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Jorg Heiser - Double Lives in Art and Pop Music

Sternberg Press 2019 ISBN 9783956790959 Acqn 30058
Pb 15x23cm 312pp 45ills 26col £20.50

Why did Andy Warhol decide to enter the music business by producing the Velvet Underground,
and what did the band expect to gain in return? What made Yoko Ono use the skills she
developed in the artistic avant-garde in pop music, and what in turn drew John Lennon to visual
art? Why, in 1980s West Germany, did Joseph Beuys record a pop single and artists such as
Walter Dahn, Albert and Markus Oehlen, and Michaela Melian form bands? What role does
utopia play in the pop music and art of Brian Eno, Laurie Anderson, and Fatima Al Qadiri? And,
vice versa, did dystopias of transgressive imagery and noise lead the artist group COUM
Transmissions to make music as Throbbing Gristle?

In Double Lives in Art and Pop Music, Jorg Heiser argues that context shifting between art and
pop music is an attempt to find solutions for contradictions faced in one field of cultural
production. Ever since Duchamp's readymade and Hugo Ball's sound poetry, the definition of art
has widened and dissolved to a point where nearly anything geared toward an art audience can
be considered an artwork. Today it has become convention to praise art as a way of questioning
conventions, not least in regard to conventional borders between disciplines, media, and genres.
However, heroic claims of dissolving borders have become a way of kicking at doors that are
already wide open-in a political and economic environment defined by neoliberal deregulation and
flexibilization geared toward new markets, and permeating every social and cultural sphere.

It has thus become increasingly important to discuss the relationship between different fields of
cultural production. This book does just that, looking closely at the careers of artists and pop
musicians who work in both fields professionally. Historically, these figures provoked cognitive
dissonance, but the seeming acceptance and effortlessness today of current border crossings
can be deceptive, since they might be serving vested economic or ideological interests. Exploring
the intertwined histories of pop and art from the 1960s to the present, Heiser shows that those
leading double lives in art and pop music may often be best able to detect these vested interests
while pointing toward radical alternatives.



Barry Schwabsky - The Observer Effect - On Contemporary Painting

Sternberg Press 2019 ISBN 9783956794605 Acqn 30057
Pb 14x24cm 316pp £18.95

In The Observer Effect: On Contemporary Painting, poet and critic Barry Schwabsky looks at the
different directions that painting has taken since the turn of the millennium. He deflates the
twentieth-century belief that abstraction and figuration in painting are dichotomous. Instead,
Schwabsky argues, they are methods of asking or answering the questions: What is painting?
What can painting become in an observer's encounter with it? This wide-ranging selection of texts
emphasizes the coextensive work the viewer brings to painting alongside the artist-the
construction of form and meaning.



Maria Lind - Seven Years - The Rematerialisation of Art from 2011 to 2017
Sternberg Press 2019 ISBN 9783956794636 Acqn 30056
Pb 15x23cm 240pp 86ills £18.95

With contributions by Goldin+Senneby, Sofia Hernandez Chong Cuy, Ahmet Ogut, Philippe
Parreno, and Joanna Warsza

Seven Years offers a subjective chronicle of contemporary art during the second decade of the
twenty-first century, seen through a series of columns by curator, writer, and educator Maria Lind.
Writing for the print edition of ArtReview, Lind considers individual artworks and exhibitions and
contributes to conversations and debates developing in the art world and beyond. She explores
work by Haegue Yang, Hassan Khan, Uglycute, Tania Perez-Cordova, and Walid Raad, among
others, and discusses such exhibitions as dOCUMENTA (13), the Sharjah Biennial 12, the 3rd
Ural Industrial Biennial, and several editions of the Venice Biennale.

Lind's writings are accompanied by other texts: artists Goldin+Senneby discuss Lind's materialist
approach through the use of the word "hand" in the introduction to the volume; Sofia Hernandez
Chong Cuy reflects on how writing can affect curatorial work, and vice versa; artist Ahmet Ogut
conducts an imagined interview with Lind; and Philippe Parreno weaves a summary of the years
between 2010 and 2018, highlighting the notion of potentiality. A postscript by Lind's fellow
curator Joanna Warsza compiles a glossary of the book's key ideas and terms.



