{"title":"Winter Sale 2025","description":"","products":[{"product_id":"dncb-a-history-of-irritation","title":"DNCB – A History of Irritation","description":"Part visual essay, oral history and artist book, DNCB – A History of Irritation is a companion to the multi-channel installation DNCB by Oliver Husain and Kerstin Schroedinger.  The book plays with contrasting paper formats and materials, using glossy colourful video stills and distorted archival imagery to achieve a similar effect to the film, video and audio tracks in the installation. It gives more room to the informative and deeply touching interviews the artists did with AIDS activists and long-term survivors, and collects the archival research on DNCB for the first time in a publication. DNCB stands for Dinitrochlorobenzene. It is used in the development of analogue colour film. From the mid-1980s to the mid-1990s, the substance was also employed as a treatment in alternative AIDS clinics around the USA and Canada.\u003cbr\u003e\u003cbr\u003e“The installation presents a hospitable body – a body that is knowingly porous, fluid, relational and embedded in a web of pleasures and threats, care and violence, toxicity and remediation, community and self-determination – the body as defiant knowledge and a body of boundless knowledge.” (Sylvie Fortin)\u003cbr\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46728130101578,"sku":"9783949973222","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/DNCB_cover.jpg?v=1683626251"},{"product_id":"no-order","title":"No Order","description":"\u003cem\u003eNo Order\u003c\/em\u003e editorial research focuses on the relationships between contemporary art systems and capitalism’s production processes. By means of an investigation into current creative industries – and their social, economic and semiotic assemblages – the contributions (essays, interviews and dialogues as well as artists’ projects) aim to deconstruct, analyse and intervene within the ambit of the procedures and forms of cognitive capitalism. It concentrates, in particular, on the phenomena of the ‘biennalisation’, ‘financialisation’ and ‘spectacularisation’ of the political, beginning with the control and distribution of forms of artistic education, production and display on a global scale.","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46745368658250,"sku":"","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/No-order-1.jpg?v=1684226612"},{"product_id":"da-cauda-a-cabeca","title":"Da Cauda à Cabeça","description":"Published on the occasion of Carla Filipe’s show \u003cem\u003eda cauda à cabeça\u003c\/em\u003e (from tail to head), this monograph, the first ever dedicated to the artist, focuses on the project presented at Museu Coleção Berardo, with an essay by the curator Pedro Lapa, and a comprehensive documentation of the show. It also refers to a number of previous projects selected or especially created by Carla Filipe. The book features additional texts by Vít Havránek and Pedro G. Romero, and an interview with Stephan Dillemuth. These texts contextualize both the artist’s work and this project in particular, which summarises the artist’s investigation into Portuguese railroads. The publication was conceptualised by Carla Filipe in close collaboration with Gonçalo Sena, who also designed it.","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46745400148298,"sku":"9789898239389","price":16.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Carla-filipe.jpg?v=1684227873"},{"product_id":"sunsets-notes-from-underground-waves","title":"Sunsets, Notes From Underground, Waves","description":"\u003cp\u003eThis publication serves as a guidebook of sorts to Lisa Tan’s eponymous video suite. Containing illustrated transcriptions of each video and texts by Mara Lee, Lauren O’Neill-Butler, Natasha Sadr Haghighian, and the artist, it both catalogues and responds, sticks to the facts and allows for hearsay. The concept of the liminal permeates Tan’s videos: drifting between day and night, above and below ground, land and sea. An analogous transit is offered by this book, suspending the reader between the empirical and subjective, with the hope of fulfilling the promise held out by the liminal: transformation.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFilms synopsis:\u003c\/span\u003e \u003cbr\u003eThe sun converses with the force that is Clarice Lispector. \u003cem\u003eSunsets\u003c\/em\u003e documents the audio of a casual translation, conducted over Skype, of an interview with the writer from 1977. This recording forms the soundtrack of the video. The visual footage is comprised of scenes that were filmed at three o’clock in the afternoon during the summer, or three o’clock in the afternoon during the winter, in Sweden.