Witte de With, Rotterdam

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Charlemagne Palestine
GesammttkkunnsttMeshuggahhLaandttttt


Edited by Luca Lo Pinto, Samuel Saelemakers

Contributions by Defne Ayas & Nicolaus Schafhausen, Luca Lo Pinto, Charlemagne Palestine, Samuel Saelemakers, Jay Sanders

Charlemagne Palestine works from a highly personal universe of ritual, intoxication, and shamanism. Over the last four decades the artist has created an extensive body of experimental musical compositions, bodily performances, and, in later years, visual artworks inhabited by stuffed animals. To Palestine, teddy bears figure as powerful shamanic totems, which he fondly calls “divinities.”

Central to “GesammttkkunnsttMeshuggahhLaandtttt,” Palestine’s solo exhibition at Kunsthalle Wien and Witte de With Center for Contemporary Art, is a grand piano as the sounding heart, and a new large-scale version of God-Bear Museum Model, a proposal for a new kind of museum where music and performance find a home just as easily as a painting would. Also part of the exhibition are Palestine’s extraordinary music and sound annotations, and a vast collection of works on paper, which aim to translate sound into image.

This catalogue visually documents this exhibition and features an interview between Charlemagne Palestine and Luca Lo Pinto, curator at Kunsthalle Wien, as well as an essay on Palestine’s work by Jay Sanders, curator of performance at the Whitney Museum of American Art.

Copublished with Kunsthalle Wien and Witte de With
Design by Izet Sheshivari

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Art In The Age Of…


Art In The Age Of…
 was published on the occasion of the eponymous yearlong cycle presented at Witte de With Center for Contemporary Art, Rotterdam (23 January 2015 – 3 January 2016). This series articulated itself through three exhibitions; Art In The Age Of…Energy And Raw Material, Art In The Age Of…Planetary Computation, and Art In The Age Of…Asymmetrical Warfare, alongside a related discursive program and film screenings.

Art In The Age Of… was staged to investigate future vectors of art production in the 21st century, highlighting the circulation of art and its underlying economies rather than its territorial location, its spread and infectious expanse rather than its arrest within narrowly defined genealogies and media.

With a focus on topical areas of urgency within art’s creation and its dispersal, spanning energy and raw materials, planetary computation, and asymmetric warfare, the Art In The Age Of… publication both records and expands research feeding this year-long program through interviews and essays by key contributors, alongside specially commissioned artist interventions.

Edited by Defne Ayas (director, Witte de With), Natasha Hoare (associate curator, Witte de With), and Adam Kleinman (chief editor, WdW Review), the book features interviews with artists involved in the various exhibitions of Art In The Age Of…, including Rossella Biscotti, James Bridle, Céline Condorelli, John Gerrard, Femke Herrengraven, David Jablonowski, Navine G. Kahn-Dossos, John Menick, Trevor Paglen, Susan Schuppli, Tom Tlalim; commissioned essays by theorists, curators and cultural historians involved in its discursive program, including contributions by Alexandra Bradford, Natasha Ginwala, Mike Jay, and Mohammad Salemy; interventions by artists Nina Canell and David Jablonowski; as well as visual documentation of the three exhibitions.

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Douglas Coupland
Bit Rot


Douglas Coupland’s new book ‘Bit Rot’, published on the occasion of his exhibition at Witte de With, combines fictional short stories with columns, and creates a parallel narrative to the exhibition itself. ‘Bit Rot’ addresses subjects such as the death of the middle class, the rise of the internet and its impact on our lives, and in short, evinces a shedding of twentieth-century notions of what the future is and could be. The book is named after a phenomenon in digital archiving that describes the way digital files of any sort spontaneously decompose.

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John Knight
Enkele Werken (Several Works)

Exhibition catalogue published in conjunction with show held at Le Nouveau Musée, Villeurbanne, France, November 25, 1989 – February 18, 1990. Traveled to Witte de With, Centre for Contemporary Art, Rotterdam, Netherlands, April 7 – May 20, 1990.

According to Anne Rorimer, Knight critically addresses art practices by contextualizing objects within the cultural system and by abstracting existing signs from functional modes of representation. Buchloh focuses on how Knight re-materializes the art object through his use of design, display, and framing, in order to avoid the elitism of conceptual art.

Introduction by Chris Dercon. Essays by Anne Rorimer, Benjamin H.D. Buchloh.
Includes selected bibliography.

Texts in English and Dutch.

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