Archive Books

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Labor 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? Bitter Things retraces positions on this topic from the 1960s right up to present day perspectives.

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Forty-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.

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When Attitudes Become the Norm is a collection of essays and interviews by art historian and theorist Beti Žerovc on the topic of curatorship in contemporary art. Žerovc examines curatorship in its broader social, political and economic contexts, as well as in relation to the profound changes that have taken place in the art field over the last century. She analyses the curator as a figure who appears, evolves, and participates in the institutionalisation of contemporary art and argues that with the curator institutional art – art designed to fit the art institution’s space and needs – achieves its fullest expression.

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Towards (Im)Measurability of Art and Life 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.

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To Become Two: Propositions for Feminist Collective Practice 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.

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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.

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A conference, hosted by the International Center for the Arts José de Guimarães, borrowed its title from an unfinished film stored in an archive in Bissau. ‘Luta ca caba inda’ (The struggle is not over yet) was conceived as a documentary film on post-independence Guinea-Bissau, but was abandoned in the editing process in 1980. The archive testifies to a decade of collective and internationally connected cinema praxis in the country, as part of the people’s struggle for independence from Portuguese colonialism.

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An archive of film and studio material in Bissau. On the verge of complete ruin, the footage testifies to the birth of Guinean cinema as part of the decolonising vision of Amílcar Cabral, the liberation leader who was assassinated in 1973. In collaboration with the Guinean filmmakers Sana na N’Hada and Flora Gomes, as well as many allies, Filipa César imagines a journey where in this fragile matter from the past operates as a visionary prism of shrapnel, with which to look through. Digitised in Berlin and screened at various locations – in what would come to resemble a transnational itinerant cinema – the archive convokes debates, storytelling and forecasts. From their screening in isolated villages in Guinea-Bissau to European capitals, the silent reels are now a place from which people might search for antidotes to a world in crisis.

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Stonemasons, cinema staff, a climbers’ cooperative, a group of 1970s militants. These communities testify to a period of upheaval that swept across Europe from the late 1960s to 1989. The fragments of biographies and the social relationships that Cora Piantoni depicts, are episodes in the context of this historic narrative: the legacy of anti-fascism in Italy, political dissent in the former Eastern Bloc, the fall of the Berlin Wall.

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Instead of passing off art as a model for a better politics, we wish to test it for the signatures, the markers and forms of these deeply antagonistic relations of which art itself is a material part: we are concerned with art as a class language, as well as with class languages in art; with art’s room for maneuver as well as with its limits and restrictions, curatorially, in writing and debate.

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This third volume of The Psychopathologies of Cognitive Capitalism emerges from deliberations that took place during two different symposia. The first was a collaboration between Warren Neidich and Mark Fisher at the Department of Visual Culture at Goldsmiths College, titled The Psychopathologies of Cognitive Capitalism Part Three: The Cognitive Turn, and the second was an event organized in conjunction with the Goethe-Institut Los Angeles, Noise and the Possibility of a Future.

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This 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.

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Although the short-lived Brazilian cultural movement known as Tropicália is most commonly associated with music and the visual arts, its sense of playfulness and strategies of appropriation have stimulated many of the country’s filmmakers from the 1960s to the present. Fifty years after its emergence, what is the legacy of Tropicália today?

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This publication’s title references the UN Security Counsel Resolution that in 1993 established the International Criminal Tribunal for the former Yugoslavia (ICTY). It is the outcome of a collaboration between Stedelijk Museum Bureau Amsterdam and the Museum of Contemporary Art, Belgrade. Previously taking the form of an exhibition and artist presentations at SMBA and a panel discussion hosted by the Stedelijk Museum’s Public Program, it now finds it result in this publication that brings together various texts by the participating artists, visual documentation of their works and adaptions of the discussions that took place.

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Retrieving, processing, tracking and tracing have evolved into standard actions performed with any available data, including their instant translation into images, thus transforming, modifying, and adjusting them for the visualized results. tracelation underscores the indispensable action of translation within the performance of tracing, which results in histories of action, movement, performance, as time-specific changes of particles: big data.

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1975 is an artist book by Daniela Comani, based on research following the finding of a childhood notebook from ’75. Through neutral images selected by the manufacturers for brochures Comani researches cars that were on the road in the 70’s, some of which are icons of this time and define the spirit of the age. The project becomes a social and historical study on style in the pre-globalized world and, above all, a kind of self-portrait.

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The White Hunter, African Memories and Representations is a publication produced on the occasion of the eponymous exhibition produced by FM Centre for Contemporary Art in Milan. This book is not only a catalogue on the exhibition, but it is rather a context in which the subjects of the show, are interrogated in another form.