Jeanne Favret-Saada: The Anti-Witch (2009/2015)

31 May 2015, dusan

“A synthesis of ethnographic theory and psychoanalytic revelation, where the line between researcher and subject is blurred—if not erased—The Anti-Witch develops the contours of an anthropology of therapy, while deeply engaging with what it means to be caught in the logic of witchcraft. Through an intimate and provocative sharing of the ethnographic voice with Madame Flora, a “dewitcher,” Favret-Saada delivers a critical challenge to some of anthropology’s fundamental concepts.

Of interest to practitioners of psychoanalysis as well as to anthropologists, The Anti-Witch will bring a new generation of scholars into conversation with the work of a truly innovative thinker.”

First published as Désorceler, Éditions de l’Olivier, Paris, 2009.

Translated by Matthew Carey
Foreword by Veena Das
Publisher HAU Books, 2015
Open Access
ISBN 9780990505044

Reviews: Arnaud Esquerre (Gradhiva, FR), Catherine Laurent-Chatelain (Société Psychanalytique, FR), Xavier Houssin (Le Monde, FR).

HTML (on the publisher’s website)

eContact! 16(4): Experimental Practices and Subversion in Sound (2015)

29 May 2015, dusan

“The ephemeral and varied character of subversion in musical creation makes it a challenging, complex concept to clearly define and illustrate. In this issue it is approached and reflected upon via a range of experimental practices with turntables, tapes and other devices, fringe genres, sound sculptures, and alternative models of music distribution.”

Texts by Karin Weissenbrunner, Stephen Graham, John Oswald, Gary Schultz, dieb13, Antony Maubert, Jon Panther, jef chippewa, JD Zazie; interviews with Joke Lanz, Gheorghe Costinescu, Andrés Lewin-Richter; works by Graham Dunning, Martin Howse, Timo Kahlen.

Guest editor: Karin Weissenbrunner
Publisher Canadian Electroacoustic Community, Montreal, Mar 2015

HTML articles

Gilles Deleuze: What Is Grounding? (1956-57/2015) [FR, EN]

25 May 2015, dusan

What is Grounding? is Gilles Deleuze’s first seminar, and is distinguished in that, rather than “taking an author from behind and giving him a child that would be his offspring, yet monstrous”, the work focuses instead on the question of grounding, defined both as “the sufficient reason for concrete entities”, and “the point of departure for philosophy”, in translator Arjen Kleinherenbrink’s terms. Rather than foregrounding method, in which human subjective experience remains primary, here Deleuze affirms the centrality of system, of things and the relations between things.”

Translated, introduced, and annotated by Arjen Kleinherenbrink
Edited by Tony Yanick, Jason Adams & Mohammad Salemy
Publisher &&& Publishing, Grand Rapids, MI, 2015
Mémoires involontaire series, 1
Creative Commons BY-NC-SA 4.0 International License
ISBN 9780692454541
185 pages

Publisher

Qu’est-ce que fonder? (French, 1956-57, HTML)
What is Grounding? (English, 2015, PDF)

Ulises Carrión: Second Thoughts (1980)

21 May 2015, dusan

“This book includes the theoretical and polemical works by Ulises Carrión from the Other Books and So Archief. Covering themes as bookworks, rubber-stamps and mail-art, these texts are here for the first time assembled in one volume, after having been published in periodicals and catalogues in various countries. For this edition, numerous annotations (references and anecdotes) have been adddd by the author.” (from p 1)

Included essays: “The New Art of Making Books”, “From Bookworks to Mailworks”, “Rubber Stamp Theory and Praxis”, “Rubber Stamp Art”, “Mail Art and the Big Monster”, “Table of Mail Art Works”, “Personal Worlds or Cultural Strategies?”, “Bookworks Revisited”.

Publisher VOID Distributors, Amsterdam, 1980
72 pages
via Román Luján, via nallelyyolanda7617, HT Valerio

Publisher
WorldCat

PDF (2 MB)
JPGs (at Lomholt Mail Art Archive)

more on Carrión

Harald Szeemann, et al.: Documenta 5, catalogue (1972) [DE]

21 May 2015, dusan

“Even decades later, Documenta 5, the exhibition that was criticized in 1972 as being “bizarre.. vulgar.. sadistic” by Hilton Kramer (NYT) and “monstrous.. overtly deranged” by Barbara Rose (NYM), resonates today as one of the most important exhibitions in history. Both hailed and derided by artists and critics, the exhibition was the largest, most expensive and most diverse of any exhibition anywhere, and foreshadowed all large-scale, collaboratively curated, comprehensive mega-shows to come.

