Call for papers for the Transitory network public forum
The TRANSITORY NETWORK PUBLIC FORUM (Belgrade, 22- 24 July), is now accepting research papers. Social Scientists, Cultural Researchers, Art Managers, Curators, Artists and anyone interested in the topic is encouraged to apply. We specially welcome creative research and performative presentations.
Transitory Art is a concept that responds to the necessity to map out a specific landscape of creative and research practices that responds to the contexts and challenges proposed by Globalization. This umbrella/concept tries to define the variety of artistic productions and research that are becoming increasingly representative of our multicultural and trans local era. It is a concept that develops in the time of new media ubiquitous use as a tool to represent the reapropiation of alternative discourses found within consumption and production. The definition of Transitory Art does not rely only though in the use of new media as a subversive strategy of interaction and experimentation but also in the retooling of the useabilities of traditional media as a means to broaden the scope of art’s multiple new functionalities. Transitory Art then tries to reveal itself in the everyday, within the strategies of place and space creation, use and occupation.
The Transitory Network is proposed as an open platform that aims to link different institutions with a similar mindset, that is: the dissemination of Transitory Art through the organization of Transitory AIR Program and the research, creation, presentation and distribution of Transitory Art. In order to discuss and present the Transitory Network, the Transitory Network Public Forum (TNPF) has been organized. The TNPF will be a platform, a knowledge sharing and a networking event that will take place in Belgrade during the 22nd and the 24th July 2011. The three days Forum will be hosted by the cultural organization Treci Beograd and the Museum of Contemporary Art of Belgrade (Serbia) and will be organized by MoTa - Museum of Transitory Art (Slovenia) in collaboration with Kitchen Budapest (Hungary) and CENATUS CIC London (UK). The TNPF will be also joined by WRO Arts Center in Wroclaw (Poland) and Ciant Prague (Czech Republic) partners and founding members of the future Transitory Network. The Forum will comprehend presentations, debates, info platforms and public interventions.
OPEN CALL FOR PAPERS
Deadline for submissions: 31st May 2011
The TRANSITORY NETWORK PUBLIC FORUM is now accepting research papers reflecting upon the following topics:
a) ‘Why is art relevant today? Meaningful interactions, New Medias and the public space’.
b) ‘Transitoriness vs. permanence: creative practices in the era of hyper-mobility’.
c)‘East Europe as fictional space: Socio-political contexts, contemporary art initiatives and creative networks’.
b) ‘Transitoriness vs. permanence: creative practices in the era of hyper-mobility’.
c)‘East Europe as fictional space: Socio-political contexts, contemporary art initiatives and creative networks’.
Social Scientists, Cultural Researchers, Art Managers, Curators, Artists and anyone
interested in the topic is encouraged to apply. We specially welcome creative research and performative presentations.
Selected researchers will be invited to take part in the TRANSITORY NETWORK PUBLIC FORUM through presentations and participation in the debates and will have travel and accommodation expenses covered. Furthermore the selected research papers will be part of the TRANSITORY NETWORK PUBLIC FORUM catalogue.
To apply please download the application form attached below and send it to mota.museum@gmail.com no later than 31st May 2011.
Date: 03.03.2011 - 31.05.2011
Reviews:
The TRANSITORY NETWORK PUBLIC FORUM (Belgrade, 22- 24 July), is now accepting research papers. Social Scientists, Cultural Researchers, Art Managers, Curators, Artists and anyone interested in the topic is encouraged to apply. We specially welcome creative research and performative presentations.
Transitory Network Forum
21 July - 22 July 2011
Salon of Museum of Contemporary Art, Belgrade, Serbia
Transitory Network Forum
Exhibition/Simposium/Debates/Events
Iniciative: MoTA – Museum of Transitory Art, Ljubljana.
With support of: Treći Beograd & Salon of Museum of Contemporary Art, Beograd.
Partners: CIANT (Prague), WRO (Wroclaw), Kitchen Budapest (Budapest), Cenatus CIC (London), BIS (Istanbul), Protok (Banja Luka) i Artos (Ciper).
Transitory Network
Transitory network is an initiative to connect media-labs and artist-in-residency spaces in East Europe and the Balkans. It functions as a collaborative curatorial body with an open call that will result in a shared residency program focused on artistic research and production of new site specific works of selected artists.In most of the cities the partners managed to establish pioneering residency programs. The network encourages exchange between these places as well as production and touring of international transitory artworks. All believe in building the infrastructure for artistic research, production and representation in order to be able to construct a dynamic and open system with the purpose to revitalize the either closed or just unfamiliar artistic scenes of the so called East.
