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Art/Writing

John Douglas Millar on why experimental writing thrives in the art world

Literature is like phosphorus, it shines with its maximum brilliance at the moment when it attempts to die.
– Roland Barthes Writing Degree Zero 1953

‘It is quite unusual now for a novelist to be very involved in contemporary art, and vice versa,’ the artist and novelist Tom McCarthy said in a 2009 interview with The Believer, ‘but look back to the futurists for example ... what Marinetti did, regenerate writing by hurling it, dragging it through the whirling blades of cinema and mechanical reproduction.’ A cursory glance at the current list of top-selling fiction titles suggests he is right about the difficulty of finding contemporary novelists who engage with the concerns of contemporary art. As chairman of his semi-fictitious art group the Necronautical Society, McCarthy is a high profile example, but he is a lonely one. As he suggests, in the era of high modernism the relationship was acknowledged and fruitful: Picasso’s productive relationships with Guillaume Apollinaire, Gertrude Stein and Ernest Hemingway; the literary triumvirate at the heart of the surrealists, André Breton, Georges Bataille and Jean Cocteau; and the constant manifesto making of the dadaists and futurists.

The recently published letters of Samuel Beckett reveal a passionate and intellectually sophisticated engagement with modern painting, while his friendship with Alberto Giacometti led to the sculptor fashioning the only prop – a white tree with a single barren leaf – for an early production of Waiting for Godot. Later, the artists’ writer du jour William Burroughs became an ardent collaborator with Brion Gysin and crossed directly into the visual field with his own bullet paintings. In fact Burroughs’s work was always more in tune with what was happening in contemporary art than in publishing – his cut-ups (Reviews AM338) and fold-overs owe more of a debt to surrealist collage than to Gustave Flaubert or William Faulkner. His influence on artists, from COUM Transmissions to Karl Holmqvist, is undeniable.

One reason suggested for this apparent forking of paths in the era of postmodernity and beyond is the inherent conservatism at the heart of contemporary publishing. In the same interview McCarthy is quoted as saying: ‘In the current climate in the UK publishing is a very conservative field. Editorial decisions are taken by marketing boards. There isn’t much room for something that isn’t middle of the road. On the other hand [you] can’t help noticing if you mix, as I do, with one toe in the publishing world and nine toes in the art world – it’s the artists who are extremely literate. In the current climate art has become the place where literary ideas are received, debated and creatively transformed.’ This description may be tainted with a hint of grass-is-greener dilettantism, but it is true that the history of avant-garde and experimental fiction and continental literary theory is embraced more fervently by the art world than it is in the world of contemporary literature, where it is now regarded as an elitist historical concern. Even Frank Kermode, who fought to bring theory on to the curriculum of literature departments in the UK, had pretty much renounced it by the time he died last year, saying it had become overly formulaic, a language to be learned and repeated rather than for generating original thought. It is often forgotten that what was once known as ‘literary theory’ has now been subsumed into the catch-all term ‘theory’.

One of the results for artists of the rise of critical theory, and the practice of close reading becoming fundamental and dominant concerns for fine art degree courses during the 1990s, was the gaining of an – at least – second-hand knowledge of the canon of European and world literature. The same period saw the rise and dominance in the publishing world of the MFA in creative writing; a programme that is firmly ahistorical in its approach. As Elif Batuman has written: ‘A limited historical consciousness is endemic to the discipline of creative writing, whose ultimate commitment is not to knowledge but to what Donald Barthelme called “not knowing”. [The] creative writing discourse still displays not a commitment to ignorance exactly, but ... a commitment to innocence.’

Literature and creative writing have become separate concerns, one continuing down the academic path of the comparative literature PhD, and the other into the creative writing MFA; one awards a Doctor of Philosophy, the other a Master of the Arts. So while academic and creative disciplines cross pollinate in the art world, they seem increasingly estranged in the literary world. The result is that the influence of experimental and avant-garde fiction waxes in the world of art while it wanes in the world of publishing. The works of Burroughs, Bataille, JG Ballard, Georges Perec, Jorge Luis Borges, Flann O’Brien and BS Johnson, anthologies of Imagist and concrete poetry, these can all be found on the shelves of the modern art bookshop but they get short shrift and have demonstrably little influence in the publishing world, where they are seen as difficult and unfashionable next to the dull tomes in thrall to the 19th-century realist novel (or po-mo variants thereof) that pepper weekend review pages.

