A project in which diamond dust is scattered over the gallery floors beneath the diamond vault ceilings of the architectural museum in Oslo, a former bank. The tiny diamonds will be spread by visitors, sticking to their soles, dispersing the dust throughout the building, streets and town, investigating ideas of economic inequality, de-luxuriation and commodification of capital. A musical composition will be composed which will appear as a hummed performance by the curators. It is a scattered score that needs to be assembled by the audience, consciously or sub-consciously. The resulting music will be installed in the spaces where the diamond ...

6PM YOUR LOCAL TIME (#6pmylt) is a networked, distributed, one night contemporary art event taking place simultaneously in different locations, coordinated from one central venue and documented online via a web application. The project, conceived by Fabio Paris for the Link Art Center and developed in collaboration with Abandon Normal Devices (AND) and Gummy Industries, is an OPEN FORMAT and can be used by other organizations and individual curators to set up other #6pmylt events. The Link Art Center itself organized the first two events: 6PM Your Local Time UK, curated in collaboration with AND and coordinated from Furtherfield Commons, London, involving ...

In the framework of Resonance, an exhibition of the Goethe-Institut New York curated by Rivet and work by Agency, Faivovich & Goldberg and weareQQ, Diedrich Diederichsen was invited to deliver a talk that would tackle some issues of object-oriented thinking within the arts, as well as considering the potential for resonance among entities relevant to contemporary practice (human, non-human, animate or inanimate). Because of Hurricane Sandy, Diederichsen’s talk had to be cancelled, but this change of plans led to a conversation between Diederichsen and the curators, Rivet (Sarah Demeuse and Manuela Moscoso), about the topics he had planned to bring forward. ...

The Art world is not a success. It is not progressive, it is not beautiful, it is not just, it is not virtuous, it is not unbiased – and it frequently misses opportunities to perform better. The art world is a world we dislike, and, in the long term, despise. A machine of accelerated aesthetics, burnouts, precarious living, 24/7 availability and galvanised gossip that is motivated by survival, rather than a common good. I am partial to the thought that the art world has succumbed to something not entirely human, some- thing which in some circles is referred to as Capitalism. ...

Aesthetic Politics in Fashion outlines critical studies in the present cross-sections of fashion, art, politics, and global capitalism. Critically examining contemporary collaborations of artists, media, and fashion labels, this groundbreaking anthology locates fashion within ecological and ethical discourses, postcolonial styles, and critical reflections on whiteness. Contributions from a distinguished group of international scholars debate fashion as a cultural phenomenon at the inter- section of artistic, creative, economic, and everyday practices. Aesthetic economies, the production of space, and alternative aesthetic politics are explored from interdisciplinary angles: art history, cultural science, sociology, design, and fashion studies. Aesthetic Politics in Fashion advances theorizing ...

AFK – an acronym for “away of keyboard” widely used online – is an anthology of texts written for catalogues and exhibition brochures along the last five years, featuring twelve texts about eleven artists and an artist duo: Rosa Menkman, Jon Rafman, Gazira Babeli, Martin Kohout, Maurizio Cattelan, Enrico Boccioletti, Constant Dullaart, Jill Magid, Aram Bartholl, Emilie Brout & Maxime Marion, Evan Roth and Addie Wagenknecht. In different ways, these artists experienced the impact of digital means of production and dissemination, they experimented with them, they thought about them, and all this is reflected in their work. As Peter Sunde, the co-founder of the ...

After the Great Refusal offers a Western Marxist reading of contemporary art focusing on the continued presence (or absence) of the avant-garde’s transgressive impulse. Taking art’s ability to contribute to a potential radical social transformation as its point of departure, Mikkel Bolt Rasmussen analyses the relationship between the current neoliberal hegemony and contemporary art, including relational aesthetics and interventionist art, new institutionalism and post-modern architecture.

Against Art History critically evaluates decolonial art exhibitions and curatorial frameworks. It asks to what extent art history can be decolonial, when its disciplinary and architectural foundation, the museum, is an inherently colonial institution. Shirazi thus examines whether new curatorial frameworks, such as in Exhibitions Without Objects (EwO) which internationalise the modernist canon of non-Western arts, undo or amplify the violence perpetrated by Euro-American historical narratives.

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

Frances Scholz and Mark von Schlegell premiere Amboy, a new horror film project that interlaces passages of genuine documentary (for instance with Lydia van Vogt, widow of the celebrated sci-fi writer A.E. van Vogt) with carefully scripted and acted sequences that serve the loose narrative arc of the film. The film charts the journey of an artist-filmmaker who is led astray from her attempts to make a documentary in Los Angeles by the mysterious history of a deceased male artist named Amboy. Amboy’s storyline is expressed with a disorienting array of cinematic strategies taken from feature films, documentaries, B-movies, and ...

Between December 2006 and January 2007, Sillman and Bordowitz recorded approximately 10 hours of conversation on topics ranging from art and philosophy to their personal histories and friendship. The resulting publication follows the chronology of their discussions from beginning to end. The transcript starts where they consider the beliefs underlying their respective endeavors, what art can and cannot accomplish. This e-book contains a new postscript created by Sillman and Bordowitz in the summer of 2014.

Over the course of several recorded conversations, Andrea Bowers and Catherine Opie reveal the many similarities in their backgrounds and discuss ideas concerning documentary methodologies and community based work. The conversation spans many of the topics they regard central to their practices and responsibilities as artists, from memories and community, to activism, documentary, feminism, war, and environmentalism.