Filed under book | Tags: · art, art history, artist book, computer art, dada, fluxus, internet, mail art, network art, networks, visual poetry, zine culture
“This book is the first university press publication in academia to explore the historical roots, aesthetics and new directions in mail art. The essays of Eternal Network were written and assembled during the early 1990s by mail artist, writer, and curator, Chuck Welch. The edition contains forty illustrated chapters surveying an international community whose mailboxes and computers were a proto internet bridging the analog and digital world of art and communication. Eternal Network includes numerous photographs of mailed artifacts, performance events, congresses, stampsheets, posters, collages, artists’ books, visual poetry, computer art, mail art projects, zines, copy art and rubber-stamped images.
The book is divided into six parts: Networking Origins, Open Aesthetics, New Directions, Interconnection of Worlds, Communication Issues and Ethereal Realms. Appendixes include mailing addresses from the 1990s, mail art exhibitions, a listing and location of over 350 underground mail art magazines and a comprehensive record of public and private international mail art archives. The late Judith Hoffberg, founder of Art Libraries Society of North America (ARLIS) and editor of Umbrella Magazine, wrote an astute and prophetic review of Eternal Network in March 1995. “Some might think that this is the last gasp of a paper-orientated group of artists, but it is more a testament to the future of alternative art and the role of artists as networker”.”
PDF (147 MB)Comment (0)
Filed under book | Tags: · aesthetics, art theory, electronic art, film, interface, media, media art, media technology, new media, semiotics, sign, signal processing, technology, theory
“Since the 1990s there has been intensified focus on the concepts of performativity, the relational, and affect in the humanities. Scholars from different fields have in a variety of ways embraced these notions in their accounts of contemporary culture, and as such they also form the backdrop of this thematic collection of articles entitled From Sign to Signal. It seems, however, as if today’s media situation–the globally evident usage of media technologies–requires a new theoretical approach in order to deal with the intersections of technology and aesthetics, since in these cases the sign often falls short. It has therefore been the ambition of this collection to invite scholars within the humanities to take part in a discussion on the implications of a gradual shift from a (linguistically framed) paradigm of the sign to a new paradigm connected with media augmented environments.
As the term for this new paradigm we have chosen the ‘signaletic material’, coined by Gilles Deleuze in his book Cinema 2: The Time-Image. Deleuze developed this notion in order to stress that film in his view of contemporary or modern cinema had altogether eliminated classical (literary) thoughts of plot and narration. Toward the end of Cinema 2 it becomes clear that the notion of the ‘signaletic material’ might be developed to cover all kinds of filmic and electronic material as well as the emerging new media technologies.” (from the Foreword)
Edited by Bodil Marie Stavning Thomsen, John Sundholm and Ulla Angkjær Jørgensen
Publisher Co-Action Publishing, Järfälla, Sweden, 2012
Creative Commons CC-BY 4.0 License
Les Promesses du passé: une histoire discontinue de l’art dans l’ex-Europe de l’Est (2010) [French]
Filed under catalogue | Tags: · art, art history, contemporary art, east-central europe, eastern europe
“Twenty years after the fall of the Berlin Wall, Les Promesses du passé [Promises of the Past] questions the former opposition between Eastern and Western Europe by reinterpreting the history of the communist block countries. To draw this discontinuous history of art in Former East, this transnational and transgenerational project features works by more than fifty artists from Central and Eastern Europe but also from other European Countries (to name a few: Marina Abramovic, Yael Bartana, Tacita Dean, Liam Gillick, Sanja Ivekovic, Július Koller, Jiri Kovanda, David Maljkovic, Marjetica Potrc and Monika Sosnowska).
Gathering together newly commissioned essays, art documentation, artists’ pages, unpublished documents and an anthology of historical texts by authors such as Slavoj Zizek, the late Igor Zabel and Svetlana Boym, this volume is an invaluable survey of the Eastern European art scene of the last decades—a scene which is gradually shifting from the periphery to the centre of current art-historical debates. ”
Published as catalogue of the exhibition Promises of the Past. A Discontinuous History of Art in Former Eastern Europe held at Centre Pompidou, Paris, 14 April – 19 July 2010, curated by Joanna Mytkowska and Christine Macel.
Edited by Christine Macel and Nataša Petrešin-Bachelez
Publisher Centre Pompidou, Paris, 2010
ISBN 9782844264411, 2844264417
PDF (39 MB)Comment (0)
Filed under catalogue | Tags: · art, conceptual art, environment, happening, installation art, neo-avant-garde
Catalogue documenting happenings and environmental works of the late 1960s by Slovak neo-avant-garde artist Stano Filko, with author’s handwritten notes.
With an introduction by Pierre Restany
Publisher A-Press, Bratislava, 
via Slovak National Gallery (scanned copy from a private collection)
PDF (39 MB)Comment (0)
Filed under catalogue | Tags: · africa, art, art history, asia, caribbean, colonialism, contemporary art, diaspora, eastern europe, ethnocentrism, globalisation, latin america, middle east, multiculturalism, postcolonialism, south america
Catalogue of an exhibition held 18 May-14 August 1989 at the Centre Pompidou and La Grande Halle-La Villette, curated by Jean-Hubert Martin with the assistance of Jan Debbaut, Mark Francis, Jean-Louis Maubant, Aline Luque, André Magnin and Jacques Soulillou.
“An exhibition loved and hated in equal measure, Martin curated the show to address the fact that there were, as he put it, “one hundred percent of exhibitions ignoring 80 percent of the earth.” He attempted to engage critically with certain aspects of neo-colonial mentality in the West, particularly a resurgent interest in ‘primitivism,’ which Martin felt aestheticized exotic cultures without destablilizing western definitions of fine art, modernism, or identity. The exhibition included works by 100 artists (50 from the so called ‘West’ and 50 from the ‘margins’), attempting to show all on equal footing. The success of this attempt is still disputed and discussed in terms of the exhibition history of the past twenty-odd years, but it remains undeniable that the exhibition enacted an important break with some of the conventions of exhibition-making and strictly defined notions of modernism. Exhibited artists included Marina Abramovic, John Baldessari, Mike Chukwukelu, Braco Dimitrijevic, Yongping Huang, Boujemaa Lakhdar, Richard Long, Sigmar Polke, Jangarh Singh Shyam, Ulay, Jeff Wall, Jimmy Wululu, etc. ” (Source)
With essays by Jean-Hubert Martin, Aline Luque, Mark Francis, André Magnin, Pierre Gaudibert, Thomas McEvilley, Homi Bhabha, Jacques Soulillou, Bernard Marcadé.
Publisher Editions du Centre Pompidou, Paris, 1989
ISBN 2858504989, 9782858504985
Interview with curator (Benjamin H.D. Buchloh, Art in America, 1989, EN)
Reviews: 10 French press reviews (1989), more, list of reviews (1989, 30 pp).
Analysis and commentary: Special issue of Third Text (1989, EN), Thomas McEvilley (1990, EN), Cesare Poppi (engage, 2003, EN), Hal Foster et al (2004/07, EN), Daniel Soutif (2005, FR), Reesa Greenberg (Art Journal, 2005, EN), Maureen Murphy (Critique d’art, 2013, FR/EN), Annie Cohen-Solal (Stedelijk Studies, 2014, EN), Adam Jasper (AU&NZ Journal of Art, 2014, EN).
Short documentary (1989)
Pompidou’s 25th anniversary exhibition (2014)
Film retrospective at Tate (2014)