Rosalind Nashashibi

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ALLEGORY OF THE CAVE PAINTING
Mihnea Mircan & Vincent W.J. van Gerven Oei (Eds.)

 

Mihnea Mircan & Vincent W.J. van Gerven Oei, eds.

With contributions by Haseeb Ahmed, Ignacio Chapela, Justin Clemens, Georges Didi-Huberman, Jonathan Dronsfield, Christopher Fynsk, Vincent W.J. van Gerven Oei, Natasha Ginwala & Vivian Ziherl, Adam Staley Groves, Sean Gurd, Adam Jasper, Susanne Kriemann, Brenda Machosky, Mihnea Mircan, Alexander Nagel, Rosalind Nashashibi, Tom Nicholson, Jack Pettigrew, Raphaël Pirenne, Susan Schuppli, Lucy Steeds, Jonas Leonard Tinius, Marina Vishmidt, Christopher Witmore, and Khadija von Zinnenburg Carroll

A 2010 archeological study found that the prehistoric Gwion Gwion paintings in Australia, whose chromatic vividness contrasts with their age and their exposure to sun and rain, are inhabited by “living pigments.” A symbiotic biofilm of red cyanobacteria and black fungi sustains a process of permanent self-painting, while also etching the pictures deeper into the quartz wall. The texts commissioned for the reader respond, from a variety of disciplinary perspectives, to an idiosyncratic temporality and economy—or ecology—of signification. Descending from an inscrutable past to the same extent that they are made now, in a radical contemporaneity, the Gwion Gwion are examined as an allegorical metabolism that generates new articulations of “art” and “life,” contamination and purity, prehistory and modernity, bacterial and human colonies, lost knowledge and scientific advancement—collaborative relations between antonyms, altered schemas of “origin” and “identity.”

Now out-of-print – last copies.

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The Registry of Promise
Chris Sharp (Ed.)


Over the course of a year, The Registry of Promise consisted of four interrelated exhibitions, which are represented as chapters in this book. In these chapters, Chris Sharp reflects on our increasingly fraught relationship with what the future may or may not hold, and the work engages with and plays upon the various readings and mutability of promise, along with the inevitability of what may come, whether positive or negative. Such polyvalence is particularly topical, as we have shifted from the anthropocentric promise of modernity to a negative faith in the post-human. Richly illustrated with works and installation views, and an archive of previously published articles by Chris Sharp.
With: Becky Beasley, Patrick Bernatchez, Juliette Blightman, Peter Buggenhout, Nina Canell, Michael Dean, Alexander Gutke, Jochen Lempert, Jean-Luc Moulène, Marlie Mul, Matt Mullican, Rosalind Nashashibi, Antoine Nessi, Jean-Marie Perdrix, Reto Pulfer, Mandla Reuter, Hans Schabus, Lucy Skaer, Michael E. Smith, Carlo Gabriele Tribbioli, Francisco Tropa, Andy Warhol and Anicka Yi.

Texts in English and French.

Design: Roger Willems

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The Assistants
Fionn Meade (Ed.)

Edited by Fionn Meade, The Assistants originates as the visual and conceptual companion of the exhibition organized at David Kordansky Gallery, Los Angeles. Featuring original contributions together with rarely seen works, the publication is animated by Uri Aran, Nairy Baghramian, Matthew Brannon, Andrea Büttner, Rosalind Nashashibi, Adrian Piper, Laure Prouvost, Slavs and Tatars, Mierle Laderman Ukeles, and Cathy Wilkes.

“The Assistants explores the transitive potential of art, including how artworks can take on attendant guises and play assisting roles, serving as custodians of memory while also producing resistant gestures and deviant substitutions. […] Resigned to respond and generate rather than fix meaning, The Assistants are inalienable and moving within and among us, writes Walter Benjamin, ‘None has a firm place in the world, or firm, inalienable outlines… There is not one that is not either rising or falling, none that is not trading qualities with its enemy or neighbor, none that has not completed its time and yet is unripe, none that is not deeply exhausted and yet is only at the beginning of a long existence.’” – Fionn Meade

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For The Blind Man in the dark room looking for the black that isn’t there

This title is now out of print.

Curated by Anthony Huberman at the Contemporary Art Museum St. Louis, the group exhibition and catalogue For the Blind Man in the Dark Room Looking for the Black Cat That Isn’t There explores the speculative nature of knowledge and insists on the importance of curiosity and the things we don’t understand. Arranged around the premise that the world–and art–is not a code that needs cracking, the works in the exhibition center on the fruitfulness of not-knowing, un-learning, and productive confusion. David Hullfish Bailey, Marcel Broodthaers, Hans-Peter Feldmann, Fischli & Weiss, Rachel Harrison, Giorgio Morandi, Matt Mullican, Rosalind Nashashibi & Lucy Skaer, Frances Stark, Rosemarie Trockel and others present explanations that playfully don’t explain. Dedicated to the inquisitive mind, For The Blind Man celebrates our ability to get lost and the stories we use to find our way in the dark. The book is edited, arranged and designed by London-based writer Will Holder and includes a new essay by curator Anthony Huberman.

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