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See detailOn Tempelhofer Feld
Deboosere, Benjamin; De Raeve, Wouter; Miessen, Markus UL

Book published by Spector Books (2016)

Tempelhofer Feld, the former inner-city airport of Berlin, has for several years been the stage for an ongoing contestation at all levels of society. The question of what to do with such an immense open ... [more ▼]

Tempelhofer Feld, the former inner-city airport of Berlin, has for several years been the stage for an ongoing contestation at all levels of society. The question of what to do with such an immense open space of four square kilometers in the middle of the city has unleashed an unprecedented chain of actions and reactions. On Tempelhofer Feld does not formulate yet another alternative design for the field. Instead, it searches for a nuanced and multilayered interpretation by means of a photographic documentation of the site and conversations with academics and spatial professionals. By going through the field’s recent history, situating it in the context of Berlin’s turbulent past, laying out the socio-demographic situation of the surrounding neighborhoods, focusing on urban development, and discussing master plans that “weren’t meant to be,” On Tempelhofer Feld reflects on the interaction between spatial practice and pressing societal concerns. [less ▲]

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See detailKoszmar partycypacji + Niezależna praktyka
Miessen, Markus UL

Book published by Bęc Zmiana (2016)

Wezwanie do partycypacji jest lejtmotywem współczesnej myśli politycznej i prywatnej. Partycypacja jest wszędzie – od peryferii po korporacyjne biura. Partycypacja przekształciła politykę i zamieniła ... [more ▼]

Wezwanie do partycypacji jest lejtmotywem współczesnej myśli politycznej i prywatnej. Partycypacja jest wszędzie – od peryferii po korporacyjne biura. Partycypacja przekształciła politykę i zamieniła najpiękniejszy w dziejach wynalazek – sieć ludzi, Internet – we wszechogarniającą, nieznośną machinę domagającą się naszej natychmiastowej uwagi w każdym miejscu i o każdej porze. Partycypuj albo spadaj. Drugie wydanie książki Koszmar partycypacji z 2013 roku zostało poszerzone o esej Niezależna praktyka, w którym Miessen podsumowuje swoje rozważania dotyczące ideologii partycypacji i przedstawia alternatywne modele działania, dla których punkt wyjścia stanowi gotowość jednostki do zaangażowania się i podjęcia prawdziwie politycznych kroków. [less ▲]

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See detailCrossbenching
Miessen, Markus UL; Avanessian, Armen; Reed, Patricia et al

Book published by Merve (2016)

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See detailAgeing Process
FAVARETTO, LARA; Miessen, Markus UL

Book published by Sternberg Press (2016)

Ageing Process, Lara Favaretto’s first monograph, documents the artist’s works from the 1990s to her most recent installations presented in the 2015 exhibition “Good Luck!” at MAXXI in Rome. Structured ... [more ▼]

Ageing Process, Lara Favaretto’s first monograph, documents the artist’s works from the 1990s to her most recent installations presented in the 2015 exhibition “Good Luck!” at MAXXI in Rome. Structured like a manual, this volume accompanies entries on her works with essays by critics and experts from various disciplines who tackle themes complementary but not directly connected to the artist’s practice. Favaretto, who also edited the book, explains: “I decided not to follow any chronological or alphabetical order, but to instead suggest a unified discourse by making the reading experience flow as smoothly as possible, following an underground web of references between the texts that would elude any scansion dictated by the sequence of dates or letters.” [less ▲]

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See detailThe future is already here – it’s just not evenly distributed
Rosenthal, Stephanie; Miessen, Markus UL

Book published by 20th Biennale of Sydney (2016)

The future is already here – it’s just not evenly distributed 20th Biennale of Sydney If each era posits its own view of reality, what is ours? The common distinction between the virtual and the physical ... [more ▼]

