Oh Rats! It's Deceiving! - Antoine Renard
Oh Rats! It’s Deceiving!
Following from his research on consumption cycles and cognitive representation, and based on a long interest in narcotics and altered states of reality, Antoine Renard encountered a naturally growing specimen of Datura stramonium in the summer of 2010 – a plant that, through thousands of years of coexistence alongside human activities, has obtained a significant cult status for its various properties. Harvesting the Datura’s seeds, he cultivated a large number of plants in his studio and garden using hypertonic methods. The outcome was a crop of organic art objects steeped in potential, altered and sculpted. Photographer Maxime Ballesteros, in his trademark stark and bright style, caught the artist with his creations. Alongside with Merel Cladder’s writing and comments over the course of the book, the result is a project that crosses the fields of contemporary art, biotechnology, shamanism, consumerism and the global sharing of anecdotal experiences found on the Internet.
Plant project texts: Merel Cladder
Photographs: Maxime Ballesteros
Design: FUK Graphic Design Studio www.fuklab.org
Editor: John Holten
September 2013, English, French
14.8 x 20 come, 62 pages, 10 colour ills. Softcover
First Edition: 100
Published by Broken Dimanche Press
plateau singers - Isabel Carvalho
plateau singers merge languages together
Preface by Doval Holt
Design by Nuno de Luz
128 pages, soft cover
This publication was published on the occasion of the exhibition with the same title by Isabel Carvalho at Künstlerhaus Bethanien, Berlin. 22nd Aug 22nd Sept 2013
The element of air is a propelling agent for movement or change. Carvalho applies this notion metaphorically, aligning the dynamics of wind to the relations/tensions between community and personal subjectivity; and inhalation/exhalation as akin to expression/communication between inner and outer space.
Isabel Carvalho‘s projects integrate series of collaborative experiences. She is currently responsible for Navio Vazio, a space whose curatorial program focuses on the book as a three dimensional space and expands publishing as a conceptual practice in artistic creation. Publishing has been a relevant area in recent years, which Isabel combines with drawing, painting, performance, writing and comics, recurring within a set of strategies that support expressions of political content, and social ideas. Art has always been a means for Isabel Carvalho to discuss issues related to her own artistic practice and its connections with economics and politics, through working with identity, feminism and sexuality. Isabel Carvalho studied at the Faculty of Fine Arts, University of Porto where, in the last ten years, an important presence in Porto‘s artistic activities, especially in the alternative circuit, where creation and exhibition is initiated by the artists themselves, has developed.
A Supplement to The Enclave
A Supplement to The Enclave
Design: FUK Graphic Design Studio www.fuklab.org
Editor: John Holten
With text contributions by Chrisy Lange, Patrick Mudekereza and Charles Stankievech and conversations between Richard Mosse and Trevor Tweeten and Ben Frost.
A revealing and insightful supplement to Richard Mosse's The Enclave, this publication is to be made available at exhibitions of this highly acclaimed video work. The Enclave comprises six monumental double-sided screens installed in a large darkened chamber creating a physically immersive experience. Leading on from his Infra series of photographs, The Enclave is a 16mm non-narrative film shot in the troubled region of eastern Congo. This disorienting and kaleidoscopic installation is intended to formally parallel eastern Congo’s multifaceted conflict, confounding expectations and forcing the viewer to interact spatially from an array of differing viewpoints.
Along with an essay by the writer Christy Lange, The Supplement also includes a response by Congolese curator Patrick Mudekereza who saw the work when Mosse represented Ireland at the Venice Biennale 2013. A further text by the artist Charles Stankievech explores the history of infrared as a photographic medium.
Two interviews between Richard Mosse and his two collaborators, Trevor Tweeten and Ben Frost explore the workings of collaboration and conceptions of art, method and the imagination, and how they feed into shooting a 16mm non-narrative film in the war torn environment of eastern Congo. Mosse and Tweeten outline here how they went about editing and installing The Enclave.
The graphic design of FUK reinforces these spatial observations. Further to this, The Supplement to The Enclave was edited by novelist John Holten who was a production assistant with Mosse and travelled with his team to the Congo on the last filming trip for The Enclave in 2012, making this a unique document exploring the many sides of the conception, production, collaboration and reception of Mosse's artwork.
If you are interested in receiving a copy by mail order please email us here with 'Mosse' as subject.
Frames of Reference - Sam Smith
Frames of Reference
Texts by Post Brothers and Jan Verwoert
128 pages, 28 full colour pages, softcover with French flaps
A Broken Dimanche Press and Künstlerhaus Bethanien publication
In his first dedicated monograph Australian artist Sam Smith draws together a number of recent artistic projects accompanied by written contributions from Post Brothers and Jan Verwoert. With a holistic design formulated by the artist, 'Frames of Reference' presents an in depth documentation of his 2014 video installation 'Form Variations', substantial analysis of past projects and new image work devised specifically for the publication.
