The Psychopathologies of
Cognitive Capitalism
Part Two

The Psychopathologies of Cognitive Capitalism: Part Two is the second volume in a series which maps out the complex terrain of cognitive capitalism as an ontogeny in which its earlier phase has transitioned into a later phase that we are now beginning to experience. This volume collects together papers from a conference of the same name held at the Institute of Cultural Inquiry, Berlin, in the spring of 2013. The book contains three sections of which the first is titled Cognitive Capitalism: The Early Phase, the second The Psychopathologies of Cognitive Capitalism and its Responses, and the last The Cognitive Turn in Cognitive Capitalism.

History and Interregnum Stan Douglas

History and Interregnum looks at the relationship between history and fiction through the practice of re-enactment, as seen in three works by Stan Douglas. The Secret Agent (2015), Disco Angola (2012) and Luanda-Kinshasa (2013) all draw upon the same historical period, which saw the emergence of different universalist and multicultural hopes for a transformed world. The recent history of Portugal, namely the Carnation Revolution of 1974 and decolonisation, and manifestations of culture such as jazz-rock, disco, funk and afrobeat, contribute to a political and multicultural emancipation dreamed of in those times, but ultimately eclipsed by new configurations of power. This book is a consideration of a politics of means, taking as its starting point the idea of a state of interregnum exemplified by these moments, exploring it in the light of artistic devices used by Stan Douglas.

Sunsets
Notes From Underground Waves
Lisa Tan

The book serves as a guidebook 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.

No, I Am Not a Toad, I Am a Turtle Elke Marhöfer

The publication No, I Am Not a Toad, I Am a Turtle goes back to a three year long research and a film project by Elke Marhöfer on the Korean song form of ‘pansori’ music. Confronted with an animist ontology, growing from the research, the publication revisits discredited philosophies based upon believes on souls and spirits, and questions how modernity designed and conceptualized the relationships and boundaries between ‘humans,’ ‘animals,’ ‘plants’ and ‘things.’

Shape Shifting Elke Marhöfer and Mikhail Lylov

Shape Shifting is the practice of a landscape by which it preserves and changes simultaneously. Shape Shifting is a film as well, akin to a living territory, both build themselves in response to a broader environment by transforming their internal composition. Being a landscape, or drawing a cartography of a landscape is to develop an attentiveness towards the doings of human and nonhuman forces. The book brings together the receptivity of images and the spontaneity of words, from there different theories emerge.

Prendas – Ngangas – Equisos – Machines [Each Part Welcomes
the Other Without Saying] Elke Marhöfer

Transducing a single film into printed matter, this book addresses the question of how to connect the nonhumans, animals and plants to the postcolonial space without deepening inflicted violations on both people and nature? The film prendas – ngangas – enquisos – machines {each part welcomes the other without saying} gathers affects of plants and animals whose ancestors were moved to the new world, and ‘had to colonize the new land with the humans as a team.’ in present-day Cuba animals such as cows, horses, goats, pigs and chickens provide food and labor, and often move around freely. Much like extended family members some animals share close relations with humans. Some entered the intermediate state between domesticated and wild, others return to the forest to fully reverse their domestication and to become something else entirely.

Nobody Knows, When it Was Made and Why Elke Marhöfer

The publication takes a fresh look at Aby Warburg’s prominent Mnemosyne Atlas. Reflecting on the fact that research, be it art or science based, is a historical and anthropological procedure that is closely related to colonialism, the film and the two essays rethink how Warburg creates a relational and trans-cultural methodology. Inhuman and animating forces of images, things, animals, people, minerals, amulets and dices, solar and lunar eclipses, intestines, magic stones and starry heavens stemming from Iran, Iraq, Syria and Jordan suggest exploring Mnemosyne Atlas outside of European cultural history and the imagination of itself.

L’esprit d’un temps
Zeitgeist

To highlight the Bureau des arts plastiques / Institut français d’Allemagne activities since 1996, as well the support it lends to French artistic creation in a highly competitive context of the art ecosystem in Germany, the BDAP has launched a publication that gives the floor to the German art scene and its approach to French art. 20 personalities from the German art world – critics, curators, directors of institutions and independent venues, gallery owners and collectors – are invited take a close look at the French art scene.

