1975 – Diario di Strata Daniela Comani — 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.
Extending the Dialogue IZA SERIES — The Igor Zabel Association for Culture and Theory, Archive Books, and the ERSTE Foundation cordially invite you this Saturday at 7pm to the presentation of the book Extending the Dialogue with Ekaterina Degot, Antonia Majaća, Urška Jurman, and Christiane Erharter. The 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.’
The White HunterAfrican Memories and Representations FM Centre for Contemporary Art Series — 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.
Bare Lives Mario Rizzi — In Bare Lives Mario Rizzi portays Yazidi refugee camps and their inhabitants, exploring hidden stories and consequences of the so-called ‘Arab Spring’ and how they entangled individual political lives and wider geopolitics of the region.
Mobile Cinema Romana Schmalisch — The Mobile Cinema presentation apparatus – somewhere between urban model, cinema, and plate camera – derived its form from Alexander Medvedkin’s film The New Moscow (1938), in which an engineer used it to present his designs and visions for Moscow on his journey into the Soviet capital. The real space is replaced by a city of models representing a new reality by cinematographic means.
I stick my hands into the earth, and I think for a while Gitte Villesen — Travelling through the forest in Mexico, I reread Ursula Le Guin’s The Word for World Is Forest, which is set on a planet covered with forest. The inhabitants of the planet have trained themselves to master their dreams. For them, dream-time and world-time are equally real. At some point, a group of earthlings arrives, intending to colonise the planet. To the locals, the invaders’ dreams seem like those of a 3-year-old with no control and no awareness. Also, the earthlings use hallucinogens that send their dreams out of control.
Conflict AtlasGeopolitics and Contingencies on the Malvinas-Falklands ArchipelagoJasmijn Visser — Conflict Atlas looks at history through the perspective of the Falklands Islands/Islas Malvinas. Global events are mirrored to local proceedings on the archipelago. 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.
Luta ca caba inda. Time Place Matter Voice. 1967–2017 A collective book — 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.
Politics of MemoryDocumentary and Archive — The anthology Politics of Memory aims to investigate the document as such, as an objective trace left by events, as material proof or the creation of reality – the strategies with which they transform a state of memory into State memory, those by means of which a historical removal is enacted, those, ultimately, in which there is an attempt to challenge permanent or temporary amnesia, opening up to the future. The artists and filmmakers contributing to this publication represent the most advanced area on an international scale of a research that inaugurates a new relationship between artistic practices and the documentary.
Da Capo.Fifteen Films Deimantas Narkevičius — This publication constitutes the first comprehensive overview of the filmic production by the video-artist and filmmaker Deimantas Narkevičius: over 20 years of production and more than 200 exhibitions all over the world. It contains the transcription in their integral version of the film’s dialogue list, and it is completed by the comments of 16 authors on the 15 films made by Narkevičius from 1997 through to today. Each film is introduced by the artist’s personal statement.
The Forest and The SchoolWhere To Sit at the Dinner Table — Edited by the writer and visual artist Pedro Neves Marques, this book is a thorough anthology on Brazilian Antropofagia. It presents Antropofagia not simply as an aesthetic movement, based on acculturation or an hybridity exemplary of the tropics, but as a full scope South American cosmopolitics, defined by predation and the immanence of the enemy, by an humanity unbound from species, and a technology aimed at leisure.
Lieux de Mémoire and Desire Maya Schweizer — The publication presents five cinematic works of Maya Schweizer and examines how the artist approaches the relation of montage editing techniques with the concept of film and memorial and film as memorial – a relation which traces back to both the very beginnings of montage and incorporates the research of French historian Pierre Nora. 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.