Monochrom, 11-23 (2000-04) [German]

5 November 2015, dusan

The mouthpiece of an international art-technology-philosophy collective founded in 1993, with its headquarters at Museumsquartier in Vienna.

“Das Fanzine monochrom ist ein im Telefonbuch-Format erscheinendes Zeitschriftenobjekt, das von der gleichnamigen Künstler_innengruppe aus Wien, Graz und Bamberg/Deutschland herausgegeben wird. monochrom ist ein Potpourri der digitalen und analogen Subversion, ein unnostalgisches Amalgam aus 125 Jahren abendländischer Gegenkultur, die Godzilla-Variante der gutbügerlichen Coffeetablebuch-Idee.”

Editor-in-chief: Johannes Grenzfurthner
Publisher Monochrom, Vienna
ISSN 1024-6738

Publisher, (2)
Monochrom on Wikipedia

PDF (No. 11-14: Ontologisches Sanierungsportfolio, 2000, 260 pp)
PDF (No. 15-23: Zweite Ordnung muss sein, 2004, 436 pp)

Previous issues

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

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Jules-François Dupuis (Raoul Vaneigem): A Cavalier History of Surrealism (1977/1999)

18 March 2014, dusan

“A down-and-dirty survey of the Surrealist movement written under a pseudonym in 1970 by leading Situationist theorist Raoul Vaneigem.

Intended for a high school readership, and dashed off in two weeks, Vaneigem’s sketch bars no holds: disrespectful in the extreme, blistering on Surrealism’s artistic and political aporias, and packed with telling quotations, it also gives respect where respect is due.

Locating Surrealism’s “original sin” in its ideological nature, Vaneigem clearly identifies the “radioactive fragment of radicalism” that the movement never managed completely to shed. If you want an unequivocal answer to the question—”What was living and what was dead in Surrealism?”—look no further.

And for readers interested in the Situationists, this short book sheds a great deal of light on their attitudes, negative and positive, towards their Surrealist predecessors.”

First published in French as Histoire désinvolte du surréalisme, Paul Vermont, Nonville, 1977

Translated by Donald Nicholson-Smith
Publisher AK Press, 1999
ISBN 1873176945, 9781873176948
131 pages
via, HT esco_bar

Review: Frédéric Thomas (Dissidences, 2013, FR)

Publisher (EN)
Publisher (FR, 2013)

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