{"title":"Art","description":"","products":[{"product_id":"its-freezing-in-la-visible-signs","title":"Visible Signs That Something Isn't Right","description":"\u003cdiv class=\"rte mt-8\"\u003e\n\u003cp\u003eVisible Signs that Something Isn’t Right is the first publication to be produced outside of It’s Freezing in LA!’s usual printing schedule. Throughout its pages are a collection of creative projects on a variety of themes, from mushrooms to oil companies; at the same time covering various creative forms, from theatre to photography.\u003c\/p\u003e\n\u003cp\u003eVSTSTIR’s was made in collaboration with the graphic design duo Open Practice (Katie Evans and Gabriela Matuszyk). They were commissioned to reinterpret the existing design templates from IFLA!’s main series with the word ‘Retrofitting’ as a starting point. Retrofitting is a process in architecture involving modification of an existing structure by introducing new components. 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Their work mediates scientific modes of knowing and experiential knowledge of weather, probing collective anxieties and raising urgent ecological questions, oscillating between the “big picture systems view” and a ground-based perspective. In this book, Janine Randerson explores a series of meteorological art projects from the 1960s to the present that draw on sources ranging from dynamic, technological, and physical systems to indigenous cosmology.\u003c\/p\u003e\u003cp\u003eRanderson finds a precursor to today's meteorological art in 1960s artworks that were weather-driven and infused with the new sciences of chaos and indeterminacy, and she examines work from this period by artists including Hans Haacke, Fujiko Nakaya, and Aotearoa-New Zealand kinetic sculptor Len Lye. She looks at live experiences of weather in art, in particular Fluxus performance and contemporary art that makes use of meteorological data streams and software. She describes the use of meteorological instruments, including remote satellite sensors, to create affective atmospheres; online projects and participatory performances that create a new form of “social meteorology”; works that respond directly to climate change, many from the Global South; artist-activists who engage with the earth's diminishing cryosphere; and a speculative art in the form of quasi-scientific experiments. 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Focused on the cultural productions, lines of political and aesthetic thought, and multiple epistemologies and cosmologies of the Sahara, and the accompanying Sahel, this book understands the region as both an ancient space of connection and circulation—from its northern to southern shores, its dunes and volcanic mountains, to its lusher savannahs—and as a contemporary site of exchange between strikingly singular societies and communities on all sides of the desert, that aspect of the Sahara most often imaged and imagined. If the Sahara is habitually narrated as a space of radical heat and intense light, and of barren-like emptiness, this anthology approaches the region with a decolonial lens that privileges the Saharan communities and nonhuman entities who live within all aspects of its circadian rhythms, including the constructive opacity of the desert night.\u003c\/p\u003e\u003cp\u003eThe violence of enlightenment and its imperialisms have often been practiced under the glare of some narcotic sun—the imaginaries of coloniality still do—yet in the desert, it was the elaborating darkness of its night skies, with their spectral constellations, that often directed caravans on their historical routes. They still do. Thus the thinkers, artists, poets, choreographers, composers, activists, elders, novelists, historians, and translators whose voices and sensibilities score and structure this anthology create a more full-spectrum and polyphonic sense of what the Sahara means, in all its waves and forms. 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Their art is grounded in experimentation between bodies, materials and environments, and creates a space for the animate versus inanimate – the human and other – to interweave. ‘We see the body as a microcosm and are constantly exploring environments to find moments, processes or formations that reflect a feeling or speak to the body in some way,’ the artists explain. ‘We try to find points of connection where the outside world and our inner worlds overlap.’\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe body is ever-present throughout\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDrinking From The Eye\u003c\/i\u003e, whether literally through a performative interaction, or appearing figuratively in the leaking eye of a rock pool, the plush lips of a sea creature or the tingling tentacles of a sea anemone. ‘From the micro worlds we explore – gardens, rock pools, ponds etc. – hybrid creatures and uncanny moments emerge which speak to desire, fantasy and the urge to see ourselves reflected in the natural world,’ say Long and Stent.