The future is already here – it’s just not evenly distributed 20th Biennale of Sydney If each era posits its own view of reality, what is ours? The common distinction between the virtual and the physical has become ever more elusive, and our perception of what is real ever more fluid. This book is published to accompany the 20th Biennale of Sydney, directed by Dr. Stephanie Rosenthal, which takes these keys themes as its starting point. Staged at several different venues, the exhibition is organised into several different ‘embassies of thought’, each of which are reflected in this beautifully-produced volume. Traditionally, an embassy functions as a state within a state: a system that enables the occupation and creation of new spaces in established lands. This book focusses on these and other such ‘in-between spaces’, investigating our interaction with the digital world, the blurred boundaries between art forms and the interconnection between politics and financial power structures. The future is already here… features new essays by Andre Lepecki and Franco Berardi among others, new text and visual commissions by a range of artists including Ming Wong, Dayanita Singh, Keg de Souza, Cécile B Evans, and Richard Bell, and a series of fascinating roundtable discussions with participating artists. [less ▲]

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See detailWhat Ever Happened to New Institutionalism?
VOORHIES, JAMES; Miessen, Markus UL

Book published by Sternberg Press (2016)

New Institutionalism, a mode of curating that originated in Europe in the 1990s, evolved from the legacy of international curator Harald Szeemann, the relational art advanced by French critic and theorist ... [more ▼]

New Institutionalism, a mode of curating that originated in Europe in the 1990s, evolved from the legacy of international curator Harald Szeemann, the relational art advanced by French critic and theorist Nicolas Bourriaud, and other influential factors of the time. New Institutionalism’s dispersed and varied approaches to curating sought to reconfigure the art institution from within, reshaping it into an active, democratic, open, and egalitarian public sphere. These approaches posed other possibilities and futures for institutions and exhibitions, challenging the consensual conception, production, and distribution of art. Practitioners engaged the art institution with renewed confidence by imbuing it with the potential for new aesthetic experiences and different relationships among artists, institutions, and spectators beyond engrained modernist ideologies. Working in these new modes, the art institution could become a site of fluidity, unpredictability, and risk. What Ever Happened to New Institutionalism? reflects upon the aspirations of these curatorial strategies and assesses their critical efficacy today within the landscape of contemporary art and globalized culture. The first in a series of readers examining changing characteristics of art institutions, this publication thinks through New Institutionalism by bringing together facsimiles of seminal texts, new critical essays, a history of trends and practices, and commissioned artist projects and contributions. These are complemented by documentation from the inaugural year of programming at the Carpenter Center for the Visual Arts at Harvard University focused on reimagining CCVA as a twenty-first-century institution. [less ▲]

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See detailJILL MAGID The Proposal
Miessen, Markus UL; Hirsch, Nikolaus; KUONI, Carin et al

Book published by Sternberg Press (2016)

The eighth volume of the Critical Spatial Practice series focuses on Jill Magid’s “The Barragán Archives,” a multiyear project that examines the legacy of Pritzker Prize–winning architect Luis Barragán ... [more ▼]

The eighth volume of the Critical Spatial Practice series focuses on Jill Magid’s “The Barragán Archives,” a multiyear project that examines the legacy of Pritzker Prize–winning architect Luis Barragán (1902–1988), and questions forms of power, public access, and copyright that construct artistic legacy. The archive of Barragán was split in two after his death—the personal archive is kept in his home in Mexico, which is now a museum and UNESCO World Heritage Site; while his professional archive was purchased in 1995 by Rolf Fehlbaum, chairman of the Swiss furniture company Vitra, from a New York gallerist. It is said that Fehlbaum bought it as a gift for his then fiancée, Federica Zanco. She is the director of the Barragan Foundation, which also holds rights to Barragán’s name. For the past twenty years the archive, housed below the Vitra headquarters, has been inaccessible to the public. With The Proposal Magid attempts to bring together Barragán’s professional and personal archives by probing the architect’s official and private selves, and the interests of various individuals and governmental and corporate entities who have become the archives’ guardians. Magid, with permission of the Barragán family, commissioned a small amount of Barragán’s cremated remains to be transformed into a diamond. The stone, set in a gold ring, was offered to Zanco in exchange for the return of the professional archive to Mexico. Magid’s artwork directly engages the intersections of the psychological and the judicial, national identity and repatriation, international property rights and copyright law, authorship and ownership, the human body and the body of work. [less ▲]

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See detailWarum Europa eine Republik werden muss!
Guérot, Ulrike; Miessen, Markus UL