So what are the consequences of this for art? What trends or symptoms can we delineate? The most startling is the rise of so-called ‘art writing’, as both a recognised practice and an academic discipline, and with it the growth in the market for the quasi-literary journal. F.R.DAVID, Dot Dot Dot, 2HB, The Happy Hypocrite, Cabinet and a wealth of other eccentrically named journals/magazines/collections/ catalogues/zines reflect a burgeoning interest in the written word – and not just the written word, but the word transcribed in a perishable material object, a book. The rise of this bibliophile tendency has come hand-in-hand with an increased interest in archive studies and it reflects a renewed Foucauldian concern with how knowledge is produced and logged, who owns and interprets it, and who speaks and on behalf of whom. It has also paralleled the rise of the internet, the blog and the portable digital reading device. The relative safety of the paper-bound book within contemporary art circles may suggest a negative reaction to the digitising of artistic production, a skewed romanticism where books are the final ruins of modernity, a Tintern Abbey for the digital age.

David Berridge describes a ‘diverse range of publications, but connected by some shared working principles: the form of a piece of writing is directly related to its content; new writing is always in relation with a sediment of previous texts; “writing” on the page is often inseparable with writing as script and event; “writer” is a shifting, uncertain engagement with the diversity of ways language operates in the physical, mental, and virtual environment’. What he is describing is the magpie editorial policies implemented by these publications. Picking up a copy of F.R.DAVID or the now defunct Dot Dot Dot, one is struck by the autodidactic nature of the selections. A sample from a graphic novel, an experimental theatrical script, an interview with an architect, a short skit by Mark Twain and a seemingly obligatory reference to Buckminster Fuller, for example, are all apparently caught under F.R.DAVID’s editorial policy: ‘Writing as a mode that informs and feeds, supports and describes, backs up and interprets, comments and reflects upon contemporary artistic production. Writing as “the core material” of a number of visual artists but equally as a mode that exists parallel to or in service of the visual.’ In other words anything at all.

There appears to be something liberating in this pick and choose approach, it seems to reject the heavily academicised world of curation where the need for a historical or thematic narrative is not just the job, but the justification for the job of curator. It seems to give the reader autonomy to interpret the selection as they wish. On the other hand this could be interpreted as another example of the decontextualising practice that so irritates many critics of contemporary art, where snippets of misinterpreted text and theory are tagged onto arbitrary work in what appears to be a wilful act of obfuscation. Take, for example, Maria Fusco’s description of issue five of The Happy Hypocrite, the journal she edits: ‘Garbled in a sequence of paradigmatic structures such as the joke, the notebook, the novel and the script this issue’s range of contributions defy the innate obsolescence of classification through their embrace of poetic analysis.’ This formal, dogmatic curatorial language reveals the problem here. The selections may be eclectic but one is told what to think about them in the most sludgy, grey quasi-academic language imaginable. Pseuds corner awaits.

The economic and political negotiations necessary for the existence of such publications and the true implications for discourse are more complicated and tainted than we might at first imagine. Many of these journals are able to publish only through institutional support; F.R.DAVID, for example, is published by De Appel in Amsterdam, 2HB by the CCA in Glasgow. One has to ask what the backing of such institutions means for these publications. In his book The Intangibilities of Form: Skill and Deskilling in Art After the Readymade, John Roberts describes the ‘melancholic disposition of those institution-focused practices which, irrespective of their critique of the institution, end up legitimating the institution’. These publications rarely seem to take their institutional financing, and therefore survival, into account on the pages they publish – they are chronically un-self-aware. In a savage but brilliant 1988 review published in the London Review of Books of Blasted Allegories: An Anthology of Writings by Contemporary Artists edited by Brian Wallis, Danny Karlin, after quoting extensively from the awful curatorial introduction, describes the problem: ‘If only the re-invented wheel worked better: but this is Tristram Shandy (“fragmentary, inconclusive, digressive” etc) without the jokes, or the point. The “collectivity of voices” here is that of a Manhattan cocktail party or private view; the real “textual production” is that of the glossy, expensive physical format of the book itself (“made possible through a generous grant from the Henry Luce Fund for Scholarship in American Art”); the real “site” is that provided by the New Museum of Contemporary Art, New York, and the MIT Press, organs of the established order whose “discourse” subsumes and defines that of the “artists” it patronises.’