\u003cbr\u003e\u003cbr\u003eOften referencing historical representations of the female subject, Long and Stent distort and fragment their bodies, creating creaturely hybrids in a constant state of becoming and flux. Dreamlike, fluid, saccharine, gritty and fleshy, they challenge and captivate audiences with powerful imagery that is both subversive and surreal.\u003cbr\u003e\n\u003c\/div\u003e","brand":"Perimeter Editions x Photo Australia","offers":[{"title":"Default Title","offer_id":47639787012385,"sku":"9781922545176","price":49.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/HLPS_DFTE_1_1340_c.jpg?v=1745296351"},{"product_id":"doing-seeing-seeing-doing","title":"Doing, Seeing; Seeing, Doing: 2021","description":"\u003cp\u003eFor architect and educator Leon van Schaik, the way we understand our world is not an abstract consideration, but deeply rooted in physical experience. All the places and landscapes in our life inflect what he describes as our spatial intelligence. 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Throughout history, declaring a group to be nonhuman or subhuman has been an effective tool for justifying slavery, oppression and genocide. Conversely, differentiating humans from other species has paved the way for the abuse of natural resources and other animals.MUSEUM OF NONHUMANITY approaches animalization as a nexus that connects xenophobia, sexism, racism, transphobia, and the abuse of nature and other animals. The touring museum hosts lecture programs in which local civil rights and animal rights organizations, academics, artists, and activists propose paths to a more inclusive society through an intersectional approach. The touring museum also hosts a book shop and a vegan café. As an temporary, utopian institution, MUSEUM OF NONHUMANITY stands as a monument to the call to make animalization history. MUSEUM OF NONHUMANITY is the third project by Gustafsson\u0026amp;Haapoja, a collaboration between visual artist Terike Haapoja and author Laura Gustafsson.\u003c\/p\u003e\u003cp\u003eLaura Gustafsson is a Finnish author, scriptwriter, and playwright based in Helsinki. Her debut, a genre-bending fairytale and feminist pamphlet titled Huorasatu (2011, \"Whorestory\"), was nominated for the Finnish Book Foundation's Finlandia Prize. Anomalia (2013, \"Anomaly\") addresses the themes of language, violence, and the imaginary line between man and beast. Korpisoturi (2016, \"Wilderness Warrior\"), a story about the end of the world as we know it, was a Finnish export prize nominee. Her latest novel Pohja (2017, ”Ground”) is an autofiction\/autopsy, and has been called a brave portrayal of female life. Gustafsson graduated with an MA from the Theatre Academy Helsinki. She has written a number of stage and radio plays. 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Haapoja’s large-scale installation work, writing, and political projects investigate the mechanics of othering with a specific focus on issues arising from the anthropocentric world view of western cultures.\u003c\/p\u003e","brand":"Punctum Books","offers":[{"title":"Default Title","offer_id":47639789207841,"sku":"9781950192113","price":77.62,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/51YjLTEaVpL.jpg?v=1754106697"},{"product_id":"serendipity","title":"Serendipity","description":"\u003cdiv data-expanded=\"false\" class=\"a-expander-content a-expander-partial-collapse-content\"\u003e\n\u003cp\u003e\u003cspan\u003eThis is the first retrospective on French-born, New York-based artist Prune Nourry (born 1985), who uses sculpture, installation, performance and video, while also collaborating with researchers and scientists, to address bioethical issues such as gender selection, artificial procreation and genetic engineering. Her critically acclaimed triptych on gender selection started in India with the projects \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eHoly Daughters\u003c\/span\u003e\u003cspan\u003e (2009) and \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eHoly River\u003c\/span\u003e\u003cspan\u003e (2011). The third part, \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eTerracotta Daughters\u003c\/span\u003e\u003cspan\u003e, a life-size army Prune made in Xi'an, China, traveled the world in 2014 before being buried in 2015 as a contemporary archaeological site. 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The photographs by Gill, inscribed by drawings by Vangad, reconfigure the photographic site both formally and conceptually; in the act of viewing the landscape through the eyes of Vangad, Gill rekindles the need to challenge the limitations of our perspectives.\u003c\/p\u003e","brand":"Edition Patrick Frey","offers":[{"title":"Default Title","offer_id":47639793795361,"sku":"9783907236475","price":133.7,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/71R8L99drYL._AC_UF1000_1000_QL80.jpg?v=1763537344"},{"product_id":"the-order-of-things","title":"The Order of Things","description":"\u003cdiv data-expanded=\"false\" class=\"a-expander-content a-expander-partial-collapse-content\"\u003e\n\u003cp\u003e\u003cspan class=\"a-text-bold\"\u003eA lush photographic portrait of the gardens comprising Switzerland's vast suburban landscape\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis volume presents around 100 analog photographs of private gardens across the Romandy and Valais regions of Switzerland, taken by Swiss photographer Nicolas Faure (born 1949). His images of these painstakingly composed suburban landscapes epitomize the Swiss mentality, which favors order and visual hierarchy.