Anabases
Eric Baudelaire

Anabases is a project initiated by the artist Eric Baudelaire and conceived as a conversation between his own practice and the research of the philosopher Pierre Zaoui and the cinema theorist Jean-Pierre Rehm. It revolves around the notion of ‘anabasis’, a topic that has been explored in various fields and times, from Xénophon to Alain Badiou, through the poets Saint John Perse and Paul Celan. Anabasis is used to describe a period of ‘uncertain wandering and without guide’ through unknown and dangerous lands that ends when one returns to the native land. Each chapter collects documentary materials which are at the root of projects: chronologies, archival photos, maps, pages from books and newspapers. These documents tell a story that becomes the starting point of forms and films that Baudelaire realizes.

Firenze 1977
Luciano Bartolini, Michael Buthe, Klaus Vom Bruch, Martin
Kippenberger, Marcel Odenbach, Anna Oppermann,
Ulrike Rosenbach &tc.

Firenze 77 tells the story of a number of artists who passed through Florence, and Villa Romana, between the second half of the 1970s and the early 1980s. This book brings together a series of notes, comments, book summaries and various kinds of devices and does not pretend to be other than a collection of heterogeneous, autonomous material and is open to the prospect of a future, broader and unified work.

Luciano Bartolini
Pensando All’Oriente
1973–79

This publication was made in collaboration with Archivio Luciano Bartolini, which since 1994 – the year of the artist’s death – has conducted careful research for the conservation and cataloguing of his works. Created in parallel with the volume Firenze 1977 it takes a position of ideal continuity with the essay by Paolo Emilio Antognoli Viti, accompanying the historical-critical recontextualization of the figure of the artist with an important tool of documentation on his work from 1973 to 1979.

Brancusi. An AfterlifeA research by Alexandra Croitoru

Posthumous interpretations of the life and work of Constantin Brancusi, as employed by Alexandra Croitoru in her artistic research, are part of what can be understood as the ‘Brancusi effect’ in post-Stalinist Romanian culture. Unlike the established concept of influence, which denotes a relationship of causality between an active agent and a passive receptor, the term ‘effect’, the same as ‘afterlife’, has the advantage of affirming a plurality of cultural agents that contribute to a given cultural construct; it also allows the affirmation of a retrospective influence on the meaning of Brancusi via terms such as re-contextualisation, re-modeling, re-signification, etc. The cultural signifier Brancusi has inevitably expanded its range of significations. Readings of it, as well as its cultural meaning, can no longer be purely aesthetic.

When Attitudes Become the Norm
The Contemporary Curator
and Institutional Art Beti Žerovc

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.

It Was Me. Diary 1900-1999Daniela Comani

Daniela Comani’s project It Was Me. Diary 1900-1999 is a diary of 366 days (from January 1st to December 31st) on facts that really happened in the 20th Century. The diary is written in the first person and the narrator assumes alternatively the role of the victim and the role of the perpetrator, as individual – impossible – author of the pregnant events in the history of a whole century. The chronology in the appendix indicates the years of the facts everyday.

Sono stata io. Diario 1900-1999Daniela Comani

Sono stata io. Diario 1900-1999 di Daniela Comani è un diario dove sono riportati 366 giorni di un anno bisestile (dal 1 gennaio al 31 dicembre), fatti accaduti realmente nel secolo ventesimo. L’io narrante assume alternativamente il ruolo della vittima e quello dell’artefice, indentificandosi come autore/autrice – impossibile – dei fatti che hanno pregnato un secolo intero. Gli anni relativi ai giorni sono consultabili nella cronologia in appendice.

The Soweto Project Marjetica Potrč and
Design for the Living World

From 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.
The Soweto Project 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.

No More Sleep No More Danilo Correale

Night-space and sleep, despite the recent media attention, remain rather uncharted territories in the landscape of human life, and continue to generate intriguing theories and propositions both in medical and social sciences. No More Sleep No More neither poses nor answers questions about sleep, but rather aims to reframe sleep and wakefulness into the framework of chronopolitics together with aspect of our lives absorbed under the neoliberal condition.

Eser Judith Raum

Eser is a comprehensive publication on Judith Raum’s works, installations and lecture performance texts from 2011 to 2014. It is also a theoretical reader and material collection on the semi-colonial advance of German entrepreneurs and bankers into the Ottoman Empire before World War I in connection with the construction of the Anatolian Railway. In this frame, the logic of capitalism and geopolitical interests connected the engineers’ tasks with less obvious efforts: to get a hold of Anatolian agriculture, archaeology and the working conditions in the country. Judith Raum’s work suggests that gestures and rhetoric of power and domination are the consequences of an economic principle that did not end with the colonial era and in fact persist today. Her works and texts take her research on site and in archives as a starting point, they exhibit an autonomous aesthetic dimension, however, and as such suggest an alternative approach to ‘artistic research’.