Jeff Kinkle discusses Guy Debord’s parapolitical turn, the evolution of The Society of the Spectacle and conspiracy theories with Alexandra Symons Sutcliffe and Jenna Bliss, accompanied by a poem from Susan Conte.
Alexandra Symons Sutcliffe and Jenna Bliss in conversation, interspersed with a reading by Shelley Marlow from Two Augusts In A Row In A Row, a sound piece by Carissa Rodriguez and some archival material from the early 2000s.
Queere Kunst und Kulturen erleben gegenwärtig eine Konjunktur in populären, akademischen und musealen Kontexten. Queer kommt dabei vor allem als Label und Identitätskategorie zum Einsatz, anstatt ein kritisches Potenzial zu mobilisieren, kontinuierlich in normativ angelegte soziale Systeme und Organisationsapparate zu intervenieren. Die Herausforderung hegemonial legitimierter Ausschlüsse und Hierarchien sollte jedoch im Vordergrund stehen.
One year after the publication of an open letter addressed to Swiss art spaces, Black art and cultural workers across Switzerland, are sharing a second collectively penned letter, signed by over 100 Black art and cultural workers in Switzerland.
Ce texte observe certains croisements de l’art et de l’agriculture pour décrire notre période où le productivisme a atteint ses limites en asséchant autant les sols que les imaginaires. De la génito-culture qui prend essor dans les années 2000 aux artistes-cultivateurs aux ego surexploités, il explore à partir d’une série d’exemples – entre autres les Women’s Lands d’Oregon et l’Agricola Cornelia de Gianfranco Baruchello – les frictions entre autonomie de l’art et autonomie politique comme moyen d’écrire des récits et de les fondre au vivant. Ce texte s’inscrit dans une série de publications qui sera publiée dans le cadre de l’exposition de groupe Les vies génétiques d’Eden Martin à la ferme biodynamique d’Aude et Antoine Hentsch à Gollion*.
Following a conversation in January this year with critics Max Glauner, Helen Lagger and Samuel Schellenberg, in March Aoife Rosenmeyer returned to the subject of practicing contemporary criticism with Mitchell Anderson, Brit Barton, Adam Jasper and Julia Moritz. While these four are active elsewhere as artists, curators, academics and in art mediation, their critical writing is to be found in specialist international art publications on and off-line. This is the discussion that ensued.
In January 2021, while all of Switzerland was shielded from the danger of exposure to exhibitions, Aoife Rosenmeyer spoke to critics and journalists Max Glauner, Helen Lagger and Samuel Schellenberg. All three have significant experience covering art – and other cultural forms – for broadsheet newspapers. The subject of the discussion was the contemporary perspective on art criticism: Is it a viable practice? Who needs it? And what informs it?
Forschung an Kunsthochschule ist ein strukturelles Paradox: sie oszilliert zwischen drittmittelabhängiger Projektarbeit und institutionell getriebener Verwaltungslogik. Rachel Mader beschreibt die daraus entstehende fatale Dynamik, in der aus Inhalten ein volatiles Nice-to-have und aus Verwaltung und Administration eine konsolidierte und selbstbewusste Organisationseinheit werden.
We have compiled and annotated an incomplete reading list on and around the family, the body, and the technologies connected to it, care, labor and communality. Shared reading becomes common writing and creates leaks in our respective artistic and curatorial practices, asking how can we assist each other through the violence of a patriarchal and neoliberal capitalist understanding of the family, care, education, and health, as we have increasingly experienced it over the past year?
The representation of the figure of the mother has, until womxn have more recently taken up the task, been rather limited. This essay explores the persistence of a complex node of thoughts and images linked to this particular body and, closely (and literally) related to it, the entity of the family. It looks at works by Lea Lublin, Mary Kelly, Juliette Blightman, Catherine Opie and Ree Morton, among others, as well as at two – very different – books: Shulamith Firestone’s radical feminist manifesto The Dialectic of Sex (1970), which calls for the abolishment of the child-bearing mother, and with her the nuclear family; and Maggie Nelson’s The Argonauts (2015), a personal account of becoming a mother in a queer family. All of these works challenge steadfast taboos surrounding the figure of the mother, and ask, each from a particular standpoint: Can the maternal subject be radical?
Drawing on her book Full Surrogacy Now, Sophie Lewis revisits the figure of Shulamith Firestone from a critical transfeminist perspective to pursue the idea that paid and unpaid human gestational labor alike constitute forms of work under capitalism that gestators themselves can seek to abolish. This essay originated as a lecture and discussion organized by Rose-Anne Gush and Barbara Kapusta in November 2020 as part of their «Feminism against Family» program at mumok Vienna.
En point d’orgue de sa programmation récente qui exposait le travail d’artistes dandy comme Michael Krebber ou Marc Camille Chaimowicz, la Kunsthalle de Berne présente l’exposition collective No Dandy, No Fun, une passionnante enquête sur la figure de l’artiste. Récalcitrant aux forces naturalisantes de l’identification, le dandy s’affiche comme un contre-modèle qui a fait de la vie son art, entre affirmation exubérante et fantasme d’effacement du soi. Par leur relecture inclusive, Hans-Christian Dany et Valérie Knoll, les curateurices de l’exposition, dotent cette figure, qui est avant tout une attitude, de pouvoirs de subversion élargis.
Will you find yourself in a zoo? Zoos — facilities where typically wild animals are kept, cared for by zookeepers, displayed to the public and in some cases bred — have been around for over 200 years. Throughout history people have been put in enclosures as well — prisons being the first to come to mind. Below we will go through some zooish examples and scenarios.
Die in Österreich geborene und seit den späten 1980er-Jahren in Zürich ansässige Galeristin Eva Presenhuber zählt heute zu den einflussreichsten Personen im Feld der zeitgenössischen Kunst. Heute hat die Galerie nebst mehreren Standorten in Zürich auch einen in New York. Das Gespräch, geführt im Juli 2020, versucht, nicht nur die Geschichte der Galerie nachzuzeichnen, sondern auch die spezifischen historischen Bedingtheiten ihrer Entstehung genauer auszuleuchten.