Politics of Food
Sternberg Press 2019 ISBN 9783956795169 Acqn 30055
Pb 18x24cm 240pp £20.50

Texts by Tim Lang, Raj Patel, Harry G. West

Conversations between Ferran Adrià and Marta Arzak, Tamara Ben-Ari and Asunción Molinos
Gordo, Mark Hix and Patrick Holden, Michel Pimbert and Tomás Uhnák, Michael Vazquez and
Michael Rakowitz

Contributions by Kathrin Böhm, Center for Genomic Gastronomy, Leone Contini, Cooking
Sections, Chris Fite-Wassilak, Amy Franceschini and Michael Taussig, Fernando García-Dory,
Melanie Jackson, Dagna Jakubowska, Nick Laessing, Jane Levi, Candice Lin, Poppy Litchfield,
Christine Mackey, Taus Makhacheva, Elia Nurvista, Senam Okudzeto, Thomas Pausz, Daniel
Salomon, Vivien Sansour, Standart Thinking, Serkan Taycan, Lantian Xie, Raed Yassin

The last decade has witnessed a proliferation of artists and artist collectives interrogating the
global politics and ethics of food production, distribution, and consumption.

As an important document of new research and thinking around the subject, this book, co-
published with Delfina Foundation, contains reflections on food by prominent artists,
anthropologists, and activists, among others. Interviews with chefs, policy makers, and
agronomists critically assess and illuminate the ways the arts confront food-related issues,
ranging from the infrastructure of global and local food systems, its impact on social organization,
alternatives and sustainability, climate and ecology, health and policy, science and biodiversity,
and identity and community.



Nina Valerie Kolowratnik - The Language of Secret Proof - Critical Spatial Practice 10
Sternberg Press 2019 ISBN 9783956790973 Acqn 30054
Pb 11x15cm 144pp 34ills 7col £12.95

Edited by Nikolaus Hirsch, Markus Miessen

With contributions by Elsa Stamatopoulou, Pah-Tow-Wei Paul Tosa
Featuring artwork by Trevor Paglen

In The Language of Secret Proof, Nina Valerie Kolowratnik challenges the conditions under which
Indigenous rights to protect and regain traditional lands are currently negotiated in United States
legal frameworks. The tenth volume in the Critical Spatial Practice series responds to the urgent
need for alternative modes of evidentiary production by introducing an innovative system of
architectural drawing and notation.

Today, most Western legal forums utilized by Indigenous communities for recognition of their
rights continue to employ evidentiary rules that do not allow for Native truths to be accepted as
"reliable" evidence. When tribes are asked to provide proof of their traditional connection to the
land, what Western legal forums accept as documentation does not truly represent or respect
tribal culture and traditional formats of knowledge transfer.

Kolowratnik's research focuses on the double bind Pueblo communities in the American
Southwest are confronted with when they become involved in a legal effort to reclaim and protect
ancestral lands, since the process of producing evidence runs counter to their structural
organization around oral history and cultural secrecy. The spatial notational systems developed
by Kolowratnik with the support of Hemish people, members of Jemez Pueblo in northern New
Mexico, and presented in this volume are an attempt to produce evidentiary documentation that
speaks Native truths while respecting demands on secrecy. These systems also attempt to
instigate a dialogue where there currently is none, deconstructing the fixed opposition between
secrecy and disclosure within Western legal systems.



Radical Cut-Up: Nothing Is Original

Sternberg Press 2019 ISBN 9783956795152 Acqn 30022
Pb 14x21cm 354pp 42ills 35col £14.25

Contributions by Thom Bettridge, Marcus Boon, Nicolas Bourriaud, Lars Eckstein, Rachel
Falconer, Lukas Feireiss, Joerg Koch, Jonathan Lethem, Lucas Mascatello, Paul D. Miller,
Eduardo Navas, Tamar Shafrir, Robert Shore, Stacey Waite, Jan Verwoert

This volume investigates the cut-up as a contemporary mode of creativity and important global
model of cultural production. The term cut-up serves as an open container for a long list of terms
and actions that describe the combination and reassembly of existing motifs, fragments, images,
and ideas from diverse and disconnected origins into newly synthesized entities. Refusing any
disciplinary coherence, this book assembles texts from multifarious eras and origins. At the same
time, the contributors share an urgency to question the dichotomy of original creation and
derivative appropriation. In this way the book itself is a cut-up of previously published essays and
articles that in their proximity allow for multiple readings to arise. It aims to translate the topic into
a wider societal discourse to serve as both a source of inspiration and a platform for critical