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Edition Patrick Frey","offers":[{"title":"Default Title","offer_id":47639793860897,"sku":"9783907236574","price":115.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/91AaA1gIK7L._SL1500.jpg?v=1764475135"},{"product_id":"decolonizing-nature","title":"Decolonizing Nature: Contemporary Art and the Politics of Ecology","description":"\u003cp\u003eA study of the intersecting fields of art history, ecology, visual culture, geography, and environmental politics.\u003c\/p\u003e\u003cp\u003eWhile ecology has received little systematic attention within art history, its visibility and significance has grown in relation to the threats of climate change and environmental destruction. By engaging artists' widespread aesthetic and political engagement with environmental conditions and processes around the globe—and looking at cutting-edge theoretical, political, and cultural developments in the Global South and North—Decolonizing Nature offers a significant, original contribution to the intersecting fields of art history, ecology, visual culture, geography, and environmental politics. Art historian T. J. Demos, author of Return to the Postcolony: Specters of Colonialism in Contemporary Art (2013), considers the creative proposals of artists and activists for ways of life that bring together ecological sustainability, climate justice, and radical democracy, at a time when such creative proposals are urgently needed.\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":47639794090273,"sku":"9783956790942","price":55.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783956790942.jpg?v=1721891126"},{"product_id":"fiction-as-method","title":"Fiction As Method","description":"\u003cp\u003eSee the world through the eyes of a search engine, if only for a millisecond; throw the workings of power into sharper relief by any media necessary; reveal access points to other worlds within our own. In the anthology Fiction as Method, a mixture of new and established names in the fields of contemporary art, media theory, philosophy, and speculative fiction explore the diverse ways fiction manifests, and provide insights into subjects ranging from the hive mind of the art collective 0rphan Drift to the protocols of online self-presentation. With an extended introduction by the editors, the book invites reflection on how fictions proliferate, take on flesh, and are carried by a wide variety of mediums—including, but not limited to, the written word. In each case, fiction is bound up with the production and modulation of desire, the enfolding of matter and meaning, and the blending of practices that cast the existing world in a new light with those that participate in the creation of new openings of the possible.\u003c\/p\u003e\n\u003cp\u003eContributors: Justin Barton, Delphi Carstens \u0026amp; Mer Roberts, Tim Etchells, Matthew Fuller, David Garcia, Dora García, M. 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Richly illustrated with a full array of her various bodies of work in photography, film, and video, the publication complements and extends her major 2019 exhibition at Adam Art Gallery Te Pataka Toi in Wellington, Aotearoa New Zealand. Bringing together new and existing writings by Christina Barton, Geoffrey Batchen, Elizabeth Grosz, Richard Niania, Bernard Stiegler, Mark von Schlegell, and John C. Welchman with the embedded wisdom and inherited narratives of her Maori and Pakeha collaborators, Campbell demonstrates the interconnectedness of complex biological, spiritual, and representational systems, and the potential of photography to resist the global techno-capitalist hegemony that underpins the exponential collapse of biodiversity and the decline of spirit in our contemporary era.\u003c\/p\u003e\n\u003cp\u003eRaised in Aotearoa New Zealand's rural hinterland, before spending a decade in Southern California, Campbell's biography mirrors her practice, oscillating between New Zealand's verdant coasts and the smog-choked, climate-stressed systems of the Californian deserts. She has photographed in extreme conditions in North America, New Zealand, and Antarctica, using the full panoply of techniques from photography's two-hundred-year history. This publication is the outcome of a close collaboration with volume editor and contributor John C. Welchman (Professor of Art History, Theory and Criticism, University of California, San Diego, and Chair, Mike Kelley Foundation for the Arts).\u003c\/p\u003e\n\u003cp\u003eCopublished with Adam Art Gallery Te Pataka Toi at Victoria University of Wellington\u003c\/p\u003e\n\u003cp\u003eContributors: Christina Barton, Geoffrey Batchen, Joyce Campbell, Elizabeth Grosz, Tungane Kani, Apikara Niania, Richard Niania, Mark von Schlegell, George Smith, Sebastian Smith, Vicky Smith, Bernard Stiegler, John C. 