An immaterial museum, a social sculpture, a laboratory for the museum of the future: this book is an exhibition filled with moments of inspiration on Vienna's legendary museum in progress.

Ein umfassendes Forschungsprojekt am Städel Museum untersucht derzeit die Kunstszene der Bundesrepublik Deutschland im Zeitraum von 1960 bis 1989 aus der Perspektive von Zeitzeugen. In Gesprächen mit über 70 Künstlern, Galeristen, Sammlern, Ausstellungsmachern und Journalisten, die maßgeblich an der Entwicklung der westdeutschen Kunstszene mitgewirkt haben, werden wichtige Stationen der jüngsten deutschen Kunstgeschichte

The exhibition-dossier is conceived as a methodological dispositif—a mediation space drawn on the narratives of art and artists—, used to explore the spiritual, theoretical and poetical undertakings in art and art practices grounded in the local terrain, in order to complement the existing research and to expand the circle of inquiries.

An early discussion at an Independent Space Index Stammtisch led to a proposal that Vienna’s independent scene could be considered a large and diverse intergenerational institution, presenting hundreds of exhibitions and projects per year, creating a responsive web of international networks.

Seit den 1960er-Jahren haben Künstler verstärkt begonnen, die Bedingungen der Entstehung von Kunst - Produktion, Präsentation und Rezeption - in den Blick zu nehmen. Mit Minimal Art, Institutionskritik und Kontextkunst hat sich eine ambivalente Haltung gegenüber dem Objekt entwickelt.

“Urban Kitsch”, originally written in 1996, explores the forms of vernacular visual culture that emerged in the city of Baroda following the liberalization of the Indian economy. Plastic toys, celebrity mud flaps, and postmodern architecture collide into a new formal category—both celebrated and derided—as Praneet Soi traverses the city on his trusted Yamaha RX 100.

“Where Do You Draw The Line Between Art and Politics?” consists of a series of interviews with individuals who have been active in various capacities at the intersection of art and politics.

First publication to document the use and potential of Decentralised Autonomous Organisations in the arts that use blockchain technology and build on NFT innovations. Decentralised Autonomous Organisations (DAOs) offer unique tools for translocal peers to encode rules, relations and values into their joint ventures using blockchain technology.

Yves Klein (1928–62) first traveled to Japan as a young man in 1952, motivated primarily by his interest in judo. During his 15 months abroad, Klein had numerous important creative and philosophical revelations that culminated in the launch of his artistic career upon his return to Paris.

Gaëlle Lauriot-Prévost and Dominique Perrault invited the historian Frédéric Prot and the photographer Philippe Chancel to reveal, both in writing and images, this radical work by the architect Jean Dubuisson that he designed during the 1960s, as well as the commitment of his client André Weil to build a domain at Pontpoint.

Tabea Blumenschein (1952–2020), Hilka Nordhausen (1949–1993) und Rabe perplexum (1956–1996) waren exzentrische Künstler*innen der achtziger Jahre – sie agierten abweichend von Normen und außerhalb des Zentrums im subkulturellen Milieu.

In the Making: In the Desert of Modernity: Colonial Planning and After. A Research-Based Practice is about the working method of the artist and exhibition maker Marion von Osten.

Body. Listening. Book. Library. Institution. How can art libraries be generative resources and sites of action for all who identify as queer, as women, as Black, as Indigenous, as people of colour? What does it mean to consider the art library as a collective practice that spans multiple scales?

Ein Buch über 1971 und die Zeit davor, Freiheit als Bild, die Materialität eines Übergangs, Musik, Sexualität und was ein aus Italien kommender, in Kairo geborener crooner in Berlin verliert: Ricky Shayne

Die antikolonialen und antirassistischen Bewegungen des 20. Jahrhunderts gingen mit künstlerischen und theoretischen Gegenentwürfen zur Exklusivität der westlichen Moderne einher.

Texts by Hans Haacke that range from straightforward descriptions of his artworks to wide-ranging reflections on the relationship between art and politics.