Sam Smith works across sculptural construction and moving image to create a visual language that speaks to both the history of cinema and its possible future forms. In his reflective narratives, spatial exercises and structural experiments, Smith connects new technologies with traditional processes. He invests film and video with ideas relating to three-dimensional space while also expanding object-based work into temporal territory. The camera, lens and frame are foregrounded, transgressing their function in reflections on their own construction. His aesthetic moves beyond theoretical deconstruction toward an expression that is elegant, exploratory and contemplative in tone.
Sam Smith (b. 1980 in Sydney) lives and works in Sydney and Berlin. Recent solo exhibitions include “Form Variations”, Künstlerhaus Bethanien, Berlin (2014); “Frameworks”, 3+1 Arte Contemporânea, Lisbon (2013) and “Film Without a Past, Altes Finanzamt”, Berlin (2012). He has participated in numerous group shows including “Online / Offline. Encoding Everyday Life for Vorspeil Transmediale”, Altes Finanzamt, Berlin (2014); “Oblivion”, Zweigstelle Berlin (2014); “Conquest of Space”, COFA Galleries, Sydney, Australia (2014) and “Larger than life”, Temporära Konsthallen, Stockholm (2013).
(...) Science, Territory and Subjective Narratives
(...) Science, Territory and Subjective Narratives
Project by Lorenzo Sandoval
for the Visual Art Price for Curators 2011 Can Felipa.
Exhibition "Expeditions to the Void" at Can Felipa with Claire L. Evans, Gender Art Net, Regina de Miguel, Paloma Polo and Teresa Solar.
(the title of the exhibiotn came from the workshop of Gender Art Net, experimenting collectivelly over the idea of giving names, reflecting on the taxonomy)
Workshops at Hangar:
- Gender Art Net.
- Future Timeline of Regina de Miguel
Conferences "Science, Science Fiction, Colonialism and Genre" at Museu Blau:
- Juan Vicente Aliaga
- Nicolas Maleve and Laurence Rassell
Publication at Broken Dimanche Press.
Designed by Txelografia.
00. It is hard to come up with a suitable title for a text about “art made by women”. It is hard to avoid the loss of complexity when dealing with a discourse related to the gender issue that, in accordance to some authors (and following the ideas of Jean Rivière), is a masquerade by nature. What is intended here is to analyse how some positions held in the field of production of knowledge have historically been reserved to men, in very defined institutional roles (the explorer, the historian, the narrator, etc.) in order to establish an area between the narrative, the art, the historiography, the cartography, the edition, etc.
01. Science has articulated a representation system of the territory in accordance with –among other things- economical and ideological interests, a cartography of the world that has been developed in the basis of scientific parameters produced from a historical, occidental, male and white perspective imaginarium. The development of the positivist procedures was accompanied by control systems that obscured the economical exploitation of the colonies at the same time that the European modes of representation were being imposed. This idea translates in the use in détournement of the popular quote by William Burroughs, the scientific knowledge as a virus.
02. To confront this perspective of scientific knowledge as a virus, we can interpret the work of some female artists and cultural producers as a proposal to explore the scientific archives with a critical fascination approach. Through a series of narrative itineraries that discover hidden relations from the microhistory, the creation of fictions and the infra-ordinary one can carry out a critical rereading of their architectures, an anarcheology of the structures of knowledge and the everyday life and an analysis of the structures of the formation of conscience.
In this way, experimenting a significative reorientation of the cultural materials, reframing the questions and the focus of interest. Questioning at the same time the devices, the methodologies, the selection of materials, the edition, the exhibition strategies and the construction of the presentation spaces. Aiming at generating resistance practices and pointing out certain tensions in the architectures of the production of knowledge.
03. Placed in a peripheral zone, the subjective narration from the woman as a storyteller is produced with a criticism that empowers the enunciation of a productive and suggestive discourse, which questions the Eurocentric and/or the Occidental model of creation of sense incorporated in every bureaucratic system. Hence, these stories/reports appear as fictions in combination with elements taken from the hegemonic representation of the reality in order to criticize the scientific and rational structuring model. Constituting a reformulation of the criteria of organization that corresponds to syncretistic logic, a hybrid approach of the remixed disciplines in the indefinite edges that lead us to a re-dimensioning of the cartographies and a reframing of the territorial relations.
04. We are facing a system whose structure persists by means of defined roles based on the hegemony of a series of positions inherited by the western ideological conformity that historically eradicates the difference, which defines its identity in opposition to the other.
In the light of these enunciations, any activity that requires the empowerment of the roles of production of meaning, will be perceived as performativity instead of an enunciation: a bastard position that puts in crisis the arrangement of the territory and the constitution of knowledge in a gesture that removes the legitimation statement, allowing for the alteration of the stories as plots of variable formulation through subjective itineraries.
