lisa Saltzman, Andrzej Turowski et al PB · ISBN 978-1-906155-80-3 PB · ISBN 978-1-907317-66-8 8 These are the words of Johan Galtung, the originator of “peace studies” who must recall a small painting by Honoré Daumier called The Third Class Carriage, distinguished between positive and negative peace. See “Negative versus Positive and also works by Vladimir Tatlin, especially one called Letatlin, and John Peace”, on the Irenees Peace Workshop, 2007, available at http://www.irenees. net/bdf_fiche-notions-186_en.html. See also the United Nations Department of Heartfield’s photomontages for AIZ magazine. Of course, the work of visionary Economic and Social Affairs, The Centre for Conflict Resolution, Skills Development designers, such as Buckminster Fuller and Lucien Kroll, were very important for HB · ISBN 978-1-907317-13-2 £19.95 · $29.95 £14.95 · $24.95 for Conflict Transformation: A Training Manual on Understanding Conflict, Negotiation and Mediation, 1997, available at http://unpan1.un.org/intradoc/groups/public/ me as well. So as you can see both the tradition of critical art and avant-garde documents/un/unpan001363.pdf. design have played an important role in my life. The one particular project that also sticks in my mind is a 1922 project by £39.95 · $59.95 21 × 15 cm · 8 × 6 in 21 × 15 cm · 8 × 6 in the avant-garde composer Arseny Avraamov. It was called Symphony of Factory Sirens

Transformative Avant-Garde and Other Writings Democracy/Avant-Garde 26 × 21 cm · 10 × 8 in 120 pages · 24 ills 144 pages · 80 ills 368 pages · 200 ills TRANSPARENT DRAWING

With an artistic mindset, we don’t always draw what we can’t see. And because we don’t draw it, we can’t fully understand it. — Kurt Ofer

AUTHOR | Kurt Ofer

With an artistic mindset, we don’t always draw what we can’t see. And because we don’t draw it, we can’t fully understand it.

To challenge this restricted outlook, architect Kurt Ofer has formulated an utterly unique way of drawing, which gives a superior understanding of form. By following the method of ‘transparent drawing’, you ignore an object’s opacity and see beyond its surface, allowing you to draw it in a very distinct and holistic way. This enables us to fully see and understand the object, and brings unimaginable results. Transparent Drawing will appeal to anyone who has ever picked up a pencil and made marks on a piece of paper. The book questions why we draw, but it is not a book on how to draw. It is clear that through Ofer’s detailed exploration of various SEPTEMBER 2020 drawing movements through history, taking into Paperback account prominent thinkers and philosophers, ISBN 978-1-911339-34-2 the purpose of the book is not only to advance a £29.95 · $39.95 new mode of drawing, but to enrich readers with a 27 × 22 cm · 10.6 × 8.6 in knowledge, which gives a previously inconceivable 192 pages · 170 ills outcome when put into practice.

32 Jeff Thomas Carole Condé & Karl Beveridge 33 FORM Dreamscape Street Car Dundas Street, 1987 Work in Progress, 1980–2006 FOLLOWS FICTION ART AND ARTISTS

The purpose of locating nations in urban landscapes in this exhibit is twofold. Firstly it acknowledges the empirical reality of aboriginal IN TORONTO peoples who have been historically displaced from traditional lands, and recognizes the importance and the legitimacy of the hybrid histories that have arisen out of their displacement. Secondly, it metaphorically situates all aboriginal or indigenous peoples – Native, Indian, Inuit, and Métis – as Nations in an urban landscape.… Some aboriginal people would remain living on reserve; others would live 12 Luis Jacob 13 both on reserve and in urban communities, commuting between the The Demonstration, 2013 two; some would choose “enfranchisement,” believing it to be the WHEN FICTIONS only possible way to live a decent life, while continuing to identify themselves with their traditional territories and cultures; others would choose to integrate as fully as possible into “modern” Canadian BECOME FORM society; and still others did not self-consciously choose their place in society, but were born and raised within the unquestioned centricity of Euro-Canadian ideology and its liberal values. I use the term “choose” loosely here, recognizing that few real choices were available to First Nations people, that these “choices” have been mitigated and limited by the legal and social impact of colonial imperialism.

— Marica Crosby, “Nations in Urban Landscapes” (p.12)

The centre of reality is wherever one happens to be, and its circumference is whatever one’s imagination can make sense of.... – Northrop Frye1 94 General Idea Benny Nemerofsky Ramsay 95 ....no books this time, nodictionaries to hang on to, The 1971 Miss General Idea Pageant, 1971 Audition Tape, 2003 just me and the citythat’s never happened before, and happenedthough not ever like this.... – Dionne Brand2

There are moments when the patterns that inform our view of things are made visible as patterns. The informing attitude that we customarily but unreflectively assume towards things is suddenly revealed. Such moments of recognition are transformative. Things around us take a new form that is inflected by this objectification of our attitudes, and we are endowed with new subjective resources to engage with what we had formerly passively accepted as being ‘the way things are’. The epiphany is extravagant. Like fractals, its effects flow in multiple directions and take place at various registers. The transformation is a change in the way we think. More fundamentally, it is also a change in the ways that things present themselves to us. On the one hand, we see things through a new lens; on the other hand, it is the things themselves that teach us new ways of seeing our surroundings. The eye, the mind and the heart are altered. What is revealed in these patterns is simultaneously who we are, in our social and personal modes of being, and where we are, in the setting of shared world-views and in the context of our material means of subsistence. These phenomena are intertwined. Eye, mind and heart, our perspectival attitudes and the ways that things reveal themselves, the ‘who’ and the ‘where’ of our identities—all these things coalesce around an idea of place, which serves to define the structured and structuring features of existence.

* * * *

FORM FOLLOWS FICTION: [During the 1970s] the downtown art scene operated not in a vacuum ART AND ARTISTS IN TORONTO but, let’s say, in a vacancy. Part of that vacancy was the open territory of the downtown Toronto landscape where it would situate itself – a sketchy neighbourhood right on the edge of the financial district, with LUIS JACOB its dive hotels, drinking taverns, greasy spoons, and empty turn-of- the-century warehouses surrounded by vast parking lots, the residue of demolished buildings. It was pretty vacant. And nobody was watching.

— Philip Monk, “Is Toronto Burning? Three Years in the Making (and Unmaking) of the Toronto Art Scene” (pg.15) EDITOR | Luis Jacob

130 Ian Carr-Harris Michael Snow 131 But she taught me more, 1977 Walking Woman in Toronto Subway, 1963/2016 How do artists in Toronto visualise their sense of SEPTEMBER 2020 place? Are there particular ‘made-in-Toronto’ ways Hardback of thinking about the city? With work selected by ISBN 978-1-912165-27-8 internationally renowned Toronto-based artist £34.95 · $44.95 Luis Jacob, Form Follows Fiction: Art and Artists 28 × 23 cm · 11 × 9 in in Toronto considers the ways in which artists see 240 pages · 227 ills Toronto, throughout a period of fifty years. Presenting 126 Ian Carr-Harris Roula Partheniou 127 Wendy Sage Being Compared, 1973 Dopplekopf, 2013 a thematic clustering of works by 86 artists, the book

On any given day one can likely catch at least one festival screening in is premised on the tendency of artists in the city to the city…. This is a city that likes to watch moving images of all sorts….” — Richard Fung, “We Like to Watch: Toronto’s Passion for Film Festivals” (in ‘Explosion in the Movie Machine: Essays and favour performative and allegorical procedures to Documents on Toronto Artists’ Film and Video’ pg.139) articulate their sense of place. Four gestures—mapping, modelling, performing 164 This is Paradise Form Follows Fiction 165 Dot Tuer once described the following strange encounter: shifting, and they all want it to stop—and if that means they must pretend to know nothing, well, that’s the In a few brief years, KAA/CEAC [Kensington sacrifice they make.4 Arts Association/Centre for Experimental Art and Communication], published catalogues, nine issues of Toronto is Ojibway/Anishinaabe land... and yet for Brand hardly any of and congregating—serve as guideposts to a diverse Art Communication Edition (A.C.E.), and three issues of its settler-inhabitants knows or cares about this shared reality. Except STRIKE magazine; it organized exhibitions, conferences, that the very name of this city is but one of the surviving and enduring international tours, workshops, performances, film and traces of Indigenous language that informs their tongues, their mouths, video screenings, and music events. During 1976 and and their ears each time they call their home “Toronto”... which they 1977, there was literally an event held at CEAC every nonetheless fail to recognize as such.5 night of the week. Yet a decade and a generation later, Social reciprocity—the sandpaper friction of bodies compressed array of artistic practices. The book is a constellation it is only through talking to individual artists involved in the city—creates the energy that reanimates the wounds which have in CEAC that I learn of its existence.… And it is only been buried and kept withheld: through archival research that I am able to uncover, in a fragmented and hieroglyphic form, evidence of its But as in any crossroad there are permutations of activities and copies of its publications, all of which seem existence. People turn into other people imperceptibly, to have vanished without a trace from the Toronto art unconsciously, right here in the grumbling train. And on of symbolic forms, or memes, that repeatedly appear 2 community’s historical record. the sidewalks, after they have emerged from the stations, after being sandpapered by the jostling and scraping a This passage forcefully articulates the intertwining of the tangled garden city like this does, all the lives they’ve hoarded, all the and the vacant lot. A remarkable outpouring of artistic, discursive and ghosts they’ve carried, all the inversions they’ve made social activity centred in one of Toronto’s many artist-run centres, results for protection, all the scars and marks and records for in the work of artists of different generations; it a decade later in a nearly absolute erasure of its existence. Plenitude recognition—the whole heterogeneous baggage falls out dissipates in an entropy of forgetting. But the vacant lot of historical with each step on the pavement. There’s so much spillage.6 neglect leads to another turn in the lifecycle. The city’s amnesia towards its own cultural ecology is inversely reflected in the historian’s dawning Culture is the name we give to this spillage in a city understood as the realization of proliferating and interconnecting forms of life—the meeting-place of identities contending with the entangled facts of their presents a panorama of the blueprints that artists imperceptible thrusting of a carpet world: “In researching CEAC, I was formation. In the magnetic push-and-pull of heterogeneous desires, left with the impression that I had excavated but one layer of a 1970s culture is the social site of encounter of vulnerable identities, the local context for art as a political and social practice. The early years of unsettling place of their wounding or healing transformations. A Space, Body Politic, and Centrefold (which became Fuse Magazine) are also part of CEAC’s history.”3 * * * * Form Follows Fiction explores the interplay between these two have drafted over many decades to give form to life impressions—these two competing voices—that constitutes the ground Desh Pardesh [was a] groundbreaking multidisciplinary on which Toronto’s artistic culture takes place. South Asian Arts Festival that operated in Toronto from Perhaps an ‘original’ or archetypal wound now underlies for 1988 to 2001… dedicated to providing a venue for 152 Suzy Lake Bridget Moser 153 us the intelligibility of all others: the attempts to erase Indigenous underrepresented and marginalized voices within the South A Genuine Simulation of…, 1973–74 The Mirror Has Two Faces, 2016 experiences, traditions, economies and histories both in the colonial past Asian diaspora…. Since its closure in 2001, the festival has as well as during the neoliberal present. Dionne Brand’s description of become a relic for the Toronto South Asian arts community. in one of North America’s largest cities. The book this situation is attuned to its underlying reversals: While it has been sporadically commemorated… there had yet to be any sustained investigation into this queer There are Italian neighbourhoods and Vietnamese diasporic festival that took hold of the Canadian arts scene neighbourhoods in this city; there are Chinese ones and in the 1990s. In part, this is due to the lack of archival Ukrainian ones and Pakistani ones and Korean ones and sources and their inaccessibility; as Gayathri Gopinath features work by artists such as Suzy Lake, Kent African ones. Name a region on the planet and there’s has argued, events such as Desh Pardesh often resist someone from there, here. All of them sit on Ojibway textualization because the “queer spectatorial practice land, but hardly any of them know it or care because and the mercurial performances and more informal forms that genealogy is wilfully untraceable except in the name of sociality” that occur at queer diasporic night clubs, of the city itself. They’d only have to look, though, but festivals, and community events are not easily documented. it could be that what they know hurts them already, and Remaining traces are often found basements, buried under Monkman, Ed Pien, Roula Partheniou and Michael what if they found out something even more damaging? boxes, or in the memories of organizers and participants, These are people who are used to the earth beneath them spaces that are inaccessible to the wider public.7 Snow, all of whom have previously published with Black Dog Press. It includes historical SEEING AND BELIEVING | LUIS JACOB documents gathered from local archives, as Contributors | Luis Jacob, Marie Fraser, well as contemporary ephemera. David Liss, Anne-Marie Ninacs PB · ISBN 978-1-908966-06-3