Lucy R. Lippard's famous book, itself resembling an exhibition, is now brought full circle in an exhibition (and catalog) resembling her book. "Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or 'dematerialized.'" -Lucy R. Lippard,

Throughout the history of the built environment there has been no more significant endeavor than the construction of houses of worship, which were once the focal point around which civilizations and city-states developed. Constructing the Ineffable is the first book to examine this topic across continents and from the perspective of

In art around 1990, an entire series of work forms indicates the existence of a broad spectrum of strategic shifts into other professional roles that are taken up on a fictional level by artists.

The first English translation of Karel Teige’s “The Marketplace of Art“ in two volumes includes a critical introduction, inquiries, and extensive commentaries. Originally published in the Czech language in 1936, “The Marketplace of Art“ is the summation of Teige’s artistic, political, and theoretical work.

“Modernism/Murderism”, translated by Vasvi Oza, brings together, for the first time in English, a forgotten debate on Modern Art that took place in the pages of the Gujarati-language periodical “Kumar” between 1959 and 1964.

Als Blinky Palermo im Alter von 33 Jahren auf den Malediven starb, studierte Förg noch an der Münchner Akademie. Die beiden sind sich nie begegnet. Kann man trotzdem von einer Freundschaft der beiden sprechen? Nein, kann man nicht. Man muss!
When Blinky Palermo died unexpectedly in February 1977 while on a trip to the Maldives, he was 33 years old and Günther Förg studied at the Munich Academy of Fine Arts. So, Förg and Palermo never met.

If the 1960s and 1970s were the heyday of artists books, the 2010s (and 1920s) strike us as the heyday of publishing as (artistic) practice. IDEA POLL collected ideas regarding publishing activities and beyond. IDEA POLL 2020/21 was created through an online query and features about 100 responses from diverse international networks. Historical Note: In 1976, the periodical Art-Rite already conducted and published an IDEA POLL, marking a seminal moment in the state of affairs in the field of art and publishing.

The currently favored image of the Weimar Republic is constructed as a liberal one that emphasizes the individual freedom to shape one’s life. Meanwhile, the collectivist face of the workers’ movement and the artists inspired by it were and are mostly ignored.

Forms of Migration explores the potential of literary and aesthetic forms of expression to shape our understanding of transnational migration processes. The volume emphasises form because it is often the compositional structure and rhetoric of texts and images – their literary nature and formal qualities – that impact readers and beholders, opening up new interpretations of im/migrant experiences and identities.

How can art and culture contribute to creating new imaginaries of the future within the current political and social discourse marked by misinformation, radicalization, populism, and a general crisis of representative democracy? Shaping Desired Futures draws the map of a changing Europe that can help contextualize today’s burning questions and trace still unknown narratives shared by Eastern and Central Europe. Through a series of interviews, essays, and artistic contributions, it proposes new means through which art can model alternative visions and help shaping different desirable futures.

Art for UBI is a manifesto: the world of art positions itself in favor of universal and unconditional basic income, placing in the foreground its advantageous conditions in economic, social and ecological terms.

“I also don't know the five new federal states and, if I want to film there, I have to have a leading figure. It is the profiteer, development aid worker and missionary all in one. He breaks into the accession area from the West in army strength. The film is about such a salesman.” –– Harun Farocki, 1990/91

In 1976, Harun Farocki and Hanns Zischler directed Heiner Müller’s plays The Battle and Tractor for Theater Basel. For Farocki, this production remained his only directorial work for theater. With Heiner Müller, however, he remained in intellectual exchange. The two collaborated on the adaptation of Müller’s text The Hamletmachine for radio in 1978; for the May 1981 issue of the magazine Filmkritik, they conducted a conversation.

In the mid-1970s, Harun Farocki wrote a two-page call programmatically entitled “What Ought to Be Done,” followed by a survey addressed to potential collaborators and supporters.........
Mitte der 1970er Jahre schrieb Harun Farocki einen zweiseitigen Aufruf mit dem Titel „Was getan werden soll“, der von einer Umfrage unter potentiellen MitarbeiterInnen und UnterstützerInnen begleitet wurde.........

