ART

Marcel Odenbach - Beweis Zu Nichts

Sternberg Press 2018 ISBN 9783956793851 Acqn 28395
Hb 16x23cm 202pp 225ills 150col £21.95

Texts by Jorg Heiser, Maria Muhle, Vanessa Joan Muller, Nicolaus Schafhausen

Marcel Odenbach is widely known as a pioneering video artist-however, the connections between
his video works and his ongoing works on paper call for due recognition. Many of his works reflect
the lasting impact of National Socialism up to the present day, all the while bestowing a universal
perspective on what is usually constituted as a specifically German concern. Reflections on the
familiar and the foreign, elements of his own biography, the interplay between subjective
remembrance and collective memory-all of these are crucial themes in his work, which make their
claim on the aesthetic as well as the political level.

Departing from his eponymous exhibition at Kunsthalle Wien, this publication examines new
works by Odenbach and contextualizes them within a broader context. Named after an early
poem by Ingeborg Bachmann, the exhibition reflected the atmosphere of the postwar period that
dominates Bachmann's poetry, which itself is shaped as much by the search for authenticity and
truthfulness as it is by the traumatic memory of the past. The exhibited works developed a series
of interconnected motifs linking memorial remembrance of the atrocities committed during the
Nazi period to individual memories. The complex history of the African continent was likewise
presented through film as well as collages that created multilayered vectors pointing as much
from the past toward the present as vice versa.

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Ellen Cantor - A history of the world as it has become known to me

Sternberg Press 2018 ISBN 9783956793233 Acqn 28479
Pb 21x29cm 328pp col ills £22.95

Edited by Lia Gangitano, Fatima Hellberg, Jamie Stevens

Contributions by Dodie Bellamy, Jonathan Berger, John Brattin, Ellen Cantor, Lia Gangitano, Cy
Gavin, Joseph Grigely, Clara Lopez Menendez, John Maybury

Ellen Cantor (1961-2013) combined ready-made materials with diaristic notes and drawings to
probe her perceptions and experiences of personal desire and institutional violence. This book is
concerned with, and a document of, Cantor's work through the lens of Pinochet Porn (2008-16)
and its making-an epic experimental film embodying and radically extending her multifaceted
artistic practice. Taking the form of an episodic narrative about five children growing up under the
regime of General Augusto Pinochet in Chile, and shot between her dual hometowns of London
and New York, history is observed through Cantor's fictive speculations on private experience
within a totalizing political order. A history of the world as it has become known to me brings
together writings and archival materials of Cantor's, including a reproduction in full of her drawing-
based script Circus Lives from Hell (2004), alongside contributions by writers, artists,
collaborators, and friends reflecting on Cantor's practice, Pinochet Porn, and a singularly
transgressive vision: explicitly feminist, remorselessly emotional, dramatic in tone, and, as Cantor
herself liked to put it, adult in subject matter.

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Isabelle Graw - The Love of Painting: Genealogy of a Success Medium

Sternberg Press 2018 ISBN 9783956792519 Acqn 28480
Pb 14x20cm 364pp col ills £21.95

Painting seems to have lost its dominant position in the field of the arts. However, looking more
closely at exhibited photographs, assemblages, installations, or performances, it is evident how
the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of
painting based on exchanges with artists, Isabelle Graw’s The Love of Painting considers the art
form not as something fixed, but as a visual and discursive material formation with the potential to
fascinate owing to its ability to produce the fantasy of liveliness. Thus, painting is not restricted to
the limits of its own frame, but possesses a specific potential that is located in its material and
physical signs. Its value is grounded in its capacity to both reveal and mystify its conditions of
production. Alongside in-depth analyses of the work of artists like Édouard Manet, Jutta Koether,
Martin Kippenberger, Jana Euler, and Marcel Broodthaers, the book includes conversations with
artists in which Graw’s insights are further discussed and put to the test.

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Jennifer Bornstein – Prints

Sternberg Press 2018 ISBN 9783956793806 Acqn 28498
Pb 23x26cm 160pp 110ills 40col £24.50

Edited by Lisa Gabrielle Mark

Text by Gloria Sutton; interview by Matt Saunders

Prints by Jennifer Bornstein gathers together a body of work encompassing her latest projects in
printmaking during a recent fellowship at the Radcliffe Institute for Advanced Study at Harvard
University. These works are contextualized by earlier projects in drawing, film, and artist books
that span the 1990s to the present. Known for her conceptual approach, Bornstein's current
works centring on prints and frottages weave together intricate background stories of family
relations, feminist history, and material possession that are inscribed in wry yet complex
understandings of technological presence and material trace. Generously illustrated with detailed
images, the book also features an essay by Gloria Sutton and an interview between Bornstein
and artist Matt Saunders.

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Omar Kholeif - Goodbye, World! Looking at Art in the Digital Age

Sternberg Press 2018 ISBN 9783956793097 Acqn 28513
Pb 13x19cm 212pp 195col ills £19.25

The way we see the world has changed drastically since NASA released the “blue marble” image
taken by Apollo 17 in 1972. No longer a placid slow-moving orb, the world is now perceived as a
hothouse of activity and hyper-connectivity that cannot keep up with its inhabitants. The internet
has collectively bound human society, replacing the world as the network of all networks. In
Goodbye, World! Looking at Art in the Digital Age, curator Omar Kholeif traces the birth of a
culture propagated but also consumed by this digitized network. Has the internet transformed the
way we see and relate to images? How has the field of perception been altered by evolving
technologies, pervasive distribution, and our interaction with screens? How have artists working
in diverse contexts, from eBay auctions to augmented reality, created new ways of feeling that
are determined by these technologies? Focusing on a cultural and artistic landscape that has
taken shape since the year 2000, Kholeif aims to put into context a new language for seeing,
feeling, and being that has emerged through post-millennial technologies, and argues for a
nuanced understanding of the post-digital condition. Taking cues from John Berger’s Ways of
Seeing and Alvin Toffler’s Future Shock, this book—part memoir, part critical analysis—should
prove essential for anyone interested in the changing world of the internet.

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