THIS TITLE IS PUBLISHED IN PARTNERSHIP WITH THE ART Artists inhabiting roles. Artists occupying conquered territory. £19.95 · $29.95 Artists at home, manipulating formats. MUSEUM AT THE UNIVERSITY OF TORONTO. Artists in residence. — David Buchan, “Artists in Residence: Women’s Performance Art 26 × 22 cm · 10 × 9 in in Toronto” (Vie des Arts, Spring 1977) 192 pages · 150 ills THE LISTENER JOHNNIE COOPER

Following on from Johnnie Cooper’s two other publications from Black Dog Press, Sunset Strip (2019) and Fractured Light (2020), The Listener centres on the most recent major body of work by the British Abstract artist. Inspired by Walter de la Mare’s brooding poem The Listeners (1912), this beautifully-presented book brilliantly conveys the power of Cooper’s monocromatic collection of paintings. These works serve as a meditation on the lived experience and the rich atmosphere of the artist’s rural surroundings. The Listener documents an important shift in Cooper’s practice, in tone—texture and also material, with the introduction of industrial bitumen paint. Overall, the paintings, which were executed at night time, bring a darker and more abstract emotion to the fore, confirming Johnnie Cooper’s current status as one of the most diverse and important British artists working in the UK today.

But only a host of phantom listeners That dwelt in the lone house then Stood listening in the quiet of the moonlight To that voice from the world of men: Stood thronging the faint moonbeams on the dark stair, SEPTEMBER 2020 That goes down to the empty hall, Hardback Hearkening in an air stirred and shaken ISBN 978-1-912165-25-4 By the lonely Traveller’s call. £34.95 · $44.95 34 × 24.5 cm · 13.4 × 9.6 in 160 pages · 100 ills EXCERPT FROM THE LISTENERS, WALTER DE LA MARE (1912) MORGAN HOWELL AT 45 RPM

The seven-inch single, as an entity, is an absolutely powerful, possibly otherworldly object. — Johnny Marr, The Smiths

CONTRIBUTORS | Dominic Mohan, Johnny Marr, Dylan Jones, Donick Carey, et al

When artist Morgan Howell paints classic 7” singles, he takes into account every crease, every tear, every imperfection—producing a one-off, truly unique artwork, almost identical to the owner’s original copy, but blown up, supersize, to 70 × 70 cm, and three-dimensional, with the spindle in the centre, as if the record is ready to play. This completely original approach has resulted in Howell attracting a cult following amongst art collectors and musicians alike—with paintings commissioned by the likes of Neil Diamond, Jude Law, Edgar Wright, Andrew Lloyd-Webber and Ian Brown, with major music labels selecting the artist’s work for display in their headquarters. Howell’s painting of David Bowie’s The Jean Genie is displayed at the Sony Music Building in London and Yesterday by The Beatles has been shown at the Capitol Building in L.A. Morgan Howell at 45 RPM beautifully documents 95 of Howell’s creations, from Tutti Frutti by Little Richard to Heart of Glass by Blondie, Gimme Shelter by The Rolling Stones to Waterloo Sunset by The Kinks. Each artwork is shown in full and accompanied by an evocative story from owners and collectors— be it Johnny Marr, Danny Baker or Mark Radcliffe —sharing why that record is meaningful to them. SEPTEMBER 2020 The book features an in-depth interview with Hardback Morgan Howell, exploring his process as an artist and ISBN 978-1-912165-30-8 why, for him, music and art are intrinsically linked. £39.95 · $49.95 With a format perfectly designed to fit on record 30.5 × 30.5 cm · 12 × 12 in shelves, this book is a must for vinyl junkies, music 240 pages · 100 ills heads and art lovers everywhere. PUNK ORIENTALISM CENTRAL ASIA’S CONTEMPORARY ART REVOLUTION

EDITOR | Sara Raza

Punk Orientalism explores the radical story of contemporary art in Central Asia since the collapse of the Soviet Union in 1991, following almost 75 years of Soviet rule. What ensued was the chaotic emergence of various political, religious and ethnic groups vying for power. At the same time a new generation of contemporary artists were emerging from art schools into this changing and divided society. Punk Orientalism examines this cohort of artists and their creation of art that challenged the Soviet-style dogmas dominating the academe in Central Asia. In critiquing societal hypocrisy this formed a movement that contributed to the evolution of a Central Asian contemporary art scene. Alongside interviews and essays this book aims to provide both an introduction and comprehensive survey of one of the most under- MARCH 2021 researched regions in the contemporary art world, Paperback yet one that remains a truly emerging market ISBN 978-1-908966-59-9 positioned at the intersection of Asia’s social, £24.95 · $34.95 cultural and economic development. Focusing 28 × 23 cm · 11 × 9 in on art from Kyrgyzstan, Kazakhstan, Tajikistan, 192 pages · 150 ills Turkmenistan, Uzbekistan and Afghanistan. CONSISTENT INCONSISTENCIES I WISH I COULD TALK IN TECHNICOLOR

The artist must be the fingernails scraping across the chalkboard of culture. — John Beckmann

AUTHOR | John Beckmann at Axis Mundi

Consistent Inconsistencies: I wish I could talk in Technicolor is a frenzied yet charming romp through both built and imagined architectural displacements, baroque fictions and prescient artistic cultural strategies. The book is organised into two parts, one is focused on design and architecture, the other on interdisciplinary site-specific installations. It can be read from front to back, and when flipped and rotated 180 degrees, from back to front. The author, John Beckmann, has survived car wrecks, cyber-attacks, alleged chronic substance abuse, and even life-threatening diseases, all while navigating his design firm, Axis Mundi, to the dizzying heights of success. He’s been called an agent provocateur, a misfit, a dilettante, and a genius. Beckmann sees himself as the perennial outsider; one whom the cabal of the deep state is constantly conspiring against. “Paranoia is another word for common sense”, he believes. This imaginatively deconstructed book is part Instagram feed, travelogue and personal memoir, which is brimming with enigmatic koan- like aphorisms. It functions as a lightning rod; an uncanny source of inspiration and an engrossing visual stream of consciousness. Launched in 2004 by John Beckmann, Axis MARCH 2021 Mundi is a New York-based design studio situated Paperback at the intersection of architecture, interior and ISBN 978-1-911164-78-4 interdisciplinary projects. Axis Mundi’s unpredictable £24.95 · $34.95 approach constantly yields new and unexpected 27 × 22 cm · 10.6 × 8.6 in forms of seeing, imagining and making. 176 pages · 200 ills ART DIVINE

AUTHOR | Philip Quenby

Through an expertly curated selection of 66 artworks from across art history, Art Divine tells the complex but truly inspirational story of Christianity. From ancient Rome and Egypt, to the prestigious Medici Family commissions of the Renaissance, to the Pre-Raphaelites, art has always been used as a powerful tool for visual storytelling, with the vast visual material offered by the Bible influencing artists throughout history. Art Divine embraces this notion through an eclectic array of works from artists located around the world, such as Michelangelo’s astounding Creation of Adam, Stefan Lochner’s Gothic depiction of the Last Judgement, Paul Gauguin’s symbolic Green Christ, René Magritte’s mysterious Son of Man, Banksy’s controversial Christ with Shopping Bags, and He Qi’s bold and contemporary Dream of Jacob. Acclaimed religious history writer Philip Quenby analyses each artwork in the book in great detail, not only drawing on the biblical narrative that influenced their creation, and looking at their place in history, and the life of the artist who created them. MARCH 2021 This beautifully presented book with full-page Hardback illustrations of each work is a work of art in itself, ISBN 978-1-912165-22-3 and will appeal to students, scholars and all lovers £39.95 · $49.95 of art history, in particular those with an interest in 28 × 23 cm · 11 × 9 in biblical imagery. 240 pages · 85 ills CURRENT TITLES CURRENT TITLES

FROM JULIA DAULT JULIA DAULT

Motion Picture, 2017 Opposite: Motion Picture (detail)

90 91 CONTRIBUTORS | Julia Paoli, Nigel Prince

Accompanying the first solo museum exhibition by Toronto-based artist Julia Dault, this monograph demonstrates her ongoing interest in balancing

Escapade, 2013 Opposite: Escapade (detail) spontaneous gesture with rules, logic and the constraints of materials. Physical negotiations are central to the textured paintings and improvised sculptures for which Julia Dault is celebrated. In her multilayered paintings, Dault employs organic and synthetic supports such as canvas, leather, vinyl, spandex and wooden frames, which act as surfaces to hold paint or as a means of imposing patterns. Whether adding or subtracting paint from these materials, she uses unusual tools such as rubber combs and squeegees that standardise her gestures. Repetition and transparency are important to Dault; looked at closely, her paintings reveal the process of their creation. Featuring essays by exhibition curators Julia Paoli and Nigel Prince, as well as a specially SEPTEMBER 2019 commissioned text, Julia Dault is an engaging and Hardback long overdue introduction to the artist and her work. ISBN 978-1-910433-04-1 46 47 £29.95 · $39.95 PUBLISHED IN PARTNERSHIP WITH THE POWER PLANT, TORONTO AND THE CONTEMPORARY ART GALLERY, 28 × 23 cm · 11 × 9 in VANCOUVER. 176 pages · 123 ills Untitled 34, 2:45 PM–7:45 PM, April 15, 2014; 11:30 AM–12:45 PM, April 16, 2014

Previous pages: Untitled 32, 9:45 AM–2:30 PM, October 22, 2013 Opposite: Untitled 35, 3:30 PM–6:15 PM, April 16, 2014

82 83

Starburst, 2014 Opposite: Starburst (detail)

54 55 KEVIN SCHMIDT

BURNING BUSH 2005

HD video 5 hr loop

Burning Bush is a five-hour static shot of fake electric fires rigged onto a desert sage bush—the running time determined by the opening hours of the gallery where it was to be shown, so that viewers would never see the looping point. The video begins at dawn and continues until noon, its audio the ambient sounds of the filming location: crickets, birds, wind. Burning Bush is meant to disrupt the way viewers consume video. Often, when one arrives at the loop point in a work, one can consider the work ‘consumed’ and can move on to the next. In this case what should obviously be a loop has been drawn out. Viewers wait for the repeat point but it never arrives, leaving only the bodily experience of watching and determining meaning, much like Moses in the biblical story upon which this work is based.