Why Transitory Network?
Transitory Network is first attempt to establish a shared residency platform by artistic intitiatives and medialabs of the so called East, that could join indenpendent organisations, host creators and researchers from the region, establish new connections as well as open to influx from other regions.
Why Belgrade?
Belgrade has always been a hotspot of the region, both historically, politically as well as being a cultural centre of the Balcan region and with rich diverse cultural scene it remains one of the most vivid cities. This is why we decided to bring the first TransitoryNetworkForum here.
Why these organizations?
All involved organizations are specific in their local context, doing first steps whether in building residency programs or establishing research-production platforms for experimental, digital and exploratory arts.
Transitory Network Forum
The Transitory Network Forum (TNF) is the first public presentation of the Transitory Network. It is designed to present and promote the Network and to initiate a public discussion and interaction with local and international public.
More information:
http://www.motamuseum.com/
http://www.motamuseum.com/RESIDENCY/network
FORUM TRANZITORNE MREŽEPROGRAM::
Četvrtak, 21 Jul 2011
Salon Muzeja Savremene Umetnosti, Beograd
PREZENTACIJA MREŽE::
15:30
Uvod u Forum
Martin Bricelj Baraga: Prezentacija Tranzitorne mreže
Neja Tomšič: Prezentacija MoTA – Muzej tranzitorne umetnosti
Selman Trtovac: Treći Beograd, Beograd
17:15
Agnieszka Kubicka-Dzieduszycka : WRO art center, Wroclaw
Pavel Sedlak: CIANT, Prague
18.30
Ekmel Ertan: BIS -Body Process Arts Association, Istanbul
Andi Studer: Cenatus CIC, London
20:00
OPEN CITIES by David Gunn (UK)
Audiovizualni performans
Petak, 22 Jul 2011
Salon Savremenih Umjetnosti, Beograd
PREZENTACIJA RAZISKOVALNIH RADOVA
Kurator i moderator: Pau Cata Marles, Španija
POZOR! Sve prezentacije će biti na engleskom.
15:30
Leandro Pisano “Istraživanje ruralne teritorije kao novi medij”
Pau Cata " Nomadizam i komodifikacija: novi izazovi i predlozi za alternativnu koncepciju mreže umetničkih rezidencija.”
17:15
Lisa Stansbie "Apropriacija i Hack. Novi oblici produkcije.”
Laura P. Gracia “Estetika prostora. Istraživanje u umetnosti i prostoru "
18.30
Agnieszka Kubicka-Dzieduszycka: Kontrolisano okolje vs slobodno izražavanje. Media Art projekati za javni prostor ukustoske prakse u WRO Art Center .
19.30
Zaključak Foruma
Party: Klub 20/44:
BILK (Hr)
Info:
http://www.motamuseum.com/
http://www.motamuseum.com/RESIDENCY/network
Following Saskia Sassen, the place as a resource for material has become a paradigm to read inside the city. The most valuable material is what Toni Negri described as immaterial work (data and information producing a new digital order). Outside post-cities, outside borders of capitalism, material resources and mines are re-discovered by financial giants. Following, Spatial Aesthetics considers the work of art as something that belongs to the city, to the post-city or to any other specific place, but moreover something that develops a cultural policy, a methodology of work that defends the communal interest of the public voices of society. Then, art results an ethical principle of production stating processes and materials.
Following, from later in the sixties and until the beginning of 21st century, capitalism has represented the homogenization of liberalism and neo-liberalism, but, there have also been a counter-resistance alternative. Marcuse and Saskia Sassen or Pierre Bourdieu represents the politics of the sign, the emancipation of the linguistics in order to avoid capitalism as a system of production of goods. As Karl Marx stated, it is needed a practice that will not be included in the mass production. It has to be critical and improve the tendencies in production. Actually, one of the main goals in the post-city is the use of new media electronics. As capitalism encounters a resistance, actually there is a common movement based in the ideology of the D.I.Y. (Do It Yourself). According this, an great number of artist are adapting social practices from engineering, design, architecture or media communications in order to develop new structures that facilitate ecological practices and resources. Also, turning into creative workers, usually develop workshop facilities at art centres as V2 inRotterdam , Medialab Madrid , FACT
Liverpool , Constant in Bruxelles, etc…
where they are able to distribute and produce tools and devices for
the development of social requirements in order to improve communications,
environment, data collection, urbanism, climate change, etc. Artist concerned
with new media and electronic art are mainly disappointed with the massive
production, Microsoft, capitalism. The social criticism is implicit in its
artworks as they develop and participate in the idea of free culture.