Equally ‘art writing’ is now becoming institutionalised through academic acceptance. Goldsmiths College runs an extremely popular MFA course directed by Fusco, the catch-all title of which belies the muddled state one can get into trying to define exactly what it does and what ‘art writing’ actually is. While some students have completed three years at art school, others come from straight literature courses. Some students write critical theory, some are concerned with typefaces and graphic design, while others are working in fiction (both experimental and straight). Like so much within contemporary art, what something is seems to depend on what an institution (museum, gallery or art school) says it is.

In a recent piece for Frieze, Dieter Roelstraete (who it should be noted is a former editor of F.R.DAVID and therefore not without self-interest) named a selection of artists who he felt represented this babelogue trend. The list included: ‘Ian Wilson (the granddaddy of it all), Tris Vonna-Michell, Imogen Stidworthy (Review AM348), Tino Sehgal, Falke Pisano, Susan Philipsz (whose Turner Prize interviews revolved around her not being a sound artist), Karl Holmqvist, Simon Fujiwara and Roberto Cuoghi.’ Again, while all these artists do use text and spoken word in their work they are an undeniably disparate bunch. It is difficult, for example, to find the line that links Holmqvist, whose work relies so heavily on Burroughs’s cut-up technique that it is essentially a Nordic pastiche, with Philipsz’s – haunting or teeth-jarringly vacuous, depending on your disposition – broken singing of old Scottish songs without a certain amount of curatorial funambulism.

Perhaps this tendency is not yet categorised. It remains a mutant form and perhaps that is to be celebrated, but it is hard to see why some of this splurge of words has to have the word ‘art’ tagged onto it at all. Why is it ‘art’ writing and not just writing? Perhaps, to return to an element of our original argument, it has to do with how writers can get their work read. Quite simply the art world is a place where the vast majority of practitioners accept that they will make very little money and so structures are in place that allow them to get their work seen even if it is not profitable. For writers, who also mostly accept that they will not make much money, these structures are attractive since they will allow them to have their work seen/read. If one was being unkind, one might suggest the art world is a place where bad writers can hide.

However, that is unkind, and there is one certain good in the rise of writing as an art discipline and that is Will Holder. Holder is one of the editors of F.R.DAVID and, whatever one thinks of that publication, as an ambassador for the written word he is undeniably the real thing. He is a publisher, writer, typographer and a wonderful performer. A performance with Alex Waterman of Yes, But Is It Edible? – their score of Robert Ashley’s spoken word opera that they have been working on since 2004 – at the Barbican in April was one of the finest performances to be seen in a gallery this year. A funny, moving squall of words, hip street talk and broken voices, it was a beautiful exploration of the musicality of American speech. Was it poetry? Music? Art? Sometimes categories really don’t matter.

John Douglas Millar is a writer and poet based in London.

First published in Art Monthly 349: September 2011.

