Onomatopee nl (206 Ergebnisse)
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Paperback. Zustand: New. - An essay by Hannah Ellis -It starts with a question, perhaps a passing interest. Design takes over a city, with clutters of exhibitions in galleries and disused spaces working loosely in response. New biennials and festivals and weeks emerge every year. Old events happen again simply because they happe…ned before. What is it that these events and their predictable patterns actually achieve, though?For almost 200 years, continuing a line of thought first started by events like the Great Exhibition, 'design events' have become more and more popular across Europe, tangling around local, national, and international politics and economics. But can design be important or meaningful at this kind of scale? And how do these events act on people and places - as well as on the discipline itself? With the pause that the pandemic offers, is this the moment to examine who and what they exclude, taking the time to imagine what they could be instead?---Hannah Ellis is a designer, writer and educator based in London (UK).
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Paperback. Zustand: New. Modes of Criticism is a design criticism journal published annually. It examines what is meant by 'criticality' in design, and works towards the politicisation of its discourse and practice through a variety of disciplinary intersections.
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Paperback. Zustand: New. Locked down at home during the first wave of Covid-19, David Weber-Krebs kept on thinking about the day when theatres would open their doors again. At that point, it was somehow difficult to even picture that moment. On the 8th of April, 2020, in the middle of the lockdown, David sent an e-mail to his pe…ers: artists, scholars, curators, and spectators belonging to different art communities. In this e-mail, there was a simple question: What will happen on your first theatre visit after the lockdown? It was an invitation to imagine the future of theatre from this very specific moment when theatres were all closed and when it was not clear how and when and if they would open again. Paula Almiron, Kristof van Baarle, Sven Age Birkeland, Antonia Baehr, Caroline Barneaud, Nicole Beutler, Maaike Bleeker, Julien Bruneau, Pieter De Buysser, Alondra Castellanos, Chloé Chignell, Amélie Coster, Jasper Delbecke, Zoë Demoustier, Wouter De Raeve, Charlotte De Somviele, Katja Dreyer, Jeroen Fabius, Silvia Fanti, Far, Nicolas Galeazzi, Emilie Gallier, Nada Gambier, Melih Gencboyaci, Konstantina Georgelou, Kristof van Gestel, Matthieu Goeury, Maximilian Haas, Ant Hampton, David Helbich, Marijke Hoogenboom, Rita Hofwijk, Breg Horemans, Asa Horvitz, Dolores Hulan, Mette Ingvartsen, Myriam Van Imschoot and Marcus Bergner (MM), Stefan Kaegi, Edyta Kozak, Bojana Kunst, Rudi Laermans, Sarah van Lamsweerde, Heike Langsdorf, Mylène Lauzon, André Lepecki, Kopano Maroga, Ivana Müller, Phoebe Osborne, Leonie Persyn, Julie Pfleiderer, Antoine Pickels, Amanda Piña, Jan-Philipp Possmann, Fransien van der Putt, Irena Radmanovic, Anna Rispoli, Martina Ruhsam, Jonas Rutgeerts, Nienke Scholts, Ula Sickle, Michael Simon, Karoline Skuseth, Lara Staal, Christel Stalpaert, Danae Theodoridou, Pankaj Tiwari, Vera Tussing, Marie Urban, Michiel Vandevelde, Hidde Aans Verkade, Mathilde Villeneuve, Georg Weinand, Stefanie Wenner, Siegmar Zacharias, Andros Zins-Browne.
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Paperback. Zustand: New. Evil and care, feminism and mothernism, anti-culture and the underground, misanthropy and life - all are seemingly opposite yet are continuously recurring as themes in the life and work of Norwegian artist Grete Neseblod. As well as being a visual artist and a mother of three, Grete is the owner of legen…dary metal record shop Neseblod Records. This book features texts and images of Grete's solo show at Onomatopee, documentation of early works, an interview with Grete by Vincent Koreman and a text about art and motherhood by Lise Haller Baggesen. So much hate, I'm shaking my head, but please, it's only nosebleed.