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In that sense, this anthology of texts, visual material, and research on TBA21's commissions and the foundation's vast collection of over 700 artworks serves as vivid testimony to the processes and relationships that enabled them.\u003c\/p\u003e\u003cp\u003eIn over 1,300 pages The Commissions Book engages with more than 100 works of art, proposing a speculative topography that organizes and weaves together sequences of potential narratives and interrogations along with close examinations of different works of art and a collective archive of images. The stories embedded in these works, as well as in TBA21 and TBA21-Academy's practice--an itinerant site of transdisciplinary research and cultural production engaging with the oceans--is a story of making new connections, or rather creating interconnections. Bringing together visual and written material from TBA21's commissioning practice and vast history of exhibitions and live events, The Commissions Book also goes beyond the foundation's archives to present new works and commissions by Cecilia Bengolea, Claudia Comte, SUPERFLEX, and Territorial Agency, amongst many others. New essays by Natasha Ginwala's and such transdisciplinary feminist thinkers as Astrida Neimanis and Eva Hayward transcend individual artistic positions and ask questions that lie at the core of TBA21's program.\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":47639795466529,"sku":"9783956795558","price":85.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783956795558.jpg?v=1721891361"},{"product_id":"navigation-beyond-vision","title":"Navigation Beyond Vision (E-Flux Journal)","description":"\u003cp\u003eNavigation begins where the map becomes indecipherable. Navigation operates on a plane of immanence in constant motion. Instead of framing or representing the world, the art of navigation continuously updates and adjusts multiple frames from viewpoints within and beyond the world. Navigation is thus an operational practice of synthesizing various orders of magnitude.\u003c\/p\u003e\n\u003cp\u003eOnly a few weeks prior to his untimely death in 2014, Harun Farocki briefly referred to navigation as a contemporary challenge to montage--editing distinct sections of film into a continuous sequence--as the dominant paradigm of techno-political visuality. For Farocki, the computer-animated, navigable images that constitute the twenty-first century's \"ruling class of images\" call for new tools of analysis, prompting him to ask: How does the shift from montage to navigation alter the way images--and art--operate as models of political action and modes of political intervention?\u003c\/p\u003e\n\u003cp\u003eNavigation Beyond Vision originated in a conference organized by the Harun Farocki Institut (HaFI) and e-flux at the Haus der Kulturen der Welt (HKW) in Berlin in 2019.\u003c\/p\u003e\n\u003cp\u003eContributors\u003cbr\u003eJames Bridle, Kodwo Eshun, Jennifer Gabrys, Tom Holert, Ramon Amaro and Murad Khan, Doreen Mende, Matteo Pasquinelli, Laura Lo Presti, Patricia Reed, Mariana Silva, Nikolay Smirnov, Oraib Toukan, Brian Kuan Wood\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":47639795630369,"sku":"9783956795657","price":50.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783956795657.jpg?v=1722473215"},{"product_id":"inclusions","title":"Inclusions: Aesthetics of the Capitalocene","description":"\u003cp\u003eA proposal that artists are the anthropologists of our new era or ecological crisis.\u003c\/p\u003e\u003cp\u003e“Today, the ecological catastrophe challenges us to rethink the space our societies have assigned to art. Creativity, critical thinking, exchange, transcendence, the relationship to the Other and to History are values intrinsic to artistic practice that will soon be of vital importance for the future of mankind. We need art to give a meaning to our lives, and the banks will not supply that. By attempting to unfold a few of the aesthetic figures floating in the global imaginary, this book intends to describe what is at stake in artistic activity in the age of the Capitalocene and to argue for it as a vital need.”\u003cbr\u003e \u003cbr\u003eThe current ecological crisis has brought about a new relational landscape: an unprecedented collapse of distances is creating interspecies promiscuities and a crisis of the human scale. With Inclusions, Nicolas Bourriaud proposes that artists are the anthropologists of this new era. Artists acknowledge the fading of the division between nature and culture, which has been the matrix of segregation for millenia. Capitalism, patriarchy, slavery, social segregation, the exploitation of land, subsoil, and animals—all are based on status distinctions between subject and object. Against the commodification of natural elements, Bourriaud sees a new generation of artists calling for a molecular anthropology that studies the human effects on the universe and the interaction between humans and nonhumans. Contemporary art reconnects to archaic magic, the witches, sorcerers, and shamans of precapitalist societies. Against the devitalization of the world, art has managed to preserve certain aspects of the social function and spiritualist practices of these societies. Inclusions explores art history as a network of underground galleries, and sutures sundered connections.