Welcome to Monoskop, a wiki for the arts, media and humanities.
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“The work presented in this book is an invitation to undertake an urgent architectural and political thought experiment: to rethink today’s struggles for justice and equality not only from the historical perspective of revolution, but also from that of a continued struggle for decolonization; consequently, to rethink the problem of political subjectivity not from the point of view of a Western conception of a liberal citizen but rather from that of the displaced and extraterritorial refugee. You will not find here descriptions of popular uprising, armed resistance, or political negotiations, despite these of course forming an integral and necessary part of any radical political transformation. Instead, the authors present a series of provocative projects that try to imagine “the morning after revolution.”
Located on the edge of the desert in the town of Beit Sahour in Palestine, the architectural collective Decolonizing Architecture Art Residency (DAAR) has since 2007 combined discourse, spatial intervention, collective learning, public meetings, and legal challenges to open an arena for speculating about the seemingly impossible: the actual transformation of Israel’s physical structures of domination. Against an architectural history of decolonization that sought to reuse colonial architecture for the same purpose for which it was originally built, DAAR sees opportunities in a set of playful propositions for the subversion, reuse, profanation, and recycling of these structures of domination and the legal infrastructures that sustain them.
DAAR’s projects should be understood as a series of architectural fables set in different locations: an abandoned military base near Beit Sahour, the refugee camp of Dheisheh in Bethlehem, the remnants of three houses on the Jaffa beach, the uncompleted Palestinian Parliament building, the historical village of Battir, the village of Miska destroyed during the Nakba, and the red-roofed West Bank colony of Jabel Tawil (P’sagot) next to Ramallah-El Bireh.”
Publisher Sternberg Press, Berlin, 2013
ISBN 9783943365795, 3943365794
PDF (17 MB)
“Since their first work, Stateless Nation at the Venice Biennial in 2003, and throughout their more recent architectural interventions in refugee camps, the artistic practice of Sandi Hilal and Alessandro Petti has explored and acted within and against the condition of permanent temporariness that permeates contemporary forms of life. In their ambitious research and project-based practice, art exhibitions are both sites of display and sites of action that spill over into other contexts: built architectural structures, the shaping of critical learning environments, interventions that challenge dominant collective narratives, the production of new political imaginations, the re-definition of words, and the formation of civic spaces.
This book is organized around fourteen concepts that activate seventeen different projects. Each project is the result of a larger process of collaboration and is accompanied by individual and collective texts and interviews that contextualize and expand the reach of every intervention.
Contributors to projects and texts include Maria Nadotti, Charles Esche, Robert Latham, Salwa Mikdadi, Eyal Weizman, Okwui Enwezor, Munir Fasheh, Grupo Contrafilé, Murad Odeh, and Rana Abughannam.”
Publisher Art and Theory Publishing, Stockholm, and Royal Institute of Art, Stockholm, 2018
ISBN 9789188031709, 9188031705
“An indispensable guide to the historical avant-garde’s appropriation of clothing as an art form; includes over 100 illustrations and an anthology of artists’ writings.
The late nineteenth-century invention of ‘fashion’ as we understand it today inspired avant-garde artists of the period to create an art form to counter commercial fashion. These artists saw clothing not as a symbol of class distinction but as a force for shaping experience—an opportunity to make things new, to go beyond the traditional boundaries of art. For many artists, therefore, dress design was too important to be left to the fashion designers; they would appropriate clothing as an art form that could break through the traditional boundaries of “pure” art to act directly on life.
Against Fashion is the history of the modern relationship between artists and this ideal ‘anti-fashion.’ Radu Stern traces the development of clothes as art by artists of the late nineteenth and early twentieth centuries. He discusses contributions to the new art form by various artistic movements of the historical avant-garde, including Art Nouveau, the Werkbund, Cubism, Futurism, Constructivism, and the Bauhaus; he examines the work of such key figures as Henry van de Velde, Gustav Klimt, and Sonia Delaunay. The book includes more than 100 illustrations, many in color, as well as an anthology of essential writings and documents by artists and writers of the period, some of them translated into English for the first time. The artists and works examined display a diversity of styles and ideas, but all share the desire to reject the mercantile logic of commercial fashion and replace it with a utopian ‘anti-fashion.'”
Originally published as A contre-courant: vêtements d’artistes / Gegen den Strich: Kleider von Künstlern, 1900-1940, Benteli, Bern, 1992.
Publisher MIT Press, 2004
ISBN 0262194937, 9780262194938
Reviews: Robert Radford (The Art Book, 2004), Diana Crane (Modernism/Modernity, 2005), Elana Shapira (Studies in the Decorative Arts, 2005), Roy R. Behrens (Leonardo, 2005), Elana Shapira (West 86th, 2005), Jane Tynan (J Consumer Culture, 2005).
PDF (13 MB)
“Sonic Writing explores how contemporary music technologies trace their ancestry to previous forms of instruments and media. Studying the domains of instrument design, musical notation, and sound recording under the rubrics of material, symbolic, and signal inscriptions of sound, the book describes how these historical techniques of sonic writing are implemented in new digital music technologies. With a scope ranging from ancient Greek music theory, medieval notation, early modern scientific instrumentation to contemporary multimedia and artificial intelligence, it provides a theoretical grounding for further study and development of technologies of musical expression. The book draws a bespoke affinity and similarity between current musical practices and those from before the advent of notation and recording, stressing the importance of instrument design in the study of new music and projecting how new computational technologies, including machine learning, will transform our musical practices.
Sonic Writing offers a richly illustrated study of contemporary musical media, where interactivity, artificial intelligence, and networked devices disclose new possibilities for musical expression. Thor Magnusson provides a conceptual framework for the creation and analysis of this new musical work, arguing that contemporary sonic writing becomes a new form of material and symbolic design–one that is bound to be ephemeral, a system of fluid objects where technologies are continually redesigned in a fast cycle of innovation.”
Publisher Bloomsbury Academic, New York & London, 2019
ISBN 9781501313851, 1501313851
Collected writings Los Angeles artist Mike Kelley. The first volume contains his critical writings and commentary, the latter focuses on his own work.
“The work of artist Mike Kelley (1954-2012) embraced performance, installation, drawing, painting, video, and sculpture. Drawing distinctively on high art and vernacular traditions, including historical research, popular culture, and psychology, Kelley came to prominence in the 1980s with a series of sculptures composed of craft materials. His more recent work offered dialogues with architecture and with repressed memory syndrome, and a sustained inquiry into his own aesthetic and social history. The subjects on which Kelley wrote are as varied as his artistic media. They include the work of fellow artists, sound, caricature, the uncanny, UFOlogy, and gender-bending.
While the first volume, Foul Perfection, contains thematic essays and writings about other artists; the second collection concentrates on Kelley’s own work, ranging from texts in ‘voices’ that grew out of scripts for performance pieces to expository critical and autobiographical writings.”
Edited by John C. Welchman
Publisher MIT Press, 2003 and 2004
Writing Art series
ISBN 9780262112703, 0262112701 (1), 9780262112772, 0262112779 (2)
xx+238 and xxv+431 pages