The Atlas of Anomalous AI is a compelling and surprising map of our complex relationship to intelligence, from ancient to emerging systems of knowledge. A wildly associative constellation of ideas, stories, artworks and historical materials, the Atlas draws on art historian Aby Warburg’s Mnemosyne Atlas — an image map of the “afterlife of antiquity” — to approach the defining concepts of AI from an imaginative, artistic and revitalising perspective.

Ein Heft zur Entstehungsgeschichte von Harun Farockis Film Bilder der Welt und Inschrift des Krieges (1988), der sich zwischen 1985 und 1988 in mehreren Etappen aus dem unverwirklichten Projekt „Zur Geschichte der Arbeit“ heraus entwickelte.

『NO-ISBN, 독립출판에 대하여』는 오스트리아 빈을 기반으로 활동 중인 아티스트 버나드 셀라를 주축으로 레오 핀다이센, 아그네스 블라하 세 사람이 ISBN(국제표준도서번호)을 부여받지 않고, 일반적인 국제 거래 시스템에 속하지 않은 총 1,800여 권의 독립출판물을 살펴보고 연구한 결과를 담은 책이다. 500여 쪽에 이르는 이 책의 내용은 크게 ‘개념미술’ 매체로 활용되는 출판물, 출판물의 매혹적인 물성, 포스트디지털 시대의 출판, 정치적 매체로서 ‘NO-ISBN’,

Black Ecologies proposes the concept of Black Ecologies as a “resistance to extractive ecologies across the colonial-capitalist world.” Recognizing our world is at a crossroads, Black Ecologies is a multigenerational, multidimensional dialogue and a reminder that Black resistance is always already tending to other ecologies of being(s).

Independent art spaces on the African continent have flourished, particularly over the past twenty years in tandem with a youthful population in fast-urbanising cities.

Ein Heft zur Entstehungsgeschichte von Harun Farockis Film Bilder der Welt und Inschrift des Krieges (1988), der sich zwischen 1985 und 1988 in mehreren Etappen aus dem unverwirklichten Projekt „Zur Geschichte der Arbeit“ heraus entwickelte.

Dissent Without Modification (Bergen Kunsthall), written by Grace Ndiritu, is a research book composed of interviews with radical and progressive artists and thinkers, who started their education and careers in the 1990s. Some are well-known, some are not. They are African, European, and American women working as painters, photographers, performers, hackers, activists and educators, among other roles such as Lisha Sterling, Monster Chetwynd and Kathrin Böhm.

A small selection of texts written by the outstanding film critic and translator Frieda Grafe, complemented by the speech that Harun Farocki gave when Grafe and Enno Patalas were given the “01 award” in 2000.

Osawatomie is a direct allusion to the eponymous battle waged by the abolitionist John Brown of whom Victor Hugo at the time of saving him from hanging says "Yes, let America know and think about it, there is something more frightening than Cain killing Abel, it is Washington killing Spartacus".

Music has been just as central as art, film and architecture in the formation of the German capital’s unique identity, although too often neglected by Berlin’s historians and biographers.

We are on the verge of sharing our cities with autonomous vehicles. Recent developments in driverless technologies are having an impact on our urban environment, raising questions about how self-driving vehicles could be integrated into our daily lives.

RAW Académie was developed in Dakar to create a space of experimental teaching and collaboration, of deconstruction and exposure, of knowledge and nourishment. Koyo Kouoh, founder of RAW Material Company, wished for curatorial inquiry and critical writing to join artistic thinking at this site of international encounters. During these two-month long sessions that take place twice a year, young artists and

The term ‘ricochet’ is a means to discuss unintended consequences, rapidly delivered information and viral outbreaks, but it is also used to describe the way in which sound echoes or reverberates against objects in space.

Curator Christine Eyene challenges the Eurocentric and patriarchal frameworks that have informed the history of sound art and, to some extent, continue to define current practice. Sounds Like Her is a challenge

Another Gaze, a feminist film journal #04 brings together essays, conversations, and critical reflections that examine cinema through feminist, queer, and

Es war der einzige erfolgreiche Aufstand in der modernen Geschichte, in der versklavte Menschen aus eigener Kraft ihre Freiheit und Unabhängigkeit erkämpften.