\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":47639795892513,"sku":"9783956795862","price":69.99,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783956795862.jpg?v=1722472227"},{"product_id":"unknown-ideals","title":"Zach Blas: Unknown Ideals","description":"\u003cp\u003eOn artist Zach Blas’s wide-ranging practice that scrutinizes the relationship between digital technologies and the cultures and politics that animate them.\u003c\/p\u003e\n\u003cp\u003eZach Blas: Unknown Ideals offers an inquiry into Zach Blas’s singular practice, exemplary among his generation of digital artists, through a series of newly commissioned essays by Alexander R. Galloway, Pamela M. Lee, Mahan Moalemi, Kris Paulsen, and Marc Siegel; an interview with Ovül Durmusoglu; and writings by the artist himself. These insightful contributions expand on the technological, queer, filmic, and cultural inquiries that comprise the rich world of Blas’s practice.\u003cbr\u003e \u003cbr\u003eAcross his works, Blas closely engages the materiality of digital technologies while also drawing out the philosophies and imaginaries lurking in artificial intelligence, the internet, predictive policing, airport security, biometric recognition, and biological warfare. Blas embraces the media of computation, video, sculpture, and music in his installations that sharply confront biometric surveillance, the cult of optimization, and the reification of data bodies. \u003cbr\u003e \u003cbr\u003eBlas uses research-based practices to scrutinize the relationship between digital technologies and the cultures and politics that animate them. Critical of today’s corporate internet giants and their ideological fascination with Ayn Rand, Blas extensively considers the beliefs, desires, fantasies, histories, and symbols latent in technical systems, but he also dwells on the horizons and edges, or what he calls the “outside,” of dominant power structures. Reclaiming Ayn Rand’s phrase the “unknown ideal,” Blas points to both liberatory potentialities and political challenges of the present: he imagines a proliferation of “unknown ideals” in order to dispute Rand’s vision of the future. Refusing technological determinism, Blas’s work makes space for escape through its celebration of queer ideality.\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":47639796023585,"sku":"9783956795886","price":72.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783956795886.jpg?v=1722472220"},{"product_id":"intra-intra","title":"Intra! Intra!: Towards an Intra Space","description":"\u003cp\u003eThinkers revisit INTRA SPACE, an artistic research project that experiments with the substances, constructions, and manifestations of our bodies.\u003c\/p\u003e\n\u003cp\u003eINTRA! INTRA! calls a variety of thinkers to revisit INTRA SPACE, an artistic research project that experiments with the substances, constructions, and manifestations of our bodies in the unchartered architectural waters of the near future. INTRA SPACE is a spatial, biological, technical, and conceptual infrastructure for shared encounters with Carla, Dame (maybe Vivienne), Bob, Old Man and friends. INTRA SPACE is an experimental zone, set up to explore diaphanous relations between engineered virtual figures, humans, technical equipment, and machines.\u003c\/p\u003e\n\u003cp\u003eLingering between cameras, eyes, screens, mirrors, and images of selves, this book is full of movement and flicker, of decreation, of dwelling at the periphery of someone else's vision, of resolutions beyond the eye\/I. Strange encounters act as springboards to unforeseen turns and perspectives. INTRA SPACE is the subject of this book, opening an arena for the companions and guests who walked in and out of this space in conversation with us.\u003c\/p\u003e\n\u003cp\u003e(Sternberg Press \/ Publication Series of the Academy of Fine Arts Vienna, Band 25)\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":47639796154657,"sku":"9783956795893","price":59.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783956795893.jpg?v=1721891197"},{"product_id":"how-do-we-work-together","title":"How Do We (Want to) Work (Together) As (Socially Engaged) Designers (Students and Neighbours) (in Neoliberal Times)?: Public Design Support \/ Offentliche Gestaltungsberatung 2016-2021","description":"\u003cp\u003eStudio Experimentelles Design’s politically and socially committed approach through lectures, research, conversations, and project documentation.