Book published by Dietz Verlag (2016)

Es ist Zeit, Europa neu zu denken. Weg mit der Brüsseler Trilogie aus Rat, Kommission und Parlament! Die Nationalstaaten pervertieren die europäische Idee und spielen Europas Bürger gegeneinander aus ... [more ▼]

Es ist Zeit, Europa neu zu denken. Weg mit der Brüsseler Trilogie aus Rat, Kommission und Parlament! Die Nationalstaaten pervertieren die europäische Idee und spielen Europas Bürger gegeneinander aus. Europa muss aber heißen: Alle europäischen Bürger haben gleiche politische Rechte. Vernetzt die europäischen Regionen! Schafft ein gemeinsames republikanisches Dach! Wählt einen europäischen Parlamentarismus, der dem Grundsatz der Gewaltenteilung genügt! Dieser Text ist ein utopisches Experiment. 'Res publica' bedeutet Gemeinwohl - daran fehlt es in der EU heute am meisten. Die Idee der Republik ist von Aristoteles bis Kant das normale Verfassungsprinzip für politische Gemeinwesen. Wenden wir es doch einmal auf Europa an. Bauen wir Europa neu, damit sich die Geschichte der Nationalismen nicht wiederholt. Damit Europa in der Welt von morgen nicht untergeht, sondern zur Avantgarde auf dem Weg in eine Weltbürgerunion wird. [less ▲]

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See detailFELICITY D. SCOTT Disorientation Bernard Rudofsky in the Empire of Signs
Miessen, Markus UL; HIRSCH, Nikolaus

Book published by Sternberg Press (2016)

Viennese émigré architect Bernard Rudofsky (1905–1988) is most frequently recalled for curating “Architecture without Architects,” the famous 1964 photography exhibition of vernacular, preindustrial ... [more ▼]

Viennese émigré architect Bernard Rudofsky (1905–1988) is most frequently recalled for curating “Architecture without Architects,” the famous 1964 photography exhibition of vernacular, preindustrial structures at the Museum of Modern Art in New York. Far from simply a romantic or nostalgic invocation of cultures lost to industrial modernity, Rudofsky’s exhibition drew on decades of speculations about modern architecture and urbanism, particularly their semantic, technological, institutional, commercial, and geopolitical influences. Focusing on Rudofsky’s encounters with Japan in the 1950s—he described postwar Japan as a “rear-view mirror” of the American way of life—architectural historian Felicity D. Scott revisits the architect’s readings of the vernacular both in the United States and Japan, which resonate with his attempts to imagine architecture and cities that refused to communicate in a normative sense. In a contemporary world saturated with visual information, Rudofsky’s unconventional musings take on a heightened resonance. [less ▲]

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See detailCaulfield, Cauliflower, and other vegetables
Miessen, Markus UL; Feldhaus, Timo; Haliti, Flaka et al

Book published by MaHKU (2016)

What do you do with a show, where there is no narrative for a show? Where there is no red thread, no umbrella framework or common denominator in terms of content. When I first arrived at MaHKU halfway ... [more ▼]

