Pamphlets

PublisherRuben Pater2013
TWENTY-FIRST CENTURY BIRDWATCHING Our ancestors could spot natural predators from far by their silhouettes. Are we equally aware of the predators in the present-day? Drones are remote-controlled planes that can be used for anything from surveillance and deadly force, to rescue operations and scientific research. Most drones are used today by military powers for remote-controlled surveillance and attack, and their numbers are growing. The Federal Aviation Administration (FAA) predicted in 2012 that within 20 years there could be as many as 30.000 drones flying over U.S. soil alone. As robotic birds will become commonplace in the near future, we should be prepared to ...

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PublisherDroste Effect2017
This is the last chapter of a project that goes under the name of Practices as an Intersection in a Fragile Environment, an independent research investigating the relationship between Art and the Public Sphere in a state of cultural nomadism. The title São Paulo Out Of Reach originates from a 2012 exhibition by Brazilian artist Mauro Restiffe at Instituto Moureira Salles in Rio de Janeiro; a statement that points out very clearly the impossibility of reaching, defining and understanding the city in just one gaze. This chapter is dedicated to the city of São Paulo and mainly focuses on its Architecture and Urbanism ...

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PublisherDroste Effect2016
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.

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PublisherDroste Effect2016
Bulletin #1: Broadcasting the Archive by Gemma Medina Estupiñan and Alessandra Saviotti Broadcasting the Archive è un progetto che ha come scopo principale la diffusione dell’archivio di Arte Útil, al di fuori dell’istituzione che ne custodisce i materiali. Il concetto di Arte Útil è stato sviluppato dall’artista cubana Tania Bruguera in collaborazione con i curatori, curatrici e ricercatrici del Queens Museum di New York e del Van Abbemuseum di Eindhoven, in Olanda. L’archivio è stato composto da Gemma Medina Estupiñan e Alessandra Saviotti, che hanno quindi iniziato a pensare a come diffondere le potenzialità di questo strumento anche al di fuori dell’ambito artistico. ...

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PublisherDroste Effect2016
Bulletin #2: Urban Care: Shifting Strategies by Maia Nichols Imagine a grain and a fencer. A grain of rice, a grain of fabric, a grain of smoke. In a discussion with a fencer, the grain matters little. Here, three projects are examined to consider covert hierarchies. A garden bed spells out Zu Spät (too late). A reconfiguration of the Weinheber Monument by a collaborative group based in Vienna lifts up the earth around its base. A video following the Workers Leaving the Googleplex starts tackling the systemic malaise of ranking workers. These projects are considered for what they achieve in approaching the effects of guilt, through interventions ...

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PublisherDroste Effect2016
Bulletin #3. Peeling Back Robert W. Newmann: Narrative Portfolio by Antonia Dapena-Tretter Unpacking Robert W. Newmann’s portfolio requires a layered approach with equal attention paid to biography, aesthetics, and the larger art market of the 1970s to the present. These diverse methodologies intertwine to reveal the artist’s surprising rejection of the Washington Color School tradition of ethereal stained canvases in favor of the real space of large-scale installations. Literal layers—taking the form of pigment added to the canvas or inches of substrate sandblasted away—separate Newmann’s art from that of his teachers and serve as a common thread, tying together enormous shifts in practice ...

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PublisherDroste Effect2016
Bulletin #4. Chance and control. Photography, video and the web. Part I 01 If something eludes us 02 Video-photographic devices Since the coming of image technologies (and particularly with photography, video, and the Web) contemporary culture has lost control over images, which became more and more independent from their author. Luca Panaro formulates his thesis by reinterpreting the works of theorists (Susan Sontag, Walter Benjamin, Vilém Flusser), writers (Luigi Pirandello, Italo Calvino, Penelope Lively), even film directors (Buster Keaton, Michelangelo Antonioni, Wayne Wang), and finally contemporary artists (Franco Vaccari, Douglas Gordon and Philippe Parreno, Wolfgang Staehle, Roberto Cuoghi, Carlo Zanni, Eva and Franco Mattes). Translation ...

