Kitty Kraus

In the Holocene
João Ribas (Ed.)

Contributions by Berenice Abbott, Leonor Antunes, Marcel Broodthaers, Roger Callois, Hanne Darboven and Lucy R. Lippard, Eric Duyckaerts, Max Frisch, Frederich Froebel, Joao Maria Gusmao and Pedro Paiva, Florian Hecker and Quintin Meillasoux, Alfred Jarry, On Kawara, John Latham, Sol LeWitt, F. T. Marinetti, Daria Martin, Mario Merz, Helen Mirra, Man Ray, Ben Rivers and Mark von Schlegell, Pamela Rosenkranz and Erik Wysocan, Robert Smithson, Paul Valéry, Iannis Xenakis

In the Holocene is based on a 2012 group exhibition of the same name at the MIT List Visual Arts Center that explored art as a speculative science, investigating principles more commonly associated with scientific or mathematical thought. Through the work of an intergenerational group of artists, the exhibition and book propose that art acts as an investigative and experimental form of inquiry, addressing or amending what is explained through traditional scientific or mathematical means: entropy, matter, time (cosmic, geological), energy, topology, mimicry, perception, consciousness, et cetera. Sometimes employing scientific methodologies or the epistemology of science, other times investigating phenomena not restricted to any scientific discipline, art can be seen as a form of inquiry into the physical and natural world. In this sense, both art and science share an interest in knowledge, realism, and observable phenomena, yet are subject to different logics, principles of reasoning, and conclusions.

Works by Berenice Abbott, John Baldessari, Rosa Barba, Robert Barry, Uta Barth, Joseph Beuys, Alighiero Boetti, Carol Bove, Marcel Broodthaers, Matthew Buckingham, Hanne Darboven, Thea Djordjadze, Aurélien Froment, Terry Fox, Laurent Grasso, João Maria Gusmão and Pedro Paiva, Rashid Johnson, Kitty Kraus, Germaine Kruip, Daria Martin, John McCracken, Trevor Paglen, Man Ray, Ben Rivers, Pamela Rosenkranz, Robert Smithson, Hiroshi Sugimoto, Georges Vantongerloo, Lawrence Weiner

Copublished with MIT List Visual Arts Center
Design by Kloepfer-Ramsey-Kwon

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In the Holocene
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Petunia #3

Pétunia presents artists’ proposals and texts in French or English. Pétunia’s issues are organised around subjective emergencies. Pétunia avoids using author’s texts as illustrations of a main topic chosen by the chief editors. There is no editorial or publisher’s statement. Each issue will be autonomous, and does not connect with territorial issues and current matters or trends. There are no chapters or sections, but diverse textual forms, from theoretical texts to diary entries to pure fiction or comics, mostly concerning contemporary art. 
The layout of Pétunia will be an important part of each issue; its graphic design will be very present and proclaimed. Pétunia wants to bean unclassified object that paradoxically affirms a strong identity in focusing foremost on the work of women critics, curators, artists…
From this perspective, Pétunia is a feminist publication playing the game of affirmative action, as a response to the constant imbalance of the role and place of women in the art world. Pétunia also reactivates — hopefully with nostalgia and humour — the forms of ideological engagement of women regarding art and critical production, while enriching its view of three decades of “women studies”, “black studies”, post – colonial studies and, of course, post – feminist studies.
Contributors in #3: Katarina Burin, Frances Stark, Laetitia Paviani, Lina Viste Gronli, Nana Oforiatta Ayim, Géraldine Gourbe, Dorothée Dupuis, Emmanuelle Lainé, Clara Meister, Kitty Kraus, Lili Reynaud Dewar, Kathy Acker, Fiona Jardine, bell hooks, Mathieu Kleyebe Abonnenc, Sisters of Jam, Spartacus Chetwynd, Elizabeth Diller.
Design: Change is Good

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Petunia #3
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