Jimmie Durham

Jimmie Durham
At the Centre of the World

 

Published in conjunction with the first North American survey of the work of Jimmie Durham, this beautifully illustrated catalogue explores Durham’s vital contributions to contemporary art since the 1970s, both in the US and internationally.

Born of Cherokee descent, in 1940s Arkansas, Jimmie Durham takes up such issues as the politics of representation, histories of genocide, and citizenship and exile. This volume collects an array of Durham s sculptures, drawings, photography, video, and performance. It includes essays about Durham s material choices and their metaphoric potential; his participation in the NYC art scene in the 1980s; his use of language; and his ties to Mexico after living in Cuernavaca. An interview with Durham traces his involvement with the American Indian Movement and his self-exile from the US, which along with his essays and poetry, illuminate his life and work. This book provides an opportunity to gain a deeper understanding of Durham, arguably one of the most important artists working today.

Jimmie Durham : At the Centre of the World

Contributions by Anne Ellegood, Jennifer A. Gonzalez, Fred Moten, Jessica L. Horton, Paul Chaat Smith, MacKenzie Stevens, Elisabeth Sussman, Jessica Berlanga Taylor.

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Animals
edited by Filipa Ramos


Animals have become the focus of much recent art, informing numerous works and projects featured at major exhibitions including dOCUMENTA (13) (2013), the 10th Shanghai Biennale (2014), and the 56th Venice Biennale (2015). Contemporary art has emerged as a privileged terrain for exploring interspecies relationships, providing the conditions for diverse disciplines and theoretical positions to engage with animal behavior and consciousness.

This interest in animal nature reflects a number of current issues. Observations of empathy among nonhumans prompt reconsiderations of the human. The nonverbal communication of animals has been compared with poetic expansion of the boundaries of language. And the freedom of animal life in the wild from capitalist subordination is seen as a potential model for reconfiguring society and our relationship to the wider environment. Artists’ engagement with animals also opens up new perspectives on the dynamics of dominance, oppression, and exclusion, with parallels in human society. Animal nature is at the heart of debates on the Anthropocene era and the ecological concerns of scientists, thinkers, and artists alike. Centered on contemporary artworks, this anthology attests to the trans-disciplinary nature of this subject, with art as one of the principal points of convergence.

Artists surveyed include
Allora & Calzadilla, Francis Alÿs, Julieta Aranda, Brandon Ballengée, Joseph Beuys, Marcel Broodthaers, Lygia Clark, Marcus Coates, Jimmie Durham, Marcel Dzama, Simone Forti, Pierre Huyghe, Natalie Jeremijenko, Joan Jonas, Eduardo Kac, Mike Kelley, Henri Michaux, Robert Morris, Henrik Olesen, Lea Porsager, Julia Reodica, Carolee Schneemann, Michael Stevenson, Rodel Tapaya, Rosemarie Trockel, Apichatpong Weerasethakul, Haegue Yang, Adam Zaretsky

Writers include
Giorgio Agamben, Steve Baker, Raymond Bellour, Walter Benjamin, John Berger, Jonathan Burt, Ted Chiang, Simon Critchley, Gilles Deleuze, Jacques Derrida, David Elliott, Carla Freccero, Maria Fusco, Tristan García, Félix Guattari, Donna J. Haraway, Seung-Hoon Jeong, Miwon Kwon, Chus Martinez, Brian Massumi, Thomas Nagel, Jean-Luc Nancy, Ingo Niermann, Vincent Normand, Ana Teixeira Pinto, Will Self, Jan Verwoert, Eduardo Viveiros de Castro

About the Editor
Filipa Ramos is editor-in-chief of art-agenda and a Lecturer in Experimental Film at Kingston University and Moving Image at Central Saint Martins, London. She is the author of Lost and Found: Crisis of Memory in Contemporary Art (2009).

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Animals (Documents of Contemporary Art)
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Intersubjectivity Vol. 1 : Language and Misunderstanding
Abraham Adams, Lou Cantor (Eds.)