The Museum Is Not Enough

Sternberg Press 2019 ISBN 9783956795176 Acqn 30021
Pb 24x31cm 200pp col ills £16

Edited by Giovanna Borasi, Albert Ferre, Francesco Garutti, Jayne Kelley, Mirko Zardini
With contributions from Noura Al Sayeh, Greg Barton, Ruth Estevez, Fredi Fischli and Niels
Olsen, Stefano Graziani, Dan Handel, Martin Huberman, Wilfred Kuehn, Kalle Lasn, Maria Lind,
Kieran Long, Ligia Nobre, Mike Pepi, Damon Rich, Filippo Romano, Mika Savela, Bernd Scherer,
Jack Self, Astria Suparak, Shirley Surya, Jesus Vassallo, James Voorhies, Mark Wigley

The Museum Is Not Enough is the result of collective reflections on architecture, contemporary
social concerns, institutions, and the public undertaken by the Canadian Centre for Architecture in
recent years. Building on years of thematic investigations and a continued questioning of the role
of cultural institutions and the issues they face today, the book puts forward the CCA's own
positions and opens them up to a dialogue with designers, curators, photographers, publishers,
and other institutions who ask themselves similar questions.

This publication is conceived as the first volume of a yearly magazine with which the CCA will
explore urgent questions defining its curatorial activity. Topics addressed in this volume include
the institution's engagement with the present, the significance of the archive as a site for the
production of new ideas, display strategies in architecture exhibitions, the need for mediation in
art, and the impact of the digital in current museum practices.



Love and Ethnology - The Colonial Dialectic of Sensitivity (after Hubert Fichte)
Sternberg Press 2019 ISBN 9783956795039 Acqn 29958
Hb 20x26cm 220pp 160ills 117col £26.50

With contributions by Dulcie Abrahams Altass, Kader Attia, Jan-Frederik Bandel, Jurgen Bock,
Lisa Deml, Diedrich Diederichsen, Rosa Eidelpes, Denise Ferreira da Silva, Anselm Franke,
Renee Green, Ayrson Heraclito, Max Jorge Hinderer Cruz, Koyo Kouoh, Dirck Linck, Tiona
Nekkia McClodden, Mario Navarro, Amilcar Packer, Marleen Schroder, Erhard Schuttpelz, David
Simo, Kerstin Stakemeier, Yesomi Umolu

Can the ethnological observations and feelings on Afro-diasporic cultures of a German writer be
"restituted"? What are the possibilities and limits of using self-reflexion and gay sexuality as
research tools?

Since 2017, the exhibition and publication project Hubert Fichte: Love and Ethnology has
followed this question through Hubert Fichte's cycle of novels Die Geschichte der Empfindlichkeit
(The History of Sensitivity). Fascinated by Afro-diasporic arts and religions, Fichte (1935-1986)
traveled to cities such as Salvador da Bahia, Santiago de Chile, Dakar, New York, and Lisbon.
For the project, translations from his Geschichte der Empfindlichkeit became the basis for critical
local receptions and new artistic works in these cities. The final exhibition Love and Ethnology -
The Colonial Dialectic of Sensitivity (after Hubert Fichte) at Haus der Kulturen der Welt in Berlin
presents these reflections against the background of the relationship between ethnology and the
aesthetic avant-garde in post-war West Germany.

This publication brings together essays, artistic text contributions, and a glossary that explains
Hubert Fichte's theoretical vocabulary. These are supplemented by curatorial statements from the
past project stations in Salvador da Bahia, Rio de Janeiro, Santiago de Chile, Dakar, New York,
and Lisbon, as well as extensive photo series depicting the artistic works from the exhibition at



Abstract Hungary
Sternberg Press 2019 ISBN 9783956795121 Acqn 29919
Pb 17x23cm 274pp 87ills 83col £25

Texts by David Feher, Aron Fenyvesi, Michael Wimmer, Monika Zsikla

A penchant for abstraction when it comes to complex social conditions, a drive to effect change,
and a resilience of analysis and representation are all characteristic of Hungary's art scene since
the 1960s, and especially of its "abstract artists."

The abstracted visual language of Hungarian artists is currently being thematized by the
Kunstlerhaus in the exhibition "Abstract Hungary" by Akos Ezer, a painter who thematically
processes the present-day reality in his home country. This theme is, in fact, a revival, for already
in the exhibition year 2017 the venue presented the group exhibition "Abstract Hungary." With a
sweeping selection of twenty-four Hungarian artists, including Imre Bak, Tamas Kaszas, Dora
Maurer, and Zsolt Tibor, the show was devoted to methods of abstraction of varying dialogical
nature. The exhibition represented a more broad narrative blueprint of the much discussed term
"abstraction" and showed both established and aspiring artistic positions, some of which were
exhibited there in Austria for the first time.