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TOP TEN LIST
cheyanne turions
1. Helene Sommer, I was there/here., 2009.This book includes re-narrations of collected stories frequently taken out of context, highlighted or twisted according to memory and perception. It is all presumably nonfiction and second or third hand information gathered from books, magazines, TV, internet, museums, rumors and encounters. The randomly collected stories share the common denominator of reflecting dysfunctional and problematic systems whether in relation to history, science, memory or information. Edition of 750.2. Dora García, All the Stories, 2011.“A man/ a woman recites all the stories of the world in a loud voice. When she is done, all the stories, all men and women, all time and all places will have passed through her lips.” With the minimum of instructions and a restricted format of four lines, Dora García's collaborative and participatory project has now collected over 2,500 stories. Ranging from mundane to the extraordinary, these four line vignettes reveal the shared fears and fantasies of the contributors, the pervasiveness of popular culture and the possibilities of the imagination. Collected in the form of a book for the first time, this publication presents all the contributions up to 2011.3. The Renaming Machine, The Book, 2010.The Renaming Machine looks at the complex entanglements involved in the political and cultural processes of renaming. Its main concept reflects the crucial need to question the way these processes have influenced the construction and destabilization of the memory of national, cultural and personal identities in the former Yugoslavia and South-Eastern Europe over the past two decades. The project examines various artistic and cultural phenomena and strategies associated with the notion of “renaming” in order to determine the extent to which renaming affects visual culture and shapes the cultural identities and cultural politics in the region and elsewhere. A compilation of essays edited by Suzana Milevska; contributors include Gayatri Chakravorty Spivak, Tadej Pogacar, The Monument Group and others. Edition of 500.4. Rob Lowe, All the Fears, 2012.All The Fears is an on-going project of Monoprints attempting to make physical the fears that all humans have but rarely talk about. Produced at speed, the faces are scratched into paint giving them the appearance of crudely made masks. These frightened and frightening faces are those that hide in the lonely dark of night when the weight of self awareness is at its greatest. Edition of 150.5. A Fiesta of Tough Choices, 2007.Multiculturalism is easy to dismiss. For the right, it poses a threat to tradition and national identity. For the left, it often means food festivals, post-Marxist culturalism or reactionary community spokesmen. As in all discussions of globalisation, perhaps the jist of the problem lies in the tools at our disposal, the critical terminology, which is awkward at best, dangerous at worst.6. Descent to Revolution, 2010.Drawing on a range of ideas about urbanism, community, play, collectivity, education and revolution by figures like Jean Baudrillard, Guy Debord, Henri Lefebvre, Thomas Jefferson, Jean-François Lyotard and others, Descent to Revolution investigates how incremental shifts in cultural behavior are generated by continual production of knowledge, action and conversation. Revolution then is a slow, ever-evolving process responsive to a changing contemporary society. Within this investigation is a look at the role of the institution of art in realizing projects by practitioners whose production relies on contexts outside of the gallery.7. Options with Nostrils, 2011.Options with Nostrils brings together a collection of previously unpublished essays, both theoretical and visual, by artists, curators and a group of post-graduates from the Fine Art program at Piet Zwart Institute in Rotterdam, who together founded the Office for the Unknown. The writings investigate notions of the unpredictable and the unknown while looking at ways in which these notions enable a critical view on conditions of art making within the context of the present. Mirroring the process, this volume presents a chaos of ideas. Labyrinthine in structure and outlook, Options with Nostrils aims to destabilize the belief that there is an order of things in response to which the artist holds a decisive position. Because, as Sarat Maharaj has said, “The artist has an unknowability: the ability to unknow.” Featured contributors include Anthony Huberman, Raimundas Malasauskas, Linda Quinlan plus many more.8. Olaf Nicolai, Why Women Like to buy Textiles that Feel Nice / Annotation, 2010.Olaf Nicolai's work is conceptual in nature and often characterized by (socio) political references, in which multiple antipodal aspects (socialist and capitalist, hedonist and idealist) merge and overlap. Aspects such as production processes and the generation of commodities are reflected in his work as well as the realm of aesthetics and the role of the observer.9. Tariq Ramadan, On Super-Diversity, 2011.One of the greatest challenges for art and culture, sounded by intellectuals and also by funding bodies, is to represent diversity. But what precisely does this term mean and why does it so often placate rather than produce what it names? Professor Steven Vertovec, Director of the Max-Planck-Institute for the Study of Religious and Ethnic Diversity puts forward the notion of “super-diversity,” noting “the need to re-evaluate conceptions and policy measures surrounding diversity by way of moving beyond an ethno-focal understanding and adopting a multidimensional approach.” Developing this idea further, while aiming to question and complicate the focus on immigration in the current debate, the prolific and provocative scholar and activist Tariq Ramadan weighs in on the subject. In the resulting essay, translated into Dutch and Arabic, Professor Ramadan sets out an argument that foregrounds universalism as a necessary, if devalued, horizon and offers a critique of the uses and limits of dialogue and discourse within the day-to-day practice of super-diversity.10. Geoffrey Holstad, Cabin-Time: Bogus Lake, 2012.Cabin Time is a quarterly artist residency that takes a group of artists to remote places to camp, become best friends, and produce work for a group exhibition. Geoffrey Holstad, Cabin Time's principal organizer, created this field guide as documentation of the residency's second excursion: to Grand Marais, near the Northeastern tip of Minnesota.
Friday, November 16, 2012
Top 10 List - cheyanne turions
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