A production photograph of the Burning Bush in situ.

44 45

CONTRIBUTORS | Nigel Prince, Charo Neville, Kathleen Ritter

An interdisciplinary artist working across performance, video, photography and installation who has exhibited widely across North America and Europe, Kevin Schmidt is perhaps best known for performance expeditions and interventions into the natural world, which are documented in photographs, installations and videos. Schmidt addresses the tensions between man and nature, performance and document, indoors and outdoors, combining notions of the heroic with the seemingly amateur by using visible reminders of construction and theatrical devices—smoke machines, stage lights and DIY photographic equipment. Works are often situated in remote locations, where the artist stages remarkable events that transfer elements of urban culture into untouched natural contexts, such as Aurora SEPTEMBER 2019 with Roman Candle, which shows him firing roman Pages 170–173: Hardback (concealed wire bound) Stills from ‘how-to’ videos posted to candles at the Aurora Borealis, and his eleven-and- YouTube. I do not speak in the videos. Instead, explanations are included in ISBN 978-1-910433-76-8 closed caption form, so viewers can a-half hour Epic Journey. choose to watch for visual pleasure £29.95 · $39.95 or to follow instructions. 28 × 22 cm · 11 × 8.5 in PUBLISHED IN PARTNERSHIP WITH CONTEMPORARY ART 168 169 192 pages · 450 ills GALLERY, VANCOUVER AND KAMLOOPS ART GALLERY. EDM HOUSE 2014

Christmas lights, FM radio broadcaster, computer and lighting control hardware/software, abandoned heritage house, HD video video: 16 min seamless loop

Late in 2012 I made arrangements to live in an abandoned cabin in a rural area of British Columbia. The house was the first European homestead in the area, built by Norwegian settlers 100 years ago. While living there from October 2012 to February 2013, I installed Christmas lights onto the house and attached them to control hardware. During the days I composed electronic dance music (otherwise known as EDM) and accompanying Christmas light animations. At night I would transmit my music over a small FM broadcaster and display the animations for whoever might be driving by. At the end of the five-month production period, I made a video of one music and lighting composition in a cinematic fashion, filmed using a technique in which the camera rolls closer and zooms out at the same time. The subject, in this case the house, stays the same size in the frame, while the background seems to shift. The work encompasses both the video document and the semi-permanent installation on the house and I was interested in making a connection between the homesteading of the settlers and contemporary digital cultural production as typified by EDM. Whereas the pioneers developed the hinterland for survival, we might consider that contemporary individuals develop themselves as digital brands to the same end.

132 133

158 159 MESOZOIC PARK TERRY MUNRO

SEPTEMBER 2019 CONTRIBUTOR | Danielle Siemens Paperback ISBN 978-1-912165-16-2 Mesozoic Park is an intriguing series of photographs £24.95 · $34.95 documenting the construction of a (pseudo) 30 × 30 cm · 12 × 12 in prehistoric landscape in Calgary, Canada in the 68 pages · 51 ills early 1980s. The history of photography has been dominated by the landscape: from its state as a pristine natural phenomenon, to its altered forms, and then to the manufactured, of which the city’s Prehistoric Park is a prime example. The site includes multiple geologic structures that humans have built to mimic nature. The images in the publication address the illusions that humanity creates for itself, as in our increasing quest to find substitutes for ‘the real’. The simulated environment in Mesozoic Park focuses on the earth and landscape as packaging or amusement, and more importantly, as a site for social and political inquiry. The black and white photographs, printed in duotone, document a geological dream world in which a ‘primordial’ landscape has been cleverly designed and programmed for an artificial visitor experience. By exploring the park in great detail, Munro offers privileged access to what we never get to see: the construction of a facsimile panorama that will provide visitors with the illusion of time travel. The real and false are confused, no EMPIRE OF ILLUSION | TERRY MUNRO longer relevant in this walk through a purported 65 Contributor | Bill Jeffries million year-old landscape. The book also contains HB · ISBN 978-1-911164-81-4 photographs which show the artificial human £24.95 · $34.95 construct in 2018. 30 × 28 cm · 12 × 11 in 128 pages · 100 ills VANTAGE RYAN KOOPMANS

FOREWORD | Marvin Heiferman

Vantage, the first monograph of award-winning Dutch-Canadian photographer, Ryan Koopmans, explores nature, the earth’s manmade structures, surreal architecture and megacities—evoking the insight and intrigue experienced from a travelling photographer’s perspective. Compelling photographs are presented alongside conversations with political leaders, business tycoons and local residents, providing a timeless vision of our world that is both contemporary and creative. Marvin Heiferman, an independent curator and writer who originates projects about the impact of photographic images on art, visual culture and science, offers an insightful foreword. SEPTEMBER 2019 With photographs shot on location in Kazakhstan, Hardback China, Russia, Iraq, Brazil, USA, the Netherlands, ISBN 978-1-912165-18-6 Singapore, Hong Kong, Georgia, Ukraine, Spain, £34.95 · $44.95 Sweden, Canada, Dubai, Malaysia and South Korea. 31.2 × 23 cm · 12 × 9 in This book shows the world from Koopmans’ unique 256 pages · 161 ills vantage point. 196 Future Land, Rotterdam, The Netherlands Ribbons, London, UK 198 | Research, Amsterdam, The Netherlands 197 Looking back at memories of growing up in 90s Russia always makes me think of how architecture shapes one’s very way of being, and how built environment subtly determines the way you walk, breathe and imagine the past and the future.

Most Russians grew up around massive empty squares with grand monuments and vast tower block estates—a legacy of utopian dreams and historical trauma, but also an exciting opportunity to find an intimate connection to these spaces, like seeing home in an endless mosaic of residential windows, or a skater grinding on a modernist concrete slab.

Exploring the city is like reading history—of course, it’s always written by the dominant power, but when it collides with the actual living space, it’s never neat, there is something you can see which history books would never tell you. Architecture always asks the question “who are we here and now?”, and at the same time partly determines the answer for future generations.

●

—In conversation with: Anastasiia Fedorova, Russian writer and curator based in London

86 Mausoleum, Accra, Ghana 88 | Mixed Use, Jiangyin, China 87 CURRENT TITLES BACKLIST TITLES

FROM SEE YOURSELF X: HUMAN FEATURES EXPANDED JOHNNIE COOPER 1974 / Scream / plaster sculpture / approx. 25 x 18 x 25 cm / JOHNNIE COOPER PART 1 FORMATION

As he recalls: “Growing up in England through the 1960s was simply amazing. To be right there when The Beatles, The Rolling Stones and The Who exploded on the music scene was so exciting. To be at a sixth-form college (1968–1970), and then to go on to art college in the SUNSET STRIP maelstrom of the underground culture of that period was just brilliant.” /

In 1970 he began his studies at Staffordshire College of Art in earnest; having completed a foundation year, he was one of two pupils to progress to the Vocational Sculpture Course, newly convened by the college’s then director, Stuart Osborne (b 1925). A product of the Royal Academy in London, Osborne’s tutelage was, Cooper reflects, “both a blessing and a scourge”. On the one hand, he maintained a straitjacketed approach to making, insisting his students adhere to the figure and the plinth. “He worked regularly beside us in the life-drawing class, creating a reverential atmosphere,” says Cooper. On the other, he encouraged Cooper to visit London regularly. There the latter would spend long hours drawing from the major collections and meeting with like-minded associates of Osborne’s, including the sculptors George Fullard (1923–1973) and Willi Soukop (1907–1995), the latter of whom was a lecturer at the Royal Academy. This apprenticeship, based on Osborne’s principle of ‘form study’, was supplemented, if not in fact undermined, by frequent trips to Cork Street’s galleries, where he was influenced by the more radical contemporary production of Alexander Calder (1898–1976), Anthony Caro (1924–2013) and their ilk. Upon marrying his life partner, Cynthia Cooper (who goes by Cyndy), in 1972, the couple moved into a country vicarage. Their new home benefitted from a large studio, where Johnnie Cooper worked diligently through his postgraduate year at Staffordshire (1974– 1975), expanding the scale of his sculptural practice. He was there in earshot of a clamorous rookery: through the window, sounds of hungry hatchlings would reach Cooper, indicating the birds’ seasonal behaviour. He was led to reflect on his situation as an artist and the broader patterns of responsibility and freedom that directed his life. The bird skull henceforth emerged as a central motif in his early work, developed further through his studies of Oceanic art at the Museum of Mankind in London, then a holding station for the British Museum’s ethnographic collections. Inspired by the striking graphic forms that characterised artistic production of the Pacific Islands, he strove to implement this approach through his own sculptural CONTRIBUTORS | Peter Murray, Tom Hastings practice. The rounded wooden planes, blocks of bright colour and 1972 / Angel Wings / iron / 90 x 31 x 16 cm including base /

SUNSET STRIP 12 13 Johnnie Cooper: Sunset Strip is the first monograph of the British artist’s work, joining JOHNNIE COOPER PART 2 CONTEMPORARY 2007 / Sunshine Hotel / oil on paper / 54 x 74 cm / a curatorial initiative over recent decades to undertake important re-evaluations of the careers of important twentieth- and twenty-first century artists such as Tess Jaray, William Turnbull and John Hoyland. Johnnie Cooper has, for the past half-century, devoted himself to a tireless investigation into the nature and potential of painting in his rural Worcestershire studio, constantly exploring new principles and processes. This book provides an opportunity to explore the development of Cooper’s practice, from the figurative totems sculpted in his student days, to the rich Abstract Expressionist works of the 1980s and the

Minimalist, gestural works on paper of the past 2007 / Yearning for Home / oil on paper / 50 x 76 cm / decade. Johnnie Cooper: Sunset Strip charts SUNSET STRIP 120 121 the journey of his signature investigations into colour, line and form. JOHNNIE COOPER PART 2 CONTEMPORARY Born in Wolverhampton, England, Cooper attended the sculpture course at Staffordshire College of Art, run by internationally renowned sculptor Stuart Osborne. After completing a postgraduate year at Staffordshire University in

Fine Art Sculpture, Cooper was awarded a travel / 50 x 7050 cm bursary and also won a prestigious grant from the / Gulbenkian Society to study in Florence. As well acrylic on paper / Lifting

as exhibiting in mixed shows throughout the UK / FEBRUARY 2019 over the past 40 years, Cooper has recently shown 2016 Hardback work in Dallas and Shanghai, and his work is held ISBN 978-1-912165-09-4 in numerous private collections. Cooper has also £29.95 · $39.95 exhibited with the Free Painters and Sculptors 28 × 23 cm · 11 × 9 in Society, and at the Manchester Academy of Fine 240 pages · 150 ills Art, the Mall Galleries and the Royal Academy.