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Paperback. Zustand: New. Floppy Disk Fever explores the curious afterlives of the floppy disk in the twenty-first century by interviewing those involved with the medium today. The book reflects on notions of obsolescence, media preservation and nostalgia, and challenges these by showing the endurance and versatility of this fami…liar piece of technology. From floppy filmmakers to floppy painters and beyond; what drives people to continue working with the medium that is typically deemed obsolete? What challenges and affordances does it provide? And what does the future hold in store for the familiar black square? By looking at the current presence of past technology we can assess our present-day situation and speculate on the future developments of our media minded landscape. After all, the technology of the past is also part of our future!Includes a preface by Lori Emerson (Media Archeology Lab) and interviews with Jason Scott (archive. org), Tom Persky (floppydisk. com), Florian Cramer, Jason Curtis (Museum of Obsolete Media), Adam Frankiewicz (Pionierska Records), Foone Turing, Clint Basinger (Lazy Game Reviews), Nick Gentry, Joerg Droege and AJ Heller (Scene World) and Bart van den Akker (HelmondComputerMuseum). EditorsNiek Hilkmann (NL) is a Rotterdam based artist, musician, and researcher with a background in Art History, Media Design and Visual Culture. He has a particular interest in the abstruse technological condition we are currently living in and the insufficient intellectual methodologies that seek to justify, or explain it. Besides being resposible for various floppy-centered events under the moniker of Floppy Totaal, he is also a member of Varia, the center of everyday technology. Thomas Walskaar (NO) is a graphic designer and researcher. He has a Masters in Media Design and Communication from The PietZwart Institute in Rotterdam and a BA (Hons) in Graphic Design from Ravensbourne in London. His personal interests revolve around frailty of storage technology and the importance of the individual to store with caution. One of his better known projects is "My Hard-Drive Died Along With My Heart". Contributors Lori Emerson (CA/US) is an Associate Professor in the Department of English and the Intermedia Arts, Writing and Performance Program at the University of Colorado, Boulder. She is also the Founding Director of the Media Archaeology Lab. Emerson writes about media poetics and the history of computing, media archaeology, media theory, and digital humanities. Jason Scott (US) is a free-spirited archivist, filmmaker, performer, and historian of technology. He is known under the online pseudonyms Sketch, SketchCow, and the Slipped Disk, and has been called a 'figurehead of the digital archiving world'. He works for Internet Archive and has given numerous presentations at technology related conferences on the topics of digital history, software, and website preservation. Tom Persky (US) is the 'last man standing in the floppy disk business'. He is the.
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Paperback. Zustand: New. Floppy Disk Fever explores the curious afterlives of the floppy disk in the twenty-first century by interviewing those involved with the medium today. The book reflects on notions of obsolescence, media preservation and nostalgia, and challenges these by showing the endurance and versatility of this fami…liar piece of technology. From floppy filmmakers to floppy painters and beyond; what drives people to continue working with the medium that is typically deemed obsolete? What challenges and affordances does it provide? And what does the future hold in store for the familiar black square? By looking at the current presence of past technology we can assess our present-day situation and speculate on the future developments of our media minded landscape. After all, the technology of the past is also part of our future!Includes a preface by Lori Emerson (Media Archeology Lab) and interviews with Jason Scott (archive. org), Tom Persky (floppydisk. com), Florian Cramer, Jason Curtis (Museum of Obsolete Media), Adam Frankiewicz (Pionierska Records), Foone Turing, Clint Basinger (Lazy Game Reviews), Nick Gentry, Joerg Droege and AJ Heller (Scene World) and Bart van den Akker (HelmondComputerMuseum). EditorsNiek Hilkmann (NL) is a Rotterdam based artist, musician, and researcher with a background in Art History, Media Design and Visual Culture. He has a particular interest in the abstruse technological condition we are currently living in and the insufficient intellectual methodologies that seek to justify, or explain it. Besides being resposible for various floppy-centered events under the moniker of Floppy Totaal, he is also a member of Varia, the center of everyday technology. Thomas Walskaar (NO) is a graphic designer and researcher. He has a Masters in Media Design and Communication from The PietZwart Institute in Rotterdam and a BA (Hons) in Graphic Design from Ravensbourne in London. His personal interests revolve around frailty of storage technology and the importance of the individual to store with caution. One of his better known projects is "My Hard-Drive Died Along With My Heart". Contributors Lori Emerson (CA/US) is an Associate Professor in the Department of English and the Intermedia Arts, Writing and Performance Program at the University of Colorado, Boulder. She is also the Founding Director of the Media Archaeology Lab. Emerson writes about media poetics and the history of computing, media archaeology, media theory, and digital humanities. Jason Scott (US) is a free-spirited archivist, filmmaker, performer, and historian of technology. He is known under the online pseudonyms Sketch, SketchCow, and the Slipped Disk, and has been called a 'figurehead of the digital archiving world'. He works for Internet Archive and has given numerous presentations at technology related conferences on the topics of digital history, software, and website preservation. Tom Persky (US) is the 'last man standing in the floppy disk business'. He is the.
