{"title":"Curating","description":"","products":[{"product_id":"a7nz29fe2vi6a83rr285gw80xv6w9j","title":"CURATING RESEARCH by Various Artists","description":"\u003cp class=\"\"\u003e160 x 215mm, 264 pages, black and white printing, perfect bound, softcover, 2014\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003eThis anthology of newly commissioned texts presents a series of detailed examples of the different kinds of knowledge production that have recently emerged within the field of curatorial practice. The first volume of its kind to provide an overview of the theme of research within contemporary curating, Curating Research marks a new phase in developments of the profession globally. Consisting of case studies and contextual analyses by curators, artists, critics and academics, this publication will be an indispensible resource for all those interested in the current state of art, with particular regard to curating.\u003c\/p\u003e\n\u003cp class=\"\"\u003eEdited by Paul O’Neill \u0026amp; Mick Wilson\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by \u003c\/p\u003e","brand":"Open Editions","offers":[{"title":"Default Title","offer_id":41886140268774,"sku":"","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_57851212.jpg?v=1634664849"},{"product_id":"recent-activity-2018-annual","title":"RECENT ACTIVITY 2018 ANNUAL by Various Artists","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e215 x \u003cmeta charset=\"utf-8\"\u003e280mm, 72 pages, Full colour printing, Perfect bound, 2019\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eRecent Activity is a curatorial project based in Birmingham, delivering exhibitions and itinerant events. Established in 2015, Recent Activity set out to activate artists, sites and conversations. This book is an extension of that agenda. The Recent Activity Annual 2018 collates a year’s output and ephemera alongside a new text by Cathy Wade on the changing landscape of the city.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Bobo Books","offers":[{"title":"Default Title","offer_id":41886380196070,"sku":"","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/072_D_f7e942e6-1a82-4813-9482-f86882f40658.jpg?v=1634671662"},{"product_id":"whose-land-have-i-lit-on-now-contemplations-on-the-notions-of-hospitality","title":"WHOSE LAND HAVE I LIT ON NOW? – CONTEMPLATIONS ON THE NOTIONS OF HOSPITALITY","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e130 x 200 mm, 320 pages, black and white printing, perfect bound, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEdited by Federica Bueti, Bonaventure Soh Bejeng Ndikung, Elena Agudio.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eContributions by Elena Agudio,Mohamed Amjahid, Ulf Aminde, Arjun Appadurai, Federica Bueti, Ibrahim Arslan, Joshua Chambers-letson, Bilgin Ayata, Jill Denton, Jihan El-tahri, Denise Ferreira Da Silva, Seloua Luste Boulbina, Raisa Galofre, Lionel Manga, Peter Morin, Massimo Perinelli, Naeem Mohaiemen, Miriam Schickler, Farkhondeh Shahroudi, Safiya Sinclair, Bonaventure Soh Bejeng Ndikung, Denise Ryner, Margarita Tsomou, Tania Willard.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA curatorial project about concepts of hospitality and the triggers of hostility in hospitality.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eMan of misery, whose land have I lit on now? What are they here—violent, savage, lawless? or friendly to strangers, god-fearing men? \u003cbr\u003eOdysseus upon his return to Ithaca (13.227-29) \u003cbr\u003e\u003cbr\u003eThe unlikely seemed possible in the summer of 2015, as thousands of immigrants from mostly Syria made their way to Germany and Angela Merkel made the statement \"Wir schaffen das\" (We can do it\/ we can cope with it). A German's venture into open hospitality was being witnessed as the country celebrated its newfound \"Willkommenskultur.\" Soon enough, however, the summer of grace became the autumn of rage and the winter of nightmares, as the initial goodwill turned into the resurgence of the extreme right in Germany. Much is happen- ing today that calls for a reflection on hospitality in Germany, in Europe, and in the world at large. Taking as a point of departure Derrida's notion of \"hostipitality\" – that is the presence of hostility in all hospitality and hosting–this anthology brings together original contributions from artists, scholars, activists, poets, curators, and musicians who reflect on different experiences and notions of hospitality.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIn an age of flourishing resentments and antipathy towards all that seems conceptually or physically \"strange\"\/ a \"stranger,\" in a time when the historical violence of the guest (as a colonizer) over the host is reiterated and fortified; in an era that has turned hospitality into a neoliberal commodity, it becomes urgent to reconsider hospitality's gradients of power.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePublished following the eponymous exhibition at SAVVY Contemporary, Berlin, in 2018, with Abbas Akhavan, Meriç Algün, Mounira Al Solh, Steeve Bauras, Deanna Bowen, Márcio Carvalho \u0026amp; Ali Al-Fatlawi, Wathiq Al-Ameri \u0026amp; Christian Etongo, Banu Cennetoğlu, Stephanie Comilang, Victor Ehikhamenor, Antje Engelmann, Louis Henderson, Eva Leitolf, Doris Maninger, Sabelo Mlangeni, Emeka Okereke, Neda Saeedi, Wolfgang Tillmans, Ming Wong, Tinofireyi Zhou.