\u003c\/p\u003e\u003cp\u003eWith today’s increasing income disparity, forced global division of labor, and neoliberal expansion of precariousness, a critical discussion about work is looming—even in the field of design. Since 2011, the Studio Experimentelles Design at the University of Fine Arts in Hamburg has experimented with local design support as a contemporary practice. The student-led program advocates a community-based, cooperative approach to design. In the summer of 2020, the Kunstgewerbemuseum Berlin Design Lab #6 hosted Studio Experimentelles Design’s online research festival “(How) do we (want to) work (together) (as (socially engaged) designers (students and neighbours)) (in neoliberal times)?” The studio invited friends, experts, and activists to discuss self-organizing academia, artistic collectivism, care work, and creative self-exploitation. Over three weeks, talks, performances, and readings explored alternatives to the formal economy, immaterial labor in the context of aesthetic capitalism, the issue of the art strike, alienation, and new subjectivities.\u003cbr\u003e \u003cbr\u003eDivided into two parts, this compendium chronicles Studio Experimentelles Design’s politically and socially committed approach through lectures, research, conversations, and project documentation from the online festival and five years of studio work. Both the festival’s debate about working conditions and the studio’s practice critically examine the imperative of committed designers today to radically reorient their approach, the content of their work, and their relationship with the actors for whom they design.\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":47639796515105,"sku":"9783956796043","price":50.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783956796043.jpg?v=1721891175"},{"product_id":"solitary","title":"Solitary","description":"\u003cp\u003eA South Korean wellness center designed as a mock prison: on sensory deprivation, monastic life, the wellness industry, the prison-industrial complex, and the history of solitude.\u003c\/p\u003e\u003cp\u003eSolitary is a collection of texts written at a wellness center in South Korea designed as a mock prison. This facility is run by an organization called Happitory—a combination of “Happiness” and “Factory.” Happitory offers retreats for teenagers, company employees, government officials, and the general public. Some sessions involve drama therapy, others are led by Buddhist monks. Most intriguing is a program called “Solitary Confinement,” where one can spend twenty-four hours of technology-free time locked in an individual cell.\u003c\/p\u003e\u003cp\u003eTo create Solitary, artist Tyler Coburn commissioned ten practitioners (including himself) to spend time in solitary confinement at this wellness center, where they produced texts using the materials on hand. Certain questions drove their writing. How does one square the relaxation promised by Happitory with the way solitary confinement functions in actual prisons? What types of thinking and writing become possible through its restrictions—no book, no Internet, just writing materials? How might the emphasis on writing relate to texts by Oscar Wilde, Antonio Gramsci, Kim Dae-jung, Shin Young-bok, and others produced during periods of imprisonment?Taken as a whole, Solitary is unique in being both a collection of texts and a collective artwork: an experiment in site-specific writing.\u003c\/p\u003e\u003cp\u003eContributors\u003cbr\u003eJaeyeon Chung, Tyler Coburn, Sunjin Kim, Hyunjeung Kim, Kyungmook Kim, Min Kyoung Lee, Woochang Lee, Russell Mason, InYoung Yeo, Jiwon Yu\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":47639797301537,"sku":"9783956796395","price":69.99,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783956796395.jpg?v=1722472179"},{"product_id":"on-the-benefits-of-friendship","title":"On the Benefits of Friendship","description":"\u003cp\u003eA diaristic novel on contemporary friendship and its importance.\u003c\/p\u003e\u003cp\u003eIsabelle Graw’s latest book reflects on the purposes and struggles of friendship in competitive social milieus. By focusing on her own social milieu—the art world—Graw demonstrates how friendships are neither totally disinterested nor reduceable to their use. Written in the intimate form of a fictional diary, this book laments useful friendships while praising true friendship in all its forms. For Graw, friendship is an existential necessity—if only because it points to how we relate to and depend on others. Friendship, she finds, is as important as the air we breathe—with it, we are able to fully live.\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":47639797465377,"sku":"9783956796524","price":69.99,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783956796524.jpg?v=1722472231"},{"product_id":"hito-steyerl-i-will-survive","title":"Hito Steyerl: I Will Survive","description":"\u003cp\u003eThe positions adopted by Hito Steyerl in her works and texts are of key importance in any consideration of the contemporary role that art and the museum play in society. They are also crucial to experimental forays into different forms of media presentation and to the critical examination of artificial intelligence and its uses. Over the past thirty years, the artist has been tracking the way camera images have mutated, from the analogue image and its manifold possibilities for montage to the fluidity of the split digital image and the implications this then had for the representation of wars, genocides, and capital flows. “We are no longer dealing with the virtual but with a confusing and possibly alien concreteness that we are only beginning to understand,” writes Brian Kuan Wood of the digital visual worlds that the artist presents. The book is being published in conjunction with Hito Steyerl’s survey show, which will take place in autumn 2020 at the Centre Pompidou in Paris and the Kunstsammlung Nordrhein-Westfalen in Düsseldorf. \u003cbr\u003eThe cooperative project is funded by the German Federal Cultural Foundation.