What do you do with a show, where there is no narrative for a show? Where there is no red thread, no umbrella framework or common denominator in terms of content. When I first arrived at MaHKU halfway through the year, I encountered an inspiring, but scattered group of individuals, dealing with personal challenges and processes of identity formulation. The only means of unity that I was able to detect was that they seemed to be working in the same space, their studio. The frame: a particular year in a particular graduate program. Critical practice, in this context, could be imagined as parallel realities pushing in the same direction, that is, interrogating the political and spatial realities that the protagonists understand as their social and societal context. The work at play here presents polymorphous and polymathic approaches to the subjective documentation of the contemporary condition, diverse narrative takes, which often take as a starting point the personal struggle with the world, but – more precisely – the surveying of oneself as a critical being. Such practice should be understood and exercised as a sounding-board that makes visible and discloses the underlying conflicts of what one is facing, to exacerbate them, to create and nurture complications, to work with and around them in a productive way, and to then act upon them. As Jan Verwoert put it: “To learn the lesson of the ethics of art and ideas therefore means to develop a sense of simultaneous unconditional trust and mistrust in your own principles of sympathy and resentment, affiliation and animosity, identification and hostility.” Empowerment sometimes emerges in conditions that theoretically ought to thwart it. Knowledge is often generated at the edges or the gaps of ignorance. Hence, personal involvement should simply be understood as a tactic of complicit curiosity scaled to the space that one is currently inhabiting. It offers an alternative rendering of a possible practice that goes beyond the conventional understanding of discipline and vocation. It resembles a framework through which to act: not a strictly political one, but rather an arena for the discussion of how practice itself can become political. Literature is highly personal and biased. Most (good) literature has a Doppelter Boden (double layer). The narrative therefore is not only one of self-experience, but that, which can be projected onto and against a civil society. As opposed to journalism, which is supposed to report about a forensic reality, literature holds the opportunity to smuggle different narratives and messages across. A Doppelter Boden is an intrinsically spatial phenomenon, as – in order for the message to be transported and deployed – one needs to construct the very space in which a parallel reality can unfold. Holden Caulfield, the protagonist in Salinger’s The Catcher in the Rye, explains his love affair with the museum (Museum of Natural History) by nebulously stating parts of his personal insecurity. In life, with the world surrounding him. Like all of us, he is not only facing narratives of constant change, but also decay and loss. He demonstrates his fears and inability of dealing with conflict, confusion, and – ultimately – change. Being thrown into the dirty reality of the now, this exhibition presents a series of extremely relevant positions that deal with this very question of contemporary identity(ies) and the way in which those can be localized and grounded in a world exposed to constant flux. Maybe one of the reasons why many of us are engaged in a similar love affair with the museum is precisely its ability (and reality) to preserve and maintain a form of stoicism and silence. It is (almost) always the same. Cauliflower, as the arguably hottest (vegetable) shit on the market right now, faces the sad reality of a formerly neglected plant that has suddenly risen to fame (again). It seems that the market of the vegetable unfolds as a twofold problematic here: not only has it become more sought-after, but it is unclear for how long its net-worth will remain intact. Torn between questions of identity and a soon-to-be-dealt with dirty reality of the market, the positions in the exhibition range from Sudanese gender politics, Korean sex culture, methods of automatism, postcolonial subjectivities, to the arguable dichotomy between the craftsman and the intellectual, heritage and knowledge, architectural bastardisation, to human stewardship, the father figure, electric smog, the objectification and censorship of the female body, formats of (social) coding, to painting as spatial practice. Rather than a stable and static exhibition housed in a single institutional setting, the show is conceived as a decentralized form of localizations, depending on what the artists and the curatorial team at MaHKU saw fit. Rather than trying to contextualize the impossible, the exhibition attempts to produce moments of representation and activation, sometimes formal, sometimes informal, sometimes stable, sometimes unstable, sometimes ongoing, sometimes limited to 15 minutes, occurring in different places throughout the city of Utrecht. Instead of crudely enforcing and presenting a (fictional) narrative that did not exist in the first place, the opening of the exhibition will be used as an opportunity to informally discuss questions of identity, development, success and dirty realism in the nebula of what is commonly referred to as the art world. Partners-in-crime will be artist Flaka Haliti, cultural critic Timo Feldhaus, and curatorial consultant Marie Egger. In an essay for e-flux, Hito Steyerl suggests that falling does not only mean falling apart, it could also mean the falling into place of a new certainty: “Grappling with crumbling futures that propel us backwards onto an agonizing present, we may realize that the place we are falling toward is no longer grounded, nor is it stable. It promises no community, but a shifting formation.” Follow your instinct. Embody the willingness to govern. Collaborate when necessary. Assume responsibility. Be liable. Produce consequence: “Refraining is not an option.” [less ▲]

Detailed reference viewed: 27 (0 UL)
See detailNet Works: An Atlas of Connective and Distributive Intelligence in Architecture
Steele, Brett; González de Canales, Francisco; Miessen, Markus UL

Book published by AA Books (2016)

Contribution: Proactve Collaboration beyond consensual romanticisms Net Works is the second volume of a trilogy by Brett Steele and Francisco Gonzalez de Canales exploring the changing conditions of ... [more ▼]