Intersubjectivity Vol. 1
Language and Misunderstanding

With contributions by Cory Arcangel, Fia Backström, Alain Badiou, Erica Baum, Xu Bing, Paul Chan, Andrew Durbin, Jimmie Durham, Daniel Grúň, Lucy Ives, Jenny Jaskey, William Kherbek, Nicky Marsh, Julia Moritz & YGRG, Ariane Müller, Vincent Romagny, Hito Steyerl

Intersubjectivity, a two-volume collection of essays, is concerned with a new account of our ideas of what subjects are, and what is means for them to meet. The project explores these concepts in the context of the interaction of non-sentient beings, attempting to move beyond anthropomorphic theories of objectivity and materiality, as well as subjects whose boundaries resist definition. Intersubjectivity takes up the complementary problems of nondiscursive language and nonlinguistic discourse, in an attempt to locate the distinctions and respective abilities of philosophy as a particular kind of art and art as a particular kind of philosophy.

The first volume, Language and Misunderstanding, addresses concretism and its discontents. The essays and performance texts herein argue for an expanded consideration of concretism in contemporary practices oriented toward the embodiment of language, in works that challenge the privileging of the body of the word over the body of the artist. Thus Cory Arcangel, Fia Backström, Erica Baum, Paul Chan, Jimmie Durham, and Hito Steyerl all contribute works that in different ways insist on the somatic nature of writing; Andrew Durbin, and Ariane Müller, and Vincent Romagny address the drift of meaning across material; Lucy Ives, Daniel Grúň, and the Young Girl Reading Group are skeptical of dogmas of authorship and identity; Alain Badiou asks when modern art will end; and Abraham Adams polemicizes against the loss of the body in the concrete work. With an introduction by Lou Cantor.

Design by BOKA Bożena Kalinowska

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Materiality
edited by Petra Lange-Berndt

 

Materiality has reappeared as a highly contested topic in recent art. Modernist criticism tended to privilege form over matter—considering material as the essentialized basis of medium specificity—and technically based approaches in art history reinforced connoisseurship through the science of artistic materials. But in order to engage critically with the meaning, for example, of hair in David Hammons’s installations, milk in the work of Dieter Roth, or latex in the sculptures of Eva Hesse, we need a very different set of methodological tools.
This anthology focuses on the moments when materials become willful actors and agents within artistic processes, entangling their audience in a web of connections. It investigates the role of materiality in art that attempts to expand notions of time, space, process, or participation. And it looks at the ways in which materials obstruct, disrupt, or interfere with social norms, emerging as impure formations and messy, unstable substances. It reexamines the notion of “dematerialization”; addresses materialist critiques of artistic production; surveys relationships between matter and bodies, from the hierarchies of gender to the abject and phobic; explores the vitality of substances; and addresses the concepts of intermateriality and transmateriality emerging in the hybrid zones of digital experimentation.

Artists surveyed include
Georges Adéagbo, Carl Andre, Janine Antoni, Amy Balkin, Artur Barrio, Helen Chadwick, Mel Chin, Mark Dion, Jimmie Durham, Tessa Farmer, Chohreh Feyzdjou, Romuald Hazoumè, Pierre Huyghe, Ilya Kabakov, Mike Kelley, Anthony McCall, Teresa Margolles, Robert Morris, Michelangelo Pistoletto, Tino Sehgal, Shozo Shimamoto, Santiago Sierra, Robert Smithson, Simon Starling, Paul Thek, Paul Vanouse, Mierle Laderman Ukeles, Kara Walker

Writers include
Joseph D. Amato, Karen Barad, Judith Butler, Elizabeth Grosz, Georges Didi-Huberman, Natasha Eaton, Jens Hauser, Dieter Hoffmann-Axthelm, Tim Ingold, Wolfgang Kemp, Julia Kristeva, Esther Leslie, Jean-François Lyotard, Dietmar Rübel, Monika Wagner, Gillian Whiteley

About the Editor
Petra Lange-Berndt is Chair of Modern and Contemporary art in the Art History Department at the University of Hamburg and a leading researcher in the field of material studies in art history. She is coeditor, with Dietmar Rübel, of Sigmar Polke: We Petty Bourgeois! Contemporaries and Comrades, the 1970s.

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