Professional Documents
Culture Documents
Campo di Marte was devised in March 2020, at a time when Nathalie Du Pasquier was not
painting. After cutting out photos of paintings produced between the 1980s and 2020, the French
artist then placed them in a sequence as if they were a series of typefaces, focusing solely on
their formal qualities and the scope for interpretation offered by their assembly. What comes out
is an enchanting game of nonsense, an everyday surrealism in which the images make up
sentences of sorts, interwoven with various elements taken from the world of books: titles, poems
or mere calculations - times when the artist was lost for words. Campo di Marte will also be the
name of an exhibition, curated by Luca Lo Pinto, due to be held at the MACRO in Rome at the
end of 2020. As Du Pasquier states: "The book was supposed to come out at the same time as
the exhibition opening. That won't be the case, but it doesn't matter as they really are two
separate things. This paperback is not a catalogue at all: it's something you can browse through
even while sitting on the underground."
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In the fall of 1952, Cy Twombly receives a traveling scholarship from the Virginia Museum of Fine
Arts and leaves New York for his first trip to Europe and North Africa. He meets up with Robert
Rauschenberg in Casablanca, and the two of them travel to Marrakech and the Atlas Mountains,
and then to Tangier. They pay a visit to Paul Bowles in Tetouan and go on day trips with him to
nearby villages and Roman ruins. Twombly conducts his first and last archaeological excavation
there. Upon their return to Rome in February 1953, Twombly studies and sketches the
ethnographic objects and tribal artifacts he sees on display in the Museo Nazionale Preistorico
Etnografico Luigi Pigorini. These sketches survive in the form of the North African Sketchbooks.
Much of the surviving work from this trip consists of photographs taken with a Rolleiflex shared by
the artists and sketches made by them, preserved in the archives of the Cy Twombly Foundation
and Fondazione Nicola Del Roscio; they provide a unique perspective on Twombly's lesser-
known affinity for Africa's Mediterranean shores.
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Paul Thek's Italian experiences between 1962 and 1976 left a deep mark on his sensitivity. From
his visits to the Capuchin Catacombs to his witnessing of spectacular religious processions, Italy
was a catalyst for several key moments in the artist's career, triggering an elusive reaction in his
practice to the trajectories of post-war American art. By reworking the stimuli gathered during his
stays in Rome, on the island of Ponza and in Sicily, Paul Thek concocted a baroque response to
Pop Art and Minimalism, which were dominant on the art scene of the time. 'Paul Thek. Italian
Hours' brings together a selection of paintings, drawings and sculptures through photographs by
Peter Hujar, presented in the exhibition of the same name at the Fondazione Nicola Del Roscio in
Rome. The critical text by Peter Benson Miller, curator of the exhibition, highlights Thek's
meaningful dialogue with a group of artists linked to gallery owner Topazia Alliata who were
working in Italy at the time, including Cy Twombly and Piero Manzoni. A conversation between
Watermill Center curator Owen Laub and theatre director Robert Wilson completes the volume.
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Can radical film practices help to understand a disintegrating world? Can they have a healing
effect? How can we maintain structures of solidarity in the field of radical media production for
societies in turmoil and transition? And what does radical cultural practice look like in times such
as ours, when everywhere we turn there seem to lurk even more acute challenges? Edited by
members of the Berlin chapter of the International Radical Film Network, this collection
investigates practices of audio-visual production that act on and struggle with the conditions of
our time. The contributions were created by film practitioners, artists, activists, as well as
academics and critics.
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The Pasta Workshops is the brainchild of Christian Holstad and Sissi Daniela Oliveri. Starting
from the similarity between modeling clay and kneading fresh pasta, they initiated a workshop at
the Academy of Fine Arts in Bologna (where Sissi teaches the Performing Techniques for the
Visual Arts course) with the intention of giving students an experience that would encourage them
to explore new approaches and modes of expression that do not conform to traditional
techniques. Thus, instead of clay and ceramics, pasta, a raw sculptural material with which to
develop new edible art forms, was used. The workshop, extended over three academic years
(2020-2022), was also part of the riparAzioni - Re-elaborate to art project, designed by the
Academy of Fine Arts of Bologna for the PON METRO program, coordinated by the City of
Bologna and funded by the European Union.
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Victor Burgin came to prominence in the late 1960s through his contributions to the first museum
shows of conceptual art. In formal terms, his own works explore relations between still and
moving images and words, most often in their narrative functions. Although rooted in everyday
reality, Burgin's focus lies in the psychological space where perceptions of the physical world
merge with memory and fantasy. 'That' is split across three parts: Some Themes, Some Works,
and Retrospectively. The first comprises edited excerpts from interviews and talks; the second is
an overview of over 50 years of visual art production; the third is a conversation with the artist and
curator Pia Viewing.
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'Flow' presents a collection of recent works by Japanese painter Akane Nakajima, a new realm in
which she expresses the sensation of being in contact with the small aspects of nature around
her. Utilising watercolour bleed-through, the artist incorporates the forms of plant leaves,
shadows on asphalt, flower petals, withered grass, and other delicate details in her creative
imaginings. The small book has an accordion-type binding, allowing the artworks to emerge in a
continuous flow.
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Leather sofas and fitted carpets, radiant shapes and dark corridors. The Danish-German
photographer Anne Lass's new colorful book Triple Seven is an immersive documentation of
Berlin's disappearing gambling halls in a narrative that plays with elements from distant galaxies,
exotic islands, and futuristic landscapes. Lass richly descriptive, medium-format color
photographs present an eclectic mix of places, objects or individuals rooted in a quiet still life
tradition merging documentary form and poetic tenderness. After new legislation came into effect
a few years ago, many of the gaming establishments had to close, and over 80% of them have
already disappeared, with many of them depicted in this work.