SUNSET STRIP 214 215 IN ACHING AGONY AND LONGING I WAIT FOR YOU BY THE

10 11 SPRING OF THIEVES

34

35 JUMANA EMIL ABBOUD

CONTRIBUTORS | Jumana Emil Abboud, Lara Khaldi, Marina Warner and Tina Sherwell

Posing questions about memory, the body, folklore You water me with rose water and wine Intoxicating, you draw a circle for me to stay But this woman feels the seas in her blood And everything bleeds out of me and rituals, Jumana Emil Abboud’s artistic practice

12 confronts the telling and retelling of history and Fragrant flowers Encircling a fire 13 Three fish and a miracle Fountain of bitter youth Like your lover’s reflection in the ripples The lifelines in the soles of your feet the impacts of language and the fragmentation of Magically restored memories. The Jerusalem-based artist’s oeuvre

Walking among the ruins includes visual, poetic and text-based projects On your way to the past 58 You collect all things Golden, ivory and rose These will be my charms you say Each perfect amulet counted and numbered 59 These will break the spell spanning 20 years; In aching agony and longing And grow back my hands Horses in my dream A poison apple The straw that did not break your back But transformed your soul and I wait for you by the Spring of Thieves focuses on Braved your heart How will I feed my children From what remains of your arms? two projects—Maskouneh (Inhabited), 2015–2017,

Three days have passed, or perhaps 3,000 I feel you near, moving through me Like a first touch and I Feel Nothing, 2012–2015. Closing the book are Spirit of my death Your light illuminates the room We grace the garden Magnificent As in a dream contributions by Marina Warner and Tina Sherwell that Silenced thoughtfully engage with Abboud’s practice at large. The two main chapters .focus on Abboud’s

ON LANDSCAPES Upon returning home after over a decade the nationalist discourse deployed, iconography and sym- long engagement with folktales from Palestine AND LONGING living in Canada, I was no longer a child, and bolism were predominantly drawn from the rural landscape. TINA SHERWELL my friends as children were no longer my The keffiyeh (Palestinian male villagers’ headgear), the thob The forest remote, water mirroring not our- our place of abode in this landscape? Abboud’s drawings friends as a young adult—these were the (traditional Palestinian village women’s dress) the olive tree selves but the infinite distance of sky. Within suggest many unknown layers in the landscape, fleeting people with whom I encountered the land- and the cactus plant have continually been circulated and patterns of nature, we search for traces of the moments of nature’s palimpsest that she rediscovers. In scape of my childhood, I felt that this private articulated as symbols in paintings, posters, literature, thea- and elsewhere. The first chapter brings together human.... Perhaps a figure, but microscopic, her drawings, landscape and figures merge into one— world of my childhood (and the private tre and even as popular dress in demonstrations. and on the edge of some oblivion—a cliff, or female figures, ghouls, creatures and humans are not dis- landscape associated to it) were no longer 44 the other side of a painting. Everywhere signs continuous elements, but integral parts of the landscape intimate spaces, but spaces of great violence LOST LANDSCAPES of cultivation and wilderness.... The country- and each other. Her works impart to us to what it feels and aggression, of claim and territory.2 side unfolds, maplike before us, simultaneous like to move through the landscape—to pause to engage This loss of landscape, this transformation, is a sentiment Therefore my return to the tales now as an drawings, video stills and performance excerpts, 45 and immediate.... As we begin to traverse in intimacy and wonderment—yet they also seem to be echoed by the writer Raja Shehadeh: adult, was firstly because I myself had lost the field of vision, the tragedy of our partial imbued with a sense of loneliness. The titular figure in I find myself looking at an olive tree, and as my love for the place I live in. I had lost my knowledge lies behind us.1 Bride by the Spring sits alone in a moment of contempla- I am looking at it, it transforms itself before connection; the relationship between the tion, wrapped in the folds of the surrounding landscape, my eyes into a symbol of the samidin, of our earth and myself, its elements, its people, A LANDSCAPE’S PALIMPSEST: as though she dwells upon her moment of separation struggle, of loss. And at that very moment its language, its history and future, had 3 all of which belong to Maskouneh (Inhabited), TOPOGRAPHIES OF THE EPHEMERAL from the habitual abode and union with “another”—her I am robbed of the tree. become somewhat contaminated, for the moment on a threshold. Abboud’s drawings and paint- It is as though this theme of landscape throughout the work many reasons we (Palestinians) all have in In the art of Jumana Emil Abboud, landscape is an interwo- ings convey a tactility and sensuality of the experience of is a gentle quest to reclaim, reconnect and rediscover a common and for many more reasons that ven theme; it has run throughout her works over the last nature, of a place that touches our different senses and relationship with landscape, not in the search for some pure, only a few of us share.5 decade. The representation of land- sensibilities, always in a moment essential, untouched nature—a futility already acknow- Loss of the landscape arises through the personal sepa- a series that explores Abboud’s connection to scape in video, poems, installation of searching, such as in The Dig, ledged in Abboud’s work—but one that invites the play of ration and distance experienced by so many Palestinians of cabinets, objects, drawings The Rock II, The Waterfall and imagination, a moment to suspend belief, a moment to cast who have lived their lives in locations around the globe. and the three-channel video Metamorph. Abboud abandons away ways of seeing that are predetermined by nationalist As Edward Said expresses, “the stability of geography Maskouneh (Inhabited) speaks of conventional perspective, which discourse and dominated by its iconography and symbolism. and the continuity of land—these have all disappeared longing and belonging, and of a is rooted in the representation of For it is important to remember that the question of land has, from my life and the lives of Palestinians.”6 This lived 72 profound, continual wandering distance, the ordering of nature for decades, been at the centre of the uneven Palestinian- reality of several generations now raises important ques- the landscape and folktales of her homeland. and searching in the landscape. and the empowerment of the sin- Israeli conflict, which outside of religious rhetoric can be tions: What is our relationship to place? What ties us to This theme of rediscovering a gle point of view of the observer. understood as the competing historical claims of two peo- certain landscapes? Said continues, “Palestine is exile, is 73 relationship to the landscape Yet this “rediscovery of nature” ples to the same stretch of geographical terrain. Both sides dispossession, the inaccurate memories of one place slip- resonates in numerous drawings and the “landscape of homeland” have used different iconography to represent their original, ping into vague memories of another.”7 and paintings, through the subtlety in her drawings are not euphoric historical and eternal relationship to the land. However, Landscape is also lost through violence enacted These works are paired with journal entries from of Abboud’s gesture in working but are often overshadowed by Israel has at its disposal a powerful state apparatus and war within it, upon it and in its name, as it is rendered a site of ON LANDSCAPES AND LONGING with her mediums, the washes a sense of loss, suggested to us machine that have enabled the transformation of the land- continual struggle, claims, counterclaims, appropriation of colour, the etched lines of un- by the absence of any groups scape into an exclusive vision of the “promised land”. Israel and exchange. Landscape is deeply tied to our recognition known figures in the scenes, such of figures in the works. Instead, has been able to fashion the image of the Jewish homeland of our Palestinian identity, but the landscape has been as in Cocoon. In this work, a haunting Abboud’s landscapes are predomi- both at home and abroad, suppressing and delegitimizing (and is being) transformed into a vocabulary of symbolism. her recent collaboration with filmmaker Issa Freij, face looks out at us from beneath nantly inhabited by single, fleeting any other narratives while simultaneously physically trans- The subtleties of our experience of landscape—its the waters, hidden in the rocks. Is outlines that are often traces forming the landscape, carving it into an image of its ideal in many layers of time, the intimate details and local it a hiding jinnia that we catch a of figures, acknowledgements of which any contestation is silenced and denounced. Palestine knowledge of centuries of the daily practices of being fleeting glimpse of in daylight? Or the addictive futility of attempt- has a long history of being a place onto which the ambitions and living in the landscape—have been forsaken in the a figure that is part woman, part ing to find and return to a time of others who desire to conquer and remodel it are projected. creation of nationalist symbols. in which they return to haunted springs and water fish? Uncertainty abounds in this and place long past—and yet This is evident in both the transformation of the physical Abboud holds up a mirror to our own transfor- fleeting scene, in which the water- we still search and persevere, as landscape and representations of it. As WJT Mitchell argues, mation, which we often regard with ambivalence. An colour challenges us to question poignantly captured in her video “the face of the Holy landscapes is so scarred by war, excava- exchange between curator Lara Khaldi and Abboud reveals: our strongly held belief that truth work Pomegranate (left). tion, and displacement that no illusion of innocent original can unfold from our own gaze. In Untitled XX, is it a female nature can be sustained for a moment”.4 In this regard, in 4 wells described in 1922 by ethnographer Tawfiq figure or tree that we look upon? Have the two merged TRANSFORMED LANDSCAPES Mitchell, WJT, “Imperial Landscape”, Landscape and Power, into one? The tree trunk resembles a passion-filled dancer. WJT Mitchell ed, Chicago: University of Chicago Press, 1994, p 27. Is that a pot cooking nearby, while a white horse guards When speaking of her childhood experiences, Abboud 2 Conversation with the artist. 5 Abboud, Jumana Emil and Lara Khaldi, “The Jinn and their Magic recalls early memories of her family and grandmother’s 3 Samidin is the term used to evoke steadfastness to the land, Sleep Now Like the Water that Hide from the Sun”, The Book of garden—an intimate safe space in which Abboud’s early a method of resistance adopted by Palestinians in the Occupied Restored Hands, Ramallah: Khalil Sakakini Cultural Centre, 2016. 1 6 Canaan. A second chapter similarly represents Stewart, Susan, On Longing: Narratives of the Miniature, the experiences of nature were deeply bonded with her family Territories during the 1980s and 1990s. See Shehadeh, Raja, The Said, Edward, After The Last Sky: Palestinian Lives, London: Gigantic, the Souvenir, the Collection, Durham and London: experiences. However, in an interview with the artist she Third Way: A Journal of Life in the West Bank, London: Quartet Faber & Faber, 1986, p 19. Duke University Press, 1998, pp 1–2. describes her return as such: Books, 1982, p 87. 7 Said, After The Last Sky, p 30. drawings and video stills from Abboud’s series I Feel Nothing, inspired by a Palestinian variant of