Developing a shape of identity where education in the ideology of community,
sharing and open source is the main goal. Most part of these artists are
involved in net.art practices, mappings, software, robotics, sound, etc.
Ballettikka Internettikka, Igor Stromajer & Brane Zorman
Četvrtak, 21 Jul 2011
Salon Muzeja Savremene Umetnosti, Beograd
PREZENTACIJA MREŽE::
15:30
Uvod u Forum
Martin Bricelj Baraga: Prezentacija Tranzitorne mreže
Neja Tomšič: Prezentacija MoTA – Muzej tranzitorne umetnosti
Selman Trtovac: Treći Beograd, Beograd
17:15
Agnieszka Kubicka-Dzieduszycka : WRO art center, Wroclaw
Pavel Sedlak: CIANT, Prague
18.30
Ekmel Ertan: BIS -Body Process Arts Association, Istanbul
Andi Studer: Cenatus CIC, London
20:00
OPEN CITIES by David Gunn (UK)
Audiovizualni performans
Petak, 22 Jul 2011
Salon Savremenih Umjetnosti, Beograd
PREZENTACIJA RAZISKOVALNIH RADOVA
Kurator i moderator: Pau Cata Marles, Španija
POZOR! Sve prezentacije će biti na engleskom.
15:30
Leandro Pisano “Istraživanje ruralne teritorije kao novi medij”
Pau Cata " Nomadizam i komodifikacija: novi izazovi i predlozi za alternativnu koncepciju mreže umetničkih rezidencija.”
17:15
Lisa Stansbie "Apropriacija i Hack. Novi oblici produkcije.”
Laura P. Gracia “Estetika prostora. Istraživanje u umetnosti i prostoru "
18.30
Agnieszka Kubicka-Dzieduszycka: Kontrolisano okolje vs slobodno izražavanje. Media Art projekati za javni prostor ukustoske prakse u WRO Art Center .
19.30
Zaključak Foruma
Party: Klub 20/44:
BILK (Hr)
Info:
http://www.motamuseum.com/
http://www.motamuseum.com/RESIDENCY/network
PART I : SPATIAL AESTHETICS. An investigation into the art and space.
The essay states about territorial policies
and is influenced by Paolo Virno and Walter Benjamin. Spatial Aesthetics is
a concept that encompasses psychogeography, defined by Guy Debord as the
study of the precise laws and specific effects of the geographical environment,
consciously organised or not, on the emotions and behaviour of
individuals. Another author involved in this field is Ian Sinclair, one of
the contemporary critical theorists of psychogeography from London
Spatial Aesthetics develops a critical
thinking about contemporary society. It is provided by references from art
theory, humanities, media communications and sociology. It is also concerned
about the notion of public space and the evolution of the definition
of classic sculpture and monuments. So, it underlines how the smart city, geopolitics
and new technologies have developed an urgently need to think art in the
public sphere after the vanguard movements, abstract art, performance art, and
also the cinema. The urgent need to build a society under the influence of machinery,
electricity and the evolution of systems of communication and computation is
also analyzed under Spatial Aesthetics. Finally, Spatial Aesthetics takes
influences from Psychogeography, a movement of critical urbanism, but also
representing the origins of political culture.
PART I : SPATIAL AESTHETICS. The ideology inside the city. Landscape vs
public space.
Cityscape, public space or social sphere are concepts that define contemporary artistic practices concerned with the development of the public image of the city. As well as the sculpture in the last century, nowadays new technologies in the public space are influencing the ideology and the education of the citizens. The necessity to transmit, broadcast and disseminate knowledge and information generates practices of appropriation in public space. At this point, public art programmes allow social and artistic practices to recover the local memory working with buildings and monuments that have a historical value. Those practices are involving strategies of communication, live broadcasting, screen façades, mappings or interactive responsive installations, among others.
Cityscape, public space or social sphere are concepts that define contemporary artistic practices concerned with the development of the public image of the city. As well as the sculpture in the last century, nowadays new technologies in the public space are influencing the ideology and the education of the citizens. The necessity to transmit, broadcast and disseminate knowledge and information generates practices of appropriation in public space. At this point, public art programmes allow social and artistic practices to recover the local memory working with buildings and monuments that have a historical value. Those practices are involving strategies of communication, live broadcasting, screen façades, mappings or interactive responsive installations, among others.