Contribution: Proactve Collaboration beyond consensual romanticisms Net Works is the second volume of a trilogy by Brett Steele and Francisco Gonzalez de Canales exploring the changing conditions of architecture in relation to modern technologies and experimentation. The book surveys the relationship between architecture and networks – as a way of thinking, as an organisational diagram and as a pedagogical tool. The atlas documents a longer and deeper history of the modern connective intelligence in architecture. The aim of this book is to unfold the genealogy of the engagement by architects with the network and machines of modern architectural life, showcased by more than 100 paradigmatic examples, presenting a pre-history of today’s architectural cultures. [less ▲]

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See detailDeià
Miessen, Markus UL

in Deià (2015), 4

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See detailArchithese
Miessen, Markus UL

in Archithese (2015), 2

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See detailThe Archive As a Productive Space Of Conflict
Miessen, Markus UL; Chateigné, Yann

Book published by Sternberg Press (2015)

The applied research project and publication The Archive as a Productive Space of Conflict deals with archival practice and its spatial repercussions. Inquiring whether any accumulation and organization ... [more ▼]

The applied research project and publication The Archive as a Productive Space of Conflict deals with archival practice and its spatial repercussions. Inquiring whether any accumulation and organization of knowledge is productive—to the effect that it generates a narrative and/or history—the project focuses specifically on archives becoming productive due to their spatial framework. Consequently, the project debates the conflicts that arise when the topological and architectural structure of archives overcome existing models of reservoirs and storage units. The project interrogates whether archives necessarily need to be exposed to spatial permanence, and, if so, what design framework has to be applied in order for those components to be able to take on more than a singular form of existence. [less ▲]

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See detailSpeculating On The Blue
SCHAFHAUSEN, NICOLAUS; JOAN MÜLLER, VANESSA; Miessen, Markus UL

Book published by Sternberg Press (2015)

Published in conjunction with Flaka Haliti’s solo presentation conceived for the Kosovo Pavilion at the 56th Venice Biennale, this book continues the artist’s invitation to encounter a visual field in ... [more ▼]

Published in conjunction with Flaka Haliti’s solo presentation conceived for the Kosovo Pavilion at the 56th Venice Biennale, this book continues the artist’s invitation to encounter a visual field in which territorial boundaries are referenced and mediated by the sensory. Through the use of a saturated blue color altered by light and demarcated by architectural forms, the installation at the Venice Biennale reflects on the salient concept of the border. The United Nations building in Pristina was a point of departure for the exhibition, as Vanessa Joan Müller backgrounds in her essay on the project, as well as relating to concerns of the threshold and the horizon line: “Concatenated concrete pylons form a tall, compact barrier which separates the UN building at the city limits from that very city. The concrete of the barriers was painted on the outside to downplay the appearance of a military safety zone. Different shades of blue.” The conversation between Markus Miessen and Haliti in the book tracks topics from migration to subjectivity, material states in relation to the digital and the status of internationalism. Haliti’s approach is to recontextualize these politics into a spatial and visual abstraction. The accompanying book follows through on the exhibition’s experience of place and the notion of the horizon as emblems of both possibilities and limitations; bounded by a deep blue, pages have been set as color fields and the typography of the texts shift in scale. Speculating on the Blue offers multiple entry points for imagining present and future relations to histories and institutions. [less ▲]

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See detailArt In The Periphery Of The Center
BEHNKE, CHRISTOPH; KASTELAN, CORNELIA; KNOLL, VALÉRIE et al

Book published by Sternberg Press (2015)

Peripheries are profoundly ambiguous regions. While trying to build a relationship with the center, the periphery often finds itself excluded both on a structural and actor-related level, no matter if the ... [more ▼]