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Paperback. Zustand: New. "Bestiary of Corona Animals" is an essay that illuminates the causal relations between the human tendency to objectify the world, the continuous expansion of extractive activity, the trace effects of the current climate regime, and the outbreak of the current coronavirus pandemic. These seemingly distinc…t phenomena, often analyzed and discussed separately, in fact share the same roots. The text introduces a cast of different animals, both fictional and tangibly real, whose personal opinions and experiences- informed by animal rights and ethics, biopower, geopolitics, and necropolitics-give credence to the hypothesis that the human colonization of the natural territory of the virus enabled the pandemic to spread in the first place. These animal voices seek for a type of worlding that provides an equal footing for humans and non-humans, starting by exchanging self-interest for empathic non-understanding and selfless reciprocity: from the isolation of thinking and acting in a vacuum, to a world continuum.
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Paperback. Zustand: New. Edited by A. R. practice (Ann Richter and Agnieszka Roguski), Introduction by A. R. practice (Ann Richter and Agnieszka Roguski), Texts by Melanie Bühler, Erika Landström, Agnieszka RoguskiWhen the exhibition enters the digital realm, as it is increasingly happening now when the display of art and cultur…e can be enjoyed individually behind screens, then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity? Echoing Exhibition Views. Subjectivity in Post-Digital Times explores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. It takes the digitized exhibition view as starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. Focusing on the transformative potential of the exhibition as circulating view, this publication asks how it transfers again into a subjective mode of perspective through the artistic lens. So what is at stake when an exhibition circulates as a digital view? And how does its digital presence in turn affect and transform the subjective experience of seeing a physical exhibition?With images from João Enxuto and Erica Love, Calla Henkel and Max Pitegoff, New Noveta/Yair Oelbaum, SANY, Hanna Stiegeler, Jasmin Werner, and Jonas Paul Wilisch, as well as texts by Melanie Bühler, Erika Landström, and Agnieszka Roguski, this publication gathers artists, curators, and writers who frame these questions through a variety of practices and media. It thus addresses a self-reflexive and critical approach on medium and format-understanding the exhibition as a fluid and diverse view. How is our view on exhibitions influenced by their digital re-/presentation on the internet? How can art affect the normalized, circulating installation views in a creative way--and articulate a subjective view in this way? And how, above all, do seemingly objective standards and subjectivity affect each other?The publication Echoing Exhibition Views. Subjectivity in Post-Digital Times focuses on the subjectivity of the supposedly objective exhibition documentation. It is about how artists realize a kind of subjective view when they are presenting an exhibition--in terms of performative, spatial, visual or technological aspects--and how that view can broaden, reflect or criticize the standardized claim of exhibition views. For Echoing Exhibition Views. Subjectivity in Post-Digital Times, a total of seven international artistic positions articulate their personal interpretation of the 'installation view'. Most important is their disciplinary versatility, which provides a multifaceted and complex approach to the topic. Artistic photography, illustration, conceptual art and performance art together respond to the apparent objectivity emanating from exhibition documentation and the photographic installation view. The medium of disp.
