Ulises Carrión: Second Thoughts (1980)

21 May 2015, dusan

“This book includes the theoretical and polemical works by Ulises Carrión from the Other Books and So Archief. Covering themes as bookworks, rubber-stamps and mail-art, these texts are here for the first time assembled in one volume, after having been published in periodicals and catalogues in various countries. For this edition, numerous annotations (references and anecdotes) have been adddd by the author.” (from p 1)

Included essays: “The New Art of Making Books”, “From Bookworks to Mailworks”, “Rubber Stamp Theory and Praxis”, “Rubber Stamp Art”, “Mail Art and the Big Monster”, “Table of Mail Art Works”, “Personal Worlds or Cultural Strategies?”, “Bookworks Revisited”.

Publisher VOID Distributors, Amsterdam, 1980
72 pages
via nallelyyolanda7617, HT Valerio

Publisher
WorldCat

PDF (2 MB)
JPGs (at Lomholt Mail Art Archive)

more on Carrión

Harald Szeemann, et al.: Documenta 5, catalogue (1972) [DE]

21 May 2015, dusan

“Even decades later, Documenta 5, the exhibition that was criticized in 1972 as being “bizarre.. vulgar.. sadistic” by Hilton Kramer (NYT) and “monstrous.. overtly deranged” by Barbara Rose (NYM), resonates today as one of the most important exhibitions in history. Both hailed and derided by artists and critics, the exhibition was the largest, most expensive and most diverse of any exhibition anywhere, and foreshadowed all large-scale, collaboratively curated, comprehensive mega-shows to come.

Chiefly curated by the Swiss curator, Harald Szeemann, it was a pioneering, radically different presentation that was conceived as a 100-day event, with performances and happenings, outsider art, even non-art, as well as repeated Joseph Beuys lectures, and an installation of Claes Oldenburg’s Mouse Museum, among many other atypical inclusions. The show widely promoted awareness of a contract known as The Artist’s Reserved Rights Transfer and Sale Agreement, which protects artists’ ongoing intellectual and financial rights with regard to their production.” (Source)

“Featuring the works of over 170 artists and an equally expansive variety of materials and subjects drawn from popular cultural materials such as science fiction publications, kitsch objects, exploitation films, as well as advertising imagery, in addition to the more anticipated painting and sculpture – Documenta 5 valiantly attempted to bridge the gap between art, culture, science and the broader society.

A lasting highlight of the exhibition was the graphic logo for the show designed by Edward Ruscha. Commissioned by Szeeman, Ruscha’s graphic image for the show featured ants arranged in the word ‘Docu / menta’ and the number ’5.’ The emblem was used on the exhibition’s poster and catalogue cover.” (Source)

Contents of Part B:
1 Hans Heinz Holz: Kritische Theorie des ästhetischen Zeichens (catalogue foreword, 86 pp),
2 Bazon Brock & Karl Heinz Krings: Audiovisuelles Vorwort (audiovisual foreword, 19 pp),
3 Eberhard Roters: Trivialrealismus & Trivialemblematik (16 pp),
4 Ingolf Bauer: Bilderwelt und Froemmigkeit (10 pp),
5 Gesellschaftliche Ikonographie an zwei Beispielen (8 pp),
6 Charles Wilp, Hans Heinz Holz: Werbung (4 pp),
7 Reiner Diederich, Richard Grübling, Klaus Staeck: Politische Propaganda (14 pp),
8 Pierre Versins: Science Fiction/Heute von gestern gesehen (10 pp),
9 François Burkhardt: Utopie/Morgen von gestern gesehen (16 pp),
10 Ursula Barthelmess, Hans-Henning Borgelt, Linde Burkhardt, Wolfgang Hoebig: Spiel und Wirklichkeit (14 pp),
11 Theodor Spoerri: Bildnerei der Giesteskranken (18 pp),
12 Gerhard Buettenbender, Sigurd Hermes: Film (28 pp),
13 Museen von Künstlern (17 pp),
14 Sozialistischer Realismus (1 p),
15 Jean-Christophe Ammann: Realismus (58 pp),
16 Johannes Cladders, Harald Szeemann: Individuelle Mythologien – Selbstdarstellung: a) Performance, b) Film – Prozesse (220 pp),
17 Konrad Fischer, Klaus Honnef, Gisela Kaminski: Idee + Idee / Licht (92 pp),
18 Information + The Artist’s Reserved Rights Transfer and Sale Agreement (44 pp),
19 Verzeichnis der ausgestellten Werke
20 Allgemeine Bibliographie
21 Waehrend: Ereigniskalender
22 Nachher 1: Text
23 Nachher 2: Bild
24 Nachher 3: Presse
25 Fotonachweis

documenta 5. Befragung der Realität – Bildwelten heute
Edited by Harald Szeemann, Marlis Grüterich, Katia von den Velden, Jennifer Gough-Cooper
Publisher documenta and Bertelsmann, Kassel, 1972
ISBN 3570028569, 9783570028568
64+80 & 740+ pages
via The DOR (at Archive.org)