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MiamificationDr. Daniel S. Berger, John Neff (Eds.)
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The ART+Positive ArchivesJon K Shaw, Theo Reeves-Evison (Eds.)
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(Über)Produktion und WertPeter G. Rowe
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Art, Nature, and EthicsBulletins of The Serving Library #8
Winter 2014Lou Cantor, Clemens Jahn (Eds.)
Turning InwardJoão Ribas (Ed.)
In the HoloceneK. D.
HeadlessNicole Brenez
“We Support Everything since the Dawn of Time That Has Struggled and Still Struggles”
Introduction to Lettrist CinemaMikkel Bolt Rasmussen
Playmates and Playboys at a Higher Level
J. V. Martin and the Situationist InternationalF. T. Marinetti and Fillìa
The Futurist Cookbook
On the Table IVAxel Wieder, Florian Zeyfang (Eds.)
Open Form
Space, Interaction, and the Tradition of Oskar HansenNoon on the Moon
Poetic Series #4Renate Lorenz (Ed.)
Not Now! Now!
Chronopolitics, Art & ResearchStephanie Kloss
WeltausstellungFelix Ensslin, Charlotte Klink (Eds.)
Aesthetics of the Flesh Jos de Gruyter & Harald Thys
Das Wunder des LebensCarsten Höller
LebenKevin Schmidt
EDM HouseMichael Tedja
AquaholismManfred Hermes
Hystericizing Germany
Fassbinder, AlexanderplatzIlit Azoulay
Finally Without EndJenni Tischer
PinGerry Bibby
The Drumhead Piper Marshall (Ed.)
Descartes’ DaughterPaul Sietsema
At the hour of teaDominic Eichler, Brigitte Oetker (Eds.)
PS:
Jahresring 61Ana Teixeira Pinto (Ed.)
The Reluctant Narrator
A Survey of Narrative Practices Across MediaJosef Bauer
Werke 1965–Heute
Works 1965–TodayLeander Schönweger
Die Nebel lichten sichMark von Schlegell
Ickles, Etc.
Critical Spatial Practice 5Maria Lind, What, How & for Whom/WHW (Eds.)
Art and the F Word
Reflections on the Browning of EuropeMaren Butte, Kirsten Maar, Fiona McGovern, Marie-France Rafael, Jörn Schafaff (Eds.)
Assign & Arrange
Methodologies of Presentation in Art and DanceBulletins of The Serving Library #7
Summer 2014Isa Genzken
I'm Isa Genzken, the Only Female FoolKrüger & Pardeller
AESTHETIC BASIC CHRONICLE, VOL. 1Liz Magic Laser
Public Relations / ÖffentlichkeitsarbeitInes Lechleitner
The ImaginesThomas Thiel (Ed.)
Museum Off MuseumYarisal & Kublitz
Bling blang, ching chang, give me some of that yin yangPauline Boudry/Renate Lorenz
AftershowEva Grubinger
Café NihilismusMichael Schindhelm
Solution 262
LavapolisElke Gaugele (Ed.)
Aesthetic Politics in FashionKatja Eydel
Schattenfuge / Shadow GapBeatrice von Bismarck, Rike Frank, Benjamin Meyer-Krahmer, Jörn Schafaff, Thomas Weski (Eds.)
Cultures of the Curatorial 2
Timing: On the Temporal Dimension of ExhibitingLisa Oppenheim
Works 2003–2013Binna Choi, Maria Lind, Emily Pethick, Nataša Petrešin-Bachelez (Eds.)
Cluster: DialectionaryFlorian Zeyfang
Slow Narration Moving StillCristina Ricupero, Defne Ayas, Amira Gad (Eds.)
The Crime Was Almost PerfectYael Bartana
Two Minutes of Standstill
A Collective Performance by Yael BartanaFear of Language
Poetic Series #3Hu Fang
Dear NavigatorUlrike Grossarth
Wäre ich von Stoff, ich würde mich färben /
Were I Made of Matter, I Would ColorMichel Auder
Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. AuderTone Hansen, Marit Paasche (Eds.)
We Are Living on a StarTone Hansen, Lars Bang Larsen (Eds.)
The Phantom of Liberty