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Paperback. Zustand: New. - An essay by Hannah Ellis -It starts with a question, perhaps a passing interest. Design takes over a city, with clutters of exhibitions in galleries and disused spaces working loosely in response. New biennials and festivals and weeks emerge every year. Old events happen again simply because they happe…ned before. What is it that these events and their predictable patterns actually achieve, though?For almost 200 years, continuing a line of thought first started by events like the Great Exhibition, 'design events' have become more and more popular across Europe, tangling around local, national, and international politics and economics. But can design be important or meaningful at this kind of scale? And how do these events act on people and places - as well as on the discipline itself? With the pause that the pandemic offers, is this the moment to examine who and what they exclude, taking the time to imagine what they could be instead?---Hannah Ellis is a designer, writer and educator based in London (UK).
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Paperback. Zustand: New. Process Music refers to print media and the intentions behind design activity. It is interested in visual culture, providing deeper readings and close viewings of graphic design artifacts and activity, frequently examined through the lens of music. Employing a range of narrative voices, the works combine… academic rigor with the accessibility of popular forms like music journalism. FitzGerald regards himself as a critical enthusiast: knowledgeable, appreciative and irreverent. Process Music: songs, stories, and studies of graphic culture is the second book collection of writings by Kenneth FitzGerald. The new book gathers over 40 pieces primarily from the past decade, with reprinted works first appearing in forums like Emigre, Eye, Print, Idea, Modes of Criticism, Design Observer, Speak Up, and Voice: AIGA Journal of Graphic Design. Others are texts of lectures and presentations, have appeared on my blog or elsewhere online, or are original to this collection. Many are unavailable or hard (and expensive) to find. The book will also feature a prelude composed by AIGA Design Medalist and Design Matters host Debbie Millman. The book is organized in four sections and a coda: "Blues in CMYK" contains short essays that focus on concepts and topics in graphic design, such as the practice, limits, and potential of design criticism; different aspects of design education; the importance of metaphor and cross-disciplinary inspiration; inclusivity and responsibility in design; the proper context of digital technology; authenticity; the influence of religious faith on design activity, and more. "Interlude with Designers" presents appreciations of famed and upstart individuals in the discipline, including Barney Bubbles, Paul Rand, William Addison Dwiggins, Jacqueline Casey, Paula Scher, Vaughan Oliver, Martin Venezky, illustrator Mark Andresen, and design activist Andrew Breitenberg. "Omnigraphy" has expanded reviews and studies on graphic design and music works, performers and practitioners. Figures covered include Josef-Müller Brockmann, Rudy VanderLans and Zuzana Licko/Emigre, Elliott Earls, Stefan Sagmeister, Hipgnosis, Fuel, and the musicians Van Dyke Parks, and British band Cornershop. Artifacts examined include books, interactive projects, typefaces, independent and mass market magazines, posters, and record albums. "My Back Pages" offers short memoirs and stories that take a personal perspective on creativity, visual culture and communication. Lastly, "(extended play)" offers a short fiction.
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Paperback. Zustand: New. When artefacts become pieces of evidence and artists are transfigured into fictional characters animated by their worship of Western art, culture shrinks into the narrow border of the state nation:" would state Tweetu, the weird curator and main suspect of the plot. Detective Elchmanyahu's auto-da-fe fol…lows the bound to fail investigation on the fire that burned a public art collection in southern Tel Aviv. The dodgy officer in charge uses all imaginable tricks and trades of whodunit novels to unfold a police investigation that casts a gloomy yet lucid look over the Israeli culture and its visual art scene. Framed in between fact and fiction by the tendentious writing of Jonathan Touitou, this book is a layered investigation of the art world and its deeds. Against the backdrop of the second Intifada and today's recurrent undermining of Palestinian rights, this controversial book will provide its readers with a perspective of an infiltrated outsider on the Israeli society, possibly supply the welding torch for the cynical ones, a bonfire for the freaks and fireworks for the wholehearted.
