This collection of essays does not aim to illustrate a prefabricated theory of art, but rather follows the impulses given by artworks themselves. Philosopher and art critic Boris Groys writes about significant works and artists over the last century that have pushed his thinking in new directions. His compelling arguments do not try to replace the singular content or message of an artwork. Instead, his writings are inspired by art as a mind-changing practice—as if contemporary artists, completely secularized, can still produce a kind of conversion within the spectator. Particular Cases is an original exploration of pivotal concerns related to the development of contemporary art—originality and repetition, the valuation of artworks, materiality and production, historical and personal archives, and the language of power.
Featuring essays on Paweł Althamer, Francis Alÿs, Yael Bartana, Paul Chan, Olga Chernysheva, Marcel Duchamp, Peter Fischli and David Weiss, Martin Honert, Rebecca Horn, IRWIN, Wassily Kandinsky, Piero Manzoni, Anri Sala, Thomas Schütte, Mladen Stilinović, Inga Svala Thorsdottir and Wu Shanzhuan, Jeff Wall, Andy Warhol
Design by Chad Kloepfer
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I Have Left You the Mountain
Simon Battisti, Leah Whitman-Salkin, Åbäke (Eds.)
With contributions by Etel Adnan, Mourid Barghouti, Michel Butor, Claire Fontaine, Yona Friedman, Anri Sala, Michael Taussig, Yanis Varoufakis, Ornela Vorpsi, Finn Williams; the singers of Fier, Vlorë, Himarë, and Tirana
“I Have Left You the Mountain,” published on the occasion of the Albanian Pavilion at the 15th International Architecture Exhibition of La Biennale di Venezia, presents ten new texts written by contemporary writers and thinkers on the architecture of displacement. These texts have been set to music and sung by some of the last remaining groups of Albanian iso-polyphonic singers, an art form now protected as “intangible cultural heritage” by UNESCO.
A living art form in step with the generations of migration and transition, “singing migration” has been a core part of processing departure, longing, and return. The Albanian Pavilion is a space of collective listening; of “individuals in company.”
“I Have Left You The Mountain” initiates a conversation about the urbanism of displacement, projecting the Albanian case onto an international stage, with the express intention to transmit that dialogue and its speculations back into Albania.
The singers of Fier: Petrit Canaj, Llazar Dumi, Kastriot Halihoxha, Nesim Meno, Muharrem Mezani, Guri Rrokaj, Fatmir Tahiraj, Shaban Zeneli; the singers of Vlorë: Adriatik Cenko, Viktor Gjoka, Sinan Gjoleka, Vendim Kapaj, Piro Latifaj, Dejrim Mustafaraj, Trifon Malaj; the singers of Himarë: Luljeta Çipa, Valentina Gerdhuqi, Violeta Gerdhuqi, Zaharulla Koka, Polite Merkuri, Eglanda Prifti, Vojsava Zenelaj; the singers of Tirana: Dhurim Ballo, Sotir Ballo, Nazo Celaj, Trifon Golemi, Hyso Xhaferraj
Published on the occasion of the Albanian Pavilion at the15th International Architecture Exhibition of La Biennale di Venezia.
Design by Åbäke
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Edited by Daniel Birnbaum, Stefanie Hessler, Carsten Höller & Jo Widoff
Anyone undertaking a study of the concept of “life” in our culture will observe that it never gets defined as such, writes Giorgio Agamben. Instead, he claims, this indeterminate thing – life itself – gets articulated and divided time and again through a series of oppositions that give it a function in the sciences without ever being defined as such. These theoretical and literary articulations are what this book is about, and what the 173 texts by authors, scientists and philosophers from all times and all disciplines will try to answer.
Ernst Haeckel, speculative biologist and naturalist, coined key concepts as phylum and ecology. In the years 1899-1904 he published Kunstformen der Natur (Art Forms of Nature), one hundred prints depicting organisms many of which were first described by Haeckel himself, who with this project took an unusual step from science to art. His sketches thus create a bridge between this book and the exhibition at Moderna Museet, appearing in the margins of both. Otherwise there is no art in this publication and the division of labor strict: the exhibition is art?s chance to answer the topic spelled out in the subtitle to Life Itself: “On the question of what it essentially is; its materialities, its characteristics, considering that attempts to answer this question by occidental sciences and philosophies have proven unsatisfactory.”
Exhibition featured the work of Giovanni Anselmo, Olga Balema, Hicham Berrada, Joseph Beuys, Karl Blossfeldt, Constantin Brancusi, Victor Brauner, Nina Canell, Lygia Clark, Trisha Donnelly, Monica Englund, Valia Fetisov, Dirk Fleischmann, Katharina Fritsch, Ernst Haeckel, Barbara Hauser, Tamara Henderson, Eva Hesse, Damien Hirst, Tehching Hsieh, Pierre Huyghe, Carsten Höller/Rosemarie Trockel, On Kawara, Josh Kline, Hilma af Klint, Edward Krasinski, Mark Leckey, Helen Marten, Henri Michaux, Barnett Newman, Otobong Nkanga, Katja Novitskova, Philippe Parreno, Giuseppe Penone, Leo Reis, Ulf Rollof, Rachel Rose, Anri Sala, Sebastian Stöhrer, Sturtevant, Paul Thek, Rosemarie Trockel, Rosemarie Trockel/Günter Weseler, Christine Ödlund.
- Life Itself
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