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PublisherDroste Effect2016
Bulletin #5. Chance and control. Photography, video and the web. Part II Part II: 02 Online filming 03 An art that generates itself Part I on Bulletin #4 Since the coming of image technologies (and particularly with photography, video, and the Web) contemporary culture has lost control over images, which became more and more independent from their author. Luca Panaro formulates his thesis by reinterpreting the works of theorists (Susan Sontag, Walter Benjamin, Vilém Flusser), writers (Luigi Pirandello, Italo Calvino, Penelope Lively), even film directors (Buster Keaton, Michelangelo Antonioni, Wayne Wang), and finally contemporary artists (Franco Vaccari, Douglas Gordon and Philippe Parreno, Wolfgang Staehle, Roberto Cuoghi, Carlo ...

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PublisherDroste Effect2016
Droste Effect Bulletin #6: B(est-of )ulletin – End of 2016 Issue Index: 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

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PublisherDroste Effect2017
Bulletin #7. In Defence of the Academic Troll – A word on the new heroes of «Infotainment» The 2016 US elections marked the rise of Internet trolls, such as Milo Yiannopoulos, and inflammatory news websites, such as Breitbart, in what could be described as a pivotal moment in the era of «post representation». But these events are merely indicative of a discourse which spans beyond American politics and has so far led artists, thinkers and activists to wonder: How is knowledge redefined when information and entertainment are rendered indistinguishable? Furthermore, could the same malicious strategies used by the far right be appreciated ...

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PublisherDroste Effect2017
Media Art is a controversial term that identifies manifold artistic experimentations that refer to the use of media technologies as objects and/or as a subject of investigation. The larger part of this field developed independently from the usual art circuits, proliferating in contexts like festivals, research centers, academic institutions, but also on the Internet, through communities, mailing lists, and social networks. The classical institutions of art have for a long time now recognized and hosted some of the emerging forms that traditionally belong to Media Art, however, they also demonstrated suspicion and distance which limited the possible integration and understanding ...

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PublisherDroste Effect2017
On Monday, November 16th 2015, I take the subway to Hoboken from the 14th street PATH station. There, I buy a copy of the New York Times and a ham sandwich with a bottle of water. I also carry with me a printed-out-from-the-internet copy of a text written by Robert Smithson in 1967. Next, I go to the automatic ticket machine and buy a one-way Bus 85 ticket to Passaic (including a change for Bus 190) and a one-way train ticket to come back. I am early, so I sit down and open the Times. After futilely trying to glance at the art ...

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PublisherDroste Effect2018
James R. Southard has been working with small community groups in the hopes of building collaborative digital photo and video projects. Each series has been catered to the issues and concerns of each region through documenting local habits, patterns, rituals, language, history, and so on. This most recent year, James has started to turn the lens around towards himself. He has started to alter this regional material gathering technique into a biographical survey of his late father’s experiences in the 1970s. The resulting work has been a digital collage of still and moving images along with life action shots, building ...

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PublisherDroste Effect2018
“I have been photographing myself since 1982. If I fail to take a picture on a given day, I advance the film one frame so no image is recorded. This visual calendar consists of 2,500+ photographs that include my body from head to toe, as well as my environment. On occasion, I insert digital reenactment files to contrast with specific images or add an old family photograph for more context. Most often I’m by myself in these straightforward images, but sometimes I’m with family and friends. As time passes, births, deaths, celebrations, and bad days happen. Pets come and go, fashions ...

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PublisherDroste Effect2018
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.

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The title of this project has been adapted with reference to the disputed concept of an Existenzminimum, which was conceived as an emergency measure to regulate the provision of low-cost housing for the growing working class between the World Wars, but has been criticized for perpetuating low- standard living conditions for the underprivileged. Existenzoptimum builds upon the ideals of the Existenzminimum while developing a proposal for cooperative living in opposition to family life and its ideology, considering issues such as class, gender etc.  