its multi-layered wisdom, humour, moral, die, in which land I will come to life again./ In numerous of Mansour’s paintings, the empty pained gaze our contemporary relationship to landscape and standard- magic and superstition, that was so strongly Greetings to you as you light the morning of the motherland prevailed, such as in The Harvest, 1975. ized modalities of representation with nature and our part of our lives, is now less practiced, fire, greetings to you, greetings to you./ Isn’t The operation of creating national symbolism was accom- landscape, which has become drenched in political the folktale “The Girl Whose Hands were Cut Off”. although I understand the reasons why. But it time for me to give you some presents, panied by a loss of intimacy with the landscape, with which rhetoric and whose continual loss perhaps makes it too does that mean I should accept these rea- to return to you?/ Is your hair still longer a sensibility to landscape slowly disappeared. Unable painful for us to engage with. Her work returns agency sons? How can I keep silent to the silencing than our years, longer than the trees of to experience landscape, we began to see it through a lens to the female protagonist, who is no longer the monu- attempts of this tradition? A tradition that clouds/ stretching the sky to you so they of scars, wounds of loss, violence and segregation, and mental and melancholic motherland frozen in time and not only stands for storytelling practices can live?/ Give Birth to me again so I can erasure through colonial transforma- place, upholding the dream In aching agony and longing I wait for you by the 52 but for the survival of an identity that is so drink the country’s milk from you and/ tion, which we are unable to affect. of the nation and its repro- uniquely and beautifully ours....17 remain a little boy in your arms, remain a And so landscape disappeared from duction, but rather becomes little boy/ Forever.19 our field of vision, into a vocabulary a female figure that is there in 53 ON RECURRENT MOTHERLANDS This was also articulated in paintings by Nabil Anani of symbolism. the real physicality of land- and Sliman Mansour produced from the late 1970s into Abboud’s work invites us to scape, filled with knowledge of Spring of Thieves marks the finissage of Abboud’s Abboud’s work on landscapes sets itself distinctly apart the 1990s, such as Woman Carrying Jerusalem, 1979, wander again in the forest and tall nature’s power and tempera- from the dominant historical representations of this by Mansour, in which a single monumental Palestinian grasses. As the light dances through ment. We fleetingly glimpse genre in Palestinian art, which came to the fore between woman wearing traditional dress gently cradles a globe the leaves of the trees, and as the her in the field or by the well. Is the 1970s and 1990s and still continues in popular of Jerusalem in her arms, and Anani’s Motherhood, 1979, smell of spring fills the air, she invites she a ghoul? A bird? Or a bride forms today, in the work of an older generation of artists. where a woman nurses a young boy while her clothes us to beware the lurking spirits and to be? All are questions that solo exhibition, The Horse, the Bird, the Tree and the The focus on the Palestinian village and peasantry assemble the colours of the Palestinian flag. Susan Stewart nature’s all-powerful forces. the work continually proposes contoured their representation explores the sources of definitions In a pocket of earth/ I buried to us, and which invite us to of the Palestinian landscape as a of longing in On Longing: Narratives all the accents of my mother explore landscape and its possi- distinctly domestic one. Rarely of the Miniature, the Gigantic, tongue/ there they lie/ like bilities once again. did one find large vistas in the the Souvenir, the Collection, needles of pine/ assembled by

opposite Stone at Bildmuseet in Sweden and the inauguration paintings; instead, the landscapes and settles on a discussion that it ants/ one day the stumbling | Nabil Anani, Motherhood, centred on the village, the fields is deeply implicated in questions cry/ of another wanderer/ may 1978, oil on canvas, photo courtesy Zawyeh Gallery and Nabil Anani. or the home, and were populated of immortality, birth reproduction set them alight/ then warm 76 with women and children. Peasant and severance from the mother, and comforted/ he will hear top | Sliman Mansour, Woman Carrying DECEMBER 2018 women constituted the central “be it the transcendent with its all night/ the truth as lullaby.21 Jerusalem, oil on canvas, 1979, photo subject of such paintings and were seeming proximity to the immor- Jumana Emil Abboud’s work sets itself by Ahed Izhiman. of her dedicated show The pomegranate and the 77 depicted gathering or bearing tal or the rural/ agrarian with its distinctly apart from the dominant bottom | Sliman Mansour, The Village olives, wheat, fruits and so forth. seeming proximity to the earth”.20 historical representations of this Awakens, 1988–1990, oil on canvas, Their presence in the landscape in The motherland is associated genre of Palestinian art and its par- photo courtesy George Michael Al Paperback A'ma collection, Bethlehem. traditional costumes became the with idea of Mother Earth and ticular visual vocabulary, epitomized ON LANDSCAPES AND LONGING foremost signifier of Palestinian nature, and created an image through the stoic and monumental sleeping ghoul at Darat al Funun–The Khalid Shoman national identity. This motif gen- of the richness and (re)produc- motherland. Rather, Abboud speaks dered the homeland in the form of tivity of the land and a cyclical of the loss of the land, our sadness the female figure, through which way of life. However, within the and separation, through an intimate ISBN 978-1-911164-90-6 the body of the woman and the land became interchangeable. operation of symbolism there arose a loss of specificity, engagement with the landscape and Ghassan Hage suggests that the use of the mother to and the generic form of the monumental motherland nature, through claiming back the Foundation in Jordan. signify the nation distinguishes the qualities of the served to emphasize a severance and distance from the land, through listening and tracing nation as “caring, protective and nurturing—a homeland homeland, through a generic female figure who seemed folk tales and traditions, through of bodily comfort and security”.18 Exile, estrangement and to lack specificity or a personal identity in this genre reconnecting to the landscape in £19.95 · $24.95 loss of the homeland are expressed as separation from of painting, as seen in Mansour’s The Village Awakens, moments of stillness and contempla- the mother figure. Such imagery was cultivated in litera- 1987, in which a monumental woman in Palestinian tra- tion, however fleeting, and from the ture, poetry, theatre and dance as well as the visual arts. ditional dress stares out beyond the painting in a lost outset with an acknowledgement The mother, who becomes the motherland, invested the gaze, as the villagers march forward from within her body. of our perpetual loss and severance. image of Palestine with maternal symbolism. Palestine as Abboud embarks upon a very material, everyday-life 25.5 × 19.5 cm · 10 × 7.5 in the motherland was a space of nurturing, sustenance and engagement, layering fragile details and fragments of SUPPORTED BY BILDMUSEET AND DARAT AL FUNUN–THE the relationship between homeland and subject is one of 18 Hage, Ghassan, “The Spatial Imaginary of National times and places, through observations, objects, drawings, maternal love. For example, Mahmoud Darwish calls: Practices: Dwelling—Domesticating/Being—Exterminating”, artifacts and scenes of the landscape interlaced with his- Give birth to me again./ Give birth to me Environment and Planning Space and Society, vol 14, August torical research of our past traditions, which questions again that I may know/ in which land I will 1996, p 473. KHALID SHOMAN FOUNDATION. 19 80 pages · 50 ills Darwish, Mahmoud, Samih Qasim and Adonis Qasim, Victims of a Map, London: Al Saqi Books, 1984, p 21. 21 Berger, John, And Our Faces, My Heart, Brief as Photos, 17 Abboud and Khaldi, “The Jinn and their Magic”. 20 Stewart, On Longing, p 5. London: Vintage Press, 1991, p 91. STUDIO TIME Nelly Ben Hayoun DISASTER PLAYGROUND FUTURE THINKING IN ART AND DESIGN

Fig. 4 Fig. 5

EDITORS | Jan Boelen, Ils Huygens, Heini Lehtinen CONTRIBUTORS | Bruce Sterling, Dunne & Raby, Rotor, Atelier Van Lieshout, Konstantin Grcic, et al 70 71

The ability to use imagination and envision future Rotor needs is crucial in art, design and architecture. Design Future thinking and making require imagination as Futurism: and capability to create narratives for near and far Origins futures and the capacity to compose proposals to and meet the imagined future needs. Future-oriented Fig. 6 creative practices also require future literacy— Discontents

understanding the temporal continuum in which the Alison J Clarke is a design historian, author, Alison J Clarke university professor and founding director of Victor J Papanek Foundation. Her research combines future-oriented work is created, and being aware of historical and anthropological methodology, placing her work at the forefront of design anthropology. underlying incentives, motivations and structures of the self-initiated works or commissions. Similarly, viewing or consuming the speculative creative works requires some level of understanding of the context of the works. Studio Time: Future Thinking in Art and Design approaches these questions with essays from international design and art thinkers, reflective 240 241 shorter essays and a selection of art, design and architecture projects. The book consists of three Ilkka Halso MUSEUM OF NATURE Museum of Nature presents a dystopian vision parts that each focus on future fictions in art and of the future of our natural environments. Encapsulated in a sealed atmosphere, the wilderness is tamed to a bite-sized amuse- design from different perspectives: future fictions ment park or a museum attraction that vis- itors can experience in a controlled and en- and imagination in creative practices; future literacy; tertaining way. Museum of Nature visualises a series of Fig. 1 shelters and massive buildings in which eco- and future ethics. Each part consists of two essays, Fig. 1 systems could be stored. These buildings pro- Ilkka Halso Museum I, from series Museum of Nature tect forests, lakes and rivers from pollution, 2003 two practical, reflective contributions from artists C-print on aluminum and more importantly, from human activity. 100 ✕ 135 cm As these wild environments become spectac- Image courtesy of Z33 House for Contemporary Art © Ilkka Halso and designers and a selection of art and design ular, nature simultaneously becomes domes- tic, static, immobile, enslaved. Fig. 2 Ilkka Halso Museum II, from series Museum of Nature projects from practitioners around the world. 2005 C-print on aluminum 140 ✕ 300 cm (triptych) The book is a closing chapter of Studio Future, © Ilkka Halso Fig. 3 Ilkka Halso Rollercoaster which is one of the research studios developed by 2004 C-print on aluminum 100 ✕ 135 cm Belgium-based Z33 House for Contemporary Art. OCTOBER 2018 © Ilkka Halso Fig. 4 Ilkka Halso Kitka River, from series Museum of Nature Since 2012, Studio Future has focused on a variety Paperback 2004 C-print on aluminum 183 ✕ 300 cm, triptych Image courtesy of Z33 House for Contemporary Art of aspects on future-oriented art and design ISBN 978-1-912165-08-7 © Ilkka Halso practices through different research and exhibition £29.95 · $39.95 projects, which have been accompanied by online 20 × 20 cm · 8 × 8 in and offline publishing. 304 pages · 150 ills 274 275 275 PUBLIC ENQUIRIES Kulturcentrum Kulturcentrum Kulturcentrum in Hallonbergen, in Hallonbergen, in Hallonbergen, March 2012 March 2012 April 2012 PARK LEK AND THE SCANDINAVIAN SOCIAL TURN

