James Parker, Joel Stern (eds.): Eavesdropping: A Reader (2019)

8 October 2020, dusan

Eavesdropping: A Reader addresses the capture and control of our sonic world by state and corporate interests, alongside strategies of resistance. For editors James Parker (Melbourne Law School) and Joel Stern (Liquid Architecture), eavesdropping isn’t necessarily malicious. We cannot help but hear too much, more than we mean to. Eavesdropping is a condition of social life. And the question is not whether to eavesdrop, therefore, but how.”

Featuring contributions from James Parker, Joel Stern, Norie Neumark, Lawrence Abu Hamdan, Susan Schuppli, Sean Dockray, Joel Spring, Fayen d’Evie and Jen Bervin, Samson Young, Manus Recording Project Collective.

Publisher City Gallery Wellington, Wellington, with Liquid Architecture, Melbourne, and Melbourne Law School, Melbourne, 2019
Open access
ISBN 9780995128606, 099512860X
223 pages

Review: Kristen Gallerneaux (The Wire, 2020).
Exh. reviews: Norie Neumark (Art+Australia, 2018), Sophie Knezic (MeMO, 2018).

Project website
Exhibition (2018)
Exhibition (2019)
Publisher
WorldCat

PDF, PDF (6 MB)

Eintritt in ein Lebewesen. Von der sozialen Skulptur zum Plattform-Kapitalismus / Journey Into a Living Being: From Social Sculpture to Platform Capitalism (2020) [German/English]

12 August 2020, dusan

“In 1977, Joseph Beuys presented his installation Honey Machine at the Workplace at documenta 6, in which tubes ran into the exhibition rooms, through which honey was pumped. The work symbolized Beuys’ idea of the expanded concept of art and of social sculpture. “Everyone is an artist” is his famous motto –not because everyone can paint, dance or make music, but because we all contribute through our productivity to a collective creativity that can be weighed as real capital and societal potential, to which Beuys ascribed the formula “art = capital.” Honey as the “spiritual nutrition of the cosmos” (Beuys) is the embodiment of this collective creativity.

These days, we deliver our creative “honey” voluntarily to internet companies like Google, Facebook, Twitter, TikTok or Amazon. Computers and smartphones, online speakers and fitness wristbands upload a large portion of our data to these companies’ servers. Even rental bikes and e-scooters collect our location data. Our every click, every Like, every photo posted and every online comment is fuel for the companies of “surveillance capitalism” (Shoshana Zuboff). They use our data to sell advertising, predict our behavior, optimize their algorithms and AI, and to keep competing companies out of the market as much as possible.

The exhibition Journey Into a Living Being takes its name from a lecture Beuys gave on social sculpture at documenta. It traces the conceptual trajectory to the present, in which the internet and social media are replete with offers of creative services, but where only few reap the financial rewards. It brings together artworks spanning forty years with the aim of deciphering what has come to pass between the development of social sculpture and the rise of platform capitalism and the gig economy, and how this process is reflected in art.”

Edited by Tilman Baumgärtel
Publisher Kunstraum Kreuzberg/Bethanien, Berlin, 2020
ISBN 9783000652608, 3000652604
111 pages

Exhibition (18.5-16.8.2020)
WorldCat

PDF (6 MB)

3X3X6: Shu Lea Cheang (2019) [English/Chinese]

20 November 2019, dusan

3x3x6 is the title of Shu Lea Cheang’s project representing Taiwan at the 58th Venice Biennale and hosted at the Palazzo delle Prigioni–a Venetian prison from the sixteenth century in operation until 1922. 3x3x6 is also the standardised architecture of industrial imprisonment for ‘sexual criminals’ and ‘terrorists’ in the West: 3×3 meters, monitored by 6 cameras 24 hours a day. Shu Lea Cheang investigates historical reports based on ten cases of subjects incarcerated because of gender or sexual dissent and uses trans-punk fiction, queer, and anti-colonial imaginations to hack the history of sexuality as well as contemporary technologies of surveillance.” (from back cover)

With contributions by Matthew Fuller, Paul B. Preciado, Dean Spade, and Jackie Wang.

Curated and edited by Paul B. Preciado
Publisher Taipei Fine Arts Museum, Taipei, 2019
Open access
ISBN 9789860588798, 9860588791
211 pages

Exhibition
WorldCat

PDF, PDF (43 MB)