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

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

An early survey of Soviet unofficial 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

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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).

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