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Recurring moments in Schweizer’s multiform art practice revolve around the examination of subtly treated processes of memory regarding historic-political events in public space. In the places, structures and situations she investigates, historical threads intersect.\u003c\/p\u003e\n\u003cp\u003eSupported by the Staatliche Kunsthalle Baden-Baden on the occasion of the exhibition Der sterbende Soldat von Les Milles curated by Moritz Scheper. This publication was made possible with the support of the Kulturstiftung des Freistaates Sachsen and the Bureau des arts plastiques\/Institut français.\u003c\/p\u003e\n\u003cp\u003eMaya Schweizer studied at the School of Visual Arts in Leipzig and at the Berlin University of the Arts with Professor Lothar Baumgarten. 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The symbiosis of cinema and train was pushed the farthest by Alexander Medvedkin with his cine-train. While these trains had been travelling with the aim of mobilising the people by showing documentary films and theatre performances, Medvedkin went one step further, and integrated the production of the films itself into the cine-train, in order to be able to react directly and immediately and to produce and show films wherever he was.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eMobile Cinema\u003c\/em\u003e presentation apparatus – somewhere between urban model, cinema, and plate camera – derived its form from Alexander Medvedkin’s film \u003cem\u003eThe New Moscow\u003c\/em\u003e (1938), in which an engineer used it to present his designs and visions for Moscow on his journey into the Soviet capital. 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They developed two projects in two neighbourhoods in Soweto: Ubuntu Park in Orlando East and the Primary School Vegetable Gardens in Noordgesig.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Soweto Project\u003c\/em\u003e began a year earlier, when Stefan Horn of the Berlin-based art association urban dialogues invited our class at the Hochschule für bildende Künste Hamburg to join the Nine Urban Biotopes project. The basic idea was for us to stay in Soweto for three months and work closely with the local community. The idea of a three-month long residency struck a chord with us, as we believe that participatory projects cannot be achieved in a short time. The 9UB project involves nine cities – five in Europe and three in South Africa – and promotes the sharing and exchange of objectives, knowledge, and practices through a diverse group of grass-roots urban development projects. 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Christian von Wissel, who was evaluating the project, and Caroline Wanjiku Kihato, who was writing an e-book for 9UB, joined us during our last days in Soweto and offered us great insights about our practice. The “integrated reporter” Griffin Maseko and Sihle Ngwenya became close collaborators and friends. The construction of the platform would not have been possible without the activist and construction worker Themba Skosana.\u003c\/p\u003e\n\u003cp\u003eThere were many residents with whom we worked closely. In Orlando East we want to thank especially K. B. Patrick Moshebi, Paulina Khomo, Bongani Lukele, Sophie Luthuli, Eunice “Mama U” Ramont, Gloria Makwela, Khaya Magi, Alfred Malahlela, Zithulele Malinga, Peter Mazibuko, Swazi Mgaga, Tshenolo Mokhele, Jason Monareng, Timothy Mosebi, Lebo Nkosi, Gift Nzama, Re loe Wessi, and Valentine Xhasa. 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In the past fifteen years her research has concentrated on the phenomena of the contemporary art curator, the contemporary art exhibition as a medium, and the changing role of art institutions.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46772181795146,"sku":"9783943620399","price":20.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/When-attitudes.jpg?v=1684843627"},{"product_id":"homecomings-1-2-3-etc","title":"homecomings 1,2,3,etc.","description":"\u003cp\u003eWhat is lost and what is found in the process of returning home? \u003cem\u003ehomecomings\u003c\/em\u003e revisits, through varying means of translation, spatial and conceptual loci of homecoming within artistic practice. The exhibition and symposium series, from which this publication stems, draws its principle inspiration from the architectural and linguistic returns and repetitions punctuating artist Hreinn Friðfinnsson’s \u003cem\u003eHouse Project\u003c\/em\u003e (1974–) and author Georges Perec’s \u003cem\u003eEspèces d’espaces\u003c\/em\u003e (\u003cem\u003eSpecies of Spaces\u003c\/em\u003e, 1974).\u003c\/p\u003e\n\u003cp\u003eIn 1974, through an ephemeral gesture, Friðfinnsson claimed the whole universe within the site of a small house, turned inside-out, in the middle of an Icelandic lava field. Encountered only through happenstance or hearsay, a timeless lore grew around the house. \u003cem\u003eHouse Project\u003c\/em\u003e became a resonating series of works, appearing in multiple iterations, inversions, and reductions in form. Also in 1974, Georges Perec set out to approach the topic of space, creating a telescopic “journal of a user of space” by layering deliberate and protracted observation with writing constraints and wordplay. Perec starts with the page and zooms outward to space itself, always mirroring and reflecting the influx of the everyday in his call to read and reread surrounding spaces.