Contemporary Art and the Pedagogical ParadoxKen Okiishi, Annie Godfrey Larmon, Alise Upitis
The Very Quick of the WordCarola Dertnig, Felicitas Thun-Hohenstein (Eds.)
Performing the Sentence
Research and Teaching in Performative Fine ArtsCarola Dertnig, Diedrich Diederichsen, Tom Holert, et al. (Eds.)
Troubling Research
Performing Knowledge in the ArtsRoee Rosen
Maxim Komar-Myshkin: Vladimir’s NightChantal Pontbriand (Ed.)
Per/Form
How to Do Things with[out] WordsVictor Burgin
Five Pieces for Projectionsteirischer herbst, Florian Malzacher (Eds.)
Truth Is Concrete
A Handbook for Artistic Strategies in Real PoliticsKeller Easterling
Subtraction
Critical Spatial Practice 4
Silke Otto-Knapp
Questions of TravelJ. Parker Valentine
Fictione-flux journal
Jalal Toufic
Forthcoming
Second editionPeacocks with Hiccups
Poetic Series #2Hito Steyerl
Too Much World
The Films of Hito SteyerlArmen Avanessian, Andreas Töpfer
Speculative Drawing: 2011–2014
Forensis
The Architecture of Public TruthIon Grigorescu
Diaries 1970–1975Brian O’Doherty
The Crossdresser’s SecretBeatriz Colomina
Manifesto Architecture: The Ghost of Mies
Critical Spatial Practice 3
Georg Schöllhammer, Ruben Arevshatyan (Eds.)
Sweet Sixties
Specters and Spirits of a Parallel Avant-GardeBulletins of The Serving Library #6
Winter 2013Hans Ulrich Obrist
Sharp Tongues, Loose Lips, Open Eyes, Ears to the GroundBrian Dillon
Objects in This MirrorKim Gordon
Is It My Body?
Selected TextsMartin Herbert
The Uncertainty PrincipleNina Canell
Stray WarmingsJan Verwoert
COOKIE!Melissa Gordon
Material EvidenceModel House Research Group (Ed.)
Transcultural ModernismsAlessandro Petti, Sandi Hilal, Eyal Weizman
Architecture after RevolutionPetra Reichensperger (Ed.)
Terms of Exhibiting (from A to Z) /
Begriffe des Ausstellens (von A bis Z)Peter Wächtler
Come OnHaegue Yang
Dare to Count Phonemes and GraphemesJakob Schillinger (Ed.)
The Sixth YearIssa Samb
WORD! WORD? WORD!
Issa Samb and the Undecipherable FormAleksandra Mir
The Space AgeIon Grigorescu
Omul cu o singur camer / The Man with a Single CameraGeta Brătescu
Atelierul | The StudioAndrea Pichl
Andrea PichlDaniel Maier-Reimer
The Italian Journeys of
Four Walks by Daniel Maier-Reimer, 2012–2013Rémy Zaugg
The Art Museum of My Dreams
or A Place for the Work and the Human BeingChantal Pontbriand
The Contemporary, the Common
Art in a Globalizing WorldKirsty Bell
The Artist’s House
From Workplace to ArtworkAttention Economy
Jahresring 60: Jahrbuch für moderne KunstThe Atlantis Search Engine
Poetic Series #1John Smith
John SmithNina Möntmann (Ed.)
Scandalous
A Reader on Art and EthicsGavin Butt, Irit Rogoff
Visual Cultures as SeriousnessAstrid Schmetterling, Lynn Turner
Visual Cultures as RecollectionJorella Andrews, Simon O'Sullivan
Visual Cultures as Objects and AffectsBarry Schwabsky
Words for Art
Criticism, History, Theory, Practicee-flux journal
Martha Rosler
Culture ClassDeborah Ligorio
Survival KitsGelatin
LochKaren van den Berg, Ursula Pasero (Eds.)
Art Production beyond the Art Market?Zin Taylor
Lichen Voices/Stripes and DotsDouglas Coupland
Shopping in Jail
Ideas, Essays, and Stories for the Increasingly Real Twenty-First CenturyEkaterina Degot, David Riff (Eds.)
Monday Begins on SaturdayAnaël Lejeune, Olivier Mignon, Raphaël Pirenne (Eds.)
French Theory and American ArtSven Lütticken
History in Motion
Time in the Age of the Moving ImageDiedrich Diederichsen, Anselm Franke (Eds.)
