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’.

Frequency-Modulated Scenario Eran Schaerf

What difference does it make if a newspaper reports on a worker protest as if it were a theatre piece? Why does an argument in the neighbors’ apartment sound like a radio play? When was the term Lebensraum decolonized? How can Little Red Riding Hood get hold of the copyright for her own character? Who dresses up as whom in order to belong to what group? What happens when not much is happening, but lots of airtime has been scheduled for news broadcasts?
At a radio station called The Listener’s Voice, freedom of speech is supposed to be guaranteed by a computerized moderator taking listeners’ calls. Yet, the moderator was not only programmed for an unplanned architecture of discourse that sprawls into environments of potential violence, ambiguous sexuality, and rowdy beauty, but also to make identifying data anonymous. Double-sided, invisible, and acoustic masks are at work. Cyber-radio comes into conflict with human memory.