\u003c\/p\u003e\n\u003cp\u003eTesting the concept of “homecomings” against a number of artistic practices, this volume grows out of an imperative to act according to the referentiality hallmarked in the conceptually rigorous works of Friðfinnsson and Perec. \u003cem\u003ehomecomings 1, 2, 3, etc.\u003c\/em\u003e opens a flood of personal wellsprings, where no two connotations align perfectly. The collected contributions oscillate between self-referential modes—creating full-circle loops within singular practices—and far-reaching trajectories, gaining momentum and associations upon every rereading. Like Perec, many works call for an attuned presence, and in so doing, proffer a homecoming at the very site of reading.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46772186808650,"sku":"9783943620733","price":15.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Homecomings.jpg?v=1684843906"},{"product_id":"towards-immeasurability-of-art-and-life","title":"Towards (Im)Measurability of Art and Life","description":"\u003cem\u003eTowards (Im)Measurability of Art and Life\u003c\/em\u003e gathers together various stories, practices, and essays about measurement that embrace paradox, contradiction, and humour. The book creates and introduces incidents of ideas, conceptual methods, acts, and processes of measurement that dwell in a conceptual transition between science (technology) and everyday life. When measurement is viewed as a practice, it is important to recall that data processing, especially visualisation, actually necessitates many aesthetic decisions. This makes contemporary practices of measurement appear to be no longer guided primarily by reason. Although, historically, measurement has always contained aspects of subjectivity, enlightenment in modernity aimed at excluding them based on ideological tenets of democracy and the necessities of administration. The intervention of computation has highlighted the importance of re-embracing, rather than excluding, subjectivity in the concept of measurement. By understanding measurement as comprising subjectivity and constructing reality, rather than merely reporting on it, the potential of artistic innovation has great relevance with respect to a practice of participating in thinking and exercising the languages of measurement. Miya Yoshida is a researcher and curator based in Berlin.","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46772203782474,"sku":"9783943620641","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Towards-immeasurability.jpg?v=1684844957"},{"product_id":"republications","title":"Republications","description":"\u003cem\u003eRepublications\u003c\/em\u003e is the first volume of Archive Journal’s hors-séries. Each issue of the series is commissioned to authors whose research is close to the editorial line of the journal. For the inaugural issue Archive’s editors have invited French curators and art critics Virginie Bobin and Mathilde Villeneuve. Taking as a starting point the notion of ‘republication’, the contents of this publication have been compiled through a collective process over the course of multiple editorial meetings in Berlin, Aubervilliers and Paris between 2011 and 2012. The texts assembled in this volume have been written in English or in French.","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46772208042314,"sku":"9783943620061","price":18.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Republications.jpg?v=1684844938"},{"product_id":"extending-the-dialogue","title":"Extending the Dialogue","description":"\u003cp\u003eThe authors whose writings appear in this book come from twelve different countries and represent a range of disciplines and interests: they are art historians, philosophers, cultural theorists and activists, critics, curators, and poets, with most of them falling into at least two or three of these categories. All have made important contributions to contemporary art and cultural production, art history writing, and critical thought within, and sometimes far beyond, the region once known, problematically, as ‘Eastern Europe.’\u003c\/p\u003e\n\u003cp\u003eAnd all of them are either laureates or grant recipients of the prestigious Igor Zabel Award for Culture and Theory, or have served on the award jury. Named in honour of the distinguished Slovene curator and art writer Igor Zabel (1958–2005), the award, an initiative of the ERSTE Foundation (Vienna) and the Igor Zabel Association for Culture and Theory (Ljubljana), has been presented biennially since 2008. The award honours the exceptional cultural achievements of those dedicated to deepening and broadening our knowledge of visual art and culture in Central, Eastern, and South-eastern Europe.\u003c\/p\u003e\n\u003cp\u003eThe book thus offers a collection of urgencies and agencies in art history, art writing, and art and cultural production from across this cultural and political geography. It is a survey of the pressing issues that stimulate these authors’ scholarly, curatorial, and cultural investments and so provides a referential, if fragmented and incomplete, picture of current conditions of art and culture in the region.