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Welcome to Monoskop, a wiki for collaborative studies of the arts, media and humanities.

This page shows a selection of the latest additions to the website. For more detailed listings see the Log, Recent, Contents and Index sections. Selected updates are posted on RSS, Twitter, Facebook and Instagram.

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Monoskop Log

Ilya Kabakov: On Art (2018)

“During the 1960s and 1970s, the Russian conceptual artist Ilya Kabakov was a galvanizing figure in Moscow’s underground art community, ultimately gaining international prominence as the “leader” of a band of artists known as the Moscow Conceptual Circle. Throughout this time, he created texts that he would distribute among his friends, and by the late 1990s his written production amounted to hundreds of pages.

Devoted to themes that range from the “cosmism” of pre-Revolutionary Russian modernism to the philosophical implications of Moscow’s garbage, Kabakov’s handmade booklets were typed out on paper, then stapled or sewn together using rough butcher paper for their covers. Among these writings are faux Socialist Realist verses, theoretical explorations, art historical analyses, accompaniments to installation projects, and transcripts of dialogues between the artist and literary theorists, critics, journalists, and other artists.

This volume offers for the first time in English the most significant texts written by Kabakov. The writings have been expressly selected for this English-language volume.”

Edited and with an Introduction by Matthew Jesse Jackson
Translated by Antonina W. Bouis and Cynthia Martin with Matthew Jesse Jackson
Publisher University of Chicago Press, 2018
ISBN 9780226384566, 022638456X
432 pages

Publisher
WorldCat

PDF

Charles Doria (ed.): Russian Samizdat Art (1986)

An early survey of unofficial Soviet art. Illustrated with photographs and documentation of artists’ works.

Essays by Szymon Bojko, John E. Bowlt, Rimma & Valery Gerlovin.
Assembled by Rimma & Valery Gerlovin
Publisher Willis Locker & Owens Pub, New York, 1986
ISBN 0930279050, 9780930279059
210 pages

WorldCat

PDF (65 MB)
Internet Archive

Eyal Weizman: Forensic Architecture: Violence at the Threshold of Detectability (2017)

“In recent years, a little-known research group named Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN.

Beyond shedding new light on human rights violations and state crimes across the globe, Forensic Architecture has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing.

In Forensic Architecture, Eyal Weizman, the group’s founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed.

Included in this volume are case studies that traverse multiple scales and durations, ranging from the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere.

Weizman’s Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. Their practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy.”

Publisher Zone Books, New York, 2017
ISBN 9781935408864, 1935408860
355 pages

Reviews: Regine Debatty (We Make Money Not Art, 2017), Adam Rothstein (New Scientist, 2017), Sława Harasymowicz (Journal of Visual Culture, 2017), David Huber (Artforum, 2017), Joseph Confavreux (Mediapart, 2017, FR), Felix Bazalgette (New York Review of Books, 2018), Martina Tazzioli (Radical Philosophy, 2018), Noah Chasin (Springerin, 2018), Bernard Hay (Review 31, 2018), Anna Altman (n+1, 2018), Viktoriya Yeretska (BauNetz, 2017, DE), Erick Villagomez (Spacing, 2017), Andreas Petrossiants (Brooklyn Rail, 2018).

Author
Publisher
WorldCat

PDF (31 MB)

Cedric Price: Technology Is the Answer, but What Was the Question? (1966/2015) [English/Greek]

““Technology is defined in the Oxford dictionary as the science of industrial art.” Cedric Price affirmed in 1966 at the beginning of his lecture entitled ‘Technology is the answer, but what was the question?’. The lecture speaks about the Fun Palace, the transdisciplinary cultural centre that Price designed in 1960 for Joan Littlewood.

The Fun Palace, which was never realised, is emblematic of our own era. It lends itself more to the choreography of 21st century time-based exhibitions than to the object- based displays of the 20th century; it fosters a more communal experience, largely free to operate outside its material limits, and ventures into other realms of human experience. In Price’s own words, “a 21st century museum will utilize calculated uncertainty and conscious incompleteness to produce a catalyst for invigorating change whilst always producing the harvest of the quiet eye”.”

With an Introduction by Lorenza Baroncelli
Published 2015
[43] pages

Editor

PDF
Issuu

Evidentiary Realism: Investigative, Forensic, and Documentary Art (2017)

Evidentiary Realism aims to articulate a form of realism in art that portrays and reveals evidence from complex social systems. The truth-seeking artworks featured explore the notion of evidence and its modes of representation.

Evidentiary Realism reflects on post-9/11 geopolitics, increasing economic inequalities, the erosion of civil rights, and environmental disasters. It builds on the renewed appreciation of the exposure of truth in the context of the cases of WikiLeaks, Edward Snowden, the Panama Papers, and the recent efforts to contend with the post-factual era.”

The exhibition was held at Fridman Gallery, New York, 28 February-31 March 2017, and Nome Gallery, Berlin from 1 December 2017-17 February 2018.

Curated and organised by Paolo Cirio.
Artworks by Nora Al-Badri & Nikolai Nelles, Amy Balkin, Sadie Barnette, Josh Begley, James Bridle, Ingrid Burrington, Hans Haacke, Khaled Hafez, Jenny Holzer, Harun Farocki, Navine G. Khan-Dossos, Thomas Keenan & Eyal Weizman, Mark Lombardi, Kirsten Stolle, Suzanne Treister.
Texts by Jaroslav Anděl, Sampada Aranke, Giulia Bini, Nijah Cunningham, Heather Davis, Blanca de la Torre, Lauren van Haaften-Schick, Natasha Hoare, Aude Launay, Susanne Leeb, Susette Min, Mary Anne Redding, Susan Schuppli, and Nicola Trezzi.

Publisher NOME, Berlin, 2017
Creative Commons BY-NC-ND License
ISBN 9780244342739, 0244342733
171 pages

Project website
Curator, exh. reviews
WorldCat

PDF, PDF (5 MB)