Another aspects of the current artistic
discourse based in public space involving new technologies are practices of
psychogeography, cartography and anti-monument. Strategic actions, models
of urbanism or utopian constructions make turn landscape to an
obsolete model for the development and improvement of the actual
society. According this, Spatial Aesthetics operates and encourages practices
that display an ethical use of the new technologies in public space. Moreover, Spatial
Aesthetics uses the principle of preservation laws regarding heritage and
memory. Finally, the essay states how the social and urban landscape is
built as a fictitious imitation of nature through architecture and actually
through screens and electronic surfaces. Spatial Aesthetic studies this new
image of the post-city.
Post-city is built facing
citizens to a daily confusion, as Jean Baudrillard defended. The support and
surface of the buildings are inserted in a daily life experience of existence where
the subject, inside the landscape, internalizes or deconstructs the images of
the media or the advertisements displayed in the urban environment. So, the
landscape, the urban space or the public sphere acquire the power to signify the ideology,
as Theodor Adorno estated. This is how the ideology of the masses
is built: reshaping popular culture into a unique experience. In that way, to
participate in the construction of the collective imagination is a task for
artists and other social agents. All must agree that the representation of
the collective imagination is deeply influenced by the consumer
society, mediated through the strategy of seduction. This simulacrum of
reality consists on an appropriation of techniques of advertising and
tourism. T. Adorno described the process of constructing the psychology of
the masses as identification with the product mediated by the desire. The
product in capitalist production is a symbol or an image of the power constructed
through propaganda and reproduction techniques. This is defined by J. Baudrillard as
a simulacrum. Simulacrum is facing problems with icon culture and popular
ideology. It also, refers to the objectual culture of capitalism. New relics
are consumed in the industry serialization where repetition and senses stimuli
produce a specific ideology.
Here, the proposal is to treat
art as a document of reality, not a simulacrum, a palliative for certain social
practices. The concept of art as a document of reality focuses on
the memory and information of the site, to create environments where
the documentary falsification and speculation are excluded. Last century,
the public space has been invaded by security systems (CCTV)
that are used as devices acting as a coercive effect of power. And as Michel Foucault
stated in “Monitor and punish”, this represents the monumental form of the hegemonic
discourse of power in history. In addition, advertising panels,
security cameras and devices of control build an urban
landscape dominated by surveillance, where the subject is denied to
question and define the nature of society. This is clearly explained in “War
machines” by Gilles Deleuze and Felix Guattari. In that order, Spatial
Aesthetics and movements of critical urbanism challenge the traditional and
historical monuments to redefine the concept of public sphere.
The triumphal arch, the public sculpture or the use of new
technologies in open zones are ideological illustration for the social
participation in the construction of the city.
Following Saskia Sassen, the place as a resource for material has become a paradigm to read inside the city. The most valuable material is what Toni Negri described as immaterial work (data and information producing a new digital order). Outside post-cities, outside borders of capitalism, material resources and mines are re-discovered by financial giants. Following, Spatial Aesthetics considers the work of art as something that belongs to the city, to the post-city or to any other specific place, but moreover something that develops a cultural policy, a methodology of work that defends the communal interest of the public voices of society. Then, art results an ethical principle of production stating processes and materials.
In addition, the public agora, where
the res-cogitas of the common citizens, the civil society, is
expressed thorough newspaper and media communications, is now conquered by
branding and advertising campaigns. Contrary, artists are pushing against this
simplification of commodity benefits and consumerism habits. In this sense, the res-cogitans is
understood as a material thought, a neuronal network, and following the science-fiction
writer Stanislav Lem in “Solaris”: this
genetic matter is a plasma that all knows, that all remembers. Moreover, Roy
Ascott and Peter Weibel, defend the idea of how citizens, artists and public
institution must participate in the construction of this social network, a
noosphera, based in media communications, satellites and neuroscience devices,
to protect, preserve and imply the energy of thoughts. Using satellites
cameras, big screen, data projection and public networks, the public
space will be soon invaded by de-constructed electronic surfaces expressing
the global embodiment.