\u003c\/p\u003e\n\u003cp\u003eGiven the authors’ diverse backgrounds, their writings express a variety of concerns and approaches, although certain groupings are apparent. The first of these groupings addresses issues in art history and theory from a geo-political perspective; the question of the centre\/periphery relationship in writing about Central and Eastern European art is further enriched by perspectives from other “peripheries”, with feminist, post-colonial, and minority positions coming into play as the matrix of power in art writing, art history, and art education is critically examined. The second (and largest) grouping of writings discusses specific art phenomena, from the1960s to the present. Several authors apply comparative and horizontal art-historical methods to reposition Eastern European art within a global context. Among the important topics represented here are environmental concerns and – since many of the artworks under discussion were developed as ephemeral works – the artistic and performative potential of documentation and archives. Other authors, meanwhile, reflect on the conditions of contemporary cultural production and the role of cultural institutions in the region. The last grouping deals with the intersection of politics and art, specifically with the region’s (utopian) legacy of revolution, socialism, and communism.\u003c\/p\u003e\n\u003cp\u003eIn 2008, when the first Igor Zabel Award was presented, the Igor Zabel Association and the ERSTE Foundation co-published the book \u003cem\u003eContinuing Dialogues: A Tribute to Igor Zabel\u003c\/em\u003e. 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This was realized in core questions concerning what shifts, drifts, and remains.\u003c\/p\u003e\n\u003cp\u003eMany of the thoughts, practices, references, and reflections that surfaced during this endeavor are made visible in this publication. The entries raise questions around methodology, infrastructure, desire, and of education. Some terms are conceived individually with others in mind, while some are collectively generated. So who is the we? The ‘we’ is many individual, collected, and shared voices. Instead of failing to attempt representing the ‘we’, it has been important to speak from the first person singular—a complex web of subjectivities, encounters, and conversations indecipherable from the lines that intertwine them.\u003c\/p\u003e\n\u003cp\u003eWords alone cannot carry the meaning of our individual and collective experience; language has its limits, its lack, but also its power. 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Through this method it explores trade routes, colonial enterprises, patterns of migration, questions of identity, strategies in warfare and the role of the climate in social issues. Conflict Atlas comprises texts, maps and archival materials. Starting from the case of the Falklands\/Malvinas it aims to create a field of tensions by the multiplication and stratification of geographical sites, historical times and subjective views. Within the tension field the atlas detects movements and events that are contingent in character and can reflect on human behaviour within conflicts.\u003c\/p\u003e\n\u003cp\u003eJasmijn Visser is a Dutch artist who lives in Berlin and Utrecht. She works on the intersection of drawing, writing, research and design. 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Reappearance of the very same and the familiar with difference, unfolding a space of strength and fragility.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSticky Stage\u003c\/em\u003e is a temporary space within a dystopian landscape in which to take up our fatigue and our dreams in order to approach a tender imagination.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSticky Stage\u003c\/em\u003e is a lullaby and a dirge, a funeral and a birth.\u003c\/p\u003e\n\u003cp\u003eWho will guard our dreams?\u003c\/p\u003e\n\u003cp\u003eThis book gives evidence to \u003cem\u003eSticky Stage\u003c\/em\u003e, specified on the basis of the case study at DISTRICT in Berlin. It is a path for future performances.\u003c\/p\u003e\n\u003cp\u003eThis book is an archive of the performance and a documentation of what will be.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790266454346,"sku":"9783948212148","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Sticky-stage-1.jpg?v=1685436955"},{"product_id":"bitter-things-narratives-and-memories-of-transnational-families","title":"Bitter Things — Narratives and Memories of Transnational Families","description":"\u003cp\u003eLabor migration is worldwide creating new models of the transnational family, which despite geographical distances strives to maintain contact between the separated family members. But, how is the relationship between parents and children to be redefined whenever gifts and material support take the place of shared experience? When physical closeness has to take second place to communication programs like Skype and WhatsApp? How does this changing family landscape impact children and their parents? \u003cem\u003eBitter Things\u003c\/em\u003e retraces positions on this topic from the 1960s right up to present day perspectives.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFrom the introduction\u003c\/span\u003e \u003cbr\u003eIn the 1960s and 1970s, it was the so-called guest workers in Germany who left their children behind in their native lands; today, it is predominantly migrant workers from Eastern Europe who leave their families behind to go in search of a living in economically better-off countries. Our first encounter with this phenomenon was unanticipated: through conversations with friends and acquaintances, we discovered that a great number of people in our immediate circle had been separated from their parents for some time during childhood. Initially, their parents had come to Germany without them to work. It quickly became clear to us that these are radical experi- ences, but rarely openly talked about. Presumably, owing to the fact that it was a taboo in families. As for the situation of many migrant workers today is concerned, the matter is simply disregarded. On numerous occasions, however, we have been encouraged, especially by those directly concerned, to grapple with the topic.