FIT: Festival intermediálnej tvorby, catalogue (1991) [Slovak]

A catalogue for an intermedia art festival organised by The Society for Non-conventional Music (SNEH) in Bratislava on 4-10 March 1991.

Featured artists: Milan Adamčiak, László Cselényi, Balvan Theatre, Daniel Aschwanden, Dada Soiré, Dama Dama, Stano Filko, Dušan Hanák, Viktor Hulík, Milan Knížák, Werner Kodytek, Ladislav Novák, Štěpán Pala, Nová vážnosť, Michal Kern, Dezider Tóth, Juraj Bartusz, Jozef Juhász, Čenkovej deti, Jozef Juhász, Blaho Uhlár Theatre, Transmusic comp. Tibor Szemző, Vitebsk Broken, Alan Vitouš, A Dato

Editor Milan Adamčiak
via muzika-komunika.blogspot.com

FIT on Monoskop wiki

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Andreas Broeckmann, Knowbotic Research (eds.): Opaque Presence: Manual of Latent Invisibilities (2010)

In the society of late capitalism – whether we understand it as a society of consumption, of control, or as a cybernetic society -, visibility and transparency are no longer signs of democratic openness, but rather of administrative availability. Spaces of agency and spaces of social friction are absorbed into the surfaces of technical processes. Even when the games of visibility, of attention, and of the mechanisms of subjectivation, may not always be a matter of bare survival, they are still a matter of maintaining and appropriating heterotopic zones in which resistance, if not freedom, can be postulated.

This book deals with questions of public visibility and strategic camouflage. It hinges on the public performance project ›macghillie – just a void‹ by the artist group knowbotic research, in which urban sites are visited by a figure, clad in a camouflage suit. The so-called ›Ghillie Suit‹ was originally invented in the 19th century for hunting and has since the First World War been used in military contexts all over the world. When worn in a contemporary public environment, its camouflage effects the anonymisation and the neutralisation of the person wearing it. The figure of the ›MacGhillie‹ oscillates between the hyperpresence of a mask, and visual redundancy. It traverses the modern urban environment in which conspicuity holds ambivalent currency, wavering between cumbersome affirmation and visual arbitrariness. In the project, the suit is made available to members of the public who can thus become macghillie for a while, testing the boundaries of subjectivity and identity.

With texts by Eva Meyer, Matthew Fuller, Andreas Broeckmann, Marcus Steinweg, knowbotic research, Tiqqun

Publisher Diaphanes, 2010
Edition Jardins des Pilotes
ISBN 3037341084, 9783037341087
156 pages

publisher
google books

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Bruce Nauman: Please Pay Attention Please: Bruce Nauman’s Words: Writings and Interviews (2003)

Since the 1960s, the artist Bruce Nauman has developed a highly complex and pluralistic oeuvre ranging from discrete sculpture, performance, film, video, and text-based works to elaborate multipart installations incorporating sound, video recording and monitors, and architectural structures. Nauman’s work is often interpreted in terms of movements and mediums, including performance, postminimalism, process, and conceptual art, thereby emphasizing its apparent eclecticism. But what is often overlooked is that underlying these seemingly disparate artistic tendencies are conceptual continuities, one of which is an investigation of the nature of language.

Unlike many of his contemporaries, Nauman has refrained from participating in the critical discourse surrounding his own work. He has given relatively few interviews over the course of his career and has little to do with the art press or critical establishment. Indeed, he granted Janet Kraynak and The MIT Press almost complete autonomy in the preparation of this volume. In contrast to Nauman?s reputation for silence, however, from the beginning of his career, the incorporation of language has been a central feature of his art. This collection takes as its starting point the seeming paradox of an artist of so few words who produces an art of so many words.

Please Pay Attention Please contains all of Nauman’s major interviews from 1965 to 2001, as well as a comprehensive body of his writings, including instructions and proposal texts, dialogues transcribed from audio-video works, and prose texts written specifically for installation sculptures. Where relevant, the texts are accompanied by illustrations of the artworks for which they were composed. In the critical essay that serves as the book’s introduction, the editor investigates Nauman’s art in relation to the linguistic turn in art practices of the 1960s—understanding language through the speech act—and its legacy in contemporary art.

Edited by Janet Kraynak
Publisher MIT Press, 2003
Writing Art series
ISBN 0262140829, 9780262140829
426 pages

publisher
google books

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