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Founded in Miami in Summer 2013, Fall Semester brings together a diverse group of theorists, critics, researchers, and interested individuals to engage in multifaceted discourse on contemporary society and culture available across multiple platforms. Fall Semester is the project of artists Felice Grodin, Odalis Valdivieso, Angela Valella, Marcos Valella, and Antonia Wright. Collectively they have developed an organizational strategy to unite the contributors’ discussions into a cohesive program providing a platform for both speakers and attendees. The project arose from their concerns with global issues which have influenced their individual practice and research. Testing what can be achieved in a sped-up production ...

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“We are continually made aware of musicians who have in the past seen value in spuriousness and enacted it in their work, pioneers whose realizations of fakeness preceded the vocabulary for it. Fake Music‘s new initiative will be not to reissue the works of these unimportant artists so that they might persist in their obscurity. FakeMusic Re–Anticipations will periodically issue notifications that we will not be reissuing one of these forebears. The first of these nonreissues is the lack of a catalogue of VOLVO, a Dutch rock and roll band who in the 1980s did not play, perform, or record. We ...

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“The second nonreissue in our Re–Anticipations series is the 1995 debut CD of Argentine band Reynols, Gordura Vegetal Hidrogenada. Reynols have staked an important claim in fake music history, repeatedly asserting the nonexistence of their group. Fake Music is very pleased to not reissue this seminal work in no format that can be heard or owned by enthusiasts or collectors. We deeply believe this is a history that should be greatly treasured and heard by none.” —Fake Music Re-Anticipations

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“Fake Music offers the third in its Re–Anticipations series, the complete catalogue of the Dutch trio the Heroines, a band who from 2006 to 2011 were visible in Amsterdam’s music scene despite their intention to produce no musical output. This collaboration has been years in the making and we are excited to acknowledge our inability to reissue their work.” —Fake Music Re-Anticipations

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“Fake Music offers the fourth in its Re–Anticipations series, Yves Klein and Charles Wilp’s 1965 Prince Of Space, Musik Der Leere, an extremely rare LP heard by no one until today. We are proud to announce that with the present release this work will remain unheard. Such a significant work as this deserves nothing less than to persist in silence and obscurity.” —Fake Music Re-Anticipations

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“We do not know where in the world you are receiving this email, but we are sending it from cities whose inhabitants are starting to speak of warmer seasons. As we from FakeMusic look forward to sweatier days, we think too of the comfort and well-being of our listeners, and so we offer our fifth nonreissue, an acknowledgement of Daniel Eatock’s intent to produce “Audio Mosquito Repellent.” In its broad implemental scope, the piece might have powerfully addressed issues of public health, aesthetics, naturalistic observation, leisure, etc. Unrealized as it is, we cannot reissue this work (to do so would be ...

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“Silent or absent music often conveys a sense of headiness, the impression that its lack of a low end (or any end at all) makes it more mentally than physically stimulating. Pootie Tang’s silent hit from his eponymous movie stands out from these less scrutable compositions by getting radio play on hip-hop stations and inciting physical expression in its listeners. (Un)Named for the mannerism that stands in for its traditional title, [untitled gesture] upends the typical genre assignation of “non-music” simply by changing its means of dissemination. The piece is of course able to effect such a shift only because it appears ...

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“Our catalog thus far consists of works conceived and works issued that we are unable to re-release for pragmatic and conceptual reasons. Yet this focus occludes a domain of the nonreissuable: works that were neither conceived nor issued. With this present announcement, we acknowledge our inability to make public any of the compositional work of Eliane Radigue between the years 1974 and 1977 due to the fact that these years marked a hiatus in her production. We choose to mark Radigue’s nonproduction in particular given the deliberate intent of her temporary retreat and given the deliberate subtlety of her subsequent compositional work. ...

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