References of "Miessen, Markus 50034687"
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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 detailTerms of Exhibiting (from A to Z)
Reichensperger, Petra; Miessen, Markus UL

Book published by Sternberg Press (2014)

This publication explores themes of the exhibition through its terms—not, however, to confine into isolated conceptual categories, but to interconnect. These terms characterize exhibiting and emphasize a ... [more ▼]

This publication explores themes of the exhibition through its terms—not, however, to confine into isolated conceptual categories, but to interconnect. These terms characterize exhibiting and emphasize a “between-ness.” Examining a term lays bare its ruptures, shifts, or recreations, as well as social, societal, and cultural changes that have the power to structure through historical conjecture. Almost fifty terms relevant to the making and discussion of exhibitions today have been compiled in Terms of Exhibiting (from A to Z), contributed by Liam Gillick, Manfred Hermes, Wojciech Kosma, Clemens von Wedemeyer, Tobias Vogt, Jochen Volz, and June Yap, among others. Six essays investigate key terms raised by the three-part exhibition series “Terms of Exhibiting, Producing, and Performing” at Kunsthaus Dresden in 2012. Jan Verwoert reflects on the division of labor in artistic production, while Anke te Heesen presents a survey of the museum, collection, and exhibition. Markus Miessen discusses the advantages of curating institutions and inventing structures rather than merely implementing or appropriating them. The book also includes essays by Kirsten Maar, Ursula Panhans-Bühler, and Lee Weng-Choy. Each of the twelve conversations with various artists places one term under scrutiny within the context of their own artistic interests and practices—with reference to the term presence, Daniel Knorr explains the significance of materialization for his own creative process, while Brian O’Doherty discusses invention in relation to his practice. Each term generates further insight and reflection into each individual art practice. [less ▲]

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See detailDavid Hartt: Belvedere
Hartt, David; Miessen, Markus UL

Book published by Golden Age (2014)

Golden Age is pleased to present Belvedere, a solo exhibition and publication from Chicago-based artist David Hartt. Belvedere is a continuation of Hartt’s investigation of vernacular utopias – those ... [more ▼]

Golden Age is pleased to present Belvedere, a solo exhibition and publication from Chicago-based artist David Hartt. Belvedere is a continuation of Hartt’s investigation of vernacular utopias – those places where the ideal has been forced to morph and adjust to the reality of the surrounding imperfect world. It consists of formally austere photographs taken at the Mackinac Center for Public Policy in Midland, Michigan. Hartt’s subjects cover a broad ideological spectrum that highlight the range and potential of the American experience. The work in Belvedere focuses on the Mackinac Center for Public Policy, originators of the Overton window, a policy framing device used to adjust public opinion on a particular subject by positing radical viewpoints and thereby shifting the frame of reference closer to an intended outcome. Belvedere, the accordant publication, consists of additional images from Hartt’s visit to the Mackinac Center for Public Policy along with an essay by curator Hamza Walker on “pulling back the frame.” The publication is designed by James Goggin; Design Director at the Museum of Contemporary Art Chicago. [less ▲]

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See detailJudgement
Colman, Scott; Witte, Ron; Miessen, Markus UL

Book published by Rice (2014)

This book illuminates a set of exchanges among architects, critics and art historians including Sarah Whiting, Hal Foster, Neil Denari, Ben van Berkel, Markus Miessen, Jeffrey Kipnis, Sylvia Lavin, R. E ... [more ▼]

This book illuminates a set of exchanges among architects, critics and art historians including Sarah Whiting, Hal Foster, Neil Denari, Ben van Berkel, Markus Miessen, Jeffrey Kipnis, Sylvia Lavin, R. E. Somol, and Brett Steele. First and foremost, Judgment is a conversation about architecture’s partisanships, the indispensable and biased engagements that catalyze architecture’s progress. Judgment is the result of a series of conversations that took place, and continue to take place, at the Rice School of Architecture. [less ▲]

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See detailMOULD Cultures of Assembly
Miessen, Markus UL

Book published by Mould Press (2014)

Working in collaboration with Mould for us at Studio Miessen has been an intense pleasure, but also a challenge. Not because we did not enjoy the process of working with one another, but rather because of ... [more ▼]