Peripheries are profoundly ambiguous regions. While trying to build a relationship with the center, the periphery often finds itself excluded both on a structural and actor-related level, no matter if the center-periphery model is defined in terms of space or along relations of power. However, beyond static perspectives of such struggles, in a dynamic and globalized artistic field increasingly transformed by the digital revolution, temporary mobility attractors deserve our attention. This publication attempts to shift practices of thought toward both critical realism and new materialism. It is neither committed to today’s wishful thinking regarding horizontalized networks and deterritorialized structures, nor does it fix itself to determinist approaches. In contrast to twentieth-century constructivist approaches and their epistemic fallacies, materialized verticalities and matter-based, infrastructural spaces are brought to the fore. This book is the result of four years of collaborative work that focused on topics of affect, the return of history, ecology, and art and its markets in today’s power law–based economies. These themes triggered not only the development of new artworks but also gave rise to reflexive discourses and discussions surrounding art theory, philosophy, sociology, and economics. The book contains a visual documentation of a number of group shows—which also included the works of winners of the Daniel Frese Prize—at Agathenburg Castle, Halle für Kunst Lüneburg, Kunstraum of Leuphana University of Lüneburg, and Kunstverein Springhornhof. The contributions by critics, curators, theoreticians, and scientists include essays and in-depth conversations. Works by Art Club 2000, Patterson Beckwith, J. St. Bernard, Angela Bulloch, Daniel Buren, Merlin Carpenter, Gordon Castellane, Diego Castro, Nicolas Ceccaldi, Jeremiah Day, Stephan Dillemuth, John Dogg, Maria Eichhorn, Jana Euler, Loretta Fahrenholz, Renée Green, Karl Holmqvist, Gilta Jansen, Monika Jarecka, Tobias Kaspar, Carola Keitel, Jackie McAllister, Josephine Meckseper, Dirk Meinzer, James Meyer, Shana Moulton, nOffice, Christodoulos Panayiotou, Fabian Reimann, Carissa Rodriguez, Megan Francis Sullivan, Katja Staats, Simon Starling, Buffy Summers, Jan Timme, Daniela Töbelmann, Niko Wolf, Amelie von Wulffen, Phillip Zach [less ▲]

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See detailWhen We Share More Than Ever
Schulze, Sabine; Ruelfs, Esther; Gruber, Teresa et al

Book published by Museum für Kunst und Gewerbe Hamburg (2015)

6th Triennial of Photography, MK&G Hamburg When we share more than everThe show “When We Share More Than Ever” consists of 246 works. It is the very nature of sharing in the digital age that (most) visual ... [more ▼]