\u003c\/p\u003e\n\u003cp\u003eWith texts by: Nora M. Alter, Karen Archey, Teresa Castro, Alexandra Delage, Florian Ebner, Thomas Elsaesser, Ayham Ghraowi, Tom Holert, Doris Krystof, Marcella Lista, Vanessa Joan Müller, Florentine Muhry, Mark Terkessidis, Brian Kuan Wood, and a lecture by Hito Steyerl and Trevor Paglen.\u003c\/p\u003e","brand":"Spector Books","offers":[{"title":"Default Title","offer_id":47639797661985,"sku":"9783959053921","price":84.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783959053921.jpg?v=1721891020"},{"product_id":"the-living-exhibition","title":"The Living Exhibition","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe predominance of white cube, still the prevalent display model in contemporary art, can be traced back to the Enlightenment ideas that isolated things and removed them from their context. The series of exhibitions presented in this book are conceived of as ‘living exhibitions’ that break with this convention, suggesting that the strict separation between exhibit and viewer in the museum could be dissolved in favour an emphasis on interconnection and process. In lieu of seeing of exhibitions as a kind of vessel for content, filled by a changing assortment of objects and themes, the exhibitions featured here play with the format itself, focusing on time-based concepts that promote new kinds of encounters and a new, systemic worldview. As a result, the exhibitions may change daily—indeed, at any time—and take on a life of their own.\u003c\/span\u003e\u003c\/p\u003e","brand":"Spector Books","offers":[{"title":"Default Title","offer_id":47639798219041,"sku":"9783959055635","price":54.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/Screenshot2025-04-27at10.56.52am.png?v=1745715422"},{"product_id":"seria02-silk-is-a-noun","title":"SERI(a) 2: Silk is a Noun","description":"\u003cdiv class=\"tw-ta-container tw-nfl\" id=\"tw-target-text-container\" role=\"text\" tabindex=\"0\"\u003e\n\u003cp class=\"tw-data-text tw-text-large tw-ta\" data-placeholder=\"Translation\" style=\"text-align: left;\" data-ved=\"2ahUKEwjsw6vimo6PAxXKRmwGHatnGAcQ3ewLegQICRAU\" dir=\"ltr\" aria-label=\"Translated text: In *Silk, Space, Language, Heart*, Inger Christensen develops her poetics, drawing on a text by the Chinese poet, general, and politician Lu Ji (261–303), who was an important influence not only on her but also on numerous other 20th-century poets. In his book *Wen fu*, Lu Ji presents his reflections on the art of writing in the form of a lyrical text, demonstrating that poetry is above all a medium of \u0026quot;emerging\u0026quot; (Stephen Olson), not a representation of the existing world. In this sense, the significance of silk and its production by silkworms in Christensen's text goes beyond mere metaphor. Complemented by laboratory photographs of the life cycle of a silkworm, the two texts are juxtaposed in this publication in a unique way—thus underscoring the open and experimental nature of the new publication series *SERI(a).\"\u003e\u003cspan class=\"Y2IQFc\" lang=\"en\"\u003eSERI(a) is the State Silk Museum's series of eponymous publications, presenting scientific work alongside collaborations with artists. It serves as an archive for some of the most diverse documents on sericulture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"tw-data-text tw-text-large tw-ta\" data-placeholder=\"Translation\" id=\"tw-target-text\" style=\"text-align: left;\" data-ved=\"2ahUKEwjsw6vimo6PAxXKRmwGHatnGAcQ3ewLegQICRAU\" dir=\"ltr\" aria-label=\"Translated text: In *Silk, Space, Language, Heart*, Inger Christensen develops her poetics, drawing on a text by the Chinese poet, general, and politician Lu Ji (261–303), who was an important influence not only on her but also on numerous other 20th-century poets. In his book *Wen fu*, Lu Ji presents his reflections on the art of writing in the form of a lyrical text, demonstrating that poetry is above all a medium of \u0026quot;emerging\u0026quot; (Stephen Olson), not a representation of the existing world. In this sense, the significance of silk and its production by silkworms in Christensen's text goes beyond mere metaphor. Complemented by laboratory photographs of the life cycle of a silkworm, the two texts are juxtaposed in this publication in a unique way—thus underscoring the open and experimental nature of the new publication series *SERI(a).