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The Amsterdam gallery Art & Project (1968-2001) was pivotal to the evolution of contemporary art
in the Netherlands and beyond. It presented a pioneering programme of work by national and
international artists, including Charlotte Posenenske, Jan Dibbets, Gilbert & George, Stanley
Brouwn, and Sol LeWitt. To advertise its shows, more than 150 bulletins were published by the
gallery, which quickly became an experimental medium, incorporating the conceptual ideas of the
artists and even functioning as works of art themselves. Based on extensive research and
previously unpublished visual material, this large volume documents the history and influence of
the Art & Project gallery.
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For years, Ukrainian journalist Maksym Eristavi has been mainstreaming the global awareness
about the legacy of Russian colonialism. A few days before Russia launched a full-scale invasion
of Ukraine, he started a Twitter thread listing all Russian colonial invasions over the last century
and highlighting one specific pattern that they all went by. The post has gone viral and is now
dubbed the "mother of all Russian colonialism tweets". Together with a group of Ukrainian artists,
Eristavi transformed it into an illustrated pocket guide to the 48 most recent invasions of Russian
colonialism - to bring everyone's attention to a pattern of serial behavior by the largest colonial
empire.
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Terry Rodgers focuses on the complexity of the world we inhabit - from debauch to beatific - with
its sprawling morass of details. His large-scale paintings depict often crowded scenes of figures
with averted gazes, disconnected from both the spectator and one another. Ideologically, themes
such as isolation, uncertainty, overabundance, desire, and a lust for life emerge in his work. This
comprehensive monograph presents a broad overview of over six decades of practice, including
paintings, sculptures, drawings, and more, revealing the artist's many modes of creation, each
with its own autonomous authority, a driving force throughout his career.
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Blockchain technology is changing the internet and the way we cohabitate, communicate, and
behave, both online and offline. Advocates of the technology point to the development of a new
internet (Web3) and conjure up notions of a gigantic future metaverse and the emergence of
increasingly decentralised organisations and structures. Some see this as crypto-anarchistic
wishful thinking, while others forecast a more democratic and just future for all. 'Algorithmic
Imaginary' focuses on the works and ideas of artists and theorists who analyse, question, and
reconceive both blockchain and associated applications such as DAOs, NFTs, and the
metaverse.
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Automatism is a complex phenomenon taking varied forms across different fields. It remains
perhaps ill-defined even today, and yet its direct and indirect influences on culture and art are
widespread if not immediately obvious. This essay begins with a short historical background on
automatism, whose key elements were defined in writings on surrealism and art history in the
1920s and '30s. Authored by Huat Lim, the text offers a personal reflection on the influences and
significances of automatism as a creative method. An architect trained in London, Lim is now
heads zlgdesign, a design firm responsible for some of Malaysia's most outstanding examples of
contemporary architecture.
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Christopher D'Arcangelo
Kunstverein Publishing 2023 ISBN 9789490629304 Acqn 33959
Pb 22x28cm 288pp col ills £32
Despite having been active for only four years before passing away at the young age of twenty-
four, Christopher D'Arcangelo (1955-1979) is a key, though lesser known, figure of 1970s
Institutional Critique in New York City. Even generations later, D'Arcangelo's singular approach
remains wholly unique in its radicality and generosity. This first estate-approved monograph
illuminates his momentous practice after many decades of limited access to the materials
surrounding it. The publication also includes new contributions from figures who have punctuated
D'Arcangelo's practice-such as Peter Nadin, Daniel Buren, and Janelle Reiring-as well as
photographic contributions by artist Heji Shin. Edited by Yana Foque and Isabelle Sully. Designed
by Marc Hollenstein.
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Beth Coleman - Reality Was Whatever Happened: Octavia Butler AI and Other Possible
Worlds
K. Verlag 2023 ISBN 9783947858507 Acqn 33960
Pb 14x21cm 252pp col ills £32
Beth Coleman explores methods of "speculative AI" and Black computing. Her project stakes a
commitment to the experimental design of machine learning, which departs from predictive
applications that all too often reproduce the socio-technological status quo (or worse) to move
towards a generative aesthetic of other possible worlds. Through the Butler AI project, she
creates a series of visual works inspired by the 'Xenogenesis' trilogy by celebrated science fiction
author Octavia E. Butler. Coleman's project seeks out the wild peripheries of modern
computational culture and politics, in turn framing broader ethical and aesthetic questions around
AI-driven artistic practices.
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What do you need to meet a loved one in full honesty? What is the place for the radical act of
opening up? And how do we voice and feel togetherness, in the face of the final act of the body -
dying? Brutal with Love is the first collaborative book by Kirstin Burckhardt and Lisa W Carlson
and it resembles a performance in 3 acts: opening with a conversation in 12 chapters and
photographs from their performative practice. Burckhardt and Carlson reflect on their way of
encountering each other: through in-between feelings, questions, and their embodied friendship.
From images through flesh to images of touching: the third part invites the viewer to become a
page-turner and flip through stop-motion-images from Burckhardt's performative video-homage
which investigates her relationship with the Large Autopsy Hall at the Museum of Medical History
Hamburg. Framed in a B-format book, the papers and finishing elevate this otherwise standard
pocketbook to something palpable.
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