Following the 2015 exhibition “Florian Hecker/John McCracken” at Künstlerhaus, Halle für Kunst & Medien Graz, this publication probes the experimental capacity of the white-cube space of the gallery. For the exhibition, two complementary yet autonomous artists were brought into dialogue with each other: German artist and computer composer Florian Hecker, and the late American sculptor John McCracken.
The fiberglass-coated, monochrome “planks” by McCracken spanned the floor and the walls of the building, evoking a juncture between painting and sculpture, while Hecker’s computer-generated sound pieces dramatized both space and time. By combining the work of the two artists, a framework was created in which an aesthetic experience occurred between the shifting boundaries and intersections of sculpture and sound as they affected each other within a space consisting of geometric and architectural formations as well as temporal and subjective formations. At the same time, the viewer/listener became more sensitized to the conditions, qualities, and degrees of intensity between the physical and the ephemeral.
The publication includes a curatorial introduction by Christian Egger, and a comprehensive essay by the author and curator of the Serralves Museum of Contemporary Art, Porto, João Ribas. The cover has been designed by Florian Hecker using an objectness measure algorithm.
Copublished with Künstlerhaus, Halle für Kunst & Medien Graz
Design by NORM, Zurich
- Florian Hecker, John McCracken
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Jahresring #60: Jahrbuch für moderne Kunst
Edited by Brigitte Oetker and Nicolaus Schafhausen
Interviews with Saâdane Afif, Thomas Bayrle, Michael Beutler, Monica Bonvicini, Mike Bouchet, Ulla von Brandenburg, Angela Bulloch, Andrea Büttner, Keren Cytter, Simon Denny, Thea Djordjadze, Ólafur Elíasson, Harun Farocki, Dani Gal, Katharina Grosse, Eberhard Havekost, Florian Hecker, Christian Jankowski, Susanne Kriemann, Antje Majewski, Olaf Metzel, Carsten Nicolai, Olaf Nicolai, Marcel Odenbach, Silke Otto-Knapp, Willem de Rooij, Cornelia Schleime, Michael Stevenson, Hito Steyerl, Haegue Yang, Tobias Zielony
The 60th Jahresring takes the form of a compilation of artist interviews and offers a snapshot of a highly active art scene that stretches from Berlin, as a new international center for art. Nicolaus Schafhausen put a series of questions to thirty-one art practitioners, less geared toward the artists’ respective praxis and more toward the conditions under which it arises.
Art’s presence in the field of new media has never been more pronounced; access to media images and Internet-based possibilities for research have significantly altered contemporary art production. The art market too has changed, gaining influence in the field of contemporary art as even art institutions take a different approach today than they did twenty years ago.
The focus in these interviews is on the respective self-positioning by the artists in an era shaped by such far-reaching changes. What emerges are temporally fixed positions within an activity that is, for the most large part, associated with precarious working conditions and the logistics of the market more than ever before. This book offers insight into this “other” dimension of an artist’s existence and registers attention economy as a central component of contemporary art production.
Design by Tobias Donat
- Attention Economy Jahresring #60
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100 sound works by 100 artists from the 21st Century
“When we separate music from life we get art.” John Cage
This catalogue presents the exhibition which was part of the 2008 Melbourne International Arts Festival, 21:100:100 featured 100 works by 100 sound artists produced in the 21st Century. This exhibition was the first significant survey to explore and chronicle the extraordinary developments that have occurred in contemporary sound art in the 21st century.
Curated by Alexie Glass, Emily Cormack, Marco Fusinato, Oren Ambarchi
Collaborators: Fabio Ongarato, Jared Davis, Kristy Edmunds
Today, Sound Art and Experimental Music enjoy an infrastructure all of their own, with journals, labels, music festivals and websites devoted to its critical and creative discussion. This ambitious concept was developed with the premise that the foundations of both sound art and contemporary art share a similar spirit of enquiry and experimentation, and whilst the discussion of their relationship is a lively one, this exhibition proved the first to present such a breadth of sound work to Australian audiences within a gallery context.