The Whole Earth
California and the Disappearance of the OutsideCerith Wyn Evans
The What If?... Scenario (after LG)Bulletins of The Serving Library #5
Summer 2013Kate Newby
Let the other thing inMarie-Louise Ekman
No Is Not an Answer
On the Work of Marie-Louise EkmanMilena Hoegsberg, Cora Fisher (Eds.)
Living LaborMarysia Lewandowska, Laurel Ptak (Eds.)
Undoing Property?Ingo Niermann (Ed.)
Solution 247–261
LoveGreg Lynn (Ed.)
Archaeology of the DigitalHilke Wagner, Axel Wieder (Eds.)
Susanne KriemannAlex Coles, Catharine Rossi (Eds.)
EP Vol. 1
The Italian Avant-Garde, 1968–1976Joanna Warsza (Ed.)
Ministry of Highways
A Guide to the Performative Architecture of TbilisiDonatien Grau
The Age of CreationJoshua Simon
NeomaterialismGardar Eide Einarsson
Versuchsstation des WeltuntergangsMara Ambrožič, Angela Vettese (Eds.)
Art as a Thinking Process
Visual Forms of Knowledge ProductionThomas Thiel (Ed.)
SchaubilderDénes Farkas
Evident in AdvanceThomas Keenan, Tirdad Zolghadr (Eds.)
The Human SnapshotDorothee Böhm, Petra Lange-Berndt, Dietmar Rübel (Eds.)
A World of Wild DoubtT. J. Demos
Return to the Postcolony
Specters of Colonialism in Contemporary ArtJos de Gruyter & Harald Thys
Optimundus
M HKA 08 02 13 - 19 05 13Charlotte Birnbaum
Pies, Pâtés, and Pastries
Secrets Old and New of the Art of Cooking
On the Table IIIMarcel Duchamp/Ulf Linde
De ou par Marcel Duchamp par Ulf LindeMai Abu ElDahab (Ed.)
Behave Like an AudienceApolonija Šušteršič
Selected Projects, 1995–2012Jorge Pardo
TecohBeatrice Gibson
The Tiger's MindClara Meister (Ed.)
Compilation of Translations: One Year at Ludlow 38Sharon Lockhart
Sharon Lockhart | Noa EshkolBulletins of The Serving Library #4
Winter 2012Futurefarmers
A Variation on Powers of TenRuth Buchanan
The weather, a buildingMarkus Miessen, Chantal Mouffe
The Space of Agonism
Critical Spatial Practice 2Lene Berg
Lene BergKatja Gretzinger (Ed.)
In a Manner of Reading DesignMaria Fusco, Ursula Mayer
GondaJessica Warboys
VanelephantSteve Rushton
Masters of RealityOmer Fast
5,000 Feet Is the BestIsabelle Graw, Daniel Birnbaum, Nikolaus Hirsch (Eds.)
Thinking through Painting
Reflexivity and Agency beyond the CanvasTirdad Zolghadr
PlotTom McCarthy, Simon Critchley, et al.
The Mattering of Matter
Documents from the Archive of the International Necronautical SocietyValérie Knoll, Hannes Loichinger, Magnus Schäfer (Eds.)
Dealing with—Some Texts, Images, and Thoughts Related to American Fine Arts, Co.Hito Steyerl
e-flux journal
The Wretched of the ScreenNikolaus Hirsch, Markus Miessen (Eds.)
What Is Critical Spatial Practice?
Critical Spatial Practice 1Fabian Marti, Cristina Ricupero (Eds.)
Cosmic Laughter No. 1Triple Canopy (Ed.)
Invalid Format
An Anthology of Triple Canopy, Vol. 2Beatrice von Bismarck, Jörn Schafaff, Thomas Weski (Eds.)
Cultures of the CuratorialZak Kyes
Zak Kyes Working With...Bulletins of The Serving Library #3
Summer 2012Mai Abu ElDahab (Ed.)
After Berkeley
Objectif Exhibitions, 2010–2011Jonatan Habib Engqvist, Annika Enqvist, Michele Masucci, Lisa Rosendahl, Cecilia Widenheim (Eds.)
Work, Work, Work
A Reader on Art and LabourKeren Cytter
D.I.E. Now
The True Story of John Webber and His Endless Struggle with the Table of ContentAkram Zaatari
A Conversation with an Imagined Israeli Filmmaker Named Avi MograbiErik Niedling with Ingo Niermann