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":41886415093990,"sku":"","price":22.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_7888jpg0422.jpg?v=1634672656"},{"product_id":"ultrasanity-on-madness-sanitation-antipsychiatry-and-resistance","title":"ULTRASANITY – ON MADNESS, SANITATION, ANTIPSYCHIATRY, AND RESISTANCE","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e130 x 200 mm, 252 pages, Black \u0026amp; white printing, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEdited by Bonaventure Soh Bejeng Ndikung, Elena Agudio, Kelly Krugman.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eContributions by Hortensia Völckers, Kirsten Ha, Alya Sebti, Inka Gressel, Joerg Fingerhut, Ana Gómez-Carillo, Bonaventure Soh Bejeng Ndikung, Elena Agudio, Frederick W. Hickling, Debbie-Ann Chambers, Jaswant Guzder, The Brother Moves On, Jota Mombaça, Ghayath Almadhoun, Dora García, Monica Greco, Sajdeep Soomal, Ayesha Hameed, Jaswant Guzder, Johan Lagae, Sofie Boonen, Maarten Liefooghe, Mpho Matsipa, Dorothee Munyaneza.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA curatorial and research project that aims to move beyond insanity as the opposite of sanity, and imagine a space beyond what is understood as sane, i.e. ultrasanity—not a romanticization of madness or mental illness, but an effort to reconsider and challenge the notion of madness and the stigmas labelled on the so-called mad.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThis publication unfolds as a collection of words, works, and images that informed, incited, and embodied SAVVY Contemporary's project \u003cem\u003eUltrasanity. On Madness, Sanitation, Antipsychiatry, and Resistance\u003c\/em\u003e, an exhibition and research project on the elasticity of sanity.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIt doesn't materialise simply as a catalogue of the exhibition but as a book retracing the trajectory of a research, as an occasion to extend SAVVY's curatorial proposition into a further choral perspective. With it we aim to deepen some of the reflections that moved and agitated us through two years of researches, conversations, programming, and practicing of Ultrasanity. The cogitations and the confrontations, the movements and the sounds, the trials and the tribulations, that accompanied us through the project and its 4 chapters and iterations are here collected to resonate one to each other, and to open new trajectories and paths.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePublished following the eponymous exhibition, performance an research project held at Savvy Contemporary, Berlin, in 2019.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":41886415126758,"sku":"","price":18.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_8001jpg0422.jpg?v=1634672616"},{"product_id":"curating-the-complex-and-the-open-strike-by-terry-smith","title":"CURATING THE COMPLEX AND THE OPEN STRIKE by Terry Smith","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e112 x 180mm, 96 pages, Black \u0026amp; white printing, Perfect bound, Softcover, 2021\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAn analysis of the contexts in which curating takes place: why curate art these days and in the name of which interests?\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIf we ask where the curating of art occurs these days--in which places, which kinds of place, and how--apparent answers immediately appear: everywhere, expanding as if to ubiquity. Yet at the same time, we sense, with fragile purpose. In this, his newest book, Terry Smith explores the contemporary contexts of curating, looking for less apparent answers.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eSmith maps the dimensions of the visual arts exhibitionary complex, including its dialectical dance between institutionalization and deinstitutionalization; the persistence of professional classifications of curatorship; the given and changing categories of art exhibitions; the increasing variety of curatorial styles; the underthinking about publics; and (undistracted by curationism) the changing roles of art making and exhibiting art within an exhibitory iconomy that is at once viral and consumptive. A mapping of this kind might help us toward some answers to the more important questions: why curate art these days and in the name of which interests?\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":42268850585830,"sku":"","price":14.25,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_4479001.jpg?v=1641385949"},{"product_id":"shelf-documents-art-library-as-practice-by-various-artists","title":"SHELF DOCUMENTS: ART LIBRARY AS PRACTICE","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e100 x 180 mm, 268 pages, Full colour printing, Perfect bound, Softcover, 2021\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eArtists, writers, curators, teachers, and librarians reflect on how they can use the beloved library as a source of inspiration or a field of action for anyone who identifies as a woman, queer, non-binary, or a person of colour. In thinking about diversity in collections, the publication proposes art libraries as sites of intersubjective communion. This represents a collaborative book acquisition project, initiated by artist Heide Hinrichs at the Royal Academy of Fine Arts in Antwerp, in which her group integrated 223 new titles in art libraries as a way to fill gaps, to amplify voices, and seek out the self-initiated or the overlooked.