Filed under catalogue | Tags: · art, corruption, documentary, forensics, human rights, journalism, politics, realism, surveillance, truth
“Evidentiary Realism aims to articulate a form of realism in art that portrays and reveals evidence from complex social systems. The truth-seeking artworks featured explore the notion of evidence and its modes of representation.
Evidentiary Realism reflects on post-9/11 geopolitics, increasing economic inequalities, the erosion of civil rights, and environmental disasters. It builds on the renewed appreciation of the exposure of truth in the context of the cases of WikiLeaks, Edward Snowden, the Panama Papers, and the recent efforts to contend with the post-factual era.”
The exhibition was held at Fridman Gallery, New York, 28 February-31 March 2017, and Nome Gallery, Berlin from 1 December 2017-17 February 2018.
Curated and organised by Paolo Cirio.
Artworks by Nora Al-Badri & Nikolai Nelles, Amy Balkin, Sadie Barnette, Josh Begley, James Bridle, Ingrid Burrington, Hans Haacke, Khaled Hafez, Jenny Holzer, Harun Farocki, Navine G. Khan-Dossos, Thomas Keenan & Eyal Weizman, Mark Lombardi, Kirsten Stolle, Suzanne Treister.
Texts by Jaroslav Anděl, Sampada Aranke, Giulia Bini, Nijah Cunningham, Heather Davis, Blanca de la Torre, Lauren van Haaften-Schick, Natasha Hoare, Aude Launay, Susanne Leeb, Susette Min, Mary Anne Redding, Susan Schuppli, and Nicola Trezzi.
Publisher NOME, Berlin, 2017
Creative Commons BY-NC-ND License
ISBN 9780244342739, 0244342733
Filed under book, catalogue | Tags: · art, capitalism, contemporary art, documentary, image, internet, politics, video
“Using video installations and reflection in essays, Hito Steyerl presents a critical apparatus for analyzing the way in which the images produced by television, cinema and contemporary art are inscribed in a visual and economic regime. These are produced, circulated, distributed and consumed in a framework of audiovisual capitalism and form part of different institutional mechanisms of the art world, including the museum. From this perspective, the images are converted into a vehicle of social relations with an ambivalent status insofar as they are both commodity and means of political statement. A second problem raised by the artist is the truth condition of images. Her work repeatedly makes use of appropriated or poor-quality images, together with documentary-type elements, with the aim of questioning the relationship between documentary, reality and representation.”
This book contains Steyerl’s essays “Too much world: Is the Internet dead?” and “Theodore W. Adorno. Timeline”, and the essay “Weather for Liquidity” by Brian Kuan Wood.
Published on the occasion of the exhibition Hito Steyerl: Circulationism held from 27 September 2014 – 1 March 2015 at MUAC in Mexico City which brought together three of her recent works: Adorno’s Grey (2012), Museum as Battlefield (2012) and Liquidity Inc. (2014).
Publisher Museo Universitario Arte Contemporáneo (MUAC), Universidad Nacional Autónoma de México (UNAM), Mexico City, 2014
Folio MUAC series, 23
ISBN 6070257545, 9786070257544
Filed under artists book | Tags: · africa, documentary, photography, space race, zambia
“In 1964, still living the dream of their recently gained independence, Zambia started a space program that would put the first African on the moon catching up the USA and the Soviet Union in the space race.
Only a few optimists supported the project by Edward Makuka, the school teacher in charge of presenting the ambitious program and getting its necessary funding. But the financial aid never came, as the United Nations declined their support, and one of the astronauts, a 16 year old girl, got pregnant and had to quit.
That is how the heroic initiative turned into an exotic episode of the African history, surrounded by wars, violence, droughts and hunger.”
Published on the occasion of the exhibition The Afronauts organized by Sala Kursala and curated by Jesús Micó at Sala Kursala, University of Cádiz, Spain.
Editor Laia Abril
Design Ramón Pez