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Paperback. Zustand: New. Ground, foundation, land, landscape, territory, earth, soil, dirt, dust. Script for a Synthetic Play stems from a staged conversation between a historian, an anthropologist, three artists, an earth eater and an architecture theorist: they enter unknown grounds, it is dark, and a disembodied alien voice e…ncourages them to move across uneven terrain. A temporary community of strangers is formed. A sense of agency and belonging emerges, but also of marginality and dispossession. Hybrid voices start to circulate and be heard, borders of disciplines are blurred and grounds for certainty are collectively explored anew. Each step leaves sources for a unique script. Script for a Synthetic Play delves into new world-making technologies, the need for refuge and infrastructures of care, human and land exhaustion and cultural and ecological challenges of today. Expertise meets experience in informal and approachable discussions that, stylized for dramatic effect, create a conversation piece in the form of a play activated by the generative power of fiction.
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Paperback. Zustand: New. Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the Porto Design Biennale, this volume proposes a variety of perspectives - social, cultural, political - to challenge this deeply engrained tradition. Conte…nts:1. Graphic Design Systems, and the Systems of Graphic DesignFrancisco Laranjo2. Design Systems, Porto Design Biennale Research ResidenciesLuiza Prado and Pedro Oliveira, ACED, Ruben Pater, Demystification Committee3. One Size Fits AllRuben Pater 4. Fluttering Code: A Cultural and Aesthetic History of the Split-flap DisplayShannon Mattern5. Anything with a Shape Cannot Be BrokenIan Lynam6. Co-Creating Empowering Economic Systems - Strategies for Action Brave New Alps7. Lining OutGeorgina Voss.
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Paperback. Zustand: New. On ecological and social metabolisms, cohabitation, engineering and economy in urbanised shallow water territories. This magazine explores two extreme cases of urbanized shallow water territories - Markermeer/IJsselmeer in the heart of the Netherlands and the Venetian Lagoon. One is probably the most tec…hnologically controlled water on Earth, while the other negotiates a balance of natural water cycles, extreme weather, and a robust tourist economy. Providing points of reflection for similar territories where prospective sea level rise in the near future poses urgent questions about human and more-than human cohabitation, engineering, economy, and both ecological and social metabolisms. BIOBureau LADA (Landscape, Architecture, Design, Action) is a cross-disciplinary Amsterdam based studio with a focus on architecture. Currently active between Amsterdam, Venice and Cairo, the practice specialises in design strategy, social ecology, and the future of education. Established in 2010 by Croatian-Dutch architect and urbanist Lada Hrsak, the studio collaborates with practitioners from the fields of ecology, science, art, heritage, and sociology. The studio's research initiative Shallow Waters was selected for the Parallel Program of the Dutch pavilion at the 2021 Venice Architecture Biennial. The bureau's team members engaged in the Shallow Waters project are Ludovica Beltrami, Juliette Gilson, Lada Hrsak, Zoe Panayi, Simone Spiga, and Zhao Zhou.