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNotes From The Underground\u003c\/em\u003e connects the Stockholm metro and Susan Sontag’s sojourn in Sweden with a cavern system 5000 miles away in New Mexico, not far from where the artist was raised. The video suggestively links this journey to experiences of liminality, narrating varied intensities of geological time and strata of personal and cultural history.\u003c\/p\u003e\n\u003cp\u003eDeparting from Virginia Woolf’s experimental novel \u003cem\u003eThe Waves\u003c\/em\u003e, Tan’s video Waves imagines how consciousness forms in relation to society and its technologies, but also to expressions of geological and hydrological processes. Filmed at the threshold of land and sea, a conversation forms between disparate hydro-relations, such as Woolf’s prose, Courbet’s paintings of waves, Google’s data centers cooled by the Baltic Sea, invisible jellyfish, and transoceanic cables.\u003c\/p\u003e\n\u003cp\u003eLisa Tan is an artist based in Stockholm.\u003cbr\u003e\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46745859293514,"sku":"9783943620436","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Sunsets.jpg?v=1684237251"},{"product_id":"the-soweto-project","title":"The Soweto Project","description":"\u003cp\u003eFrom the middle of January to the end of March 2014, the class Design for the Living World lived and worked in Soweto. 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. It seeks to establish trans-local and trans-continental dialogue between socially engaged art projects and the existing social activities in these nine “urban biotopes”.\u003c\/p\u003e\n\u003cp\u003eStefan Horn, the 9UB curator, gave us great introductions to the Soweto community, such as the amazing Queen Riba, a ward counsellor, and Mike Makwela, the programme manager at PlanAct, who is well connected in the community. He put us in touch with Sannah Ndlovu, who was our host during our entire stay in Soweto. A ward committee member and activist, Sannah became part of our project for the simple reason that we lived in her house and discussed our challenges, misconceptions and successes around her table every day. She became a true friend and the best collaborator one could imagine. Terry Kurgan, the 9UB co-ordinator on behalf of Goethe Institut South Africa, gave us invaluable support throughout the project. 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. In Noordgesig we want to thank Cindy Tsotsotso, the principal of Noordgesig Primary School; Je rey Hughes, our garden consultant; Captain Donovan and Elisabeth of the Boys Brigade; Sister Glover and pastor and community leader Abdul Latif.\u003c\/p\u003e\n\u003cp\u003eEqually important, the overall cultural scene of Soweto and Johannesburg was an inspiration to us – and during the Soweto Street Festival we became a part of it. Katharina Rohde and Thiresh Govender of the Johannesburg design studio UrbanWorks gave us insight into the public space in Johannesburg through their Celebrating Public Spaces project. Special thanks go also to Jhono Bennett of 1:1 Agency of Engagement, who inspired us with the Slovo Park project and influenced the structural solutions for the Ubuntu Park platform. We also discussed the Soweto Project with architecture students at Wits University and their professor, Hilton Judin, as well as many others.\u003c\/p\u003e\n\u003cp\u003eLast but not least, our residency received generous nancial support from the Culture Programme of the European Union and the Karl H. Ditze Stiftung (through HFBK Hamburg). is publication would not have been possible without the invitation from Marco Scotini, curator of the exhibition Vegetation as a Political Agent at Parco Arte Vivente in Turin, Italy. Marjetica Potrč and Design for the Living World, Hamburg, June 2014\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46748352479562,"sku":"9783943620207","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/The-Soweto-Project.jpg?v=1684311852"},{"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. The present book is entitled \u003cem\u003eExtending the Dialogue\u003c\/em\u003e not only because, in some senses, it is a follow-up to that first publication, but also because these texts examine issues and offer views that go far beyond local and regional concerns.\u003c\/p\u003e\n\u003cp\u003e See the table of contents \u003ca href=\"https:\/\/www.igorzabel.org\/extending-the-dialogue-contents.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"\u003ehere\u003c\/a\u003e\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46772224852298,"sku":"9783943620528","price":17.