Chiefly curated by the Swiss curator, Harald Szeemann, it was a pioneering, radically different presentation that was conceived as a 100-day event, with performances and happenings, outsider art, even non-art, as well as repeated Joseph Beuys lectures, and an installation of Claes Oldenburg’s Mouse Museum, among many other atypical inclusions. The show widely promoted awareness of a contract known as The Artist’s Reserved Rights Transfer and Sale Agreement, which protects artists’ ongoing intellectual and financial rights with regard to their production.” (Source)

“Featuring the works of over 170 artists and an equally expansive variety of materials and subjects drawn from popular cultural materials such as science fiction publications, kitsch objects, exploitation films, as well as advertising imagery, in addition to the more anticipated painting and sculpture – Documenta 5 valiantly attempted to bridge the gap between art, culture, science and the broader society.

A lasting highlight of the exhibition was the graphic logo for the show designed by Edward Ruscha. Commissioned by Szeeman, Ruscha’s graphic image for the show featured ants arranged in the word ‘Docu / menta’ and the number ’5.’ The emblem was used on the exhibition’s poster and catalogue cover.” (Source)

Contents of Part B:
1 Hans Heinz Holz: Kritische Theorie des ästhetischen Zeichens (catalogue foreword, 86 pp),
2 Bazon Brock & Karl Heinz Krings: Audiovisuelles Vorwort (audiovisual foreword, 19 pp),
3 Eberhard Roters: Trivialrealismus & Trivialemblematik (16 pp),
4 Ingolf Bauer: Bilderwelt und Froemmigkeit (10 pp),
5 Gesellschaftliche Ikonographie an zwei Beispielen (8 pp),
6 Charles Wilp, Hans Heinz Holz: Werbung (4 pp),
7 Reiner Diederich, Richard Grübling, Klaus Staeck: Politische Propaganda (14 pp),
8 Pierre Versins: Science Fiction/Heute von gestern gesehen (10 pp),
9 François Burkhardt: Utopie/Morgen von gestern gesehen (16 pp),
10 Ursula Barthelmess, Hans-Henning Borgelt, Linde Burkhardt, Wolfgang Hoebig: Spiel und Wirklichkeit (14 pp),
11 Theodor Spoerri: Bildnerei der Giesteskranken (18 pp),
12 Gerhard Buettenbender, Sigurd Hermes: Film (28 pp),
13 Museen von Künstlern (17 pp),
14 Sozialistischer Realismus (1 p),
15 Jean-Christophe Ammann: Realismus (58 pp),
16 Johannes Cladders, Harald Szeemann: Individuelle Mythologien – Selbstdarstellung: a) Performance, b) Film – Prozesse (220 pp),
17 Konrad Fischer, Klaus Honnef, Gisela Kaminski: Idee + Idee / Licht (92 pp),
18 Information + The Artist’s Reserved Rights Transfer and Sale Agreement (44 pp),
19 Verzeichnis der ausgestellten Werke
20 Allgemeine Bibliographie
21 Waehrend: Ereigniskalender
22 Nachher 1: Text
23 Nachher 2: Bild
24 Nachher 3: Presse
25 Fotonachweis

documenta 5. Befragung der Realität – Bildwelten heute
Edited by Harald Szeemann, Marlis Grüterich, Katia von den Velden, Jennifer Gough-Cooper
Publisher documenta and Bertelsmann, Kassel, 1972
ISBN 3570028569, 9783570028568
64+80 & 740+ pages
via The DOR (at Archive.org)

Analyses and commentaries:
3sat TV documentary (video, 41 min, 1972, DE)
Der Spiegel (1972, DE)
Klaus Herding & Hans-Ernst Mittig on Holz’s foreword (Kritische Berichte, 1973, DE)
Documenta 5 in Art Since 1900 (2004, EN)
Dirk Schwarze (Documenta Archiv, 2014, DE)
Maria Bremer (Stedelijk Studies, 2015, EN)

documenta Archiv, (2)
Wikipedia (DE)
WorldCat

Part A (144 pp, PDF, 57 MB)
Part B (740+ pp, PDF, 287 MB, sections 19-24 missing)

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