ROY ASCOTT. The image of the future city. LPDT (Le Plasir du Text). Second Life installation. http://www.asquare.org/networkresearch/2010/lpdt2 http://lpdt2.wordpress.com/
PART II. TRANSITORY PRACTICES IN EUROPE.
Translocal Europa. Borders in the community.
Translocal Europa. Borders in the community.
The rapid urban transformation
in Square Mile London is an example of how it is turning into the Silicon
Valley II. The new centre of the city is turning into a digital city,
characterized by the digital generation. For Slavoy Zizek, this belongs to
the idea of the end of capitalism. The Post-city is establishing a new order
centred at the financial district. But as T,Adorno and Horkheimer criticised
the trouble remains. The homogenised landscape of capitalism does not
let other voices be heard. Now, the digital post-city is finishing with
capitalism but the same features still remain. The homogenization under unique ideological
code is common. The digital city, the post-city is finishing
with the capitalism and starting the new digital economic order. Another
problem is that many critics have been directed to the new architecture as a non-sustainable
environment. Even more, massive buildings have been detected as precarious for
the basic needs that they require.
ASYMPTOTE. Example of 3d environment. Able to visualized, updated and share data in the net. A large capacity real-time virtual model of the New York Stock Exchange trading environment. The 3DTF allows multiple users to view, monitor and analyze information pertaining to the Stock Exchanges daily trading activity. http://www.asymptote.net/interiors-and-furniture/nyse-3dt-virtual-reality-environment/
Following, from later in the sixties and until the beginning of 21st century, capitalism has represented the homogenization of liberalism and neo-liberalism, but, there have also been a counter-resistance alternative. Marcuse and Saskia Sassen or Pierre Bourdieu represents the politics of the sign, the emancipation of the linguistics in order to avoid capitalism as a system of production of goods. As Karl Marx stated, it is needed a practice that will not be included in the mass production. It has to be critical and improve the tendencies in production. Actually, one of the main goals in the post-city is the use of new media electronics. As capitalism encounters a resistance, actually there is a common movement based in the ideology of the D.I.Y. (Do It Yourself). According this, an great number of artist are adapting social practices from engineering, design, architecture or media communications in order to develop new structures that facilitate ecological practices and resources. Also, turning into creative workers, usually develop workshop facilities at art centres as V2 in
TELENOIKA. Telenoika Audiovisual Mapping @ Macau Arts Festival - (China)
What S.Zizek declared
the end of capitalism, started 20 years ago with the disintegration
of communism in the year 1989. Then the eastern bloc had
a financial boom, and also United Kingdom
MEDIA FACADES http://www.mediafacades.eu/
PART III. ARTIST. Ballettikka Internettikka by Igor Stromajer & Brane Zorman
An example of Transitory Art in Europe
Website http://www.intima.org/bi
Videos http://www.intima.org/bi http://vimeo.com/channels/tvbi
Photos http://www.flickr.com/photos/intima-photo/sets/72157603861119940
Videos http://www.intima.org/bi http://vimeo.com/channels/tvbi
Photos http://www.flickr.com/photos/intima-photo/sets/72157603861119940
Igor Stromajer started a series
of tactical art projects which began in 2001 with the
exploration of Internet ballet. It explores wireless Internet ballet performances combined
with guerrilla tactics and mobile live Internet
broadcasting strategies. The 10-years project ended in 2011. It is a
serial of interventions in public spaces: right now it is intensively
being prepared for the final Ballettikka Internettikka action
in Antarctica , November 2011. The
relation between the project itself and the public space is
multilateral. These actions are invasions, mostly illegal guerrilla
actions (but not all of them), where artist enters at specific public
space and does an artistic action there, a ballet (at the beginning with its own
body, and later with robots). So, the project has illegally invaded
various public institutions and public places like the Bolshoi in
Moscow (BI Ballet Net), La Scala in Milan (BI Illegallikka
Robottikka), Ljubljana Beltway - Motorway Ring (BI Autto
Mobillikka), National Theatre in Belgrade (BI BEO
Guerrillikka), Volksbühne toilet in Berlin (BI VolksNetBallet), City
Hall toilet for disabled people (BI RenminNetBallet), the Lippo Centre
twin-towers (BI Stattikka) in Hong Kong, a factory
in Slovenia (and broadcasted live to Plaza del Rey in Madrid: BI
Hydraullikka), and construction site of the new shopping mall in Seoul,
where a robot was buried (BI Intermenttikka). Others have been abandoned in
places such Svalbard, Arctic ocean in BI Norddikka or Japanese island
Minami Torishima in Pacific Ocean in BI Nipponnikka. This year it is going
to end the 10-years project by abandoning the last robot as far south as
possible: this time on Antarctica (BI
Antarcttikka). It has also done one BI action in a relation to the ceremony of
igniting the Olympic torch in Greece (BI
Olymppikka), and in the Port
of Hamburg
KEY WORDS: Architecture. urban design interventions. heterotopy. No-place. border. Memory. power. Common spaces. Political spaces. Heritage. Museum. Public space. Public sphere. Monument. Landscape. Extraterritoriality. Dec-territorialization. Decentralization. Mapping and cartography. Dystopia. Scene. Mise - en - escene. Theatre. Trip. Derive. Walk. Drift. Global. local. Glocal. Churches and palaces. Terrain vague. Geopolitics. Homogenization of urban space. The cavern.
