Céline Condorelli

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The Archive as a Productive Space of Conflict
Markus Miessen, Yann Chateigné (Eds.)

Markus Miessen, Yann Chateigné (Eds.)

Contributions by Stuart Bailey, Bassam El Baroni, Thomas Bayrle, Jeremy Beaudry, Beatrice von Bismarck, Beatriz Colomina, Céline Condorelli, Mathieu Copeland, Dexter Sinister, Joseph Grima, Nav Haq, Sandi Hilal, Nikolaus Hirsch, Thomas Jefferson, Christoph Keller, Alexander Kluge, Joachim Koester, Armin Linke, Julia Moritz, Rabih Mroué, Hans Ulrich Obrist, Seth Price, Walid Raad, Alice Rawsthorn, Patricia Reed, David Reinfurt, Claire de Ribaupierre, Eyal Weizman, et al.

What are the processes that enable archives to become productive? Conventional archives tend to be defined through the content-specific accumulation of material, which conforms to an existing order or narrative. They rarely transform their structure. In contrast to this model of archival practice and preservation, the conflictual archive has an open framework in which it actively transforms itself, allowing for the creation of new and surprising relationships. Illustrating how spaces of knowledge can be devised, developed, and designed, this archive reveals itself as a space in which documents and testimonies open up a stage for productive dispute and struggle.

Exploring nontraditional archives, such as those of Harald Szeemann, Hans Ulrich Obrist, Sitterwerk, and the publishing house Merve, The Archive as a Productive Space of Conflict offers new perspectives on archival practice, interrogating whether archives need spatial permanence, and, if so, which design framework should be applied for the archive to take on more than a singular form of existence. The research project is a collaboration between the Karlsruhe University of Art and Design and the Geneva School of Art and Design (HEAD – Genève).

Copublished with Karlsruhe University of Art and Design and the Geneva School of Art and Design (HEAD – Genève)
Design by Jonas Fechner and Lisa Naujack

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Art In The Age Of…


Art In The Age Of…
 was published on the occasion of the eponymous yearlong cycle presented at Witte de With Center for Contemporary Art, Rotterdam (23 January 2015 – 3 January 2016). This series articulated itself through three exhibitions; Art In The Age Of…Energy And Raw Material, Art In The Age Of…Planetary Computation, and Art In The Age Of…Asymmetrical Warfare, alongside a related discursive program and film screenings.

Art In The Age Of… was staged to investigate future vectors of art production in the 21st century, highlighting the circulation of art and its underlying economies rather than its territorial location, its spread and infectious expanse rather than its arrest within narrowly defined genealogies and media.

With a focus on topical areas of urgency within art’s creation and its dispersal, spanning energy and raw materials, planetary computation, and asymmetric warfare, the Art In The Age Of… publication both records and expands research feeding this year-long program through interviews and essays by key contributors, alongside specially commissioned artist interventions.

Edited by Defne Ayas (director, Witte de With), Natasha Hoare (associate curator, Witte de With), and Adam Kleinman (chief editor, WdW Review), the book features interviews with artists involved in the various exhibitions of Art In The Age Of…, including Rossella Biscotti, James Bridle, Céline Condorelli, John Gerrard, Femke Herrengraven, David Jablonowski, Navine G. Kahn-Dossos, John Menick, Trevor Paglen, Susan Schuppli, Tom Tlalim; commissioned essays by theorists, curators and cultural historians involved in its discursive program, including contributions by Alexandra Bradford, Natasha Ginwala, Mike Jay, and Mohammad Salemy; interventions by artists Nina Canell and David Jablonowski; as well as visual documentation of the three exhibitions.

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THE COMPANY SHE KEEPS
Céline Condorelli


‘Perhaps one of my favourite definitions of cultural production is of “making things public”: the process of connecting things, establishing relationships, which in many ways means befriending issues, people, contexts. Friendship in this sense is both a set-up for working and a dimension of production. The line of thought that threads through the following pages is thus that of friendship as a form of solidarity: friends in action.’ — Céline Condorelli in conversation with Nick Aikens, Avery F. Gordon, Johan Frederik Hartle and Polly Staple

Conversations weave through the work of Céline Condorelli, whether in the sculptural structures of her artwork, through the writing and discourse that is embedded in her work, or in the practice of support that frames her activities. Here, five conversations with friends explore working together, the politics of the company one chooses to keep, and friendship between both people and with ideas. Condorelli’s starting point is a conversation with philosopher Johan Frederik Hartle, raising questions of why the philosophical discourse on friendship is exclusively by, and only about, men? Following this, the three part conversation with sociologist Avery F. Gordon explores the possibilities opened up by this exclusion, lead by slaves, migrants, women and pirates, to what it means to make common cause and live ‘as if free to determine one’s own terms of living’.

The final conversation with Polly Staple and Nick Aikens, the curators of her exhibitions Céline Condorelli (Chisenhale Gallery, London) and Positions (Van Abbemuseum), addresses the practice of friendship and support embedded in Condorelli’s work as an artist and how exhibition making can be understood in relation to the question of how to work together. Running alongside each conversation is a series of images reproduced from The Company We Keep.

The Company She Keeps is co-published by Book Works, Chisenhale Gallery, London, and Van Abbemuseum, Eindhoven, as part of our Co-Series, No. 7, in an edition of 1,000 copies, black and white with one colour, 20 images, 120pp, with a soft cover. Designed by An Endless Supply, 147 mm x 220 mm.

This publication accompanies the exhibitions Céline Condorelli at Chisenhale Gallery, London, and Positions at Van Abbemuseum, Eindhoven, 2014 supported by Ammodo and Stichting Promotors Van Abbemuseum.

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