Analyses and commentaries:
3sat TV documentary (video, 41 min, 1972, DE)
Der Spiegel (1972, DE)
Klaus Herding & Hans-Ernst Mittig on Holz’s foreword (Kritische Berichte, 1973, DE)
Documenta 5 in Art Since 1900 (2004, EN)
Dirk Schwarze (Documenta Archiv, 2014, DE)

documenta Archiv, (2)
Wikipedia (DE)
WorldCat

Part A (144 pp, PDF, 57 MB)
Part B (740+ pp, PDF, 287 MB, sections 19-24 missing, alt link)

Joseph Kosuth: Art as Idea as Idea, 1967-1968 (1973)

20 May 2015, dusan

Exhibition catalogue.

Publisher Paul Maenz, Brussels, March 1973
[12] pages
via The DOR (at Archive.org)

PDF (16 MB)

Geert Lovink, Nathaniel Tkacz, Patricia de Vries (eds.): MoneyLab Reader: An Intervention in Digital Economy (2015)

19 May 2015, dusan

“MoneyLab is part of a global movement that demands the democratization of the design of our financial futures. Audacity is essential in times of crisis. And so we must engage constructively with hackers, entrepreneurs, and other creators who take up the call for economic alternatives. One first step is a map of the present: What works and what doesn’t? What is worth pursuing and what must be left aside? Which histories bear on the present moment? And what are the limits of our economic imagination?

The MoneyLab Reader brings developments in crowdfunding, currency design, technologies of payment, and other economic experiments into dialogue. The authors of this volume discuss the implications of the current architecture of global finance, its impact on ever-growing income disparity, and question money and finance as such. It is not always clear, for instance, whether genuine alternatives are unfolding or if we are simply witnessing the creative extension of neoliberalism.”

Contributors: Irwan Abdalloh, Franco ‘Bifo’ Berardi, Robert van Boeschoten, Finn Brunton, Paolo Cirio, Jim Costanzo, Primavera De Filippi, Eduard de Jong, Irina Enache, Andrea Fumagalli, David Golumbia, Max Haiven, Keith Hart, Samer Hassan, Ralph Heidenreich, Stefan Heidenreich, Geert Lovink, Bill Maurer, Rachel O’Dwyer, Pekka Piironen, Lena Rethel, Renée Ridgway, Andrew Ross, Stephanie Rothenberg, Douglas Rushkoff, Saskia Sassen, Inge Ejbye Sørensen, Lana Swartz, Erin B. Taylor, Tiziana Terranova, Nathaniel Tkacz, Pablo Velasco González, Akseli Virtanen and Beat Weber.

Foreword by Saskia Sassen
Publisher Institute of Network Cultures, Amsterdam, 2015
INC Reader series, 10
Creative Commons BY-NC-SA 4.0 Unported License
ISBN 9789082234558
308 pages

Publisher

PDF
Issuu

YoHa, et al.: Evil Media Distribution Centre (2013)

18 May 2015, dusan

“Evil Media Distribution Centre is a response to the book Evil Media (2012) by Matthew Fuller and Andrew Goffey. In that book the authors argue for a broader notion of media and a deeper, more complex understanding of how these grey media influence the way we behave, think and perceive.

‘Grey media’ produce the working environment of administrators, professionals, delivery operatives and arranges the movements and work-arounds of everyone from chief executives to intellectuals or cleaners. They are the background to contemporary society. Using them, getting round their failures, exploiting their specific qualities, forms part of the necessary knowledge of the present day. These things mediate, transform, encode, filter and translate relations. Fuller and Goffey include a broad definition of media to include things like middle management, neurotropic or suppressant drugs that treat the body as an information system, alongside things such as queuing systems or specific algorithms or data–structures.

Assisted by Transmediale, Tom Keene, Anna Blumenkranz and other members of the Open Systems Association, YoHa (Graham Harwood & Matsuko Yokokoji) had invited people to write a text of one hundred words about an object, its genealogy, any key factors that make it amenable to manipulation. This text was then presented together with the object in a cabinet of curiosities that at the same time evoked associations with a distribution centre. A key fact of grey media is its ready quality of dryness, one bordering temptingly on boredom and this is something we asked people to maintain when writing the text.

The project has been installed at Transmediale 2013 in Berlin and The Netherlands Architecture Institute in Rotterdam.” (from YoHa’s statement)

Review: Stephen Fortune (2013).

28 contributions presented in video
All 51 contributions presented in text (use menu on the left)

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