SOURCES CONSULTED:
Archivo universal : la condición del documento y la utopía fotográfica moderna; texto: Jorge Ribalta
Mal d'archive : une impression freudienne / Jacques Derrida
|
Bunker archéologie / texte et photos Paul Virilio
|
L'Écran du désert : chroniques de guerre / Paul Virilio
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BAUDRILLARD, J. et al. 1991. Citoyenneté et urbanité. París, Editions Esprit.
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The Arcades project / Walter Benjamin
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Paris, capitale du XIXe siècle : le livre des passages ; Walter Benjamin ;
traduit de l'allemand par Jean Lacoste d'après l'édition original établie par Rolf Tiedemann
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Temporary discomfort ; chapter I-V : Davos, Genoa, New York, Evian, Geneva
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Cartografía : Gerardo Suter : XXIII Bienal Internacional de São Paulo, Brasil : octubre-diciembre, 1996
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Cartografías esquizoanalíticas / Félix Guattari
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Esercizi di esodo : linguaggio e azione politica / Paolo Virno
|
Zexe.net : une cartographie numérique du monde
|
Feliz Guattari : throught, friendship, and visionary cartography
/ Franco Berardy ; translated and edited by Giuseppina Mecchia and Charles J. Stivale
|
City of refuge : a 9/11 memorial : Krzystof Wodiczco
|
If you lived here : the city in art, theory, and social activism : a project by Martha Rosler ; edited by Brian Wallis
|
The City amplified : Justin Bennett : BMB Con #11
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The City Project : Matt Mullican
|
Ciudades : del globo al satélite : febrero-mayo, 1994 ;
una idea de Albert Garcia Espuche ; [textos: Josep Ramoneda, Albert Garcia espuche,
André Corboz, Bogdan Bogdanovich, Ignasi de Solà-Morales]
|
La Ciudad radiante / Achille Bonito Oliva
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Constant, konstrukitionen und modelle : 9. Januar bis 9. Februar 1960 ; [text: G. E. Debord]
|
Occupying space, wasting time ; [by Alice Creischer, Andreas Siekmann]
|
Leyenda / [Alice Creischer]
|
Correspondence : the foundation of the Situationist International (June 1957-August 1960)
/ Guy Debord ; introduction by McKenzie Wark ; translated by Stuart Kendall and John McHale
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Potlatch : Internacional Letrista (1954-1959) : más, Introducción a una crítica de la geografía urbana ;
Modo de uso del desvío. Informe sobre la construcción de situaciones y sobre las condiciones de
la organización y la acción de la tendencia situacionista internacional
|
Préface à la quatrième édition italienne de "La Société du Spectacle" / Guy Debord
|
Parages / Jacques Derrida
|
Jan Dibbets : llum interior : obres sobre arquitectura, 1969-1990 ; Rudi Fuchs, Glòria Moure
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Jan Dibbets : Stedelijk Museum Amsterdam
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Martha Rosler : Sur/ sous le pavé
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Krzysztof Wodiczko : Art public, art critique : Textes, propos et documents /
textes et documents réunis par Marie-Anne Sichère ; traduit de l'anglais par Michelle Herpe-Voslinky et du polonais par W. Kolecki
|
[Northern Visions : The Solomon R. Guggenheim Museum, New York
|
Fahlstrom
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Öyvind Fahlström : another space for painting ; [Texts: Immanuel Wallerstein, Octavi Rofes, Suely Rolnik]
|
Öyvind Fahlström : the complete graphics, multiples and sound works :
BAWAG Foundation, 7.12.2001 - 3.3.2002 ; [Texten: Sharon Avery-Fahlström, Wolfgang Astelbauer]
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Öyvind Fahlström : IVAM Centre Julio González : 10 junio / 23 agosto 1992
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Öyvind Fahlström : The Solomon R. Guggenheim Museum, New York, 1982
|
Imprint : writings / Harun Farocki ; edited by Susanne Gaensheimer, Nicolaus Schafhausen ;
english translation by Laurent Faasch-Ibrahim ; assistant editor Volker Pantenburg = Nachdruck :
Texte / Harun Farocki ; herausgeggeben von Susanne Gaensheimer, Nicolaus Schafhausen ;
übersetz ins Americanische von Laurent Faasch-Ibrahim ; bearbeitet von Volker Pantenburg
|
Speaking about Godard ; Kaja Silverman and Harun Farocki ; with a foreword by Constance Penley
|
Harun Farocki : working on the sightlines ; edited by Thomas Elsaesser
|
Harun Farocki : against what?, against whom? ; edited by Antje Ehmann and Kodwo Eshun ; Nora Alter... [et al.]
