Text in Public – Zine Performances and Rants is the first monograph of writing by visual artist Emma Wolf-Haugh interconnecting performative works, performance scripts and assemblage texts.
Navina Sundaram is sitting in the editing room in Hamburg. She has managed to reduce the complexity of the Kemal Altun case to the required 2 minutes and 40 seconds for the political magazine; a journalistic feat considering the legal terminology and the international political situation, which must be presented in simple terms. She places her interview with the judge at the back. The audience therefore first gets an impression of perhaps the best-known deportation prisoner of the republic on trial here.
To enter a collective archive is to carry an anonymous corpse on your shoulders. You are not investigating how this corpse met its death so much as feeling impelled, somehow, to fill in the gaps that render it anonymous. Whether or not you are hoping to tell the story and share it with others, you might be able to give this corpse a name and lend a meaning to its life. The corpse is the researcher’s question.
An Ongoing-Offcoming Tale comprises abstractions, subversions and poetic ruminations, housed within essays that engage with the lives and practices of over 30 artists. It opens with the question: If only some leaves could speak? And in the journey that follows, we encounter many such possibilities – that leave us asking questions of the boundaries we place around the things we are allowed to think, the knowledge we call knowledge, and the questions we permit ourselves to ask.
In honest, crystallizing language, Monilola Olayemi Ilupeju reckons with her changing Body and the afterlife of trauma within the tangle of race relations, sexual politics, and family history. Earnestly collages texts from the artist’s transdisciplinary practice, modeling different lenses through which to navigate the social and emotional dimensions of Body dysmorphia, girlhood, and longing.
Cecilia Vicuña’s liberatory text Language is Migrant interrogates the capacity of language within and through our wounded oral cultures and lexical histories. With her in mind, and emanating from the 2022 edition of Colomboscope festival, SCROLL also engages with the idea of language as a complex translator and migratory force, via the medium of print.
SCROLL's second issue ‘It is Not the Seas that Scare of Me’ is created in collaboration with Colomboscope 2019. For this issue, the oceanic frontier becomes a jumping off point for artists and writers to examine concerns around trade & exchange, economy & colonization and sexuality & the surreal.
Written by Warren Neidich, Glossary of Cognitive Activism (For a Not so Distant Future) articulates key concepts central to the essays published in the three-volume series The Psychopathologies of Cognitive Capitalism. The series attempts to broaden the definition of cognitive capitalism in terms of the scope of its material relations, especially as it relates to the conditions of mind and brain in our new world of advanced telecommunication, data mining and social relations.
Activist neuroaesthetics attempts to make the processes of digital dominion and governmentalization—which are becoming more and more prominent in late-stage cognitive capitalism (or neural capitalism)—opaque, visible, and known.
How to Die - Inopiné is a performance and a practice. It thinks through, in an embodied manner, the prevailing contemporary moods of ecological grief, cultural panic, and collapse. As a performance in a theater or outdoors, an audience encounters five dancers who are constantly building, unbuilding, and rebuilding. Afterwards, stories are told around a bonfire. As a practice in the studio, school, or street, a group of dancers, artists, writers, and architects meet for a year of residencies between Oslo and Umeå.
Wer kennt die Frente Polisario, die DARS – Demokratische Arabische Republik Sahara - und die Sahrauis, zu denen auch viele Fischer gehörten, die aus ihrer Heimat vertrieben wurden und heute als Flüchtlinge im „Sandmeer“ der Sahara leben? Fabrizia Ramondino hat ein Logbuch verfasst während der Reise in die Zeltstädte der algerischen Wüste, bei der sie das Team von Mario Martone begleitete, den UNICEF und RAI Uno beauftragt hatten, einen Dokumentarfilm über die sahrauischen Kinder zu drehen.
Sedje Hémon (1923-2011) dedicated her life to showing the common origin and intersectionality of all arts and sciences, culminating in the development of a theory for the “integration of the arts.”
Imran Mir's (1950-2014) oeuvre can be interpreted as a constant refusal to provide comprehensive elaboration beyond what one experiences. The act of contemplation is a guiding principle to interpreting Imran Mir’s work, an approach that reverberates into a practice that grew out of conversations with a community of artists, activists, poets, relatives, and other thinkers in Karachi.
Abdias Nascimento (1914-2011) was a story-teller whose mediums of expression embraced as many forms as they could, borrowing the paths at hand to communicate ideas and reflect on the urgencies of his time and place.
Hannah Ryggen Triennale 2022 presents artists and works that can varyingly be seen in the light of Hannah Ryggen's legacy (1894–1970). With the anti-monument as a prism, embodied truths are replaced with a multitude of alternatives. In this publication, the curators and invited authorsexplore the dialogues that take place between Hannah Ryggen's tapestries and the contemporary artists's woks in the triennale exhibitions, also mediated through a rich selection of images.
Hannah Ryggen's attitude toward hierarchical constructions is still confrontational Her art invites dynamic readings, at the same time as it punctures fascist ideologies and literally outlasts structures in reinforced concrete. This is the strength and potential of her textile anti-monument.
Things, including artistic objects, are integrated into social and societal contexts. Objects are alive, they vibrate and generate resonance. When they travel, their meanings and values shift. They possess a charge that can change and even disappear.