Last 7 days
Bookmark and Share    
Full Text
Peer Reviewed
See detailSupply Chain Network Risk Analysis : A Privacy Preserving Approach
Fridgen, Gilbert UL; Garizy, Tirazheh Zare

in Proceedings of the 23rd European Conference on Information Systems (2015)

Detailed reference viewed: 23 (0 UL)
See detailEYAL WEIZMAN The Roundabout Revolutions
Miessen, Markus UL; Hirsch, Nikolaus; Fisher, Blake et al

Book published by Sternberg Press (2015)

One common feature of the wave of recent revolutions and revolts around the world is not political but rather architectural: many erupted on inner-city roundabouts. In thinking about the relation between ... [more ▼]

One common feature of the wave of recent revolutions and revolts around the world is not political but rather architectural: many erupted on inner-city roundabouts. In thinking about the relation between protest and urban form, Eyal Weizman starts with the May 1980 uprising in Gwangju, South Korea, the first of the “roundabout revolutions,” and traces its lineage to the Arab Spring and its hellish aftermath. Rereading the history of the roundabout through the vortices of history that traverse it, the book follows the development of the roundabout in Europe and North America in the early twentieth century, to its subsequent export to the colonial world in the context of attempts to discipline and police the “chaotic” non-Western city. How did an urban apparatus put in the service of authoritarian power became the locus of its undoing? Today, as the tide of revolt that characterized the Arab Spring seems to ebb, when nations and societies disintegrate by brutal civil wars and military oppression, the series of revolutions might seem like Dante’s circles of hell. To counter this counter-revolution, Weizman proposes that the immanent power of the people at the roundabouts will need to find its corollary in sustained work at round tables—the ongoing formation of political movements able to enact political change. The sixth volume of the Critical Spatial Practice series stems from Eyal Weizman’s contribution to the Gwangju Folly II in 2013, an exhibition curated by Nikolaus Hirsch with Philipp Misselwitz and Eui Young Chun for the Gwangju Biennale. Weizman and the architect Samaneh Moafi constructed a folly composed of seven roundabouts and a round table in front of the Gwangju train station, one of the central points in the events of May 1980. [less ▲]

Detailed reference viewed: 25 (0 UL)
Peer Reviewed
See detailLas inscripciones con "me fecit": ¿Artistas o comitentes?
Mineo, Emilie UL

in Románico (2015), 20

Detailed reference viewed: 23 (1 UL)
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 ▲]

Detailed reference viewed: 12 (0 UL)
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 ▲]

Detailed reference viewed: 9 (0 UL)
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 ▲]

Detailed reference viewed: 12 (0 UL)
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 ▲]

Detailed reference viewed: 12 (0 UL)
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 ▲]

Detailed reference viewed: 9 (0 UL)
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 ▲]

Detailed reference viewed: 9 (0 UL)
See detailLes « guerres de religion », hier, aujourd’hui … et demain ?
Weis, Monique UL

Conference given outside the academic context (2014)

Detailed reference viewed: 9 (0 UL)
Peer Reviewed
See detailBetween Limits, Lures, and Excitement: Holidays Abroad in Socialist Romania during the 1960s-1980s
Stefan, Oana Adelina UL

in Burrell, Kathy; Horschelmann, Kathrin (Eds.) Socialist and Post-Socialist Mobilities (2014)

Detailed reference viewed: 11 (0 UL)
See detailHygiene, Public Health, and the Social Body
Takats, Sean UL

Scientific Conference (2014, November 14)

Detailed reference viewed: 17 (0 UL)
See detailArchives without end: the quandary of digital research and scholarly communication
Takats, Sean UL

Presentation (2014, October 16)

Detailed reference viewed: 14 (0 UL)
Full Text
Peer Reviewed
See detailCoulomb Friction Driving Brownian Motors
Manacorda, Alessandro UL; Puglisi, Andrea; Sarracino, Alessandro

in Communications in Theoretical Physics (2014)

We review a family of models recently introduced to describe Brownian motors under the influence of Coulomb friction, or more general non-linear friction laws. It is known that, if the heat bath is ... [more ▼]

We review a family of models recently introduced to describe Brownian motors under the influence of Coulomb friction, or more general non-linear friction laws. It is known that, if the heat bath is modeled as the usual Langevin equation (linear viscosity plus white noise), additional non-linear friction forces are not sufficient to break detailed balance, i.e. cannot produce a motor effect. We discuss two possibile mechanisms to elude this problem. A first possibility, exploited in several models inspired to recent experiments, is to replace the heat bath's white noise by a "collisional noise", that is the effect of random collisions with an external equilibrium gas of particles. A second possibility is enlarging the phase space, e.g. by adding an external potential which couples velocity to position, as in a Klein—Kramers equation. In both cases, non-linear friction becomes sufficient to achieve a non-equilibrium steady state and, in the presence of an even small spatial asymmetry, a motor effect is produced. [less ▲]

Detailed reference viewed: 33 (0 UL)
Full Text
See detail"И засияли золотые купола". История русской православной общины Люксембурга
Ganschow, Inna UL

Book published by Imprimerie Saint-Paul (2014)

Книга рассказывает о русской православной общинe Люксембурга, существующей с 1929 г. Историчeский обзор охватывает путь Белой эмиграции через Восточную Европу в Великое Герцогство, становление русской ... [more ▼]

Книга рассказывает о русской православной общинe Люксембурга, существующей с 1929 г. Историчeский обзор охватывает путь Белой эмиграции через Восточную Европу в Великое Герцогство, становление русской колонии в г. Мертерт и г. Вильтц и обновление прихода после постройки церкви в 1982 г. [less ▲]

Detailed reference viewed: 39 (0 UL)
See detailUncertainty in Experimental Asset Markets
Neugebauer, Tibor UL

Scientific Conference (2014, June 26)

Detailed reference viewed: 22 (2 UL)
See detailLes troubles du XVIe siècle dans la mémoire de Bruxelles
Weis, Monique UL; Houssiau, Jean

Speeches/Talks (2014)

Detailed reference viewed: 11 (0 UL)
See detailLa censure d’Erasme
Weis, Monique UL

Speeches/Talks (2014)

Detailed reference viewed: 7 (0 UL)