|
Border theory : the limits of cultural politics ; Scott Michaelsen and David E. Johnson, editors
|
La Estetica geopolítica : cine y espacio en el sistema mundial / Fredric Jameson
|
Dan Graham's Kammerspiel / Jeff Wall
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Dan Graham interviews ; editor Hans Dieter Huber
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Land, art : a cultural ecology handbook ; edited by Max Andrews
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The Third exile : explorations in the borderland of architecture, visual art and philosophy of science
= Verkenningen in het grensgebied van architectur, beeldende kunst en wetenschapsfilosofie ;
redactie J.A.G.M. Rutten, Joseph Semah
|
A Spot on the wall ; [texts: Rosalind Krauss, Claudia Jolles, Helmut Draxler]
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La Imagen de la ciudad / Kevin Lynch
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Mapa : airmail paintings = pinturas aeropostales / Eugenio Dittborn
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Mapping / Robert Storr
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Mapping cyberspace / Martin Dodge and Rob Kitchin
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Dennis Oppenheim ; texts by Germano Celant, Dennis Oppenheim
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Dennis Oppenheim : Explorations / Germano Celant
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Dennis Oppenheim : 1989
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Dennis Oppenheim : Stedelijk Museum, Amsterdam, 18 januari t/m 2 maart 1974
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Paysages lieux et non-lieux : le paysage dans la photographie européenne contemporain
about landscape and other places : landscape in contemporary european photography ;
[textes: Paul Difelice, Gabriel Bauret, Christian Gattinoni, Cristina Zelich, Frits Gierstberg ... et al.]
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Micropolítica : cartografías del deseo ; Félix Guattari, Suely Rolnik
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Cities in a world economy / Saskia Sassen
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The Global city : New York, London, Tokyo / Saskia Sassen
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Globalization and its discontents / Saskia Sassen
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The Most radical gesture : the Situationist International in a postmodern age / Sadie Plant
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Enragés and Situationists in the occupation movement, France, May'68 / René Viénet
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The Situationist city / Simon Sadler
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Potlatch
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Situationist International anthology ; edited and translated by Ken Knabb
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Archives situationnistes
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The Revolution of everyday life / Raoul Vaneigem ; translated by Donald Nicholson-Smith
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Earth art : Jan Dibbets, Hans Haacke, Neil Jenney, Richard Long, David Medalla, Robert Morris,
Fennis Oppenheim, Robert Smithson, Günther Uecker
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Minimal Art : Andre... [et al.] : 17. Januar bis 23. Februar 1969, Städische Kunsthalle und
Kunstverein für die Rheinlande und Westfalen
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Robert Smithson : selección de escritos
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Utopia post Utopia : configurations of nature and culture in recent sculpture and photography :
January 29-March 27, 1988 ; [texts by Fredric Jameson, Eric Michaud, Elisabeth Sussman ... et al.]
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Spaces of hope / David Harvey
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Atlas mnemosyne / Amy Warbung
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Buckminster Fuller / Martin Pawley ; with photographs from de Buckminster Fuller Institute
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Utopia or oblivion : the prospects for humanity / R. Buckminster Fuller
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Buckminster Fuller : starting with the universe ; edited by K. Michael Hays, Dana Miller ;
with essays by Antoine Picon, Elizabeth A.T. Smith, Calvin Tomkins
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