6th Triennial of Photography, MK&G Hamburg When we share more than everThe show “When We Share More Than Ever” consists of 246 works. It is the very nature of sharing in the digital age that (most) visual information is treated horizontally: democratically not in the sense of a philosophical prerogative, but rather a form of free-to-choose availability that is – at least partially – neutrally presented. This form of neutrality is based on a supposed pragmatic objectivity. Just think about Google Image Search. If I can have it at my fingertip, I am the one to make the decision. With the aforementioned in mind, we have created a central-access exhibition layout, which takes as a primary motif the ambition of the inventory. From all that we have heard, been told, seen and experienced, the show and its meta-narrative is dealing with (and producing) different forms and formats of the archival. Even the (forthcoming) blog functions as an archive. Producing a (spatial) inventory of all works (which you will find in this document), we have studied each “sharing”-cluster, investigating size against content and vice versa. The central driving force of our investigation is considering the huge number of works on show, the archival nature of the collection, and the meta-context of the Triennial as a form of Future Archive. Hence, our proposal for the show is dealing with the inherent relationship between art and trade, which – especially at the Museum für Kunst & Gewerbe – has, historically, been a major focal point. The exhibition design interrogates the role, function, and contextualization of an individual work within a cluster and the show at large. Moreover, it interrogates the relationship between different works as well as the role and position of the artist(s). In an exhibition format that attempts to unite 13 institutions (+ 38 satellite shows) within a content framework dealing with a specific form of production and output, photography and film, this underlying narrative of the archival becomes even more relevant. The exhibition design works around a single concept of hanging, which is horizontally organized around a 1,2m baseline. This form of organization produces a fixed horizontal datum. It further means that each work has to negotiate as well as that is has to be negotiated – it produces an archival show in its purest form. All physical elements and objects to be built react to the very same datum and are cut off vertically at the horizontal datum. This form of vertical and horizontal display allows for a no-nonsense inventory that formulates a framework for a virtual-era Neue Sachlichkeit. As part of our design, we would like to propose to go even a step further and remove any physically present information about artist(s) and work(s). Each individual work on the wall (or in space) would simply be allocated with a number, underlining the intrinsic relationship between spatial installation and the printed matter guide, which will act as a deciphering manual for the entire exhibition. The setting up of such scaffold and borderlines is crucial as each individual member of the audience to the project needs to take a position. Taking a position always has consequences. Only when a border is acknowledged, understood and recognised it can be broken, transgressed or (mis)used. By deliberately producing such agonistic field of (productive) encounters, the design aims to nurture and exploit notions of misunderstanding(s) and a pro-active outlook on the value of failure as the starting point of all forms of experiment. We understand the design of the show to act both as an act of enabling (facilitating consensus), as well as an act of disabling (exploiting dissensus). Invited Artists: Laia Abril, Ai Weiwei, Regula Bochsler, Natalie Bookchin, Heman Chong, Aurélien Froment, David Horvitz, Trevor Paglen, Doug Rickard, Taryn Simon, Jens Sundheim, Penelope Umbrico. From the Photography and New Media Collection of the MKG: Fratelli Alinari, Hanns-Jörg Anders, Nobuyoshi Araki, Francis Bedford, Félix Bonfils, Adolphe Braun, Natascha A. Brunswick, Atelier d’Ora-Benda, Minya Diez-Dührkoop, Rudolf Dührkoop, Harold E. Edgerton, Tsuneo Enari, Andreas Feininger, Johann Hamann, Theodor und Oscar Hofmeister, Thomas Höpker, Lotte Jacobi, Gertrude Käsebier, Kaku Kurita, Atelier Manassé, Hansi Müller-Schorp, Eadweard Muybridge, Arnold Newman, Terry Richardson, Max Scheler, Hildi Schmidt-Heins, Hiromi Tsuchida, Carl Strüwe, Léon Vidal, and more. [less ▲]

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See detailCommon Grounds Michael Buhrs, Verena Hein
Buhrs, Michael; Hein, Verena; Miessen, Markus UL et al

Book published by Hatje Cantz (2015)

This publication features artworks that unearth subjective narrative styles behind collective historiography--particularly regarding media coverage in the Middle East. Israeli artist Dor Guez, for example ... [more ▼]

This publication features artworks that unearth subjective narrative styles behind collective historiography--particularly regarding media coverage in the Middle East. Israeli artist Dor Guez, for example, arranges archival material from the first half of the 20th century that documents the personal stories of Christian Palestinians. [less ▲]

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See detailWhat’s Next?
Meyer, Torsten; Kolb, Gila; Miessen, Markus UL

Book published by Kopaed (2015)

Die Welt ist im Wandel und mit ihr die Kunst. Was ist die nächste Kunst? Welche Themen werden künftig wichtig? Welche Formen, Methoden, Verfahrensweisen und Praktiken setzen sich durch? Welche Folgen hat ... [more ▼]