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Extending-the-dialogue-scaled.jpg?v=1684845362"},{"product_id":"eine-erfahrung-documenta-14","title":"Eine Erfahrung • documenta 14","description":"\u003cp\u003eThis is not a book of good intentions.\u003c\/p\u003e\n\u003cp\u003eIt attempts to introduce a chorus of voices that speak from different positions on \u003cem\u003eaneducation\u003c\/em\u003e, the education program for Learning from Athens, documenta 14 in Athens and Kassel. Instead of objectives and overviews, target groups and outcomes, successes or failures, the program was determined by process and experience. In thinking through the body it was possible to examine how we come together and recognize knowledge not as a one-way transmission but as a form of exchange that can be circulated. Further, the aim was to listen and learn as an institution, be receptive, and acknowledge the complexities of hearing, from eavesdropping to listening to one’s inner voice. The mode of ‘being with’ guided our program and publication, both of which seek to lay bare the opaque relationships between education, exhibition making, and their publics.\u003c\/p\u003e\n\u003cp\u003eForty-eight entries are organized alphabetically as a lexicon, each written by various members of the aneducation team and documenta 14 Chorus, as well as curators, artists, and educators who contributed to the program. The publication’s many points of departure present just as many desires for other sites of learning. Cross references among the entries show the deep relationships that existed—and continue to deepen—between the methods, programs, and locations of aneducation.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eaneducation\u003c\/em\u003e aimed to complicate the politics of ‘knowing’ as institutional practice—namely, its genealogies and the power relations it imposes. It was not only about knowledge, but the daily embodied practices of listening, walking, gesticulating, performing, doing, reading, and being in dialogue with others. An open ecology was needed, and developed in conversation with artists, local publics, and associated organizations, drawing on many practices as processes for learning. 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. As a semantic mode of witness, a way to deal with the collective production of sounds, gestures, voices, and encounters through words, the vocabulary issued here comprises a vehicle towards blurring linguistic and subjective hierarchies.\u003c\/p\u003e\n\u003cp\u003eThis is one of many introductions and perhaps no introduction at all.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46772234355018,"sku":"9783943620801","price":7.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/aneducation-DE-scaled.jpg?v=1684845695"},{"product_id":"copy-of-eine-erfahrung-documenta-14","title":"Aneducation • documenta 14","description":"\u003cp\u003eThis is not a book of good intentions.\u003c\/p\u003e\n\u003cp\u003eIt attempts to introduce a chorus of voices that speak from different positions on \u003cem\u003eaneducation\u003c\/em\u003e, the education program for Learning from Athens, documenta 14 in Athens and Kassel. Instead of objectives and overviews, target groups and outcomes, successes or failures, the program was determined by process and experience. In thinking through the body it was possible to examine how we come together and recognize knowledge not as a one-way transmission but as a form of exchange that can be circulated. Further, the aim was to listen and learn as an institution, be receptive, and acknowledge the complexities of hearing, from eavesdropping to listening to one’s inner voice. The mode of ‘being with’ guided our program and publication, both of which seek to lay bare the opaque relationships between education, exhibition making, and their publics.\u003c\/p\u003e\n\u003cp\u003eForty-eight entries are organized alphabetically as a lexicon, each written by various members of the aneducation team and documenta 14 Chorus, as well as curators, artists, and educators who contributed to the program. 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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. As a semantic mode of witness, a way to deal with the collective production of sounds, gestures, voices, and encounters through words, the vocabulary issued here comprises a vehicle towards blurring linguistic and subjective hierarchies.\u003c\/p\u003e\n\u003cp\u003eThis is one of many introductions and perhaps no introduction at all.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46772234420554,"sku":"9783943620801","price":7.