Working in collaboration with Mould for us at Studio Miessen has been an intense pleasure, but also a challenge. Not because we did not enjoy the process of working with one another, but rather because of the potential difficulties of dealing with a luxurious problem: to be granted carte blanche can be a very intimidating experience. The way in which we dealt with this was to throw ourselves into one of the research subjects that we have been working on for some time now, Cultures of Assembly. Mould offered us to develop some- thing that in the context of any other publication would be highly difficult. Being granted total freedom as for the conception of our own issue – which would also happen to be the very first issue
of Mould to go into print – we attempted to use the open and flexible structure that was made available to us in order to explore it as a space for dialogue and investigation, commissioning writing and observations that would bastardize our own understanding and per- ception of the subject. We explored a post-disciplinary approach to the subject that contains both contaminations as well as heteroge- neous bastardizations of the term. In order to investigate, interpret and speculate on the complexity of contemporary culture in the con- text of Cultures of Assembly, we imagined the vessel of this publica- tion as an archive-in-the-making of our current thinking in terms of the subject. Mould’s conceptual framework of print and tracing formed the start- ing point of this investigation. To curate a publication based on the premise of no structural or historic demands or prerequisites for us turned into a playful analysis of our own thinking and, hence, our own form(s) of (studio) production. In this sense, this issue should not be read as a closed book, but rather as a vessel in motion, an ad hoc production of frozen thought. [less ▲]

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See detailL’incubo della partecipazione
Miessen, Markus UL; Latronico, Vincenzo

Book published by Archive Books (2014)

Italian Translation of The Nightmare of Participation Welcome to Harmonistan! Berlin-based architect/writer Markus Miessen tackles the pervasive contemporary overuse of the concept of ''participation'' in ... [more ▼]

Italian Translation of The Nightmare of Participation Welcome to Harmonistan! Berlin-based architect/writer Markus Miessen tackles the pervasive contemporary overuse of the concept of ''participation'' in the final part of his paradigm-changing trilogy. Supported by a nostalgic veneer of worthiness, phony solidarity and political correctness, participation has become the default of politicians withdrawing from responsibility. Miessen argues for an urgent inversion of participation, reflecting cogently on the limits and traps of its real motivations. He dreads breeding the next generation of facilitators and mediators, insisting on conflict as an enabling, instead of disabling, force. With refreshing candor, this internationally known architect and professor outlines a format for acting as uninvited irritant, forcing entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, Miessen writes, democracy has to be avoided at all costs! [less ▲]

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See detailLa Pesadilla de la Participación
Miessen, Markus UL; Hernández Veliz, Alba

Book published by dpr-barcelona (2014)

Finalist of the section Thought and Critique of the FAD awards 2015. Edición en castellano del libro The Nightmare of Participation [Crossbench Praxis as a Mode of Criticality]. Sternberg Press, 2010. En ... [more ▼]

Finalist of the section Thought and Critique of the FAD awards 2015. Edición en castellano del libro The Nightmare of Participation [Crossbench Praxis as a Mode of Criticality]. Sternberg Press, 2010. En línea con el estado de la profesión en los tiempos que corren, este libro cierra la trilogía sobre “Participación”, con la que Miessen reclama la figura del “outsider desinteresado” alguien no sujeto a los protocolos existentes y que se anima a lanzar propuestas solamente armado de su inteligencia creativa y la voluntad de generar un cambio en su entorno. Miessen propone una forma urgente de participación que traspase el consenso político interesado e inefectivo. Un agente de conflictos constructivos, que refresque los campos del conocimiento con una nueva mirada... A veces, "la democracia" tiene que ser evitada a toda costa. [less ▲]

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See detailKoszmar partycypacji
Miessen, Markus UL; Choptiany, Michal

Book published by Fundacja Bęc Zmiana (2014)

Nie ma tutaj porad, jak przebudować miasto ani nawet – jak to bywa w publikacjach Rema Koolhaasa czy Roberta Venturiego – jak je lepiej zrozumieć. Nie jest to książka o tym, co robić, ale o tym, czego ... [more ▼]

