An essay on the artwork of Ivana Spinelli, published on the occasion of her solo show Contropelo at Gallleriapiù, Bologna (January 23 – March 28, 2020). “Ivana Spinelli suggests a different look into the signs that are deposited in our collective memory as decorative elements lacking of any linguistic value. All of a sudden, those inscriptions manifest themselves as a code composed by discrete elements that can be used to form words and sentences, and take concrete shape as sculptural matter.” – Claudio Musso

Robotics and soft AI are bringing everyday changes both to the work field and to our free time. How does this condition reflect itself on the artistic practice? Can we humans liberate ourselves from our anthropocentric viewpoint and accept the intellective superiority of machines? Will we be able to overcome our fear of automation? In the utopian view of a fully automated production, not only work ethics should be re-thought, but also our certainties about aesthetics.

“Foreword” by Matilde Soligno “About 2016. End of Year Notes” by Vincenzo Estremo, Flaka Haliti, and Studio Miessen (Berlin) “2016’s TOP 5” by Luca Panaro

“Of Dilemma” by Dibakar Pal (ENG) “President Erdoğan is not among the author’s FaceTime contacts” by Vincenzo Estremo (ITA)

Notes on what I would have liked to write and on what I only left as thoughts by Vincenzo Estremo Artist contributions by: Danilo Correale Hugo Canoilas Massimo Ricciardo Kasia Fudakowski

This paper is aimed to invoke a different direction to the crisis that digital life and the Anthropocene are forcing us to face as humanity: instead of a speculative imagination about egress, it will propose an intense recuperation of the potency of our sense of being nature, an extension of Earth, in our most immediate present. The shift that Western theory is making in order to think of an alternative to the irreversible damage we have provoked is to imagine a world-without-us. Would it be possible to imagine ways to avoid leaving our bodies, and instead to think, live, feel ...

Collective Çukurcuma included video works of Funa Ye and the Istanbul Queer Art Collective as part of the FLOW OUT exhibition, hosted by Bilsart, Istanbul until June 30, 2019. The program is based on the common practice of thinking, expressing and writing collectively about the present. As co-authors, they continued to write the collective essay through email exchanges — no one is the owner of the piece, whereas each of them is a participant. FLOW OUT does not belong to a place, but it refers to contemporaneity, addressing the problem of authorship in a collaboration, and experimenting with the idea ...

What happens when we surf the Internet from a country that exerts strong censorship? The aims of an Internet researcher might be considerably influenced by the territorialisation of their Internet surfing. The starting point in this non-academic paper is the author’s personal research on Hito Steyerl’s work. From that, he has come to provide a partial perspective of communication in Turkey’s contemporary politics. This Bulletin is focused on the accessibility of the information about Kurdish issues, and on how a new digital passport allows one to attain knowledge otherwise hidden.

An essay on the artwork of Ivana Spinelli, published on the occasion of her solo show Contropelo at Gallleriapiù, Bologna (January 23 – March 28, 2020). “A year ago, I visited Ivana Spinelli in her studio. As we had been planning for a while, we went through her body of work, looked at finished, unfinished, almost finished pieces, and discussed her latest exhibition. Then we talked about books, and I think that was the moment when she grabbed a folder from a shelf that was filled with exercises – writing exercises.” – Cecilia Canziani

Published on occasion of Débora Delmar’s exhibition Stressed, Blessed and Coffee Obsessed at Gallleriapiù, Bologna. Starting from Débora Delmar’s portfolio, Daniel Garza Usabiaga narrates the pivotal events and turning points in the artist’s career. Narrative Portfolio is one of three formats in Droste Effect’s publication Bulletin. Narrative Portfolios are aimed at investigating the practice and personal taste of international established artists.

The artistic practice of Luca Staccioli is research-based, process-oriented, and involves different media including video, sound, photography, sculpture, drawing and collage. Conceived as narrations, his artworks perform an investigative action by questioning the distance between individuals and pre-established values, souvenirs and different times. Facing obsolescence, decay, and a loss of function, the remains of our days come out temporarily from the dynamics of construction of identity and of geographical and historical narratives, before being reabsorbed by economic processes. The artworks of Staccioli stratify and combine micro-histories, uprooted memories, as well as daily objects and nomadic images, proliferating from global-local dimensions and the ...