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdited by Heide Hinrichs, Jo-ey Tang \u0026amp; Elizabeth Haines\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003ePublished by \u003c\/span\u003e\u003c\/p\u003e","brand":"Royal Academy Fine Arts Antwerp","offers":[{"title":"Default Title","offer_id":42304362643686,"sku":"","price":19.95,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_7304013.jpg?v=1642076762"},{"product_id":"artist-run-democracy-sustaining-a-model-edited-by-jim-ricks","title":"ARTIST-RUN DEMOCRACY: SUSTAINING A MODEL Edited by Jim Ricks","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e168 x 238mm, 224 pages, Colour printing, Perfect bound, Softcover, 2021\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eOff-the-grid from commercial galleries – selling visuals – and canonical institutions – there to support the often static national or regional identities– artists instigate grass-roots cultural safe havens in order to deliver the progressive and the experimental. They are fundamentally vulnerable to public-policy cycles, in the voluntary effort that holds the initiative together, in their provision of opportunities, and more. Despite the precarity of such organising by these civil initiatives, and regardless of their promoting of a public cultural vitality beyond the demand of the public life, they are in poor public support and lack opportunities to gain public visibility.\u003c\/p\u003e\n\u003cp\u003eThis publication zooms in on a particular mode of organizing: on the ‘Artist-run Democracy’. It does so by examining the workings of 126, an Artist-run gallery* in Galway, Ireland, as a benchmark. 126 is particular in the way the board is conceived, how the program is decided upon, how directors change every two year, 'serving as volunteers'**, and more. This model is borrowed from Scottish initiatives, started a decades earlier. Unique to 126 is its remote positioning to the global art market. Close but not closed, they have sustained their project for more than 15 years. This book explores the grounds for this mode of organizing within the self-organized culture of the art sector, and may serve as inspiration and discussion for those committed to organising in the visual arts and beyond.\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"Onomatopee","offers":[{"title":"Default Title","offer_id":42923851776230,"sku":"","price":12.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_4199055.jpg?v=1652880541"},{"product_id":"duets-julie-ault-david-deitcher-in-conversation-on-william-olander-by-various-artists","title":"DUETS: JULIE AULT \u0026 DAVID DEITCHER IN CONVERSATION ON WILLIAM OLANDER by Various Artists","description":"\u003cp\u003e138 x 188mm, 152 pages, Colour printing, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp\u003e\"Julie Ault and David Deitcher illuminate the life and work of the influential art historian, New Museum curator, and Visual AIDS co-founder William Olander (1950–1989). Olander’s exhibitions challenged oppressive institutional boundaries, blew open dichotomies, and boldly confronted discrimination, sexual difference, and AIDS, shaping curatorial practice for decades to come.\u003c\/p\u003e\n\u003cp\u003eCommitted to using the New Museum as a platform to challenge the ideological functions of the art world, Olander invited members of ACT UP to design a multimedia installation for the museum’s window on Broadway in 1987. The first museum project to unflinchingly address the AIDS epidemic and the political figures who enabled it, \u003cem\u003eLet the Record Show... \u003c\/em\u003ebecame the centerpiece of art historian and critic Douglas Crimp’s impassioned call for “new cultural practices” to respond to AIDS.\u003c\/p\u003e\n\u003cp\u003eAult and Deitcher’s conversation offers new insights into the through-lines of Olander's career, from his graduate research on the French Revolution to exhibitions at the Allen Memorial Art Museum and his later engagement with AIDS activism.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIncludes selected writings by Olander and an afterword by Kyle Croft.\"\u003c\/p\u003e\n\u003cp\u003ePublished by \u003c\/p\u003e","brand":"Visual AIDS","offers":[{"title":"Default Title","offer_id":43021991968998,"sku":"","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_6131016.jpg?v=1655289661"},{"product_id":"after-institutions-by-karen-archey","title":"AFTER INSTITUTIONS by Karen Archey","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e120 x 170 mm, 116 pages, Colour printing, Perfect bound, Softcover, 2022\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe current crisis of\u003cspan\u003e \u003c\/span\u003emuseums\u003cspan\u003e \u003c\/span\u003eand the future of\u003cspan\u003e \u003c\/span\u003eInstitutional Critique. Faced with waning state support, declining revenue, and forced entrepreneurialism, museums have become a threatened public space. Simultaneously, they have assumed the role of institutional arbiter in issues of social justice and accountability. The canon of Institutional Critique has responded to the social embeddedness of art institutions by looking at the inner workings of such organizations. In\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAfter Institutions\u003c\/em\u003e, Karen Archey expands the definition of Institutional Critique to develop a broader understanding of contemporary art's sociopolitical entanglements, looking beyond what cultural institutions were to what they are and what they might become.