Notations - Rebecca Partridge
Catalogue for the Exhibition 'Notations' at Kunstverein Springhornhof
A conversation between the artist and Jan Verwoert in English and German
56 pages, 19 colour images, hard cover
Partridge's work spans painting, film, ceramic sculpture and sound, forming a constellation exploring our relationship between ‘inside and outside'. Reflecting the artist’s experience of synaesthesia, which on some level we all have, the works explore our basic perceptual experiences as they enter into relationship with each other creating ‘cross overs and correlations’. With a distinct phenomenological approach, and an attitude of careful attention, Partridge explores the reversabilities between inside and outside; the resonances between body and landscape; between our inner subjective world and the external environment. ‘Notations’ then, refers not only to John Cage’s book of graphic scores which crosses over the languages of sound and visual form, but also to the notion of observation, the blurred boundary of subjective experience and attempts at objective recording.
The catalogue features a conversation between the artist and art critic Jan Verwoert.
Rebecca Partridge was born in U.K, 1976 and currently lives and works in Berlin. Since graduating from the Royal Academy Schools, London in 2007 she has exhibited internationally. Recent solo exhibitions include, ‘As Above, So Below’at Art First Projects, London and ‘In The Daytime’ at Kunsthalle CCA Andratx, Spain, as well as numerous group exhibitions ‘A Planetary Order’, Galerie Christian Ehrentraut, Berlin, and “Reason and Emotion” which she co curated at Springhorhof in 2013.
Prophecy - Evan Swisher
Prophecy by Evan Swisher
Signed and numbered
Catalogue was published on the occasion of ‘Prophecy’ by Evan Swisher at o.T. Projektraum, Neukolln, Berlin 2012.
Evan Swisher (b.1985) is from Bennington, Vermont. He is currently based in Berlin. Swisher studied Social Thought and Political Economy at the University of Massachusetts, and now works as copy editor for Conditions Magazine, 032c and berlin art journal. Deeply interested in the profusion of information available in the Digital Age and its impact on the private and public self, Swisher has (com)posed text pieces, compositions and animations that assemble his findings, investigations, reflections and concentric search dérives online. Swisher’s works are shaped by a philosophical outlook poetically linked to self representation and spiritual knowledge, the balances struck within boundaries between the individual and society, the scientific and the mystical, participation and disassociation.
how a mosquito operates - Mahony
how a mosquito operates
With texts by John Holten and Sophie Kaplan
Design: Dorothea Brunialti
Mahony was founded 2001 in Vienna, Austria Stephan Kobatsch, *1975 Vienna, Austria Clemens Leuschner, *1976 Göttingen, Germany Jenny Wolka, *1978 Cologne, Germany
'I went walking in a slow season. Metaphorically speaking. Slow season is late summer for me, the time of low sunlight and glowing evenings. One such evening of autumn dusk I went to the artists’ studio and sat and talked a while. Nothing really happened, the talk desultory, amiable. Off the point. During the course of the chat I was reminded of the story of a soldier on his way home by the most circuitous of routes. Later as I left the studio and walked down a stairwell this story suddenly broke up into events spread across time and space, an interrupted itinerary of an episodic trip. I saw sunlight sink lower over a steamboat on the Amazon. A memory of a market hall in Spain from when I was homeless and not in love. Coffins draped in flags being ushered into a plane out in an overcast desert. Rumours written and distorted by blind poets. I wondered about the possibility of chance in all these thoughts passing through my mind: the repetition of events over time and space culminating in a friendly chat in the artists’ studio one evening. Or rather one story rendered in multiple images, objects, events in the long return home of a tired old man. The challenge I had as I stepped out of the stairs into the evening light was to find an order to it all, not only to remember a conversation but to start a new one, to start many new conversations.' - from the text by John Holten
Most recently Mahony had a Soloshow in Galerie Emanuel Layr (2014), a Solo exhibition in Künstlerhaus Bethanien (2013) as end of their one year residency and one in La Criée, Rennes (2013)
The Irish writer, artist and publisher, John Holten (b.1984) studied at University College Dublin and the Sorbonne-Paris IV before obtaining an MPhil from Trinity College Dublin. His novel The Readymades was published in 2011, and most recently he has written fictional or immersive texts for the artists Mahony, Natalie Czech, Darri Lorenzen, Jani Ruscica, Lorenzo Sandoval and The LGB Group. His work has been included at Center, Berlin, Malmö Konsthall, The White Building London, David Zwirner Gallery New York (with Aengus Woods) and NGBK Berlin, amongst other places. In 2011 he received a Literature Bursary from the Irish Arts Council. His video commercials for his next novel Oslo, Norway have been exhibited in Plan B Gallery and Team Titanic, Berlin and an extract appeared in the first issue of the journal Gorse in spring 2014. www.johnholten.com
Graduated in French Literature and Art History, Sophie Kaplan is an Art Historian and Curator. She used to work at l'École nationale supérieure des beaux-arts of Paris between 1999 and 2007, while curating some personal exhibitions projects in Germany and England. Between 2007 and 2012, she was director of CRAC Alsace – Rhineland Centre for contemporary art , and has also been invited as guest teacher at La haute École des arts du Rhin, in Strasburg. Since September 2012, she heads La Criée, Centre for contemporary art in Rennes, where she is developing a programme that crosses visual arts and others fields of contemporary creation (literature, theater, dance, etc.), production works and research programmes, local and international projects.