Nie ma tutaj porad, jak przebudować miasto ani nawet – jak to bywa w publikacjach Rema Koolhaasa czy Roberta Venturiego – jak je lepiej zrozumieć. Nie jest to książka o tym, co robić, ale o tym, czego unikać. Nie stanowi ona katalogu dobrych praktyk, jest raczej przewodnikiem po polu minowym. Miessen zaprasza na swoisty seans terapeutyczny, abyśmy sobie uświadomili, jak sami się oszukujemy i pozbawiamy zdolności do działania na rzecz realnej, a nie fasadowej zmiany. To książka szczególna. Autor mówi wprost to, co wielu z nas podskórnie przeczuwa: jesteśmy wciągani do współudziału w wielkiej ściemie. Pokazuje, jak zupełnie niepostrzeżenie pewien ideał przerodził się we własną karykaturę. Dlatego książka ta powinna zostać w Polsce starannie przeczytana. Potem można, a nawet należy się z nią rozstać. Ale trzeba zrobić to z właściwych powodów. (Z przedmowy Kacpra Pobłockiego) Translated by : Michał Choptiany [less ▲]

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See detailnoon 5 2014 Society
Miessen, Markus UL

in noon 5 (2014)

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See detailGrand Tour
Miessen, Markus UL

in Grand Tour (2014)

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See detailKELLER EASTERLING Subtraction
Miessen, Markus UL; Hirsch, Nikolaus

Book published by Sternberg Press (2014)

Unbuilding is the other half of building. Buildings, treated as currency, rapidly inflate and deflate in volatile financial markets. Cities expand and shrink; whether through the violence of planning ... [more ▼]

Unbuilding is the other half of building. Buildings, treated as currency, rapidly inflate and deflate in volatile financial markets. Cities expand and shrink; whether through the violence of planning utopias or war, they are also targets of urbicide. Repeatable spatial products quickly make new construction obsolete; the powerful bulldoze the disenfranchised; buildings can radiate negative real estate values and cause their surroundings to topple to the ground. Demolition has even become a spectacular entertainment. Keller Easterling’s volume in the Critical Spatial Practice series analyzes the urgency of building subtraction. Often treated as failure or loss, subtraction—when accepted as part of an exchange—can be growth. All over the world, sprawl and overdevelopment have attracted distended or failed markets and exhausted special landscapes. However, in failure, buildings can create their own alternative markets of durable spatial variables that can be managed and traded by citizens and cities rather than the global financial industry. These ebbs and flows—the appearance and disappearance of building—can be designed. Architects—trained to make the building machine lurch forward—may know something about how to put it into reverse. [less ▲]

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See detailBlank Slate Issue
Bueti, Federica; Miessen, Markus UL

in Blank Slate Issue no. 0 Crossbenching (2014)

Detailed reference viewed: 8 (2 UL)
See detailThe Future Is Not What It Used To Be. 2nd Istanbul Design Biennial
Ryan, Zoë; Carruthers, Meredith; Miessen, Markus UL

Book published by Hatje Cantz (2014)

The type of work that designers are tackling has grown exponentially—from the design of our buildings, streets, education, food, and health care to the design of our communications, political, and ... [more ▼]

The type of work that designers are tackling has grown exponentially—from the design of our buildings, streets, education, food, and health care to the design of our communications, political, and economic systems and networks. Throughout history, manifestos have functioned as statements of purpose, stimulating an exchange of ideas. In a contemporary context, curators Zoë Ryan and Meredith Carruthers use the Biennial as a forum for posing questions and generating dialogue. How can we reconsider the manifesto, harnessing its power to frame pertinent ideas while exploring the new forms it might take? This richly illustrated volume presents more than fifty international projects by designers working across disciplines as well as essays by leading thinkers in design. The projects and thoughts are open to interpretation but have the potential to instigate new modes of thought and outcomes, encouraging us all to pause and think about the future. [less ▲]

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See detailThe Trees For The Wood The Wood For The Trees
Bertschi, Denise; Miessen, Markus UL

Book published by HEAD - Genève (2014)

Publication with a series of photographs taken in the Korean DMZ «Facing the impossibility of capturing the visual in a geography that is not only highly controlled, but exposed and condemned to a ... [more ▼]