Die Welt ist im Wandel und mit ihr die Kunst. Was ist die nächste Kunst? Welche Themen werden künftig wichtig? Welche Formen, Methoden, Verfahrensweisen und Praktiken setzen sich durch? Welche Folgen hat das für das Denken über Bildung und Vermittlung der "nächsten Kunst"?Band 2 der Reihe "What's Next?" ist ein Reader. Er versammelt Essays, Interviews, Thesen, Manifeste und Zitate, die im Anschluss an den ersten Band "What´s Next ? Kunst nach der Krise" (herausgegeben von Johannes M. Hedinger und Torsten Meyer, Berlin 2013) Möglichkeiten der Verkoppelung von Kunst und Bildung - in der Schule, im Museum und an anderen Orten - thematisiert. Die Beiträge nehmen zum Teil Bezug auf Texte aus dem ersten Band, auf das Buch im Ganzen oder auf parallele Entwicklungen und Beobachtungen. Wie bereits im ersten Band wurden die Beiträge mit Blick auf den internationalen Diskurs und globalen Kontext zusammengestellt. Es gibt deshalb Beiträge in deutscher als auch in englischer Sprache.Das Buch soll Kunstlehrer_innen, Kunstvermittler_innen und Studierende anregen, die Verknüpfung von Kunst und Pädagogik vor dem Hintergrund der nächsten Kunst neu zu (be)denken. Es unterbreitet auch konkrete Vorschläge für Praxis, die helfen zu imaginieren, was Kunstpädagogik im fortgeschrittenen 21. Jahrhundert bedeuten könnte.Versammelt sind rund 120 Essays und Interviews sowie über 100 Thesen, Manifeste und Zitate von insgesamt weit über 200 Autor_innen zum Thema des möglichen Nächsten im Feld der Kunstpädagogik.Darunter finden sich unterschiedliche Denkanstöße von Marina Abramovic, Maria Acaso, Paolo Bianchi, Franz Billmayer, Nicolas Bourriaud, Bündnis kritischer Kulturpraktikerinnen, Sara Burkhardt, Jacques Derrida, Mary Drinkwater, James Elkins, Sabine Gebhardt-Fink, Lady Gaga, Neil Gaiman, Priska Gisler, Jean-Pierre Grüter, Talita Groenendijk, Jan Grünwald, Robert Hausmann, Johannes Hedinger, Christine Heil, Antonia Hensmann, Emiel Heijnen, Alexander Henschel, Gerrit Höfferer, Marike Hoekstra, Selma Holo, Christina Inthoff, Henry Jenkins, Peter Jenny, Konrad Jentzsch, Benjamin Jörissen, Notburga Karl, Lennart Krauß, Gesa Krebber, Marie-Luise Lange, Heinrich Lüber, Nanna Lüth, Oliver Marchart, Paul Mecheril, Markus Miessen, Carmen Mörsch, Chantal Mouffe, Karl-Josef Pazzini, Peter Piller, Stephan Porombka, Jacques Rancière, Irit Rogoff, Lisa Rosa, Andrea Sabisch, Ansgar Schnurr, Diederik Schoenau, Ulrich Schötker, Konstanze Schütze, Bernadett Settele, Michel Serres, Stefan Seydel, Keri Smith, Cornelia Sollfrank, Marcus Steinweg, Nora Sternfeld, Sabine Sutter, Adam Szymczyk, Sally Tallant, Kevin Tavin, Kristin Westphal, Georg Winter, Manuel Zahn, Jutta Zaremba, Rahel Ziethen und vielen anderen. [less ▲]

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See detailRear Views, a Star-Forming Nebula, And The Office Of Foreign Propaganda: The Works Of Taryn Simon
Baker, Simon; Miessen, Markus UL

Book published by Tate Publishing (2015)

"Born in New York in 1975, Taryn Simon is at the forefront of contemporary photography practice. Her artistic medium is based around three equal elements: photography, text, and graphic design, which ... [more ▼]

"Born in New York in 1975, Taryn Simon is at the forefront of contemporary photography practice. Her artistic medium is based around three equal elements: photography, text, and graphic design, which combined investigate the limitations of absolute understanding, examining the gaps between each element and how this can lead to disorientation and ambiguity. Simon's work ranges in focus and scope from a series of examinations of legal function specific to the United States: The Innocents, An American Index of the Hidden and Unfamiliar, and Contraband; to a four-year examination of politics, history and individual agency on a global scale: A Living Man Declared Dead and Other Chapters; to works based on obscure and little-known stories and archives, addressing the nature of the production and circulation of knowledge: Black Square and The Picture Collection. Committed but never limited to these concerns, Simon's work has established her as a pre-eminent exponent of a practice that engages equally with issues of pressing importance in the modern world, and with the politics of representation. Published in close collaboration with the artist, this publication is the first to draw together Taryn Simon's diverse and complex range of projects, produced since 2002. With new and published essays by amongst others Salman Rushdie, Homi Bhabha, Daniel Baumann, Tim Griffin, Tina Kuklieski, Hans Ulrich Obrist and Elisabeth Sussman. With an introduction by Simon Baker, Curator of Photography at Tate Modern."--Tate Publishing. [less ▲]

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