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Invisible Adversaries
edited by Lauren Cornell

‘Invisible Adversaries’ was a major exhibition curated by Lauren Cornell and Tom Eccles inspired by the 1976 feature film by the radical Austrian artist Valie Export. The film presents a woman’s struggle to retain her sense of self against hostile alien forces that appear increasingly ubiquitous, colonizing the minds of all those around her. Motifs from the film – among them, architecture’s influence on identity; feminist critique; and the power of political fantasy – operate as filters through which to consider significant pieces from the Marieluise Hessel Collection.

With works by over 50 artists including Eija-Liisa Ahtila, Chantal Akerman, Kai Althoff, Janine Antoni, Ida Applebroog, Phyllida Barlow, Lynda Benglis, Barbara Bloom, Paul Chan, Patty Chang, Anne Collier, Rineke Dijkstra, Trisha Donnelly, VALIE EXPORT, Hans-Peter Feldmann, Isa Genzken, Liam Gillick, K8 Hardy, Rachel Harrison, Mona Hatoum, Roni Horn, Emily Jacir, Annette Kelm, Leigh Ledare, Nikki S. Lee, Sarah Lucas, Tala Madani, Christian Marclay, Helen Marten, Ulrike Müller, Bruce Nauman, Tony Oursler, Philippe Parreno, William Pope.L, Seth Price, Magali Reus, Rachel Rose, Thomas Ruff, Ilene Segalove, Cindy Sherman, Stephen Shore, Diane Simpson, Lorna Simpson, Jo Spence, Hito Steyerl, Tunga, Gillian Wearing, Martha Wilson, and Krzysztof Wodiczko, amongst others.

This 300-page publication designed by Zak Group with original essays by nine influential writers, scholars and artists: Zach Blas, Johanna Fateman, Nav Haq, Vít Havránek, J. Hoberman, Alex Kitnick, Tavia Nyong’O, Lauren O’Neill-Butler, and Julian Rose. The catalogue also includes original interviews with VALIE EXPORT, Trevor Paglen, and Hito Steyerl.

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Louise Lawler
A Movie Will Be Shown Without The Picture

Louise Lawler’s ‘A Movie Will Be Shown Without the Picture’ (1979) presents a movie in a regular cinema environment, but without any moving images. This publication is the result of an extensive research project into ‘A Movie’ and its 2012 iteration, undertaken with researcher Sven Lütticken and Louise Lawler. The publication includes a research essay by Lütticken that places ‘A Movie’ in the context of cultural developments in the 1970s and works by the Pictures Generation, and contributions by art historians Debbie Broekers, Eve Dullaart, and Daniël van der Poel.

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Louise Lawler - A Movie Will Be Shown Without The Picture
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I Can’t Work Like This
A Reader on Recent Boycotts and Contemporary Art

Edited by Joanna Warsza; with associate editors Ágnes Básthy, Anna Ten, Georgia Stellin, Judith Waldmann, Katharina Brandl, Lianne Mol, Mirela Baciak, Petra Belc, Renata Cervetto, Sarah Werkmeister, Ulrike Jordan, Ursula Guttmann, Vanda Sárai

Contributions by Corina L. Apostol, Julieta Aranda, Burak Arikan, Dave Beech, Boris Buden, Brad Butler & Karen Mirza, Libia Castro & Ólafur Ólafsson, Tony Chakar, Chto Delat?, Ekaterina Degot, Galit Eilat, Charles Esche, Lara Fresko, Maria Galindo, Erdem Gündüz, Thomas Hirschhorn, Clara Ianni, Alevtina Kakhidze, Matthew Kiem, Kasper König, Vasif Kortun, Maria Kulikovska, Pablo Lafuente, Ana Lira, Vesna Madžoski, Angela Mitropoulos, Ahmet Öğüt, Andrea Phillips, Natascha Sadr Haghighian, Christoph Schäfer, Gregory Sholette, Jonas Staal, Hito Steyerl, Chen Tamir, Nato Thompson, Gabrielle de Vietri, Dmitry Vilensky, Joanna Warsza, Tirdad Zolghadr

In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.

This reader is the result of Joanna Warsza’s course at the Salzburg International Summer Academy of Fine Arts in 2015. It examines four recent cases of boycotts, presenting their political, ideological, and economic contexts, timelines, statements, as well as interviews with parties involved. It reflects on how certain biennials became the place where the power of art is renegotiated and why one simply “can’t work like this.”

Copublished with Salzburg International Summer Academy of Fine Arts
Design by Krzysztof Pyda

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I Can’t Work Like This (2017)
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Darja Bajagić
Unlimited Hate

Edited by Sandro Droschl, Künstlerhaus, Halle für Kunst & Medien
Texts by Alissa Bennett, Franklin Melendez, Natalia Sielewicz

For her first institutional solo Darja Bajagić turns to the murky terrain where real and staged violence bleed into each other with an ease both unsettling and alluring. This has been a key undercurrent to a practice that spans painting, sculpture, video, and installation. Following the lure of the fringes, the artist culls her imagery from fan-gore magazines, true-crime TV shows, fetish websites, obscure online forums, and hidden chat rooms tucked away in the darker reaches of the Web. She handles these disparate source materials with a dose of humor, working them into densely layered compositions that are at once confrontational and poetically fragile. Bajagić explores loaded questions of embodiment, viewership, and power relations, all the while interrogating our need to hold images accountable.

The catalogue is published on the occasion of the artist’s first institutional exhibition, “Unlimited Hate,” which was shown at Künstlerhaus, Halle für Kunst & Medien in the summer of 2016.

Design by Nik Thoenen and Maia Gusberti

 

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