Sean Snyder

KM-coverKMspread

k.m Exhibitions/Ausstellungen 2010-2015
Bart van der Heide, Manuel Raeder (Eds.)

 

Edited by Bart van der Heide and Manuel Raeder.

This book is an overview of the exhibition program of Bart van der Heide from 2010 – 2015, which he realised as the director of Kunstverein München. This program includes exhibitions by Silke Otto-Knapp, Ian Kiaer, Tobias Madison, Keren Cytter, Cathy Wilkes, Group Affinity, Willem de Rooij, Trisha Baga, Richard Tuttle, Mei-mei Berssenbrugge, Simon Denny, Nicolas Ceccaldi, Ger van Elk, James Richards, and others. Each exhibition is presented by a corresponding booklet, containing all texts and images. These accompanying publications were designed individually for each exhibition in cooperation with Studio Manuel Raeder. The different designs play with various fonts, formats, and graphic elements. Together with these publications, a variety of coloured images of exhibition views conveys the curatorial direction as well as the identity of the Kunstverein in those years. A reflection by Bart van der Heide and all booklet texts are included in both German and English.

designed by Studio Manuel Raeder

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k.m Exhibitions/Ausstellungen 2010-2015
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Poor Man’s Expression: Technology, Experimental Film, Conceptual Art A Compendium in Texts and Images
Martin Ebner, Florian Zeyfang (Eds.)

With texts by Sabeth Buchmann, Anselm Franke, Ariane Müller, Branden Joseph, Stefanie Schulte Strathaus, Ian White, Axel John Wieder

Poor Man’s Expression examines the relationship between film, video, technology, and art, with a particular focus on the reciprocal influences between conceptual art and experimental film. The publication is based on the eponymous exhibition in Berlin in 2006, but represents an independent compendium of texts and images beyond the show. Works, lectures and performances by international artists, created for the exhibition and expanded for the publication, are set alongside historical experimental films from the archive of the Freunde der Deutschen Kinemathek in Berlin. The authors and artists respond to the questions that arise as to the semantics of critical and experimental conceptual art, medial representation, and the expansion of a concept of technology towards social functions and psychology; they explore problems of medial control, intellectual property, and a changing concept of the public.

as a point of departure we have assumed that there was once a close relationship between forms that now exist rather separately, namely the realms of visual art, experimental film, literature, poetry, music – and very much the development of technology, too. what is it supposed to mean that 16mm projectors now occupy their luxurious final performance sites at art societies and galleries, while iphone youtube (without open source codecs, to be sure) is the current way to watch a hollis frampton interview.

the other way around, isn’t the gentle entry of the genre of “experimental film” into the realm of “media art” of the 1980s and 1990s itself a transformation analog to general social and medial development brought about by the development of individualization and consumer society? in poor man’s expression we have sought, through an advanced setting (“affirmative” neon light surfaces, and the exhibition’s “paradoxical” bipartite spatial principle) to address the surrounding “corporate public” architecture of the sony center as well as the film archive deep underground and the dark cinema space of the “avant-garde cinema.”

Artists: Stephanie Taylor, Sebestyén Kodolányi, Sebastian Lütgert, Henrik Olesen, Mathias Poledna, Sean Snyder, Daria Martin, Kirsten Pieroth, Martin Ebner, Florian Zeyfang

Images: Anthony Balch, Len Lye, Carolee Schneeman, Bruce Conner, Harry Smith, Joyce Wieland, George Landow, Marie Menken, Ken Jacobs, Rober Breer, Emile Cohl, a.o.

In collaboration with Arsenal Institute for Film and Video art

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Poor Man’s Expression
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Otra De Vaqueros

With Jennifer Allora & Guillermo Calzadilla, Artemio, Bernadette Corporation, Jay Chung & Q Takeki Maeda, Minerva Cuevas, Jeremy Deller, Claire Fontaine, Mario Garcia-Torres, Karl Holmqvist, Bruno Serralongue, Sean Snyder, Reena Spaulings, the Backroom, and Konst2

Otra de vaqueros—the book is the negative space and a souvenir of an eponymous residency and exhibition project that took place in Mexico City in 2007. Featuring stories, statements, tales, questionnaires, jokes, instructions, letters and notes by the participating artists and guest projects, the book might even provide a few hints about the mechanisms and the relational and conceptual spaces that preempted the production of the exhibition’s works, and the Otra de vaqueros project as a whole.

Edited by Perros Negros, Toasting Agency
Design by Aline Girard

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Otra De Vaqueros
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The Witness

The Witness is a new book by The GAM Underground Project, Torino.

A publication to accompany the exhibition All the Memory of the World at the Gallery of Modern and Contemporary Art in Turin (The GAM). It aims to introduce the public to a selection of texts investigating the relationship between different historical methods, art and images. The book focuses on three main themes, which are divided into three different sections, each bringing forth a memory that has been ‘buried’ by a general aesthetic over-production. Images from the world’s history are observed through a ‘privileged moment in time’ in which the artist is identified as the only possible witness to our present.

Contributors include: Haris Epaminonda, Simon Fujiwara, Arnaldo Momigliano, Rossella Biscotti, Carlo Ginzburg, Patrizio di Massimo, Sean Snyder, Hito Steyerl, Clemens Von Wedemeyer, Elizabeth Edwards, Elena Volpato, Marnie Hughes-Warrington, Giorgio Agamben, Frederick N. Bohrer, Frances Haskell

Published by Archive Books.

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The Witness
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