Co-consulting | The publication of the video interviews on YouTube creates a new local public Intervening | Participants collaborate in relation debate. Participants insist on meeting to collectively to chosen focus areas. One of the groups focuses consider possible alternatives to the proposed plan. on the lack of activities for the young, indirectly creating a sense of social insecurity. At the time, Rediscovering | This is a planning proposal from Four days of open, collaborative counterplanning hordes of disappointed youths are restlessly the group of immigrant women who have soup are arranged. The artist calls for participants not hanging out in the shopping mall, trashing and on Tuesdays. The concept makes an argument for only to deliver criticism of the proposed plan, but stealing for lack of anything better to do. Some staffed local mini-parks to counter a lack of safety also to work out an alternative. But it has to be a of them choose also to take part in the dialogues in the areas. This is, in fact, the original logic behind real alternative, elaborated while ‘standing in the to raise the urgency of reinstating a proper and the Hallonbergen courtyards. shoes of the politicians’ and respecting the same ambitious youth centre. A few years earlier, a very existing laws, agreements, traffic predictions and good youth centre was closed, as the local school In a video interview, a receptionist at the social regional plans that the politicians have to respect. had been sold to a private school. Since then, the housing company speaks about how the social This also includes respecting the very unpopular youth centre has consisted of one single room of network between inhabitants dissolved when the agreement for the group of investors to buy building 60 square metres, open on only three days a week local ‘yard hosts’ were let go in the late 1970s due EDITORS | Helena Selder, SOMEWHERE, rights for 1,100 apartments. until 9.00 pm. to budget cuts.

56 57 PARK LEK — October 2011 to May 2012 Mick Wilson CONTRIBUTORS | Kerstin Bergendal, Stenka

Hallonbergen/ Hallonbergen/ Hallonbergen/ Hellfach, James Holston, Ulrikke Neergard, the Pink Room, the Pink Room, the Pink Room, March 2013 March 2013 March 2013 Andrea Phillips, Mick Wilson, Giorgiana Zachia

Public Enquiries is the culmination of a multi-disciplinary research project that operated through a series of public hearings in Stockholm, Copenhagen and Gothenburg (2015–2016). The hearings focused on Kerstin Bergendal’s PARK LEK (2010–2014), which was described at the time as “a utopian art project and a concrete intervention in the urban planning process”. Public Enquiries maps how Bergendal’s

Included in a local logic | Operating in a public suburban shopping mall takes its toll. In this photo, at an early stage of the Pink Room, extraordinary art project PARK LEK contested and members of the football team repair their broken glass display case. Opening for active and passive participants | The display case has been found broken, and some The Pink Room is organised for coexistence, ultimately transformed the local government processes money donated to the team via a donation box has and therefore for changeable and flexible use. Negotiating long term | The large model comes been stolen. Through their tight-knit network in the Transparent curtains, hanging from rails on the into the Pink Room. It is used during the process as area, the team quickly learn the name of the person ceiling, give the character of a lighthouse within the a logbook, and is continually updated to illustrate responsible, and then collectively pay him a quick otherwise quite sombre shopping mall, and also the status of the different stages of the dialogues. used to shape a segregated urban area of Stockholm. evening visit. Although distant from the discursive make it possible to subdivide the room quickly. The artist leads the majority of these meetings. nature of the art project, this gesture of ‘local However, over time, the active role of Åsa Steen legislation’ indirectly gives the art project security Being a neighbour to the food store and the betting and the professional, open and interested within its operative space. Nobody ever trashes the office, the Pink Room also has a great number municipal secretariat, as well as the mixing into Though PARK LEK is primarily examined within the Pink Room after this incident. The only thing ever of passive members in all the passers-by who the dialogues of many different professions and stolen again during the one and a half years of its stay informed about the process just by regularly types of knowledge, give participants a sense of life is a pair of earphones. popping in. genuine negotiation. context of Scandinavian society, the writers additionally 114 115 PARK LEK — January 2013 to January 2015 go on to outline how the project can function as a blueprint for how artistic practice can act as an agent

Hallonbergen, Youth centre, Hallonbergen, in reconstructing local democracy worldwide. July 2016 Hallonbergen, May 2017 May 2017 The culmination of a multidisciplinary research project that operated through a series of public hearings in Stockholm, Copenhagen and Gothenburg (2015– 2016), Public Enquiries provides a multidisciplinary critical reading of PARK LEK and its contribution to the international debate about how artists can contribute to public policy. The book is a ’must read’ for anyone with an interest in the current state of

Covering a scar | On the hilltop in Hallonbergen, there used to be only a ‘scar’ in the ground—the socially engaged art practice and the ways in which remains of a popular outdoor pool for children. Today there is an area offering robust equipment OCTOBER 2018 for outdoor fitness training. Sending a different message | The artist revisits the government of contemporary urban spaces can Hallonbergen and is permitted to take a quick look Bergendal recalls a conversation she once had here at the new youth centre. Before, it was a one- with a group of young men, too old to use the youth Paperback room institution with a rudimentary cafeteria, a few centre but not old enough to go to the city alone. This computers, board games and a broken ping-pong was their hang-out place when in need of a rest from be re-politicised through artistic intervention as a table. The centre was filled with more than 70 the police or gangs from other areas. They felt safe, boys and young men sitting in groups and loudly thanks to their shared childhood memories of playing teasing each other or impatiently pacing in and out here on summer evenings. ISBN 978-1-911164-30-2 of the institution. Girls would only visit on girls-only catalyst for local democratic processes. Adding a layer of reality | The group of planners evenings. The elderly, white staff were not from The fitness area will likely attract new groups of responsible for the future development of the area. young men, but might offer ‘safety’ of a different Hallonbergen and Ör are highly conscious of how kind. Drug dealers have renewed their presence in £19.95 · $29.95 the long time frames of planning can discourage The new youth centre is three times larger than the area; several of the child participants of PARK residents and give them a feeling that nothing the old and includes a table tennis room, a music LEK, now older, are enrolled as mules. The police is happening at all. Areas for temporary planting studio, a hobby room, an indoor cinema, a cafeteria rarely come all the way up here, so this could be a on future building sites can act as a vitalising, with tables, a computer area, green and calm safe delivery point, close to the customers in the 23 × 17 cm · 9 × 6.7 in intermezzo-like interlude between the current and retreat zones and, above all, clean toilets. Now 17 wealthy Duvbo area. For Hallonbergen residents, THIS TITLE IS PUBLISHED IN PARTNERSHIP WITH VALAND the future city. girls visit regularly, the staff includes football players finding a job is difficult—and leaving the drug trade, from the local area, the age limit has been raised once enrolled in it, is dangerous. Just the other day, Photo courtesy of Sundbyberg Municipality. and regular activities attract new visitors. a young man was shot dead. 176 pages · 150 ills ACADEMY, UNIVERSITY OF GOTHENBURG.

166 167 PARK LEK — June 2015 to May 2017 10 SEE YOURSELF X INTRODUCTION 11 2 SEE YOURSELF X HUMAN FUTURES EXPANDED

1–2 Madeline Schwartzman, Hair Animation 1, 2013. Image courtesy the artist. 3 Madeline Schwartzman, Hair Animation 2, 2013. Image courtesy the artist.

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100 SEE YOURSELF X CLAD 101 Darek Gutowski

As organic as the human body is, it is a reasonably tidy entity. Orifices aside, there isn’t any great sensation of cellular activity, organs and the organicity lurking within, that is, not until the Art Color Ballet and artists Agnieszka Glinska and Anna Pogodzinska get to work. Their spectacular body paint creates illusions of space, depth, radical materiality and a painterly cellularity. A simple yellow line falling across the nose and mouth, is only the start of their shattering intervention. Spirals, circles, and patches of electric color create two-headed bodies, bifurcated faces and heads that appear to be the apogee of some growing organic system. Indeed that is what the head truly is.

1 Agnieszka Glinska, Anna Pogodzinska, Art Color Ballet, World Bodypainting Festival 2013, Portschach, Austria, models: Joanna Czarnecka, Marta Mietelska, 1 photo: Darek Gutowski. 2 Agnieszka Glinska, Anna Pogodzinska, Art Color Ballet, World Bodypainting Festival 2013, Portschach, Austria, models: Agata Glenc, Hyun Kim, photo: Darek Gutowski. 3 Agnieszka Glinska, Anna Pogodzinska, Art Color Ballet, World Bodypainting Festival 2013, Portschach, Austria, models: Agata Glenc, Hyun Kim, photo: Darek Gutowski.