\u003c\/p\u003e\n\u003cp\u003ePublished by\u003cbr\u003e\u003c\/p\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":43115248648422,"sku":"","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_9075015.jpg?v=1657713973"},{"product_id":"not-an-object-by-emma-bell","title":"NOT AN OBJECT by Emma Bell","description":"\u003cp\u003e105 x 200, 12 pages, Black \u0026amp; white printing, Hand sewn, Softcover, Hand numbered \u0026amp; signed, 2022\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA visual exploration of the social history surrounding the Greyhound breed outside of racing in an attempt to separate them from the violent sport.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by \u003c\/span\u003e\u003c\/p\u003e","brand":"Emma Bell","offers":[{"title":"Default Title","offer_id":43211741036774,"sku":"","price":5.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_6809030.jpg?v=1660133856"},{"product_id":"a-commonplace-book-of-atlas-edited-by-edited-by-emma-nicolson-and-gayle-meikle","title":"A COMMONPLACE BOOK OF ATLAS Edited by Emma Nicolson and Gayle Meikle","description":"\u003cp\u003e171 x 240mm, 208 pages, Colour printed, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp\u003eThe book charts the first eight years of ATLAS’ practice organising our activity under four thematic headings: Located, Praxis, Temporalities and Resilience. The book aims to record the evolution in our practice and the essential contributions the artworks, artists, and communities we have worked with have made to the imaginaries of our remote rural location.\u003c\/p\u003e\n\u003cp\u003eA Commonplace Book is a curated collection of written extracts, reflective notes, explorative ideas and biographical inserts. It is a characteristically idiosyncratic organised depository of information devised for future reference. Typically, the book is organised through a personal narrative, combining copied passages of existing writing alongside diaristic entries and litanies.\u003c\/p\u003e\n\u003cp\u003eMirroring this, we present the Commonplace Book of ATLAS part biographical note, part documentation, chronicling the activity of ATLAS Arts from 2010-2018. It has been created as a marker of a moment in time, compiled over several years. There are contributions from those deeply connected to our projects and others because they share affinities with our working methods. The book creates an archive of insights into realised and unrealised work. Shared here is a diverse range of material from academic writing, snippets of conversations interleaved and enriched with project documentation.\u003c\/p\u003e\n\u003cp\u003eFeaturing contributions from Ruth Barker, Cooking Sections, Shona Cameron, Keg de Souza, Ilana Halperin, Katy Hastie, Roger Hutchinson, Lucas Ihlein, Moira Jeffrey, In the Shadow of the Hand, Angela McClanahan-Simmons and Hanna Tuulikki, Gavin Morrison, Neil Mullholland, James Oliver, Frances Priest and Stephen Bungard, Ernesto Pujol, Jane Rendell, Anushka Rajendran, Jane Rendell, Kirstie Skinner, Domhnall Uilleam Stiùbhart, Joanne Tatham and Tom O’Sullivan and Walker and Bromwich.\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"ATLAS Arts","offers":[{"title":"Default Title","offer_id":43263332614374,"sku":"","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_0100011.jpg?v=1661439734"},{"product_id":"the-third-life-of-agnes-varda-ed-dominique-bluher-and-julia-fabry","title":"THE THIRD LIFE OF AGNÈS VARDA ed. Dominique Bluher and Julia Fabry","description":"\u003cp\u003e245 x 320mm, 114 pages, Colour printing, Perfect bound, Hard cover, 2022\u003c\/p\u003e\n\u003cp\u003eSilent green presents the most comprehensive solo exhibition in Germany to date on the last creative period of the French filmmaker, photographer and visual artist Agnès Varda, who died in 2019. Varda is regarded as one of the most influential creative personalities of our time, who reinvented herself constantly in the course of her life's work, which spanned more than six decades. However, the third creative period of the modern film's pioneer is less known in Germany. It began in 2003 at the Venice Biennale and comprises installation works that reflect Varda's joy in experimenting between documentary and the fiction formats, her poetic, abstract realism and her sensitive observations of socio-political issues in various visual media.  \u003c\/p\u003e\n\u003cp\u003eAgnès Varda (1928–2019) worked as a photographer in the 1950s, taking pictures for the Avignon Festival, for example, and producing photo reportages in China, Cuba, Portugal, and Germany. In 1954 she produced her first feature film, La Pointe Courte, which helped usher in the Nouvelle Vague. Since 2003, she has worked as a visual artist, mounting numerous exhibitions with installations, videos, and photographs.  \u003c\/p\u003e\n\u003cp\u003eJulia Fabry, an independent curator, visual artist, and video artist, has worked together with Varda since 2007.  \u003c\/p\u003e\n\u003cp\u003eDominique Bluher is a writer and lecturer in the Department of Cinema and Media Studies at the University of Chicago. She is also associate faculty in the university’s Department of Visual Arts.\u003c\/p\u003e\n\u003cp\u003eBilingual (German and English)\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"Spector Books","offers":[{"title":"Default Title","offer_id":43589894570214,"sku":"","price":32.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_2470010.jpg?v=1671623861"},{"product_id":"year-without-a-summer-by-tine-bek","title":"YEAR WITHOUT A SUMMER by Tine Bek","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e150 x 185 mm, \u003cmeta charset=\"utf-8\"\u003e16 pages, colour printing, saddle-stitched, softcover, 2022\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe publication was published in connection with Tine Bek's exhibition of the same title at Arden Asbaek Gallery in Copenhagen, November 2022 - January 2023. \u003cmeta charset=\"utf-8\"\u003eThe publication includes a text by James McCann. The images included in the publication are all from a video which was included in the exhibition titled, 'Hestehuller'.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e'The year 1816 is known as the year without a summer. When the volcano Mount Tambora by the island Sumbawa in Indonesia erupted the year before, it created enormous disturbances in the weather all over the world. Atmospheric dust from the volcano changed the temperatures, causing snowfall in the summer, natural disasters and an agricultural crisis resulting in widespread famine. Due to the rising grain prices, horses became too expensive to keep and thousands were instead used for consumption. This turn also inspired a new form of mechanized personal transport, such as the \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDandy Horse\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, or the \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLaufmaschine\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, created by the German inventor \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eKarl von Drais.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eArtist Tine Bek takes her starting point in these historical events, which did not only change the world, but also our centuries-old relationship with the horse. In many ways, the year without a summer was the beginning of the end for the role of the horse in society. Through her photographic work, Bek explores the image of the horse as a symbol of our relationship with history – with references to the sculptor Anne Marie Carl Nielsen, the brewer’s horses of Carlsberg, and the royal equestrian statues, prominent in squares around Europe. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHorses have appeared in art throughout history, however, less frequently in modern art, partly because the horse has become less significant, both as a mode of transportation and as an implement of war. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eYear without a summer\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, the horse becomes a representation of the past. A living remnant from another time as well as a symbol of our progress.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe exhibition [and this publication] speculates on how hard times can create momentum, however, always at the expense of something else. We live in a time marked by the times before, and we see how stories, events and crises repeat themselves, but always in a new form. Our present time has also been marked by both global health crises and inflation, but the question is whether we can learn anything from \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ethe cyclical and yet always shifting recording of events?\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eYear without a summer\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a tribute to the horse. To its physique and its function over time, to its cultural significance and persistence. Because more than 200 years after the end of the horse, it still excites our imagination.'\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePublished by\u003c\/span\u003e\u003c\/p\u003e","brand":"Tine Bek","offers":[{"title":"Default Title","offer_id":43619738124518,"sku":"","price":7.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_3052029.jpg?v=1673972131"},{"product_id":"between-the-material-and-the-possible-infrastructural-re-examination-and-speculation-in-art-edited-by-bassam-el-baroni","title":"BETWEEN THE MATERIAL AND THE POSSIBLE: INFRASTRUCTURAL RE-EXAMINATION AND SPECULATION IN ART edited by Bassam el Baroni","description":"\u003cp\u003e150 x 230mm, 280 pages, full colour printing, perfect bound, softcover, 2022\u003c\/p\u003e\n\u003cp\u003eOver the past decade, a growing number of artists, theorists, curators, and researchers have moved from institutional critique to infrastructural critique, or infrastructural speculation, in which they explore the potential of creative visions and scenarios. In attempts to counter various impasses, art has immersed itself in systemic critiques and propositional thinking, addressing major challenges such as the rampant financialization of the economy and runaway climate change.