Filed under catalogue | Tags: · 1980s, art, cinema, film, horror, humour, sex, violence
“Basically, in one sentence, give us the definition of the ‘Cinema of Transgression’.” Nick Zedd: “Fuck you.”
Nightmarish scenarios of violence, dramatic states of mind, and perverse sexual abysses – the films of the Cinema of Transgression that were consciously aimed at shock, provocation, and confrontation, bear witness to an extraordinary radicality. In the 1980s a group of filmmakers from the Lower East Side in New York went on a collision course with the conventions of American society. Transcending all moral or aesthetic boundaries, the low budget films reveal social hardship met with sociopolitical indifference. Sometimes shot with stolen camera equipment, the films contain strident analyses of life in the Lower East Side defined by criminality, brutality, drugs, AIDS, sex, and excess. The catalogue is published on the occasion of the worldwide first exhibition on the Cinema of Transgression, You Killed Me First at KW Institute of Contemporary Art in Berlin.
The catalogue includes contributions by Sylvère Lotringer, Carlo McCormick, Jonas Mekas, Susanne Pfeffer, Jack Sargeant, Nick Zedd and collages by Leonard Neumann LSD.
Edited by Susanne Pfeffer
Publisher KW Institute of Contemporary Art, Berlin, and Walther Konig, Cologne, 2012
Video from the exhibition (3 min)Comment (0)
Filed under catalogue | Tags: · activism, art, politics
“An Anti-Catalog was the work of the Catalog Committee of the group Artists Meeting for Cultural Change (AMCC). A landmark publication of the 1970s, its purpose was to protest the Whitney Museum of American Art’s bicentennial exhibition, which was titled Three Centuries of American Art. The Whitney show featured John D. Rockefeller III’s collection of mainly eighteenth and nineteenth-century American art–a collection that featured only one African American and one woman artist.
The Catalog Committee, which consisted of fifteen artists and two art historians, spent almost a year producing an eighty-page book containing articles and documents. Originally conceived as a critique of art historian E.P. Richardson’s catalog for the Whitney exhibition, the committee evolved ideas for pictorial essays that would encompass native American art, African-American art, art by women, critiques of pervasive class bias in the art world, and critical examinations of cultural institutions. As the committee wrote in its description of its project, ‘we share the belief that culture should no longer exist merely as an extension of the economic interests or the personal ‘tastes’ of the wealthy and powerful. Nor can we hope to transform culture outside of a struggle to transform the society from which it springs.’ Strong words that have lost little of their relevance for today’s cultural scene.” (Alan Wallach)
Written, designed, and produced by Rudolf Baranik, Sarina Bromberg, Sarah Charlesworth, Susanne Cohn, Carol Duncan, Shawn Gargagliano, Eunice Golden, Janet Koenig, Joseph Kosuth, Anthony McCall, Paul Pechter, Elaine Bendock Pelosini, Aaron Roseman, Larry Rosing, Ann Marie Rousseau, Alan Wallach, Walter Weissman.Comment (0)
Filed under catalogue | Tags: · art, computer art, computing
Catalogue for an exhibition of 157 works held in March-April 1972 at the National Gallery of Modern Art in New Delhi, India, organised in collaboration with Max Mueller Bhavan, New Delhi, and IBM India.
With essays by Laxmi P. Sihare (then director of the gallery), Herbert W. Franke and S.L. Kapoor (then a system engineer at IBM-India).
via compArt daDA
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Hold stenhårdt fast på greia di: Norwegian Art and Feminism 1968-89, catalogue (2013) [Norwegian/English]
Filed under catalogue | Tags: · 1960s, 1970s, 1980s, activism, art, feminism, norway
Hold stenhårdt fast på greia di (“Hold on to your thing”, but the original title holds more references) is the first major exhibition to consider the connections between artistic practice and the feminist movement in Norway.
“The exhibition presents an overview of the many ways in which second-wave feminist ideas contributed to a transformation of the accepted subjects and methods of contemporary art in Norway, as well as the creative contribution that artists made to the public representation of the women’s movement. From the formal liberations of the 60s avant-garde, through the developing political awareness and organised struggles of the 70s, to the disenchantment of the 80s, the exhibition also aims to show some of the ways in which formal art production was influenced by a radical core of activist practice.” (from the catalogue)
The exhibition was first held at Kunsthall Oslo (March-April 2013); another show is scheduled at Kunsthall Stavanger (January-April 2014). It is curated by Eline Mugaas, Elise Storsveen and Kunsthall Oslo.
Publisher Kunsthall, Oslo, 2013
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Filed under book, catalogue | Tags: · 1920s, 1930s, archaeology, art, art history, avant-garde, ethnography, film, painting, photography, sculpture, surrealism
In the Paris art world of the 1920s, Georges Bataille and his journal DOCUMENTS represented a dissident branch of surrealism. Bataille—poet, philosopher, writer, and self-styled “enemy within” surrealism—used DOCUMENTS to put art into violent confrontation with popular culture, ethnography, film, and archaeology. Undercover Surrealism, taking the visual richness of DOCUMENTS as its starting point, recovers the explosive and vital intellectual context of works by Picasso, Dalí, Miró, Giacometti, and others in 1920s Paris. Featuring 180 color images and translations of original texts from DOCUMENTS accompanied by essays and shorter descriptive texts, Undercover Surrealism recreates and recontextualizes Bataille’s still unsettling approach to culture. Putting Picasso’s Three Dancers back into its original context of sex, sacrifice, and violence, for example, then juxtaposing it with images of gang wars, tribal masks, voodoo ritual, Hollywood musicals, and jazz, makes the urgency and excitement of Bataille’s radical ideas startlingly vivid to a twenty-first-century reader.
With contributions by Fiona Bradley, Neil Cox, Caroline Hancock, Denis Hollier, William Jeffett, CFB Miller, Michael Richardson, and Ian Walker.
Publisher Hayward Gallery, London, with MIT Press, Cambridge/MA, 2006
ISBN 1853322504, 9781853322501
DOCUMENTS at Wikipedia
exhibition review (Peter Suchin, Frieze)
commentary on the exhibition (Benjamin Noys, Radical Philosophy)
commentary on the exhibition (John Phillips and Ma Shaoling, Theory, Culture & Society)