The Future of Art: A DiaryBoris Groys (Ed.)
e-flux journal
Moscow Symposium
Conceptualism RevisitedJohanna Burton, Lynne Cooke, Josiah McElheny (Eds.)
CCS Readers: Perspectives on Art and Culture
InteriorsJuliane Rebentisch
Aesthetics of Installation ArtMaria Lind (Ed.)
Performing the Curatorial
Within and Beyond ArtActors, Agents and Attendants
Social Housing—Housing the Social: Art, Property and Spatial JusticeMaria Loboda
Oh, WildernessSimon Starling / Superflex
Reprototypes, Triangulations and Road TestsPaul Sietsema
interviews on films and worksNikolaus Hirsch, Shveta Sarda (Eds.)
Cybermohalla HubMartin Beck
The Aspen ComplexMatthias Ulrich (Ed.)
Playing the City: InterviewsYorgos Sapountzis
A statue has remembered me / Eine Statue hat sich an mich erinnertMarianne Heier
SurplusTobias Spichtig
Blue, Red, and GreenAlex Coles
The Transdisciplinary StudioEva Grubinger
Decoybankleer
finger in the pieCharlotte Birnbaum (Ed.)
The Beauty of the Fold
A Conversation with Joan Sallas
On the Table IIRaimundas Malašauskas
Paper Exhibition
Selected Writings by Raimundas MalašauskasCarson Chan, Nadim Samman (Eds.)
Higher Atlas/Au-delà de l’Atlas
The Marrakech Biennale [4] in ContextThomas Keenan, Eyal Weizman
Mengele's Skull: The Advent of a Forensic AestheticsFlaca / Tom Humphreys
Flaca / Tom HumphreysCharlotte Moth
Bleckede 2009 / Rochechouart 2011Bulletins of The Serving Library #2
Winter 2011Maria Lind, Olav Velthuis (Eds.)
Contemporary Art and Its Commercial Markets
A Report on Current Conditions and Future ScenariosTariq Ramadan
On Super-DiversityEva Grubinger, Jörg Heiser (Eds.)
Sculpture UnlimitedHassan Khan
The Agreement
Five Stories by Hassan KhanDesign Act
Socially and Politically Engaged Design Today—Critical Roles and Emerging TacticsIsabelle Graw, Daniel Birnbaum, Nikolaus Hirsch (Eds.)
Art and Subjecthood
The Return of the Human Figure in SemiocapitalismMarkus Miessen, Andrea Phillips (Eds.)
Actors, Agents and Attendants
Caring Culture: Art, Architecture and the Politics of HealthSynne Bull, Marit Paasche (Eds.)
Urban Images
Unruly Desires in Film and ArchitectureTauba Auerbach
FoldsMartti Kalliala with Jenna Sutela and Tuomas Toivonen
Solution 239–246
Finland: The Welfare GameChris Evans
Goofy AuditMarkus Miessen
The Nightmare of Participation
(Crossbench Praxis as a Mode of Criticality)Binna Choi, Axel Wieder (Eds.)
Casco Issues XII: Generous StructuresMai Abu ElDahab, Binna Choi, Emily Pethick (Eds.)
Circular FactsAntje Majewski
The World of Gimel
How to Make Objects TalkJuan A. Gaitán, Nicolaus Schafhausen, Monika Szewczyk (Eds.)
CornerstonesIngo Niermann with Erik Niedling
The Future of Art: A ManualMai Abu ElDahab (Ed.)
From Berkeley to Berkeley
Objectif Exhibitions, 2008-2010Marit Paasche, Judy Radul (Eds.)
A Thousand Eyes
Media Technology, Law, and AestheticsPauline J. Yao, Rania Ho, Wang Wei (Eds.)
3 Years: Arrow FactoryMerlin Carpenter
The OpeningMark von Schlegell
New DystopiaCharlotte Birnbaum (Ed.)
Three Banquets for a Queen
On the Table IR. H. Quaytman
SpineBrice Dellsperger
Brice Dellsperger’s Body Doubletranzit.hu (Ed.)
Art Always Has Its Consequences
Artists’ Texts from Croatia, Hungary, Poland, Serbia, 1947–2009Julieta Aranda, Brian Kuan Wood, Anton Vidokle (Eds.)
e-flux journal
Are You Working Too Much?
Post-Fordism, Precarity, and the Labor of ArtBulletins of The Serving Library #1
Summer 2011Ewa Lajer-Burcharth