\u003c\/p\u003e\n\u003cp\u003eFrom questions around space settlements to the possibility of repurposing blockchain and financial instruments for redistributive purposes, from the diagrammatic potential of infrastructural thinking in artistic practices to scenario planning and economic strategizing, this collection of new essays brings together critical analysis from a broad group of contributors. Their interrogations span local and global relationalities, historical and political legacies, as well as future-oriented infrastructural hypotheses.\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":43670822355174,"sku":"","price":21.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_3027027.jpg?v=1677324228"},{"product_id":"archives-on-show-revoicing-shapeshifting-displacing-a-curatorial-glossary-edited-by-beatrice-von-bismarck","title":"ARCHIVES ON SHOW – REVOICING, SHAPESHIFTING, DISPLACING – A CURATORIAL GLOSSARY by Beatrice von Bismarck (Ed.)","description":"\u003cp\u003e230 x 280mm, 144 pages, Colour printing, Perfect bound, Softcover, 2023\u003c\/p\u003e\n\u003cp\u003eArchives on Show brings the potential of reformulating the social and political relevance of archives by curatorial means into focus.\u003cbr\u003e\u003cbr\u003eBased on the specific properties, faculties and methods of curation, the volume highlights those techniques and strategies that deal with archives not only to make their genesis and history apparent but also to open them up for the future. The 22 different ways of dealing with archives testify to the curatorial participation in (re)shaping the archival logic, structures and conditions. As process-oriented, collective and relational modes of producing meaning, these curatorial practices allow for the alteration, reconfiguration and mobilization of the laws, norms and narratives that the archive preserves as preconditions of its power.\u003cbr\u003e\u003cbr\u003eThe contributions to this volume by artists, curators and theorists demonstrate approaches that curatorially insist on building other relations between human and non-human archival participants. Each is using the book to create a curatorial constellation that generates and forms new connections between different times and spaces, narratives, disciplines and discourses. Configured as a glossary, the positions assembled in this volume exemplify curatorial methods with which to treat the archive as site and tool of collective, ongoing negotiations over its potential societal role and function.\u003cbr\u003e\u003cbr\u003eContributions by Heba Y. Amin, Talal Afifi, Eiman Hussein, Tamer El Said, Stefanie Schulte, Strathaus, Haytham El Wardany, Julie Ault, Kader Attia, Roger M. Buergel, Sophia Prinz, Yael Bartana, Rosi Braidotti, Kirsten Cooke, Ann Harezlak, Alice Creischer, Andreas Siekmann, Octavian Esanu, Megan Hoetger, Carlos Kong, Iman Issa, Kayfa ta, Kapwani Kiwanga, Doreen Mende, Stefan Nowotny, Marion von Osten, pad.ma, Abdias Nascimento, Eran Schaerf, Magdalena Tyżlik-Carver, Françoise Vergès.\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":43725359808742,"sku":"","price":13.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_1978041.jpg?v=1680349196"},{"product_id":"pidginization-as-curatorial-method-by-bonaventure-soh-bejeng-ndikung","title":"PIDGINIZATION AS CURATORIAL METHOD by Bonaventure Soh Bejeng Ndikung","description":"\u003cp\u003e112 x 178mm, 64 pages, Black \u0026amp; white printing, Perfect bound, Softcover, 2023\u003c\/p\u003e\n\u003cp\u003eIn this compelling rethinking of curatorial practice, renowned museum director, curator, and writer Dr. Bonaventure Soh Bejeng Ndikung proposes that Pidgin languages and pidginization as a mode of being and doing offer a decolonialized reinvention of communicative practices—a space in which the boundaries between disciplines of knowledge collapse and sociopolitical, economic, ethical, and spiritual concepts and questions are renegotiated. 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The photographs were taken during the unpacking, the unwrapping, the decision-making, depicting the often-invisible labor of the art worker. Since 2018 we have been undecided on how to make room for these images, which seem to not fit into conventional forms of contemporary art presentation and documentation. They arrive long after the moment of their generation, finally finding their home in this book's unsettled and unbound pages. It is in the lag--the linger--that we define as our studio method. We take analog photos because of the delay between what is in front of us and what emerges long after the fact. Through the viewfinder we are able to savor the time we have with the artist and their work. By taking the photo we pause the process, like a cigarette break that affords us time to think about what we are making and curating with the artist, and about the afterlife of the exhibition. Every aspect of exhibition-making, curating, and running an organisation is, for us, a creative act. As is typical of acts in life that don't serve immediate ends, the film photos would often be set aside while we attended to the more urgent tasks of installing the exhibition, writing the texts, talking with our audience, and the relentless grind of administration. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by\u003c\/span\u003e\u003c\/p\u003e","brand":"Shimmer Press","offers":[{"title":"Default Title","offer_id":43780222583014,"sku":"","price":17.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/files\/IMG_3198014.jpg?v=1684419170"},{"product_id":"productive-archiving-artistic-strategies-future-memories-and-fluid-identities-edited-by-ernst-van-alphen","title":"PRODUCTIVE ARCHIVING: ARTISTIC STRATEGIES, FUTURE MEMORIES, AND FLUID IDENTITIES edited by Ernst van Alphen","description":"\u003cp\u003e170 x 240mm, 272 pages, Black \u0026amp; white printing, Perfect bound, Softcover, 2023\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProductive Archiving\u003c\/em\u003e discusses a variety of problems archival organizations. It mainly focuses on the following three issues with archival organizations that are usually overlooked: first, the question of inclusion in or exclusion from the archive; second, the loss of individuality and specificity in the archive, the danger of homogenization; and third, that archiving may become a form of pigeonholing, boxing specific identities into a confined space.\u003c\/p\u003e\n\u003cp\u003eAvoiding the archive because of these problems is not an option, because archival organization is a basic symbolic mode on the basis of which we organize our lives, the past, the present and the future. What this book suggests is that it is best to explore constructive and creative solutions for these problems. Especially artistic archives seem to be able to develop these possible solutions, because they offer speculative, unexpected ways to order, select, and narrate specific information, and bring about new connections and archival organizations.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eContributors from Ernst van Alphen, Aleida Assmann, Annet Dekker, Lars Ebert, Sebastián Díaz Morales, Monika Huber, William Kentridge, Pablo Lerma, Inge Meijer, Santu Mofokeng, Merapi Obermayer, Walid Raad, Ana Paula Saab, Drew Sawyer, Carla Subrizi, Marjan Teeuwen, Daria Tuminas, Jeffrey Wallen\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"Valiz","offers":[{"title":"Default Title","offer_id":43796411810022,"sku":"","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/files\/IMG_3907005.jpg?v=1685793181"},{"product_id":"countercultures-communities-and-indra-s-net-by-james-hutchinson","title":"COUNTERCULTURES, COMMUNITIES, AND INDRA’S NET by John Hutchinson","description":"\u003cp\u003e145 x 213mm, 64 pages, Colour printing, Perfect bound, Hardback, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFrom one of Ireland’s leading curators and writers on visual art, John Hutchinson’s Countercultures, Communities, and Indra’s Net unravels an understanding of embodied life, of commonality and sharing. Beginning with his lived experience of 1960s counterculture, Hutchinson’s thoughts later move to frontier America and to rural living in nineteenth century Britain. In these times and places, moments of his own family’s history intertwine with multifarious examples of utopian thinking and establishment of new communities and forms of living. Constantly divergent in his approach, Hutchinson’s words oscillate from descriptions of Shaker art to The Beatles, to William Blake and much more, in a process to define a form of deep ecological thought urgently needed today. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by \u003c\/span\u003e\u003c\/p\u003e","brand":"ACA Public","offers":[{"title":"Default Title","offer_id":43830808707302,"sku":"","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/files\/IMG_1101051.jpg?v=1689166347"},{"product_id":"the-cure-by-catalina-lozano","title":"THE CURE by Catalina Lozano","description":"\u003cp\u003e90 x 140mm, 80 pages, Colour printing, Perfect bound, Softcover, 2018\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCatalina Lozano, born in Bogotá in 1979, is a Colombian curator and independent writer based in Mexico City. Analysing colonial narratives and deconstructing the perceived progress of modernity have forcefully acted as departure points for many of her exhibition projects, such as ‘A machine desires instruction as a garden desires discipline’ at FRAC Lorraine, Metz, and MARCO, Museo de Arte Contemporáneo de Vigo in 2013–14, and ‘What cannot be used is forgotten’ at CAPC musée d’art contemporain de Bordeaux in 2015. In The Cure, Lozano writes about encounters and experiences that mediate the boundary between life and death, in order to think about healing as a way of deflating the conflicting relationships between nature and culture, the visible and the invisible, and the material and the sentient. Suspicious of the notion of myth, The Cure is an attempt to vindicate the power of negotiation to dispel such divisions. The structure of the séance, Mexican shamanism, Haitian Vodou, Irish criminal gangs and natural history museums are all implicated into Lozano’s text, developed during her extensive travels and investigations in recent years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by\u003c\/span\u003e\u003c\/p\u003e","brand":"ACA Public","offers":[{"title":"Default Title","offer_id":43830811623654,"sku":"","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/files\/IMG_0588001.jpg?v=1689165819"},{"product_id":"queer-exhibition-histories-edited-by-bas-hendrikx","title":"QUEER