"Selbstbewusstwerdung" versammelt ausgewählte Rezensionen, Manifeste, Gespräche und theoretische Texte der italienischen Kunstkritikerin, feministischen Autorin und Aktivistin Carla Lonzi (1931-1982). Diese bislang im Deutschen nicht zugänglichen Kunstkritiken und Schriften

Jeder Raum, wo Wesen wie wir leben, ist voll beweglicher Materie. Doch worin liegen die ethischen und politischen Kriterien für unseren Umgang mit dieser Materialität des Kollektiven?

Nähert man sich der Autonomie der Kunst als einem historischen Problem statt als einer gefährdeten Errungenschaft, ergibt sich eine grundlegend reorganisierte Kunstgeschichte. Die moderne Freiheit der Kunst zeigt sich als gesellschaftliche Selbstentmündigung, ihr bürgerlicher Fortschritt als akademische Beschränkung. Als moderne wurde die künstlerische Praxis unausweichlich individuell, sittlich und national....

'The book Public Sphere by Performance results from a two-year research project Performance and the Public that Ana Vujanović, Bojana Cvejić and Marta Popivoda carried out in 2011 and 2012, during the residency of TkH (Walking Theory) platform (Belgrade) at Les Laboratoires d’Aubervillier. The part of the research of Marta Popivoda gave rise to the documentary film Yugoslavia: How Ideology Moved Our Collective Body.

The liberal capitalist world order that prevailed after 1989 is today in a stage of advanced disintegration. The collapse of this order exposes the illiberal core of its freedoms and forms of ownership shaped by the market: the violent unfreedoms of the dispossessed as well as the willingness of the propertied to use violence. Art, too, reveals itself as the venue of these forces and their exclusions:

The publication is the first comprehensive documentation of the project White Space in White Space, which was initiated by Stano Filko, Miloš Laky, and Ján Zavarský in 1973 and evolved over the course of almost ten year. This book examines all the international exhibitions (Brno, Budapest, Paris, Warsaw, Beograd, Kassel), the collected manifestos, and the artists’ writings as well as the project’s further transformation in the practice of Stano Filko as a solo artist.

Significantly expanding the scope and functions of the HaFI pamphlet series, Ben Alper and Stanley Wolukau-Wanambwa present visual unknowns and forgotten gestures from the defunct archives of American mid-century news photography. Carefully curated and collated, their iconographic essay, a Bilderatlas of sorts, explores in depth the notion of “hide,” and of what forces normative relations to the visible serve to veil. How can, how should these images be looked at? And how do they unsettle the contemporary gaze?

Following its German publication, Marc Schwegler’s essay Über das Potenzial begrenzter Ordnungen now appears in an English translation by N. Cyril Fischer and a completely re-worked design by Dorothee Dähler and Kaj Lehmann.

African art history continues to be dominated by Western scholars who set the tone for the field. Their cultural frames of reference, which they cast as universal, exert influence on the interpretation of African art, social conditions, and cultural milieu. The knowledge produced in most institutions and academic or independent publishers outside of Africa communicates the extant system in place within those localities. In other words, the audience for such forms of knowledge production is not (necessarily) in Africa.

Rab-Rab Press announces the publication of Free Jazz Communism, a new book actualising Archie Shepp–Bill Dixon Quartet at the 8th World Festival of Youth and Students in Helsinki 1962.

The work of Nicolas Paris compromises of research into the processes of learning and speculation, and is based on four concepts: tool, method, idea and system. This book is separated into four sections that address these four concepts, forming a manual that can be used by everyone, not merely artists or art lovers.

Taking HIV criminalization as a starting point, Cell Count brings together artists who unpack and reconfigure the metaphors and assumptions that enable the punishment and incarceration of people living with HIV.

This book gathers together the presentations made at the International Symposium '

In With Ease Through Heaviness lotet Robert Pfaller die Grenzlinien zwischen philosophischer Reflexion und künstlerischer Praxis aus.