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/aneducation-UK-scaled.jpg?v=1684845733"},{"product_id":"proxy-politics","title":"Proxy Politics","description":"\u003cp\u003eThe proxy, a decoy or surrogate, is today often used to designate a computer server acting as an intermediary for requests from clients. Originating in the Latin procurator, an agent representing others in a court of law, proxies are now emblematic of a post-democratic political age, one increasingly populated by bot militias, puppet states, and communication relays. Thus, the proxy works as a dialectical figure that is woven into the fabric of networks, where action and stance seem to be masked, calculated and remote-controlled.\u003c\/p\u003e\n\u003cp\u003eThis publication looks at proxy-politics on both a micro and a macro level, exploring proxies as objects, as well as networks as objects. What is the relation between the molecular and the planetary? How to fathom the computational regime? Yet, whilst being a manifestation of the networked age, thinking like a proxy offers loopholes and strategies for survival within it.\u003c\/p\u003e\n\u003cp\u003eThe Research Center for Proxy Politics (RCPP) explores and reflects upon the nature of medial networks and their actors. Between September 2014 and August 2017, the center hosted workshops, lectures and events at the Universität der Künste, Berlin, under the auspices of Hito Steyerl’s Lensbased class. RCPP is run by Boaz Levin and Vera Tollmann.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790238994762,"sku":"9783943620719","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Proxy-politics.jpg?v=1685435259"},{"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":"streams-of-consciousness-a-concatenation-of-dividuals","title":"Streams of Consciousness – A Concatenation of Dividuals","description":"\u003cp\u003eThe moment of capturing an image can be understood as a solidifying of the streams of consciousness which occur in the photographer’s mind in that decisive moment: the photograph then becomes the place of convergence of all conceptual, aesthetic and cultural ideas and associations out of which the impetus to capture arose.\u003c\/p\u003e\n\u003cp\u003eThe notion of the stream of consciousness is intrinsically linked to the notion of depth of sight: that is, the idea that sight can reach outside of itself and call onto the other senses. Photography, as a vector for such engaged vision, acts as a prosthesis for our impoverished sight. The impoverished nature of sight is of particular relevance in the African context, where photography has—in the hands of Western photographers—predominantly served to create visual taxonomy and stereotypes, thus un-training the eye, banishing it to shallow realms.\u003c\/p\u003e\n\u003cp\u003eThe poems and essays presented in this reader are theoretical and poetic responses organized in a stream in which different voices echo each other, expand on one another and resonate with each other, ultimately forming a polyphonic space of thoughts and reflections. The continuous movement, between the theoretical and the poetic, the personal and the public, represents an architectural structure which is defined by a collective agency. Every echo of the texts becomes a reference for the others, and every resonance amplifies the voices, fueling the streams of consciousness beyond the pages of the book.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790400180554,"sku":"9783948212209","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Streams-of-consciousness-reader-UK.jpg?v=1685441626"},{"product_id":"the-illusion-of-a-crowd","title":"The Illusion of a Crowd","description":"\u003cp\u003eFilm material 7 \/ In collaboration with Till Gathmann. Including the films \u003cem\u003eTransformation Scenario, 70.001\u003c\/em\u003e, and \u003cem\u003eFaux Terrain\u003c\/em\u003e, as well as a visual essay, a glossary and texts by Heike Geißler, Fanni Fetzer, and Franciska Zólyom.\u003c\/p\u003e\n\u003cp\u003e“When I visited the Elias Canetti archive at the Zentralbibliothek Zurich, I was looking for manuscripts and sketches for his major work \u003cem\u003eCrowds and Power\u003c\/em\u003e (1960). I imagined that Canetti must have made drawings, as the behaviour of the various crowd types he identified was described in such detail. I hoped that these drawings would help me transfer the group behaviour he describes to virtual figures in an animated film.\u003c\/p\u003e\n\u003cp\u003eThe archive of manuscripts, arranged by Elias Canetti himself, was handed over to the Zurich library and contains the notes and sketches he completed during the development of \u003cem\u003eCrowds and Power\u003c\/em\u003e, a period of almost forty years. However, in this context I found no drawings — Canetti had only made graphic lists on various themes. So where did Canetti’s precise descriptions of the scenes come from?”