EXHIBITION HISTORIES by Bas Hendrikx (Ed.)","description":"\u003cp\u003e170 x 230mm, 288 pages, Black \u0026amp; white printing, Perfect bound, Softcover, 2023\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eQueer Exhibition Histories\u003c\/em\u003e\u003cspan\u003e comprises case studies highlighting the countless efforts, both large and small, of LGBTQIA+ artists and curators, centring on queer art exhibitions and their modes of documentation and archiving. Often, the legacy of these projects largely depends on personal archives, memories, and paraphernalia, with the overriding notion, or need, for public display. In these contexts, ‘public’ is relative in events that were either short-lived, held under the veil of domestic spaces, or kept exclusive for those ‘in the know’. Therefore, they were not exclusively artistic, but could equally be discursive, activist, educational, or serve as a tool for community building. At the intersection of queerness and contemporary art, this volume considers how the efforts of LGBTQIA+ artists have advanced their public presence in museums and society alike.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eContributors: Tawanda Appiah, Aaron Betsky, Boudry\/Lorenz, Övül Durmuşoğlu, Aleksandra Gajowy, Halyna Hleba, Jessica Gysel, Bas Hendrikx, Kateryna Iakovlenko, Valentina Iancu, Katrin Kivimaa, Rían Kearney, Leonida Kovač, Léon Kruijswijk, Élisabeth Lebovici, Edwin Nasr, Peaches, Katarina Pirak Sikku, François Piron, Rebeka Põldsam, Karol Radziszewski, Sylvia Sadzinski, Sara Salminen, Airi Triisberg, Eugenio Viola, Liang-Kai Yu\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by\u003c\/span\u003e\u003c\/p\u003e","brand":"Valiz","offers":[{"title":"Default Title","offer_id":43833193758950,"sku":"","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/files\/IMG_4374010.jpg?v=1689422251"},{"product_id":"how-does-it-feel-at-the-nail-bar-by-rosie-coleman-collier-ed-emma-aars-kitty-grady-and-becki-menzies","title":"HOW DOES IT FEEL AT THE NAIL BAR? by Rosie Coleman Collier [Ed.], Emma Aars, Kitty Grady and Becki Menzies","description":"\u003cstyle type=\"text\/css\" data-mce-fragment=\"1\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cp\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"120 x 190 mm \"}' data-sheets-userformat='{\"2\":513,\"3\":{\"1\":0},\"12\":0}' data-mce-fragment=\"1\"\u003e120 x 190 mm, 82 pages, black and white printing, perfect bound, 2023\u003c\/span\u003e\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cp\u003e\u003cspan data-sheets-value='{\"1\":2,\"2\":\"120 x 190 mm \"}' data-sheets-userformat='{\"2\":513,\"3\":{\"1\":0},\"12\":0}' data-mce-fragment=\"1\"\u003e'The modes of attachment that make persons public and collective and make collective scenes intimate spaces’ – Lauren Berlant \u003cbr\u003e \u003cbr\u003ehow does it feel at the nail bar? is a journal dedicated to the act of getting your nails done. Taking the position of being situated in the nail bar as a prompt for creative and inter-disciplinary response, it is a meditation on the wider affects, intimacies, interdependencies, connections, labour and care that unfold through our painted nails. \u003cbr\u003e \u003cbr\u003eThe journal contains a collection of notes, correspondence and fragmented essays from three writers, clients and nail technicians drafted in response to being situated in the nail bar and developed throughout a series of working sessions as a group. Emma Aars’s notes pre and post nails is a diaristic meditation on the spaces in which we apply our nail varnish; in bedrooms with friends, airport lounges and the dim basement of a city salon, painting nails across distinct spatial locations come to embody an unusual mix of discomfort and closeness with both ourselves and others. Becki Menzies writes a series of letters; to herself, a new client and a regular client. In these she details the awkwardness of small talk, the emotional and bodily labour of her work and the ‘blurred lines of business and friendship’ that unfold across the table. Kitty Grady writes on and through clippings, drawing upon a range of references from Agnes Varda, Anna Karenina and Caroline Calloway. Titled as shades of Essie and Opi nail varnish, each clipping reflects upon the mammalian and corporeal quality of our nails and the proximities between the buffering, filing, and cutting of a manicure with the act of writing. Contributions sit alongside images and ephemera from nail salons across Glasgow, London and further afield, each visually mapping a constellation of salons across the geographies in which this project was formed. \u003cbr\u003e\u003cbr\u003eAs a curatorial project, produced within and launched back into the site of the nail salon, how does it feel at the nail bar? is a reflection on expanded and reconfigured notions of the ‘curatorial’ as an intimate and daily site and an attempt to redefine curatorial practice as a mode of relationality via the exchange of inter-subjective experience. The works have been formed not through ‘commission’ but rather developed in proximity, through centring a curatorial and editorial methodology of interdependence. 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