Chardin MaterialSebastian Cichocki, Galit Eilat (Eds.)
A Cookbook for Political ImaginationBirgit Megerle
Birgit MegerleAndreas Eriksson
Nordic Pavilion
54th Venice Biennale, 2011Dora García
Mad Marginal Cahier #2
The InadequateZin Taylor
GrowthBrian Dillon
SanctuaryChristoph Schlingensief
German Pavilion
54th Venice Biennale, 2011Armen Avanessian, Luke Skrebowski (Eds.)
Aesthetics and Contemporary ArtSung Hwan Kim
Ki-da RilkeMomus
Solution 214–238
The Book of JapansLibia Castro & Ólafur Ólafson
Under Deconstruction
Icelandic Pavilion
54th Venice Biennale, 2011Fia Backström
Nordic Pavilion
54th Venice Biennale, 2011Markus Weisbeck
SurfaceAnton Vidokle
New York ConversationsHans Dickel and Lisa Puyplat (Eds.)
Reading Susanne KriemannWendelien van Oldenborgh
A Well Respected Man, or Book of EchoesApril Lamm (Ed.)
Hans Ulrich Obrist
Everything You Always Wanted to Know About Curating*
*But Were Afraid to AskJoshua Simon (Ed.)
Solution 196–213
United States of Palestine-IsraelMiki Kratsman
all about usMartin Ebner, Florian Zeyfang (Eds.)
Poor Man’s Expression
Technology, Experimental Film, Conceptual Art
A Compendium in Texts and ImagesValérie Mannaerts
An Exhibition—Another ExhibitionAlexis Vaillant (Ed.)
BigMinis
Fetishes of CrisisGabriel Kuri
join the dots and make a pointKnut Åsdam
The long gaze, the short gazeSøren Grammel (Ed.)
Der symbolische Auftraggeber/The Symbolic CommissionerMario Pfeifer
Reconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974
by Mario Pfeifer, 2009Alexis Vaillant (Ed.)
Options with Nostrilse-flux journal
Boris Groys
Going PublicMaria Fusco
The Mechanical CopulaMaria Lind
Selected Maria Lind WritingHu Fang
Garden of Mirrored FlowersJohn Kelsey
Rich Texts
Selected Writing for ArtJan Verwoert
Tell Me What You Want, What You Really, Really WantShahryar Nashat
Downscaled and OverthrownAndrea Geyer/Katya Sander
Meaning Is What Hides the Instability of One’s PositionIngo Niermann
Solution 186–195
Dubai DemocracyInternal Necessity
A Reader Tracing the Inner Logics of the Contemporary Art FieldAgnieszka Kurant/Aleksandra Wasilkowska
Emergency ExitMagnus af Petersens (Ed.)
Keren CytterAngelika Burtscher, Judith Wielander (Eds.)
visible
“where art leaves its own field and becomes visible as part of something else”Silberkuppe
Under One UmbrellaBLESS
Retroperspective Home N° 30 – N° 41Julieta Aranda, Brian Kuan Wood, Anton Vidokle (Eds.)
e-flux journal
What Is Contemporary Art?Daniel Birnbaum, Isabelle Graw (Eds.)
The Power of Judgment
A Debate on Aesthetic CritiqueAuguste Orts
CorrespondenceMoyra Davey
Speaker ReceiverNav Haq, Tirdad Zolghadr (Eds.)
Lapdogs of the Bourgeoisie
Class Hegemony in Contemporary ArtJean-Yves Leloup
Digital MagmaMaria Lind (Ed.)
Philippe ParrenoHaegue Yang
Siblings and TwinsRaqs Media Collective
SeepageJulika Rudelius
Soft IntrusionTirdad Zolghadr
Solution 168–185
AmericaPeter Friedl
Secret Modernity
Selected Writings and Interviews 1981–2009 Peter Friedl
Die heimliche Moderne
Ausgewählte Texte und Interviews 1981–2009Anselm Franke (Ed.)
Animism (Volume I)Agnieszka Brzezanska
L’artiste, le modèle et la peintureDieter Daniels, Gunther Reisinger (Eds.)
Net Pioneers 1.0
Contextualizing Early Net-Based ArtIsabelle Graw
High Price
Art Between the Market and Celebrity CultureJoseph Grigely
Exhibition Prosthetics

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