\"\u003e\u003cspan class=\"Y2IQFc\" lang=\"en\"\u003eIn \"Silk, the Universe, Language, the Heart,\" Inger Christensen develops her poetics, drawing on a text by the Chinese poet, general, and politician Lu Ji (261–303), who was an important influence not only on her but also on numerous other 20th-century poets. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"tw-data-text tw-text-large tw-ta\" data-placeholder=\"Translation\" style=\"text-align: left;\" data-ved=\"2ahUKEwjsw6vimo6PAxXKRmwGHatnGAcQ3ewLegQICRAU\" dir=\"ltr\" aria-label=\"Translated text: In *Silk, Space, Language, Heart*, Inger Christensen develops her poetics, drawing on a text by the Chinese poet, general, and politician Lu Ji (261–303), who was an important influence not only on her but also on numerous other 20th-century poets. In his book *Wen fu*, Lu Ji presents his reflections on the art of writing in the form of a lyrical text, demonstrating that poetry is above all a medium of \u0026quot;emerging\u0026quot; (Stephen Olson), not a representation of the existing world. In this sense, the significance of silk and its production by silkworms in Christensen's text goes beyond mere metaphor. Complemented by laboratory photographs of the life cycle of a silkworm, the two texts are juxtaposed in this publication in a unique way—thus underscoring the open and experimental nature of the new publication series *SERI(a).\"\u003e\u003cspan class=\"Y2IQFc\" lang=\"en\"\u003eIn his text \"Wen fu\", Lu Ji presents his reflections on the art of writing in the form of a lyrical text, demonstrating that poetry is above all a medium of \"emerging\" (Stephen Olson), not a representation of the existing world. In this sense, the significance of silk and its production by silkworms in Christensen's text goes beyond mere metaphor. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"tw-data-text tw-text-large tw-ta\" data-placeholder=\"Translation\" style=\"text-align: left;\" data-ved=\"2ahUKEwjsw6vimo6PAxXKRmwGHatnGAcQ3ewLegQICRAU\" dir=\"ltr\" aria-label=\"Translated text: In *Silk, Space, Language, Heart*, Inger Christensen develops her poetics, drawing on a text by the Chinese poet, general, and politician Lu Ji (261–303), who was an important influence not only on her but also on numerous other 20th-century poets. In his book *Wen fu*, Lu Ji presents his reflections on the art of writing in the form of a lyrical text, demonstrating that poetry is above all a medium of \u0026quot;emerging\u0026quot; (Stephen Olson), not a representation of the existing world. In this sense, the significance of silk and its production by silkworms in Christensen's text goes beyond mere metaphor. Complemented by laboratory photographs of the life cycle of a silkworm, the two texts are juxtaposed in this publication in a unique way—thus underscoring the open and experimental nature of the new publication series *SERI(a).\"\u003e\u003cspan class=\"Y2IQFc\" lang=\"en\"\u003eComplemented by laboratory photographs of the life cycle of a silkworm, the two texts are juxtaposed in this publication in a unique way.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tw-target-rmn tw-ta-container tw-nfl\" id=\"tw-target-rmn-container\" role=\"text\" tabindex=\"0\"\u003e\n\u003cpre class=\"tw-data-placeholder tw-text-small tw-ta\" data-placeholder=\"\" id=\"tw-target-rmn\" style=\"text-align: left;\" dir=\"ltr\"\u003e\u003c\/pre\u003e\n\u003c\/div\u003e","brand":"Spector Books","offers":[{"title":"Default Title","offer_id":47639798579489,"sku":"9783959056267","price":42.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783959056267.jpg?v=1714487668"},{"product_id":"biomedia","title":"BioMedia: The Age of Media with Life-like Behavior","description":"\u003cp\u003eThe research exhibition BioMedia: The Age of Media with Life-like Behavior at ZKM | Center for Art and Media Karlsruhe presents works that intersect the realms of art, science, and technology. The media systems on show, which range from digital, computer-generated, and computer-simulated systems to complex adaptive robots and interactive installations, simulate various different aspects of life beyond movement and raise fundamental questions about the interaction between human and non-human beings and what inorganic life might mean in the future. The term BioMedia or biomimetic media is used here to refer to media that exhibit life-like forms of behaviour. Over sixty artists have contributed works illustrating the exhibition themes. The book accompanying the show focuses on the artworks, which are described in detail in richly illustrated texts. The internationally renowned Austrian artist, curator, and art and media theorist Peter Weibel has been CEO and scientific-artistic chairman of ZKM | Center for Art and Media Karlsruhe since 1999.\u003c\/p\u003e","brand":"Spector Books","offers":[{"title":"Default Title","offer_id":47639798645025,"sku":"9783959056441","price":150.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0781\/9650\/6913\/files\/9783959056441.jpg?v=1714487726"}],"url":"https:\/\/shop.terrain.earth\/collections\/art.oembed?page=5","provider":"TERRAIN","version":"1.0","type":"link"}