21:100:100 was developed by Gertrude Contemporary Art Spaces in collaboration with internationally acclaimed Australian artists Oren Ambarchi and Marco Fusinato. It included work made in the preceding eight years chronicling new directions and innovations in sound art. These works were played on 100 headphones suspended within the gallery, creating a space for the visitor to pick their way through sound art’s many and varied aural and conceptual evolutions.
As co-curator Alexie Glass has stated “Melbourne has always enjoyed an incredibly lively sound art community and has been a central site in the investigation and presentation of sound art in a music festival context. 21:100:100 provides a truly unique and crucial opportunity to fully engage with sound art, and to trace it’s varied thematic threads, and innovative stylistic developments. It is the first exhibition of its kind and is one of the most important sound art exhibitions in Australian history.”
The exhibition spanned a range of threads and styles within the art form, featuring work by a diverse selection of the worlds leading practitioners with artists including: ¾ Had Been Eliminated [Italy] Lucas Abela [Australia] Oren Ambarchi [Australia] Natasha Anderson [Australia] Thomas Brinkmann Philip Brophy [Australia] Brothers Of The Occult Sisterhood [Australia] Neil Campbell [UK] Eugene Carchesio [Australia] Andrew Chalk [UK] Chicks On Speed [Europe] Rod Cooper [Australia] Corrupted [Japan] Martin Creed (Owada) [UK] Alvin Curran Dead C [New Zealand] Jim Denley [Australia] The Donkey’s Tail [Australia] Kevin Drumm [USA] Fennesz [Austria] Robin Fox [Australia] Cor Fuhler [Netherlands] Ellen Fullman [USA] Marco Fusinato [Australia] Alistair Galbraith [New Zealand] Bernhard Gunter [Germany] Will Guthrie [Australia] Keiji Haino [Japan] Florian Hecker [Germany] Joyce Hinterding [Australia] Kanta Horio [Japan] Ryoji Ikeda [Japan] Incapacitants [Japan] Jandek [Usa] Philip Jeck [UK] Rolf Julius [Germany] Junko [Japan] Kemialliset Ystavat [Finland] Christina Kubisch [Germany] Kuupuu [Finland] Alan Lamb [Australia] Graham Lambkin [UK] Annea Lockwood [Europe/Nz/USA] Francisco Lopez [Spain] Alvin Lucier [USA] Sachiko M [Japan] Lionel Marchetti [France] Christian Marclay [USA] Masonna [Japan] Maher Shalal Hash Baz [Japan] Mattin (Basque) Merzbow [Japan] Gordon Mumma Muura [Australia] Toshimaru Nakamura [Japan] New Blockaders [UK] Phill Niblock [USA] Hermann Nitsch No Neck Blues Band [USA] Jerome Noetinger [France] Jim O’rourke [USA] Optrum [Japan] Paeces [Australia] Charlemagne Palestine [USA] Paul Panhuysen [Netherlands] Pateras/Baxter/Brown Pita [Austria] Francis Plagne [Australia] Stephen Prina [USA] Eliane Radigue [France] Tom Recchion [USA] Rizili [Australia] Steve Roden [USA] Keith Rowe [UK] Runzelstirn + Gurgelstock [Switzerland] Philip Samartzis [Australia] Marcus Schmickler [Germany] David Shea [Australia/USA] Skaters [USA] Snawklor Michael Snow [Canada] Sonic Youth [Usa] Ssl (Robbie Avenaim/Dale Gorfinkel) [Australia] Striborg [Australia] Taku Sugimoto [Japan] Sun City Girls [USA] Sunn O))) [USA] Akio Suzuki [Japan] Yasunao Tone [Japan/USA] Toshiya Tsunoda [Japan] Voice Crack [Switzerland] Brendan Walls [Australia] Scott Walker [UK] Chris Watson [UK] Ralf Wehowsky [USA] Whitehouse [UK] Otomo Yoshihide [Japan] Richard Youngs (UK) Z’ev (USA)
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