\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790438060362,"sku":"9783948212230","price":12.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/The-illusion-of-a-crowd-UK-scaled.jpg?v=1685442927"},{"product_id":"illusion-einer-menschenmenge","title":"Illusion einer Menschenmenge","description":"\u003cp\u003eFilmmaterial 7 \/ In Zusammenarbeit mit Till Gathmann. Mit den Filmen Transformation Scenario, 70.001 und Faux Terrain, sowie einem Bildessay, Glossar und Textbeiträgen von Heike Geißler, Fanni Fetzer und Franciska Zólyom.\u003c\/p\u003e\n\u003cp\u003e„Als ich den Nachlass von Elias Canetti in der Zentralbibliothek Zürich sichtete, war ich auf der Suche nach Handschriften und Skizzen zu seinem Hauptwerk \u003cem\u003eMasse und Macht\u003c\/em\u003e (1960). Ich hatte mir eingebildet, Canetti müsse gezeichnet haben, so detailliert hat er das Verhalten der von ihm aufgestellten Massentypen beschrieben. Diese Zeichnungen sollten mir helfen, das von ihm beschriebene Gruppenverhalten auf virtuelle Figuren in einem Animationsfilm zu übertragen.\u003c\/p\u003e\n\u003cp\u003eDie Handschriftensammlung war von Canetti noch selbst geordnet und der Zürcher Bibliothek übergeben worden. Hier finden sich Notizen und Entwürfe, die er in fast vierzig Jahren während der Entwicklung von \u003cem\u003eMasse und Macht\u003c\/em\u003e angefertigt hat. Zeichnungen habe ich in diesem Zusammenhang nicht finden können, Canetti hat lediglich grafische Listen zu verschiedensten Themen erstellt. Wie also kam Canetti zu seinen bildgenauen Szenenbeschreibungen?“\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790441501002,"sku":"9783948212230","price":12.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/The-illusion-of-a-crowd-DE-scaled.jpg?v=1685442967"},{"product_id":"peace-with-the-earth","title":"Peace with the Earth","description":"\u003cp\u003e“In the fullness of time, however, a new, unbiased and diligent school of research will prevail, one that has abandoned the prejudiced view that maintains that our modern Western society is superior and normative for all and necessary for our future on Earth.”\u003c\/p\u003e\n\u003cp\u003eThe authors of this pamphlet, Elin Wägner [1882–1949] and Elisabeth Tamm [1880–1958], were active in a transnational movement of radical, non-conformist women, many of whom would today most likely call themselves queer. They operated between and across established, accepted, and legally sanctioned societal structures such as patriarchal family orders, scientific disciplines, political parties, and religious communities. Their argument was that war and war-like relations cannot be undone until patriarchal and colonial domination is overcome. They also recognized that, as Wägner states in the introductory chapter, “This involves a paradigm shift and all that it entails in terms of social change.”\u003c\/p\u003e\n\u003cp\u003eThe still-ongoing and rapidly escalating exploitation of earthly life by corporate and state-sanctioned powers re-actualizes the call of this pamphlet. To translate and re-read it across languages, locations, and practices today is a way to reconnect to the wider discussions that the knowledge captured in this pamphlet has emerged from – for current debates to gain continuity, depth, and scope.\u003c\/p\u003e\n\u003cp\u003eThis edition includes a conversation between artist Åsa Elzén; writer, editor, and educator in art and ecology Ros Gray; and artist and editor of this publication Åsa Sonjasdotter. Further, it includes an introduction from the 1982 and 2014 Swedish editions by artist and farmer Flory Gate, as well as an expansion of key references.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePeace with the Earth\u003c\/em\u003e is part of a series of publications that investigate agricultural narratives and practices initiated by Åsa Sonjasdotter. The first book in the series, \u003cem\u003ePeace with the Earth – Tracing Agricultural Memory, Refiguring Practice\u003c\/em\u003e, was published in 2019.