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Paperback. Zustand: New. As 'The Best American Book of the 20th Century' travels through the textual materiality of an entire century of mass-produced literature, it suggests intertextual relationships between the narratives of American fiction. Since a multitude of changes in time and culture converse in the book, the project t…ransverses the usual, formal standards of language, questioning power dynamics between reader and writer. Are Pearl S. Buck, Sinclair Lewis, Ernest Hemingway, Margaret Mitchell, Ayn Rand, John Steinbeck, Daphne du Maurier, J. D. Salinger, Stephen King, and Toni Morrison basically telling a similar story? Do they, through this project, become the collective authors of one, all-encompassing- book? Is the project an opportunity to re-assess and reflect upon modernity's spell on our collective imagination? And, ultimately, how does its composed text resonate in our present times? Pockets brought literature to the masses by turning books into best sellers. Contrary to high-end prints the design of these pockets, cheap and mass-produced, was fit to serve the distribution system. Often effectively well-boxed, they were proportioned to maximize the box's content and carrying-ability and were taggedto increase recognizability for the man handling the boxes rather than to make them look good. The accompanying exhibition is conceived as a stock-sale of the book, in which the mass-produced and standardized presentation materials resonate with familiar formats of 20th century modes of book distribution and display. The standard cardboard boxes utilized as distribution and display devices represent functional carriers of the circulation of mass fiction throughout the previous century, and, for a significant part, up to this day. This project is brought to exhibition as a "stockroom-booksale", resonating the symptoms of mass-distribution as visualized both on a sculptural and a graphic, formalized level. It presents a unique opportunity to display the boxes both as singular units on bookshop counters and as miniature sculptures in exhibition contexts, hinting at the standardized logistical and economic infrastructures behind each book purchase and art display. Design agency Project Projects translated these ambitions in the publication's graphics, in close collaboration with the editorial team. Curator Niels van Tomme served as scenographic advisor, Onomatopee director Freek lomme facilitated final editing and production: exhibition space and publisher Onomatopee provides an institutional framework for the presentation and distribution of this project, making 'The Best American Book of the 20th Century' its 100th project issue (OMP100).
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Paperback. Zustand: New. "What has left since we left" articulates the fictional end of Europe with the language of love and separation. Likening the political bonds that tie together European countries to the fluctuations of romance and desire, the book unpacks the complexities of the European relationship by touching on ideas…of identity, collapse, migration, conflict and hope. The book features contributions by Ay?e Zarakol, Marwan Moujaes, Federico Lodoli, Marina Lalovic and Erica Petrillo. Together, these texts complement and expand on the script for the film "What has left since we left" - directed by Giulio Squillacciotti and written with Daan Milius and Huib Haye van der Werf - which fictionalises the current European dystopia by re-enacting and problematizing the rituals of kinship and relational struggles. Backstage images and film stills from this production, along with a European timeline from World War II up until Brexit compiled by Enrico De Gasperis, provide a specific overview to the entire project.
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Paperback. Zustand: New. Process Music refers to print media and the intentions behind design activity. It is interested in visual culture, providing deeper readings and close viewings of graphic design artifacts and activity, frequently examined through the lens of music. Employing a range of narrative voices, the works combine… academic rigor with the accessibility of popular forms like music journalism. FitzGerald regards himself as a critical enthusiast: knowledgeable, appreciative and irreverent. Process Music: songs, stories, and studies of graphic culture is the second book collection of writings by Kenneth FitzGerald. The new book gathers over 40 pieces primarily from the past decade, with reprinted works first appearing in forums like Emigre, Eye, Print, Idea, Modes of Criticism, Design Observer, Speak Up, and Voice: AIGA Journal of Graphic Design. Others are texts of lectures and presentations, have appeared on my blog or elsewhere online, or are original to this collection. Many are unavailable or hard (and expensive) to find. The book will also feature a prelude composed by AIGA Design Medalist and Design Matters host Debbie Millman. The book is organized in four sections and a coda: "Blues in CMYK" contains short essays that focus on concepts and topics in graphic design, such as the practice, limits, and potential of design criticism; different aspects of design education; the importance of metaphor and cross-disciplinary inspiration; inclusivity and responsibility in design; the proper context of digital technology; authenticity; the influence of religious faith on design activity, and more. "Interlude with Designers" presents appreciations of famed and upstart individuals in the discipline, including Barney Bubbles, Paul Rand, William Addison Dwiggins, Jacqueline Casey, Paula Scher, Vaughan Oliver, Martin Venezky, illustrator Mark Andresen, and design activist Andrew Breitenberg. "Omnigraphy" has expanded reviews and studies on graphic design and music works, performers and practitioners. Figures covered include Josef-Müller Brockmann, Rudy VanderLans and Zuzana Licko/Emigre, Elliott Earls, Stefan Sagmeister, Hipgnosis, Fuel, and the musicians Van Dyke Parks, and British band Cornershop. Artifacts examined include books, interactive projects, typefaces, independent and mass market magazines, posters, and record albums. "My Back Pages" offers short memoirs and stories that take a personal perspective on creativity, visual culture and communication. Lastly, "(extended play)" offers a short fiction.
