





6 products
Onomatopee Z0026 – 'Est Pas Une
Regular price SFr. 22.00 Save Liquid error (product-template line 127): -Infinity%By way of archiving, digital translation and reproduction, Philip Poppek extracts from Magritte’s word paintings twenty-six letters; segmental symbols of a textual system form an alphabet of a, with a familiar apple punctuating a provisional end to the sequence. A poetic correspondence with the letter a speculates on the prehistory of this alphabet, as though searching for some indication as to how we may have come to where we are now, in this ‘post-factual moment’.
Maybe at some point we fell into the foxes’ den, only to re-surface in a landscape of ruins. This book poses a number of necessary questions, perhaps beginning with: ‘Which feminine noun trails after the title script ‘est pas une?
Pomme? Pipe? Histoire? Communauté?
Details
Type: softcover
Edition: 500
Author: Dominkus Müller, Miriam Stoney
Editor: Philip Poppek
Onomatopee 178 – Echoing Exhibition Views
Regular price SFr. 26.00 Save Liquid error (product-template line 127): -Infinity%Onomatopee 178, A.R. practice (Agnieszka Roguski & Ann Richter), 2020
Edited by A.R. practice (Ann Richter & Agnieszka Roguski), Introduction by A.R. practice (Ann Richter & Agnieszka Roguski), Texts by Melanie Bühler, Erika Landström, Agnieszka Roguski
When the exhibition enters the digital realm, as it is increasingly happening now when the display of art and culture can be enjoyed individually behind screens, then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity?
Echoing Exhibition Views. Subjectivity in Post-Digital Times explores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. It takes the digitized exhibition view as starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. Focusing on the transformative potential of the exhibition as circulating view, this publication asks how it transfers again into a subjective mode of perspective through the artistic lens. So what is at stake when an exhibition circulates as a digital view? And how does its digital presence in turn affect and transform the subjective experience of seeing a physical exhibition?
With images from João Enxuto & Erica Love, Calla Henkel & Max Pitegoff, New Noveta/Yair Oelbaum, SANY, Hanna Stiegeler, Jasmin Werner, and Jonas Paul Wilisch, as well as texts by Melanie Bühler, Erika Landström, and Agnieszka Roguski, this publication gathers artists, curators, and writers who frame these questions through a variety of practices and media. It thus addresses a self-reflexive and critical approach on medium and format—understanding the exhibition as a fluid and diverse view.
MORE INFO
How is our view on exhibitions influenced by their digital re-/presentation on the internet? How can art affect the normalized, circulating installation views in a creative way––and articulate a subjective view in this way? And how, above all, do seemingly objective standards and subjectivity affect each other?
The publication Echoing Exhibition Views. Subjectivity in Post-Digital Times focuses on the subjectivity of the supposedly objective exhibition documentation. It is about how artists realize a kind of subjective view when they are presenting an exhibition––in terms of performative, spatial, visual or technological aspects––and how that view can broaden, reflect or criticize the standardized claim of exhibition views.
For Echoing Exhibition Views. Subjectivity in Post-Digital Times, a total of seven international artistic positions articulate their personal interpretation of the ‘installation view’. Most important is their disciplinary versatility, which provides a multifaceted and complex approach to the topic. Artistic photography, illustration, conceptual art and performance art together respond to the apparent objectivity emanating from exhibition documentation and the photographic installation view.
The medium of display always shapes the work, therefore the form of the book becomes the venue for a visual tension between specification and ambiguity. To underline the modification as a productive act, A.R. practice interfered with book production standards and used a special RGB-three-color printing technique instead of CMYK. RGB (red green blue) is the digital color range and refers to the online format. However, it will evoke experimental effects for this analogue format.
The guiding principle is the idea of transformation through various media and formats. Thus, the featured artists represent a practice in which various media and spaces are crossed; from the virtual exhibition on the internet to the actual exhibition space to the photographic image from the exhibition. All works become independent exhibition practices and works of art.
