Thomas Keenan

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As an institutional practice, archival practices often tend to serve to colonization, surveillance and discipline society of the Modern world. In the last ten years, with the digital technology and social movement detecting, recording and accumulating images become a civil activity. Thus, archiving videos and other types of visual images brought also non-institutional practices and as well contemporary discussions related to image, open source, collectivity and forensics. Beside interviews with video activists; this book compiles several writers’ articles on their practices and discussions of archives from several angles: forensics, decolonization and commons.
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PublisherSculpture Center2019
Banu Cennetoğlu’s moving-image work 1 January 1970–21 March 2018 H O W B E I T Guilty feet have got no rhythm Ke iboynuzu AS IS MurMur I measure every grief I meet Taq u Raq A piercing Comfort it affords Stitch Made in Fall Yes. But. We had a golden heart. One day soon I’m gonna tell the moon about the crying game presents the totality of the artist’s visual archive from June 10, 2006, to March 21, 2018. The time span of the project is bookended by, at one end, Cennetoğlu’s engagement with The List (see pages 6–10 ...
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It’s worthwhile to question the field of art from time to time, to demand to know its basic motives and intentions. Where is all this production actually heading? How do we locate the work of the work, as it were? But finding a resolution or consolidating art’s meaning into some form of criteria is probably not the point. Perhaps it makes more sense to simply continue asking, in as many ways as possible, the question of what art should do, and how it might do it. These questions can produce a degree of clarity when posed from outside of the usual ...
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This binder is organized around eight topics, each offering a constellation of questions as a way to navigate our image-saturated world. The topics build on one another and shape a multidimensional perspective of photographs as objects and images, as agents of history and instigators of contemporary conversations. As imaging technologies evolve, so does our thinking around what we see—everything from a vintage black-and-white print to an image manipulated on a mobile device—and how we see. Hence, we draw on the work of artists, scholars, and teachers who urge us to look in-depth and with care, and offer myriad ways for ...

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