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Paperback. Zustand: New. Over the past few years, design has been learned and unlearned, done and undone, patriarchised and depatriarchised, colonized and decolonized, centralized and decentralized, and so forth. Meanwhile, (departments of) schools appear to be wandering, un-stable, not-yet, unsettling, or impermanent, making wa…y for anything other than sturdiness. The question must then be asked, if all within design is being undone, unmade, and unlearned, what is it exactly that is being done, being made, and being learned?'Unununimimimdededesign - the hesitant state of design' wishes to delve into this question by offering divergent views from within and upon design discourse and education. It does not aim to 'fix' this hesitant state or offer solutionist approaches, but instead reflectively pause and build upon the knowledge, thoughts, hesitations and discomforts that accompany it. special thanks toThe participants and alumni of The Critical Inquiry Lab: Viktoria Kaslik, Cecilia Casabona, Lara Chapman, Maxime Benvenuto, Josh Plough, Fernand Bretillot, Ram. n Jimenez Cardenas, Janfer Chung, Tiiu Meiner and Sofia Irene Marmolejo Bijnsdorp for their contribution to Saskia and Nadine's contribution;Rana Ghavami and her students for sharing thoughts, ideas and feedback; Anja Kaiser and Rebecca Stephany for an insightful conversation; and all the other engaged individuals involved in the process of developing this publication.
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Paperback. Zustand: New. Edited by A. R. practice (Ann Richter and Agnieszka Roguski), Introduction by A. R. practice (Ann Richter and Agnieszka Roguski), Texts by Melanie Bühler, Erika Landström, Agnieszka RoguskiWhen the exhibition enters the digital realm, as it is increasingly happening now when the display of art and cultur…e can be enjoyed individually behind screens, then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity? Echoing Exhibition Views. Subjectivity in Post-Digital Times explores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. It takes the digitized exhibition view as starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. Focusing on the transformative potential of the exhibition as circulating view, this publication asks how it transfers again into a subjective mode of perspective through the artistic lens. So what is at stake when an exhibition circulates as a digital view? And how does its digital presence in turn affect and transform the subjective experience of seeing a physical exhibition?With images from João Enxuto and Erica Love, Calla Henkel and Max Pitegoff, New Noveta/Yair Oelbaum, SANY, Hanna Stiegeler, Jasmin Werner, and Jonas Paul Wilisch, as well as texts by Melanie Bühler, Erika Landström, and Agnieszka Roguski, this publication gathers artists, curators, and writers who frame these questions through a variety of practices and media. It thus addresses a self-reflexive and critical approach on medium and format-understanding the exhibition as a fluid and diverse view. How is our view on exhibitions influenced by their digital re-/presentation on the internet? How can art affect the normalized, circulating installation views in a creative way--and articulate a subjective view in this way? And how, above all, do seemingly objective standards and subjectivity affect each other?The publication Echoing Exhibition Views. Subjectivity in Post-Digital Times focuses on the subjectivity of the supposedly objective exhibition documentation. It is about how artists realize a kind of subjective view when they are presenting an exhibition--in terms of performative, spatial, visual or technological aspects--and how that view can broaden, reflect or criticize the standardized claim of exhibition views. For Echoing Exhibition Views. Subjectivity in Post-Digital Times, a total of seven international artistic positions articulate their personal interpretation of the 'installation view'. Most important is their disciplinary versatility, which provides a multifaceted and complex approach to the topic. Artistic photography, illustration, conceptual art and performance art together respond to the apparent objectivity emanating from exhibition documentation and the photographic installation view. The medium of disp.