22 SEE YOURSELF X EXTENDED 23

Olaf Martens connection to the surrounding air. Martens deploys real machines and objects to create familiar human sculptures in his photographs. A strange choreography is happening in Olaf Martens’ photographs, The two women of Leipzig progress up stairs, despite the obstruction and in many of them, the human head is singled out for special of their vision. They are contained in small shelters that shield treatment. His festive and nightmarish worlds are populated the observer from viewing anything above the legs. The mise-en- Bertjan Pot by groups of people who exhibit nonchalant attitudes toward scène validates the draconian headwear, but does not identify the their industrial head extensions. This makes the photos both narrative. The gas masks and head constructions have a leveling 1 2 Bertjan Pot’s cheerful sewn rope masks began as an afterthought. humorous and chilling. The gas mask appears to be a universally effect, but the legs and dresses maintain some individuality and Pot had attempted to form a rug for a scalar architectonic model. accepted accoutrement. They are even synchronized, when autonomy. Strange fictional worlds indeed. But Olaf Martens, who Instead of yielding a flat surface, the sewn spiral rope tended to necessary, to form a tidy and coordinated haute couture class grew up in East Germany, knows that the truth is even stranger. 3 pop up or in to form a topographical landscape.1 When the various 1 trip to the natural history museum. These are visions of Cold War sewn rope swatches form an aggregate proportional to the human annihilation protocols, but they speak for the future as well. Such 1 Olaf Martens, ArktikaAntarktika, Tatjana Parfionova head—with a vague center or bilateral symmetry—they tend to photos put human hypocrisy on display. As it has in the past, the Fashion, Sankt Petersburg, 2004. Image courtesy the artist. suggest a warped humanoid. That’s because humans have a deeply future holds threats of biological annihilation through ecological 2 Olaf Martens, Deutsches Hygienemuseum, Dresden, 1999. ingrained ability to recognize a face, no matter how scrambled the and military disasters. Yet we make overtures to preserve what Image courtesy the artist. features. Despite the color, contour or distortion, when placed 4 once was, storing biological creatures in glass vitrines and jars 3 Olaf Martens, Leipzig 1991. Image courtesy the artist. over the head, Pot’s sketch-like masks become faces. Pot began full of formaldehyde. The gas mask imagined here is a new sensory 4 Olaf Martens, Zoologisches Museum, Sankt Petersburg, these serendipitous creations in 2010, and until recently, they could apparatus that connects belly to mouth, thereby eliminating any 2008. Image courtesy the artist. be seen as a form of adapted ethnicity, paying homage to Cubism, Color by Number and color minimalism. In light of the proliferation of facial recognition algorithms—all of which rely on relative positions of key facial features and stored data to enable a human to be identified—Pot’s masks may be one strategy for anonymity in the future. Current strategies are more like camouflage, creating asymmetries that scramble the legibility of the features and render facial distances unreadable. Pot’s masks Pot’s masks may be more expressive scramblers, providing a future of quotidian masquerade into quotidian life.

1. Pot, Bertjan, “Bertjan Pot interview—Dutch design can be fun”, interview by David Harrison, May 5, 2014, designdaily.com.au, accessed July 7, 2015. 2 3 Bertjan Pot, Masks, 2010–present, photo: Studio Bertjan Pot. Images courtesy the artist.

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142 SEE YOURSELF X TRANSFORMED 143 Aganetha Dyck Might we extend ourselves into space by joining forces with an alien | community—like bees—for the mutual benefit of both species, in a AUTHOR Madeline Schwarzman way that will transform the external perimeter of the human body, and allow the head to change contours and have an automatic regenerating food source? Yes! We already do, though our community is not nearly as perimeter bending. A typical human carries somewhere around three pounds of microorganisms. We imagine ourselves as a solid entity, as a whole, ruled by one mind, in a tidy compact bundle. It turns out we are much less static and autonomous. We are a heap of microorganisms. We consist of a collective of invisible creatures that hang out on our surface areas—both interior and exterior—and engage in communal life for the mutual benefit of all. Even though “we have ten trillion human cells and 100 trillion microbial cells”, and that bacteria outnumber human cells by as much as an estimated three to one, we The second volume of Madeline Schwartzman’s elevate the status of our human cells in order to create terms for what we think we are, to the exclusion of our principal populations.1 Aganetha Dyck’s deployment of bees on inanimate human forms (here I extrapolate to live humans), represents a scaled up version of what already exists in and around the human body. Like microbes, bees are a social network. Dyck’s work results in series of books that look at human perception and unpopulated residual artifacts but her real fun is in the collaboration, and she cannot predict the end results. She primes and preps the environments she hopes to populate—to promote bee activity —adding wax, honey, propolis and homemade honeycombs to 2 34 SEE YOURSELF X 1 EXTENDED 35 encourage communication. It is interesting to note that we have zero microorganisms when we are in the womb. We pick them up along the way: as we the sensory apparatus. exit the birth canal, nurse, and get held up by family and friends. Can we further harness the power of microbes or communal creatures, providing hosting in exchange for food or clothing? Or use swarming self-organizing robots to protect or hide the human head?

1. Andrey Smith, Peter, “Is Your Body Mostly Microbes? Actually, We Have No Idea—The See Yourself X explores all forms of physical Boston Globe”, BostonGlobe.com, September 14, 2014, https://www.bostonglobe.com/ ideas/2014/09/13/your-body-mostly-microbes-actually-have-idea/qlcoKot4wfU XecjeVaFKFN/story.html, accessed February 2, 2015. 2. “Interview with Aganetha Dyck: Canadian Visual Artist”, Mason-Studio.com, October 24, 2011, http://www.mason-studio.com/journal/2011/10/interview- with-aganetha-dyck-canadian-visual-artist/, accessed February 6, 2015. head augmentation; from new organs to hair Aganetha Dyck, The Masked Ball, 2008, photo: Peter Dyck. Image courtesy the artist. extensions and dos; head constructions to 3 headdresses; and prosthetics and helmets by artists, designers, inventors, scientists and world cultures. Everyone with a head will be interested in

122 SEE YOURSELF X TRANSFORMED 123 this book.

2 Joanne Petit-Frére headscarf and, beard. It is not entirely clear if the braids are of a penis”.1 Do Joanne Petit-Frère’s hair sculptures have such giving her power and stature, or keeping her trapped. It is power? Yes, I think they do. It’s an ancient Greek power and an Joanne Petit-Frére’s Redressing the Crown is a series of also not clear whether the portion covering the lower face is African one too. An innovative and dynamic study of human arresting constructions for the head, each one a cross between meant to be a beard or mask. A second hair sculpture is a cross a hairdo, a crown, a sculptural form, and an architectural space. between hair, a hat and an umbrella. It is geometric, and flower- 1 Joanne Petit-Frére, Redressing the Crown Series, hair They share a basic construction method: braided hair extensions like, and it may be able to form a network with some hair hexes, sculptures and art direction: Joanne Petit-Frére, photo: and hidden structure that enables them to enlarge beyond transforming independent humans into a structural matrix. The Quazi King. Image courtesy the artist. typical hair boundaries, and be on par with the scale of elaborate enlarging structure might be good for growing plant matter, 2 Joanne Petit-Frére, Redressing the Crown Series, hair eighteenth-century hair creations. Each headpiece allows or for experiencing community. The third head is winged. In the sculptures and art direction: Joanne Petit-Frére, photo: perception, presented as part exhibition in book the braids to defy gravity. Beyond that, they go their own way, center all is calm and organized, but the blue braids are twisting Quazi King. Image courtesy the artist. creating a mood, a color, a physical space, and the beginning of like Medusa’s snakes. Sigmund Freud claimed that Medusa’s 3 Joanne Petit-Frére, Redressing the Crown Series, hair a narrative. Joanne Petit-Frére’s sculptures are hybrids. The snakes were symbols of castration, and that the spectator sculptures and art direction: Joanne Petit-Frére, photo: tall black ornamental wearable is part Egyptian crown, hairdo, turned to stone as a reminder that he was “still in possession Delphine Diallo. Image courtesy the artist. form and part academic textbook, born out of Schwartzman’s head-based design projects at

98 SEE YOURSELF X CLAD 99 Nora Fok Dorry Hsu Nylon microfilament, Nora Fok’s medium of choice, is delicate, Columbia University and Parsons. luminous, lightweight, durable, flexible, readily available and Dorry Hsu makes face jewelry. They are not masks or eyeglasses, abundant. It is a medium that needs a high level of manipulation despite the location and association of the forms. They are three- that includes the various textile actions that bind thread. Whether dimensional bilaterally symmetrical exoskeletal mash-ups—bulbous woven, knit, braided or bound together, Fok captures space and chitin-like ensembles of your worst nightmare: bugs. But bugs are light in forms inspired by nature, including plant forms, insects or beautiful, when they’re not causing us fear and stress, and so are 1 animals. Many of the constructions encapsulate the head, forming Hsu’s jewels. “They were created using stereolithography; Dorry small translucent architectonic spaces or electric hairdos. Her Follows on from the best-selling first volume, draws with a Haptic Arm using a free form program, 3D printing a work has kinship with some recent MIT projects that explore the liquid photopolymer resin to which she adds handmade dyes.”1 They relationship between biological products and digital fabrication. are alien in quality, kin of wondrous fungi or gorgeous formations One is the Silk Pavilion, created out of CNC deposited silk. It is of bacteria when viewed under a microscope. Hsu turns humans into similarly luminescent, but more architectural in scale. The other is futuristic warrior ants, restructuring the contours of the face, Spider, a robot that mimics a silk worm, weaving an architecture arming us with protuberances that we left behind long ago or never around itself at the Media Lab’s Mediated Matter Group. Could See Yourself Sensing, a collection of futuristic had, and providing the wearer with a spectacularly refined and humans grow hybridized hair that is part biology, part plastic? menacing demeanor. The menace affects both the viewer and the Could hair be trained to self-weave? Until such time, Nora Fok will wearer alike. The wearer must contend with the special forms of 2 provide innovations that appear to glow and float. her nightmares. She must don them, touch them against her face, hide behind her fears. The translucency and gradation of the pieces 1 Nora Fok, Princess Pagoda, 2005, head piece, woven 3 clear nylon, 45 cm/18 in, photo: Frank Hills. suggest an ability to transform. Hsu imagines these devices might “assist humans in expressing their emotions”.2 Hsu continues: “A 1 Image courtesy the artist. proposals for the body and the senses that spans 2 Nora Fok, Walking Onions, 2006, head piece, knitted, new synthetic gemstone developed by science might sense human 2 3 knotted clear nylon, diameter: 66 cm/26 in, photo: emotion and communicate with them by changing color.” Frank Hills. Image courtesy the artist. 1. Hsu, Dorry, “Dorry Hsu: Innovation in Jewellery”, September 2013, interview by Anabel Cuervas, translated by Michael Padilla, socatchy.net, accessed, July 20, 2015. 2. “The Aesthetic of Fears”, MODECONNECT, April 7, 2014, http://modeconnect.com/ across disciplines and media from the 1960s to dorry-hsu-jewellery-aesthetic-fears, accessed July 20, 2015. 3. “The Aesthetic of Fears”, MODECONNECT, accessed July 20, 2015.

Dorry Hsu, Aesthetic of Fears, 2014. All images courtesy the artist. the present. See Yourself X focuses in on our fundamental Nicolas Petisoff

Nicolas Petisoff’s (alias Nico Icon) drawings are not meant as 144 SEE YOURSELF X TRANSFORMED 145 camouflage—to hide or cover. Instead “they reveal, they bring to light the specific we all have inside....” according to Nico Icon. They are perceptual domain—the human head—presenting “numerical lace covers” and they relate more to interior feelings and sensations—to childhood nostalgia related to superheroes and revelatory acts of distinguishing ourselves. Might we have such chameleon-like powers in the future? Can we adjust our beards in real time, represent our inner thoughts and experiences through graphic patterns that exist in space and an array of conceptual and constructed ideas for dematerialize as quickly as they arrive?