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eBI’BAK SERIES\u003c\/span\u003e\u003cbr\u003ebi’bak (Turkish: have a look) is a project space based in Berlin, with a focus on transnational narratives, migration, global mobility and their aesthetic dimensions. bi’bak’s programme examines diverse disciplines in art, academics, and community development, including film screenings, exhibitions, workshops as well as music events and culinary excursions. bi’bak was founded in 2014 by the artists and curators Malve Lippmann and Can Sungu. The curated film programme, bi’bakino, as well as the audio programme bi’bakaudio aims to show transnational, postcolonial and postmigrant perspectives. Experts invited from the fields of art, film and academics will enable a more differentiated, non-eurocentric view of society and cultural history. bi’baxchange offers a platform for cultural actors and projects, initiating cross-border collaborations. bi’bakwerk works with innovative concepts for art education, which aim for an equal participation and the exchange of ideas, knowledge and creativity. bi’bak’s research-based exhibitionsfocus on widely neglected narratives and perspectives that are crucial for a comprehensive understanding of socio-political and socio-economic contexts worldwide.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790277824842,"sku":"9783943620795","price":15.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Bitter-things.jpg?v=1685437384"},{"product_id":"language-is-skin-scripts-for-performances","title":"Language is Skin – Scripts for Performances","description":"\u003cp\u003eA constellation of texts, largely written to be spoken. The scripts as they are printed do not document the performances primarily. They are indications of spacial and temporal layering, juxtapositions of aesthetic and poetic elements and bodies. Overlapping every day observations with archival material, confronting, jumping. Figures that intervene – interruptions into the reproduction and maintenance of colonial poison cabinets and patriarchal canons. Histories of involvement. The folding of histories. Entangling feminist fictions. Taking care of. Trouble, always trouble.\u003c\/p\u003e\n\u003cp\u003eRomy Rüegger is an artist and writer working with sound based practices and shared listening. Her writings for performances, audio works and choreographed spaces draw on anti-racist and intersectional politics of language and memory. Most of the scripts in this publication were written on invitation of friends and are closely related to long term collaborations.\u003c\/p\u003e\n\u003cp\u003eRecent performances, audio works and publication contributions include \u003cem\u003eSynthetic Stream Plays\u003c\/em\u003e (Kunsthalle Basel 2018), \u003cem\u003eBinary Codes as NO\u003c\/em\u003e (Gasworks London 2018), \u003cem\u003eI am the Wall\u003c\/em\u003e (in: \u003cem\u003eGrounds for Possible Music\u003c\/em\u003e, Errant Bodies Press, Berlin 2018), \u003cem\u003eReina llora*, Reads\u003c\/em\u003e (Transmission Gallery Glasgow 2017), \u003cem\u003eI am the Wall\u003c\/em\u003e (Q-O2 \/ Performatik Festival Brussels 2017), \u003cem\u003eHistory is Closed Today\u003c\/em\u003e (Helmhaus Zurich 2017), \u003cem\u003eJ’ai everyday ma substance\u003c\/em\u003e (in collaboration with Anna Frei, Künstlerhaus Büchsenhausen Innsbruck 2017).\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790283690314,"sku":"9783943620764","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Language-is-skin.jpg?v=1685437558"},{"product_id":"to-become-two-propositions-for-feminist-collective-practice","title":"To Become Two: Propositions for Feminist Collective Practice","description":"\u003cem\u003eTo Become Two: Propositions for Feminist Collective Practice\u003c\/em\u003e offers a narrative of artist Alex Martinis Roe’s research into a genealogy of feminist political practices in Europe and Australia from the seventies until today. These practices include those of the Milan Women’s Bookstore co-operative; Psychanalyse et Politique, Paris; Gender Studies (formerly Women’s Studies) at Utrecht University; a network in Sydney including people involved in the Sydney Filmmakers Co-operative, Feminist Film Workers, Working Papers Collective, and the Department of General Philosophy at Sydney University; and Duoda – Women’s Research Centre and Ca la Dona, a women’s documentation centre and encounter space in Barcelona. Drawing from their practices and experiences, Martinis Roe’s research forms a proposal for a transgenerational approach to feminist politics. This is further developed as a practical handbook of twenty new propositions for feminist collective practice, which were formed in collaboration with a network of contributors through experiments with these historical practices.","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790310265162,"sku":"9783943620580","price":18.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/To-become-two.jpg?v=1685438325"}],"url":"https:\/\/archive-books-berlin.myshopify.com\/collections\/vat-7-books.oembed?page=19","provider":"Archive Souq","version":"1.0","type":"link"}