Publication with a series of photographs taken in the Korean DMZ «Facing the impossibility of capturing the visual in a geography that is not only highly controlled, but exposed and condemned to a superimposed vista, an altered and forcefully prescribed act-of-seeing, a tarnished layer of the subjective ability to visualize, the work of Denise Bertschi rediscovers the immediate. Observing her work of a landscape that does not quite make sense, one slowly realizes that military intervention in this landscape of exception is not always clearly decipherable for what it is. Moreover, the very moment of realization of the single object or artifact in fact complicates the seemingly simple and straightforward unpacking of such mono-programmed geography – to the extent that the border-zone cannot only be understood as a territory of exception, but a man-made construct of absurdity that choreographs and overboosts staged realities of the cliché.» (Markus Miessen) [less ▲]

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See detailHubs And Fictions. On Current Art And Imported Remoteness
Yadong Hao, Sophia; Schmitz, Edgar; Miessen, Markus UL

Book published by Sternberg Press (2014)

Hubs and Fictions, originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures ... [more ▼]

Hubs and Fictions, originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures are invented against its background. In 2012, the forum was staged sequentially at Cooper Gallery (Dundee), Baltic Centre for Contemporary Art (Gateshead), Goldsmiths University of London, and operated as a satellite event to Edgar Schmitz's exhibition “Surplus Cameo Decor,” curated by Sophia Yadong Hao at Cooper Gallery. The book functions as a deliberately discontinuous reader; it juxtaposes documents, negotiations, and reflections from and on these conversations. The publication also includes a preface by Andrea Phillips, a new image sequence by Schmitz, and a suite of reflexive annotations exchanged between Hao and Schmitz. [less ▲]

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See detail(IN)FORMAL L.A. The Space of Politics
Jones, Victor; Miessen, Markus UL

Book published by eVolo (2014)

Often portrayed as a confluence of cars and movies, this book traces another course to uncover Los Angeles' primal sources of creation - land and opportunity. Within the endless sprawl there reside ... [more ▼]

Often portrayed as a confluence of cars and movies, this book traces another course to uncover Los Angeles' primal sources of creation - land and opportunity. Within the endless sprawl there reside flurries of uncodified spatial configurations that no high-definition map or satellite image can accurately capture nor present. (IN)formal LA explores a range of unique spatial practices and pedagogies through the lens of politics in Los Angeles. While this book articulates growing skepticism in current design discourse and education, it also provides a spatial awareness that is culturally rooted, socially responsive and vitally connected to the city. Composed of essays, photos, projects and interviews, (IN)formal LA embraces the quirky, celebrates the wide and embellishes the close range to expose the complex social organizations within this contemporary urban network. (IN)formal LA serves as both a textbook for classes in art and architecture, urban design, planning and theory in addition to responding to the increasing interest in the study of Los Angeles by scholars in other fields. The book provides an extended overview of the range and variety of urban issues that are critical to understanding present-day Los Angeles. [less ▲]

Detailed reference viewed: 7 (0 UL)
See detailI See a Face. Do You See a Face
Haliti, Flaka Haliti; Rüdiger, Barbara Rüdiger; Miessen, Markus UL

Book published by Verlag der Buchhandlung Walther König (2014)

Flaka Haliti. I see a Face. Do you see a Face. Flaka Haliti, winner of the Henkel Art.Award 2013 takes an analytic approach to society and media in her work, and refers in particular to her own ... [more ▼]

Flaka Haliti. I see a Face. Do you see a Face. Flaka Haliti, winner of the Henkel Art.Award 2013 takes an analytic approach to society and media in her work, and refers in particular to her own experiences as an interloper between different countries andcultures. The artist, who was born 1982, lives and works in her homecity of Prishtina and also in Munich and Vienna. By contrasting an installation of imitated concrete walls with a photo series of cloud motifs including computer drawn faces, Haliti constructs a spatial scenario that is both menacingly narrow and constricted and that also seems to offer an open a broad perspective. A further work looks at interpersonal relationship between proximity and distance under the condition of the media world, in a video installation about long-distance realtionships in the internet. The exhibition titel "I see a Face. Do you see a Face." is taken from the photo series with cloud motifs and poses a question that is formulated so that it can also be taken as a statement of fact, In this deliberate dissolution of all clear parameters and ascription. Flaka Haliti emphasizes her interest in initiating games between reality and fiction, and imaginary proximitiy and spatial distance. [less ▲]