TABLE OF CONTENT
Editorial (A.R. practice: Ann Richter & Agnieszka Roguski)
Essays:
In Other Words, Please be True (Melanie Bühler)
Subjective Exposure (Agnieszka Roguski)
Professionalized Reenactment (Erika Landström)
Featured work:
João Enxuto & Erica Love “Anonymous Paintings” (2011–)
Calla Henkel & Max Pitegoff “Schinkel Klause” (2016)
New Noveta/Yair Oelbaum “Violent Amurg” (2017)
SANY “Acting Untitled” (2009-2018)
Hanna Stiegeler “Untitled” (2015)
Jasmin Werner “Observational Games” (2016)
Jonas Paul Wilisch “the work: a series of installation views” (2016/2017)
Details
Her Hair
Regular price SFr. 21.00 Save Liquid error (product-template line 127): -Infinity%Onomatopee Z0016, Claudia Pagès, 2020
Claudia Pagès’ writing emerges from the agora and the marketplace, where language is passed back and forth alongside coins and vegetables, jokes and greetings swapped like counterfeit underwear and bags of pork gelatine. Her writing explores how, around the daily exchange of daily goods, a people and culture form and define themselves. Between the cities of Barcelona and London she searches for an example of this personal, bodily commerce—a swatch of discarded human or synthetic hair, lost or abandoned back to the street. From this point, Pagès seeks more encounters with the industry and ideology of human hair.
Her Hair is a poetic catalogue of those experiences, as Pagès begins a personal exploration of the production and exchange of both hair and language, braided together through process of creation and exploitation. In doing so she produces something between text and textile, as her language grows, is cropped, is unruly, is epilated and is shorn through contact with hair and its discontents.
- Huw Lemmey
Details
Being (Imposed Upon)
Regular price SFr. 26.00 Save Liquid error (product-template line 127): -Infinity%Onomatopee Z0020, publiekeacties (Vesna Faassen & Lukas Verdijk), 2020
(Dutch and French language only)
Being is een tijdloze liefdesbrief en handleiding van en voor zwarte vrouwen. Dit boek is een collectie van reflecties over vrouw- én zwart-zijn in België. In de twee landstalen Nederlands en Frans verenigen wij, zwarte vrouwen, non-fictie essays, literaire beschouwingen, poëzie, activistische en academische teksten rond onze zoektocht naar vrijheid. Dit boek is een eerbetoon aan onze ouderen, onze heldinnen en onze zusters.
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Nous sommes des Femmes Noires, poétesses, militantes, universitaires, littéraires et essayistes engagées dans des causes afroféministes, antiracistes et décoloniales.
Nous sommes ces Afro-belges néerlandophones et francophones indignées par des siècles d’esclavages coloniaux, de violences et de discriminations raciales.
Nous sommes ces Afrodescendantes qui marquent ici le refus des diverses formes d'impositions qu’elles subissent structurellement et quotidiennement.
Nous sommes ces Femmes aux identités Tierces que l’on oppresse et qui pourtant, à l’aune de l’érosion du pouvoir des bourreaux sur nos corps, nos âmes et nos esprits, réfléchissent à leur condition et travaillent à leur empowerment.
Nous sommes ces Africaines stigmatisées, invitées à rejeter nos origines et qui pourtant vous livrent ici une lettre d’amour intemporelle à toutes les Femmes Noires, à celles qui ont peur et celles luttent.
Nous sommes ces immortelles qui rendront hommage à nos aînées, nos héroïnes, à notre filiation de Résistances. Ce manuel d’émancipation trace les chemins de notre liberté et de notre résilience ; par nous, pour nous !
Impose our freedom.
- Mireille-Tsheusi Robert
Auteurs
Onomatopee 151 – The Trouble with Value
Regular price SFr. 29.00 Save Liquid error (product-template line 127): -Infinity%Art and Its Modes of Valuation
This book discusses the symbolic and economic value that a work of art holds, being a product of its maker’s labour.
This dynamic compilation of theoretical texts, essays and artistic contributions provides insight into current notions of value and value systems, and considers everything from the role of language to the circulation of art, and how it’s aided by the infrastructure of institutions.
Along the way, The Trouble with Value tackles the historical legacies of devaluation in art, the value of artistic labour, and art’s capacity to tell stories beyond mainstream channels of dissemination.
Featuring contributions by Anca Benera and Arnold Estefan, Rachel Carey, Kris Dittel, Fokus Grupa, Fokus Grupa, Karolina Grzywnowicz, Arnoud Holleman and Gert Jan Kocken, Anthony Iles & Marina Vischmidt, gerlach en koop, Monique Hendriksen, Femke Herregraven, Kornel Janczy, Sława Harasymowicz, Sarah van Lamsweerde, Ewa Partum, Mladen Stilinović, Maciej Toporowicz, Kra Kra Intelligence Cooperative and more.
Details
Type: softcover including poster (370 x 275 mm)
Dimensions: 190x285 mm / 7,48x11,22 inch
Pages: 224
Editor: Kris Dittel
Author: Anthony Iles and Marina Vishmidt, Krzystof Siatka
Graphic: Agata Biskup
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