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790516998474,"sku":"9783948212810","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Peace-w-Earch.jpg?v=1685445620"},{"product_id":"conversing-with-leaves","title":"Conversing With Leaves","description":"\u003cp\u003eDialogue forms the basis of everything in my artistic practice. I never work in a vacuum, never just in my head or shut away in a studio. I always view myself as being in a dialogue with the world, with others. I travel a lot for my work and I’m dependent on people to talk with locally, on hospitality and collaboration. For some time, I’ve also been interested in the way we can understand plants as actors in history, in other words, not just as passive extras. Of course, plants don’t talk in words, but they are still communicating through smells, colours, or toxins. So conversations always take place on various levels. Dialogue is predicated on keeping an open eye and an open ear: looking, noticing, listening, and asking questions. Not all direct exchange is reflected or documented as such in the work, but the trust established in this manner is vital for all the works. Uriel Orlow\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFrom the introduction\u003c\/span\u003e \u003cbr\u003eThe title derives from the book of the same name written by Luther Burbank, a nineteenth-century American botanist renowned for watching plants and conducted numerous botanical experiments. 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In media such as film, photography, and installations he uses archive and documentary material, the city, architecture and real people, to tempt the stories out of trees, flowers, herbs, and seeds — stories that are deeply bound up with humans, our past, our place in the world today — in short: our lives.\u003c\/p\u003e\n\u003cp\u003eIt is clear that plants have long served people and have constantly been made into witnesses of history, memorials to certain events, and therapeutic agents. Plants have for centuries been put to many purposes foreign to them, and have been exploited by all of us. 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Thomas, Martta Tuomaala, Christopher Wessels, and Suvi West\u003c\/span\u003e\n\u003c\/div\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46790754959690,"sku":"9783943620993","price":7.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/Screenshot_2025-12-02_at_14.55.09.png?v=1764683688"},{"product_id":"my-name-is-language","title":"My Name is Language","description":"\u003cp\u003eThe publication \u003cem\u003eMy Name Is Language\u003c\/em\u003e (2020) explores the key tenets of artist Nicoline van Harskamp’s research and practice, such as the contemporary use and modification of languages, a treatment of names as spoken language rather than spelled identity markers, and the practice of self-naming. 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This comes along with: How can one move away from this God-like position of the sole creator to then present to those that just consume, and shift towards a collective experience of creating and perceiving together? It is not the curators that have the genius to come up with an idea that is then realised by artists to be later consumed by an audience, but it is a collective exchange of ideas in a kind of noosphere, or a collective body of people—artists, visitors of all walks of life, curators—that together form a collective brain. In all this, agency is by no way limited to the ‘maker of ideas’ or ‘maker of artworks’, but the primary agency lies with the idea itself and the art itself. 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In each of the readers, we have invited and will continue to invite poets, essayists, fiction writers, visual artists, critical writers of all kinds to lend themselves as birth canals through which ideas of ‘labour and its sonic ecologies’ can be birthed, or at least become vessels to contain such deliberations. ‘Force Times Distance—On Labour and its Sonic Ecologies’ is a journey, to say the least, into the unknown. A journey marked by a plethora of uncertainties, which we have chosen to embrace rather than fend off or deflect. From a global pandemic, to financial precarity, to arduous labour conditions, we consider the becoming of Sonsbeek a wandering in wondering, trusting not only in our interlocutors—artists, curators, managers, audiences, producers etc—but more specifically trusting the agency of the project and what it wants to reveal through us.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46792672870730,"sku":"9783948212520","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/sonsbeek-reader-onlabour.jpg?v=1685531114"},{"product_id":"sonsbeek-20-24-force-times-distance-on-labour-and-its-sonic-ecologies","title":"sonsbeek 20→24 – Force Times Distance: On Labour and its Sonic Ecologies","description":"\u003cp\u003eAmidst everything that has and is still going on, what is silenced and what reverberates? What is revealed and what is ignored? Is solidarity resonating? Do we perceive its echoes while some people keep being denied breath? The curatorial framework of sonsbeek20→24, centered around labour and its sonicities, connects a millenary