Published by Valiz/BAK, Utrecht. Edited by Maria Hlavajova, Ranjit Hoskote. Text by Nancy Adajania, Ariella Azoulay, Amelia Barikin & Nikos Papastergiadis, Manuel Beltrán, David Graeber and Michelle Kuo, Dóra Hegyi, Tom Holert, Brian Holmes, Geert Lovink, Elzbieta Matynia & Joanna Warsza, Katya Sander, Simon Sheikh, Jonas Staal, Stephen Wright.
With contributions from artists, theorists and activists, among them David Graeber, Brian Holes and Geert Lovink, Future Publics reflects on the emergence of radically new publics whose origins in moments of social crisis and political uncertainty inspire them to question existing forms of collective organization, decision-making structures and protocols. These future publics recognize that following the collapse of late capital's certitudes, the institutions of political and cultural life cannot continue as usual. Utopian yet pragmatic, insurgent yet self-critical, they resist normalization into restrictive definitions of citizenship, cutting across conventional lines of class, region, ethnicity and ideological affiliation. This reader explores how the imaginative and intellectual labor of these new publics has proposed new speculative forms of belonging and collaboration beyond the ones envisaged within the paradigm of contemporary art.
Published by Moderne Kunst Nürnberg. Text by Karen Irvine, Karen Knorr Cetina, Brian Holmes, Dirk Baecker.
German artist duo Beate Geissler and Oliver Sann photograph the offices of trading companies in Chicago, where they live and work, as well as interview traders, programmers and businessmen. Volatile Smile explores the impact of technology on systems of global commerce.
Published by nai010 publishers. Text by Wolfgang Ernst, Brian Holmes, Boris Groys, Sven Lütticken, Saskia Sassen, Jonathan Sassen, Stephan Wright, et al.
Since 2004, Open has conducted an interdisciplinary investigation into the changing conditions of public space, fostering new ideas about the public sphere and focusing on the impact of current processes of privatization, mediatization and globalization on society and cultural production. This volume collects key texts from Open, published between 2004 and 2012.
Published by Four Corners Books. Foreword by Brian Holmes.
Since its formation in 1987, Critical Art Ensemble has set out to explore the intersections between art, critical theory, technology and political activism. The award-winning group of tactical media practitioners has exhibited and performed in a variety of venues internationally, from the street to the museum to the internet. Disturbances is the first book to assess the group’s 25-year history, examining the environmental, political and bio-technological themes of their various initiatives.In the publication, each project is presented by the group itself, from their early live multimedia productions; to their development of models of electronic civil disobedience, digital resistance, and contestational biology and ecology; to their most recent tactical media projects.Disturbances is a landmark handbook for activists in art, theory, science and politics.
BOOK FORMAT Paperback, 8 x 10.75 in. / 272 pgs / 250 color / 60 bw.
PUBLISHING STATUS Pub Date 10/31/2012 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 115
PRODUCT DETAILS ISBN 9780956192882TRADE List Price: $40.00 CDN $54.00
AVAILABILITY In stock
in stock $40.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published in conjunction with the Documenta 13 exhibition in Kassel, Germany, the Documenta notebook series 100 Notes,100 Thoughts ranges from archival ephemera to conversations and commissioned essays. These notebooks express director Carolyn Christov-Bakargiev’s curatorial vision for Documenta 13.
Published by nai010 publishers. Text by Wim Nijenhuis, Shuddhabrata Sengupta, Florian Schneider, Brian Holmes, Lieven de Cauter, et. al
Published twice yearly, Open reflects upon the uses of contemporary public space. This issue of the journal is devoted to issues of mobility and immobility, and explores the ways in which sophisticated communication technologies are stimulating a further increase in physical mobility in urban space, both motorized and otherwise.
Regulation and Privatization of Intellectual Property and Public Space
Published by nai010 publishers. Edited by Jorinde Seijdel. Text by Stephen Wright, Brian Holmes, Dennis Kaspori, Willen van Weelden.
The contemporary public domain, the "free" space where culture is produced and exchanged, is under pressure. The exchange and distribution of cultural products ("content" in the form of music, image or text) is easier in digital society, but increasingly hemmed in by corresponding moves towards greater regulation and control, new copyright laws and intellectual property policy. Instead of enjoying a "free culture," we are watching the emergence of what Lawrence Lessig calls "a permission culture." Simultaneously, as an aspect of broader privatization and regulation processes, private entities are appropriating more and more of public culture, and deciding what is made available or publicly accessible. This issue of the Dutch architectural journal, Open, investigates the root causes of these developments, how they interrelate and what the implications are for the "free" production and practice of culture, as well as for the internal dynamics and balance of power in the public domain.
Beyond the Visible in Contemporary Art, Culture, and the Public Domain
Published by nai010 publishers/SKOR. Edited by Liesbeth Melis and Jorinde Sijdel.
In today's hypervisualized culture, has every message or social agenda been usurped by styling, commerc, and fashion? What position does art occupy in conveying the meanings of everyday design? What position should it occupy? And how do we make meaning--that which is invisible--visible? In Open 8, guest editors Willem van Weelden and Jan van Grunsven introduce this debate. Further examination comes courtesy critic Brian Holmes, who explores (in)visibility as a tactic in art, and Dieter Lesage, who critically examines the proposals by design firm OMA for a new iconography of Europe. Among these and other thought-provoking essays is an account of a round-table discussion centered around legitimating “Art and the Public Space,” courses in designers' academic training, photographic essays and book reviews.
Combining traditional film technologies and computerized military programs for tracking, identifying, and targeting, Jordan Crandall's seven-part video installation Drive depicts movement through means that go miles beyond the conventions of cinema. In Drive, as elsewhere today, bodies and physical movements are no longer objects of representation, but collated and processed computer data from thermal imaging machines and night vision optical devices. Movements are no longer depicted; they are tracked. Drive observes the new human relationships that develop through a structure otherwise associated with a hunter observing his prey. Also included in this volume are Crandall's collected projects and writings.