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See detailMARK VON SCHLEGELL Ickles, Etc.
Miessen, Markus UL; Hirsch, Nikolaus

Book published by Sternberg Press (2014)

It’s the late twenty-first century. Technological, environmental, and social catastrophes have changed the meanings of culture, nature, and landscape forever. But in what remains of the international ... [more ▼]

It’s the late twenty-first century. Technological, environmental, and social catastrophes have changed the meanings of culture, nature, and landscape forever. But in what remains of the international urban scene, architecture still refuses to admit it hasn’t been modern since the early twentieth century. Enter Ickles, Etc. Helming Los Angeles’s most misunderstood info-architecture practice is Henries Ickles, “the man without self-concept.” Time and again Ickles offers practical solutions to the most impenetrable theoretical entanglements of art, architecture, and science in the 2090s. In the fifth book in the Critical Spatial Practice series, Mark von Schlegell’s fusion of theory and fiction puts the SF back in notions of “speculative aesthetics.” A collection of interconnected comical sci-fi stories written for various exhibitions, Ickles, Etc. explores the future of architectural practice in light of developments in climatology, quasicrystalography, hyper-contemporary art, time travel, and the EGONET. Occupying New Los Angeles, visiting the Danish Expansion, Nieuw Nieuw Amsterdam, and 1970s St. Louis, the practice finds selves embroiled in very spicy mustards indeed, redefining info- architecture and jettisoning the burdensome “self-concept” of the Western tradition in the process. Just don’t expect a visit to the ruins of Disney Hall! [less ▲]

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See detailPromiscuous Encounters
Díaz, Francisco; Kolowratnik, Nina Valerie; López- Dinardi, Marcelo et al

Book published by GSAPP Books (2014)

Promiscuous Encounters, a day-long event organized by Francisco Díaz, Nina Valerie Kolowratnik, Marcelo López-Dinardi, and Marina Otero Verzier and held at the GSAPP in March 2012, examined the interplay ... [more ▼]

Promiscuous Encounters, a day-long event organized by Francisco Díaz, Nina Valerie Kolowratnik, Marcelo López-Dinardi, and Marina Otero Verzier and held at the GSAPP in March 2012, examined the interplay between the critical, curatorial, and conceptual capacities of architecture by asking a diverse group of theorists and practitioners to discuss their modes of promiscuous practice. Challenging the way in which a symposium is commonly recorded, for the discussion between Keller Easterling, Andrés Jaque, Reinhold Martin, Mitch McEwen, Markus Miessen, Felicity D. Scott, Pelin Tan, Rodrigo Tisi, and Mark Wasiuta, neither audio nor video recordings were made. [less ▲]

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See detailToo Much World
Aikens, Nick; Miessen, Markus UL

Book published by Sternberg Press (2014)

Hito Steyerl is rightly considered one of the most exciting artists working today who speculates on the impact of the Internet and digitization on the fabric of our everyday lives. Her films and writings ... [more ▼]

Hito Steyerl is rightly considered one of the most exciting artists working today who speculates on the impact of the Internet and digitization on the fabric of our everyday lives. Her films and writings offer an astute, provocative, and often funny analysis of the dizzying speed with which images and data are reconfigured, altered, and dispersed, many times over, accelerating into infinity or crashing into oblivion. Published to accompany the artist’s survey exhibitions at the Van Abbemuseum, Eindhoven, and the Institute of Modern Art, Brisbane, Too Much World gathers a series of essays and close readings of Steyerl’s films from the past ten years. Newly commissioned texts by Sven Lütticken, Karen Archey, Ana Teixeira Pinto, and Nick Aikens, alongside writings by Thomas Elsaesser, Pablo Lafuente, David Riff, and Steyerl, are spliced with over one hundred pages of color stills. This publication is a charged slideshow of the artist’s extraordinary investigations into the status, circulation, and materiality of images. [less ▲]

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