history crossing times and geographies to the present moment, through a multitude of voices, sounds, and ripples. It invites us to listen to the sounds relegated to the “edges” of the “main” motive, to the whispered stories, to those passed through singing and through storytelling, and embodied narratives. An edition that inhabits the absence from the dominant image. An edition that draws particular attention to that which has been written otherwise — in singing, playing, performing, dancing, caring, in polyphonic rhythms and multiple motherless-tongues thanks to which memories, traditions, spiritualities, entire cosmologies crossed oceans and deserts. This edition aims to reveal the complex labour relations and inequalities that show who is (un)seen, who is (in)dispensable, who is seemingly worth our applause, and who is fawningly silent.\u003c\/p\u003e\n\u003cp\u003eThis 12th edition of sonsbeek — the pathbreaking quadrennial for art in public space, is co-curated by Antonia Alampi, Amal Alhaag, Zippora Elders and Aude Christel Mgba, curatorial support by Krista Jantowski, under the artistic direction of Bonaventure Soh Bejeng Ndikung. \u003cem\u003eForce Times Distance – On Labour and its Sonic Ecologies\u003c\/em\u003e is a journey, to say the least, into the unknown. A journey marked by a plethora of uncertainties, which we have chosen to embrace rather than fend off or deflect. From a global pandemic, to financial precarity, to arduous labour conditions, we consider the becoming of sonsbeek a wandering in wondering, trusting not only in our interlocutors — artists, curators, managers, audiences, producers etc — but more especially trusting on the agency of the project and what it wants to reveal through us.\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":46792681554250,"sku":"9783948212537","price":17.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0754\/5474\/2858\/files\/sonsbeek-catalogue-21_cover-screen.png?v=1685531273"},{"product_id":"anachoresis-upon-inhabiting-distances-cyprus-pavilion-17th-architecture-biennale-in-venice","title":"Anachoresis – Upon Inhabiting Distances: Cyprus Pavilion, 17th Architecture Biennale in Venice","description":"Published on the occasion of Cyprus’ participation at the 17th Architecture Biennale in Venice, Anachoresis: Upon Inhabiting Distances gathers a collection of texts and visual material from a multidisciplinary group of Cypriot and international practitioners, including architects and designers, curators and writers, sound and movement artists. 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Curated by Emanuele Guidi, it is promoted by ar\/ge kunst Bolzano, and supported by the Italian Council (7th Edition, 2019)–Directorate-General for Contemporary Creativity of the Italian Ministry of Culture. The book includes contributions by Leandro Martínez Depietri, Riccardo Bottazzo, Enrica Camporesi, Emanuele Guidi, Elena Mazzi, Mauro Millán, Eduardo Molinari, Ana Margarita Ramos, Ya Basta! 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The work is aimed at the re-examination of our relation to architectural and material cultural heritage, merging two stories: the story of the Hungarian Museum of Fine Arts’s nineteenth century plaster cast collection of antique sculptures, and that of the eighteenth century synagogue of Tata, which served to house the life-size copies of antique sculptures for more than forty years.\u003c\/p\u003e\n\u003cp\u003eThe two longer essays in this volume examine The Blue Room project in terms of its different contexts: museology, politics of memory, and contemporary art. \u003cem\u003eThe Study To Do Something with It: Copy Management\u003c\/em\u003e by art historian Hedvig Turai analyzes the transfer of The Blue Room installation in terms of the correlation between changing venues (Tata Synagogue, the Kiscell Museum’s Church Hall) and discourses of memory. Cultural theorist Margaret Tali’s essay Uncertain Futures in \u003cem\u003eUnsettled Pasts: Tehnica Schweiz’s The Blue Room\u003c\/em\u003e discusses, among other things, the representational and educational role of 19th century plaster cast replicas of antique sculptures, as well as the recycling of Central European synagogues for the purposes of contemporary art. The essays are accompanied by a visual narrative composed of interior and object photos by Tehnica Schweiz along with stills from the film, following the film’s dramaturgy.\u003c\/p\u003e\n\u003cp\u003eThe themes of The Blue Room project include the place, its spirit, its past, the “deletion” of the synagogue from memory, the classical copies and their newly reconstructed replicas. 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