Research-led practices in the arts can develop legal frameworks for understanding the future of digital technologies and their relationship to airspace.This volume presents visual and textual material relating to two major bodies of work by Shona Illingworth, Lesions in the Landscape and Topologies of Air. Examining how we map and experience landscapes and airspace in conceptual, geopolitical, neuropsychological, and ecological terms, the book investigates how research-led practices in the arts can develop legal frameworks for understanding the future of digital technologies and their relationship to airspace. Exploring the impact of individual and societal amnesia on the cultural, historical, and construction of landscape and place, Lesions in the Landscape investigates the complex interaction between memory and forgetting. Generating aesthetic and critical discourses about the dynamics of spatial politics, cultural erasure, and our capacity to imagine the future, this ongoing investi
An unnamed woman―a mother―struggles to survive in the face of state repression, neighborhood surveillance, extreme weather, and familial control.Alienation and dire frustration mount as an unnamed woman―a mother―struggles to survive in the face of state repression, neighborhood surveillance, extreme weather, and familial control. Told through one side of an epistolary exchange, Custody of the Eyes (Los Vigilantes) presents letters bookended by dense ramblings by the mother’s son, who struggles to speak and write and spends most of his days in lockdown rearranging his “vessels,” hysterically laughing, drooling, writhing, and withdrawing―a state that will ultimately consume his mother as well. This is a story that explores how power is enacted on and through the body―the physical, the social, and the political. Custody of the Eyes reconfirms the essential, constitutive nature of language and expression in power and freedom.
Valerie Solanas’s legendary play explodes social and sexual mores and the hypocritical, patriarchal culture that produces.Valerie Solanas’s legendary play, Up Your Ass―never published during her lifetime but full of her signature irreverence and wit, incisiveness, and camp―explodes social and sexual mores and the hypocritical, patriarchal culture that produces them. The play, the full title of which is Up Your Ass Or From the Cradle to the Boat Or The Big Suck Or Up from the Slime, marches out a cast of screwy stereotypes: the unknowing john, the frothy career girl, the boring male narcissist, two catty drag queens, the sex-depraved housewife, and a pair of racialized pickup artists, among others. At the center is protagonist Bongi Perez―a thinly veiled Solanas―a sardonic, gender-bending hustler who escorts us through the back alleys of her street life. The fictionalized predecessor to SCUM Manifesto, the play shares the same grand, subversive, implicative language, equally spitting an
Studio Experimentelles Design’s politically and socially committed approach through lectures, research, conversations, and project documentation.With today’s increasing income disparity, forced global division of labor, and neoliberal expansion of precariousness, a critical discussion about work is looming―even in the field of design. Since 2011, the Studio Experimentelles Design at the University of Fine Arts in Hamburg has experimented with local design support as a contemporary practice. The student-led program advocates a community-based, cooperative approach to design. In the summer of 2020, the Kunstgewerbemuseum Berlin Design Lab #6 hosted Studio Experimentelles Design’s online research festival “(How) do we (want to) work (together) (as (socially engaged) designers (students and neighbours)) (in neoliberal times)?” The studio invited friends, experts, and activists to discuss self-organizing academia, artistic collectivism, care work, and creative self-exploitation. Over three
Following the “emerging life adventures and experiences” of Sophia, a robot animated by blockchain and AI, to present a study in temporal automation.In what way do the two technologies of blockchain and artificial intelligence actualize and, crucially, automatize the cognition of time? These kinds of machines are increasingly part of both our contemporary present and our prospective future, but how do we really define a present and a future? And more important, how do these machines themselves understand, know, and sense time? Can machines really think about the present and dream the future in an autonomous way? In order to unravel these questions, Whose Time Is It? follows the “emerging life adventures and experiences” of Sophia, a robot animated by blockchain and AI, to present a study in temporal automation.
Four case studies bring to the fore decolonial and other non-hegemonic approaches to the profession of curating in Sweden from the 1960s to the early 2000s.Edited by CuratorLab at Konstfack University of Arts: Anna Mikaela Ekstrand, Giulia Floris, Vasco Forconi, Edy Fung, Julius Lehmann, Maria Lind, Marc Navarro, Simina Neagu, Hanna Nordell, Tomek Pawłowski Jarmołajew, Marja Rautaharju, Erik Sandberg, Joanna Warsza Through four case studies, Archeology of a Profession in Sweden brings to the fore decolonial and other non-hegemonic approaches to the profession of curating in Sweden from the 1960s to the early 2000s. Carlos Capelán, Elisabet Haglund, Gunilla Lundahl, and Jan-Erik Lundström made their mark on art and curating of their time, at institutions such as Kulturhuset and Arkitekturmuseet in Stockholm, Borås Konstmuseum and Bildmuseet in Umeå, but also through exhibitions on trains and in parks. They pioneered what today is called “social practice” and embraced art and artists f
Conversations from some of the most complex and yet underresearched European and US–American public art exhibitions of the 1980s and 1990s.Edited by CuratorLab at Konstfack University of Arts: Anna Mikaela Ekstrand, Giulia Floris, Vasco Forconi, Edy Fung, Julius Lehmann, Maria Lind, Marc Navarro, Simina Neagu, Hanna Nordell, Tomek Pawłowski Jarmołajew, Marja Rautaharju, Erik Sandberg, Joanna Warsza Assuming Asymmetries is based on the conversations between the curators and participants from some of the most complex and yet underresearched European and US public art exhibitions of the 1980s and 1990s. The discussions include and unpack such influential projects as “Culture in Action” curated by Mary Jane Jacob in 1993; “Sonsbeek 93” curated by Valerie Smith; “Endlichkeit der Freiheit,” an exhibition initiated by Heiner Müller and Rebecca Horn, on both sides of the former Berlin wall in 1990; “Construction in Process,” an artist-initiated site-specific exhibition in early 1980s Łódz, P