1 Nicolas Petisoff (alias Nico Icon), Pink Night Butterfly. Image courtesy the artist. 2 Nicolas Petisoff (alias Nico Icon), David Smyle 2. Image courtesy the artist. 3 Nicolas Petisoff (alias Nico Icon), Brain Flowered. extending ourselves physically into space. Image courtesy the artist. What will be the physical future of the head 1

2 and the sensory apparatus in 50 years time, as SEPTEMBER 2018 3 the mechanisms for how we communicate and Paperback sense change and become obsolete, prompted, ISBN 978-1-910433-22-5 possibly, by the advancement of brain-to-brain £24.95 · $34.95

4

Betsy Youngquist roadblocks, but this is cutting-edge research, and if one doctor has 1 Betsy Youngquist, Buzz, 2007, photo: Larry Sanders. his way, the first head transplant will take place within the next ten Image courtesy the artist. The harpy, manticore, siren and sphinx are just a few of the human- years. The human face is already transferable—at least human- 2 Betsy Youngquist, Metamorphosis, 2011. communication? See Yourself X looks at where we 28 × 23 cm · 11 × 9 in headed mythological creatures that bear a relation to Betsy to-human. In the future, though, humans may wish their pets to be Image courtesy the artist. Youngquist’s beaded mosaic creations. Are they human/animal hybrids more relatable. They may give them human facades and allow them 3 Betsy Youngquist, No. 54, 2010. or just animals pretending to be humanoid? Consider the Vacanti a quasi-human form. Would that imbue them with human qualities? Image courtesy the artist. mouse before you find them too strange. That is the unsuspecting Knowing the brain, and human attraction to biological forms that 4 Betsy Youngquist, Lost Rider, 2014. laboratory mouse that was used to grow an artificial ear on its look like people, the answer is yes. Image courtesy the artist. back, an experimental procedure that was aimed at one day In Metamorphosis, Youngquist’s more humanoid sculpture, are now, in the hope of projecting into that future. 192 pages · 300 ills enabling individuals with missing or damaged ears, to adapt their only an eye emerges out of a glorious symphony of beads. Hair own body cells to regrow them. extensions fall by the wayside. Botox, we can imagine, fixes the the Will the human head be self-sustaining and transferable to wrinkles and causes stiffness and inflexibility, providing the perfect a host of different bodies in the future? There are some biological substrate for full body ornament. SEE YOURSELF SENSING 38 SEE YOURSELF SENSING REFRAMERS 39 REDEFINING HUMAN PERCEPTION

Lucy and Bart Germination Day One and Day Eight

Lucy and Bart’s home-grown grass suit is an eight day creation that germinated in a children’s swimming pool in their living room. The weight of such a garment would put our pressure-sensitive mechanoreceptors and our thermal receptors into overdrive. But Lucy and Bart had another agenda for making the suit, one that might push touch into the background. They were brainstorming on the concept of biological self-replicating clothing that grows from the body. Part human, part animal, it could be grown to achieve varying thickness, density and viscosity and it would live and breathe with us. “Why kill an animal and re-form the fur into a shape? Why not have the animal already shaped to your body, have it living and breathing around you, like shoes.”1

1. Regine, “Interview with Bart Hess”, 2008, we make money not art, 8 December 2010, http://we-make-money-not-art.com/archives/2008/04/-found-little- info-about.php.

Germination, Day One and Day Eight, 2008. Image courtesy the artists.

8 SEE YOURSELF SENSING INTRODUCTION 9 AUTHOR | Madeline Schwarzman

See Yourself Sensing: Redefining Human Perception is an explosive and unique survey that 1 explores the relationship between design, the body, technology and the senses over the last 50 years. Get ready to say goodbye to unconscious 2 James Auger and Jimmy Loizeau, Interstitial Space Helmet, 2004. [1] Mary Magsamen and Stephan Hillerbrand, Air-Hunger, video Image courtesy the artists. still, 2003. Image courtesy the artists. [2] Ana Rewakowicz, sensing and embrace cyborgs, posthumans, Conversation Bubble (family therapy room), 2006. OMI International Art Center, New York. Photo Ra di Martino. Image courtesy mediated reality and all manner of cutting edge the artist. own mediated image. James Auger writes, “With the Interstitial Rewakowicz constricts the body in a double layer of vinyl. They Space Helmet we were looking at the rise of the digital mediation share common conventions of inflatables, and evoke other solo of human representation and how this challenges normative inflatable works like Michael Webb’s 1960s Cushicle and Hans sensory interventions like seeing with your ideas of image, personality and communication.”2 Auger-Loizeau Hollein’s Mobile Office. Both projects serve as mediators between turn the world inside out, mediating everyday life for those he the self and another. Space, rather than technology, serves as the describes as the “Otaku generation”—Internet users whose intervening agent. Both projects have an existing or temporary social interaction on the web via web cams and alter egos is more skin that binds people together, as do other projects of the tongue or plugging your nervous system directly comfortable to them than they are in the physical world.3 “Environments” chapter. Mary Magsamen and Stephan Hillerbrand’s video still STELARC, the Australian performance artist, has been Air Hunger is another loaded small sensory moment that evokes using the human body as his medium in an ongoing way, moving projects at a much larger scale. Despite its playfulness, this image from internalised art, to external prosthetics, and finally to new into a computer. Astounding experiments with of the artists mutually and cooperatively blowing a chewing gum organs and body transmogrifications. STELARC’s Ear on Arm bubble foregrounds other concepts emphasised in this book: the is an example of a new technological body—a transhuman. A ten complexity of the senses—the intertwining of breath, taste, touch year work in progress, Ear on Arm has involved the cultivation and object; the fuzziness of the threshold between the inside and of a prosthetic ear out of cartilage and cells, a 12 year quest to interaction design, cybernetics, neuroscience and outside of the body where breath and atmosphere, sound and secure financing and to find a surgeon willing to sew it on, several hearing, and food, taste and tongue meet; the fluctuation between surgeries, and the insertion of a microphone and blue-tooth intimacy and friction among individuals, pairs and communities; transmitter that would wirelessly broadcast to the Internet the and the fragility of the senses and ultimately life itself. sounds of STELARC and his environment. Though in the making of art illustrate how we see and sense, and how artistic Conversation Bubble (family therapy room) by Ana this project STELARC has suffered necrosis of the flesh, and an Rewakowicz deals with the same themes, but at more of an infection that forced him to remove the microphone, he continued architectural scale. Both works touch upon ideas about shared to push this project forward. Such an evolutionary project belongs breath, touch, human interaction, the individual versus the to the “Speculations” chapter of the book. interpretation can undermine our fundamental collective, and the public versus the private. In both works the Many of the works included in See Yourself Sensing have project deflates if anyone attempts to move or leave. In Air appeared under other headings: wearable technology; extreme Hunger the blowers are free to touch. In Conversation Bubble textiles; science; responsive design, interaction design and STELARC, Ear on Arm, London, Los Angeles, Melbourne, 2006. Photo Nina Sellars. Image courtesy the artist. perception of the world and ourselves. See Yourself Sensing explores the work of

key practitioners in this field, from Rebecca Horn’s 146 SEE YOURSELF SENSING MEDIATORS 147 Krzysztof Wodiczko

Ægis is one in a series of Wodiczko’s instruments that allow ‘voiceless’, mythical wearable structures and STELARC’s powerless and ignored populations—immigrants, the homeless and estranged youths—to communicate and be heard. Their aim is to compensate for the fact that face-to-face dialogue is too daunting or impossible for such individuals. In order to be seen robotic body extensions, to Carsten Höller’s and heard the disenfranchised need a mediating device that allows for a more indirect method of communication, though not a meek and passive type. Wodiczko’s instruments are powerful and unavoidable, even if indirect. Dis-Armor is an armored suit that allows the neurally interactive sculptures, as well as the work wearer to communicate via his or her back. Ægis consists of two computer screens mounted onto a yoke structure held up by the shoulders. Pre-recorded self-directed video of the participant plays on both screens simultaneously, answering questions about of artists who have emerged in the last five years, identity, homeland and circumstances that could never emerge through the typical questions we ask others on first meeting, questions for which the answers are pre-conceived before the asking. Questions about identity and homeland are far more complex like Internet sensation Daito Manabe, Hyungkoo and require time, thought and nuance. Like the Cerberus, the three-headed guard dog of Hades in Greek mythology and Polycephaly, the three-headed guardian of crossroads, Ægis increases the visibility and authority of the wearer. Here though, the moving image welcomes strangers to Lee and Michael Burton. The book explores come close and learn more.

Ægis: Equipment for a City of Strangers, 1999–2000. two augmented lap-top computers, two LCD screens, two projects such as solarpowered contact lenses loud speakers, augmented speech recognition software, aluminum structure, electric engine, batteries and plastic parts, and mannequin/base. © Krzysztof that augment reality, LED eyelashes and goggles Wodiczko. Courtesy Galerie Lelong, New York. that allow one to communicate with electric fish, Romy Achituv and SEPTEMBER 2018 all created with the purpose of transforming and Danielle Wilde

What happens when you separate language from the mouth and use Paperback provoking the wearer’s sensory experience. the movement of the mouth alone as a source of communication? FaceClamps is a metal and plastic analytical mask that measures mouth movement in the vertical and horizontal direction, and translates motion into electronic sounds. The device is worn at ISBN 978-1-907317-29-3 Madeline Schwartzman brings together this the same time by two viewers who attempt to communicate via algorithmically controlled sounds. Visitors can watch the dialogue projected and enlarged behind the ‘conversing’ performers. They contort their mouths and throw open their jaws in an attempt to £24.95 · $34.95 unique collection of images with provocative gain sonic dominance. The sound, though, is open to subjective interpretation, and so attempts at communication are sometimes thwarted by the soundscape, just as verbal communication is often hindered by cross-meanings and inaccuracy. Like hipDisk (p. 112), FaceClamps allows the viewer to focus on our strange body apparatus. 28 × 23 cm · 11 × 9 in chapters and thoughtful descriptions of the Here it is the mouth, with all of its multi-tasking and flexibility, that shows itself to be a strange, wondrous and grotesque entity.

FaceClamps, 1998. Performance: Yasmeen Godder and Danielle 192 pages · 300 ills concepts informing the work in this book. Wilde. Sound design Robert Catalano. Video Romy Achituv. Photo Alison Bradley. Image courtesy the artists. BLACK DOG PRESS SALES CANADA 298 Regents Park Road London N3 2SZ UK Roberta Samec United Kingdom Hornblower Group blackdogonline.com Signature Book Representation 270 Carlaw Ave #101, +44 (0) 20 8371 5131 (UK) Limited Toronto, Ontario M4M 3L1 +44 (0) 845 862 1730 +1 (416) 461 7973 [email protected] [email protected]

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