World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—FRI 12—6 PM
SAT 12—4 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2024, English
Softcover, 248 pages, 21.0 x 14.3 cm
Published by
Sternberg Press / Berlin
$52.00 - Out of stock
Tracing the relation between fascism and settler colonialism.
Ever since neofascist movements began to surge across the globe, liberal commentators have tried to put a name to what they are defending from these illiberal ideologies. The consensus is reason or rationality—after the Second World War, mainstream scholarship has supported the view that adherence to fascism is a thing of unreason. This distinction between reason and unreason, a tenet of Enlightenment thought, sustains the universal appeal of liberal democracy but leaves unexamined the paradoxes that haunt modernity, particularly its colonial foundation, thus obscuring the continuities between fascism and imperial policies.
The White West contends that, without confronting the structuring force of race in the production and reproduction of global wealth disparities, fighting for reason only leads to flawed utopias in which a critique or disruption of capitalism is easily inflected in the direction of neofascism. This collection of writing by leading historians, theorists, and scholars is an attempt to engage the overlaps between philosophical predicates and colonial legacies, as well as the undertheorized continuities between fascism and settler colonialism.
Contributors:
Larne Abse Gogarty, Norman Ajari, Ramon Amaro, Sladja Blazan, Denise Ferreira da Silva, Donna V. Jones, Nitzan Lebovic, Olivier Marboeuf, A. Dirk Moses, Rijin Sahakian, Nikhil Pal Singh, Kerstin Stakemeier, Felix Stalder
2021, English
Softcover, 154 pages, 24.5 x 17.5 cm
Published by
Bom Dia Boa Tarde Boa Noite / Berlin
$74.00 - Out of stock
This publication assembles three phases of Termite Economies, a major series of artworks produced between 2018 and 2020 by the Australian artist Nicholas Mangan.
In Termite Economies (Phase 1) Mangan researched an anecdote that termite abilities might one day lead humans to gold deposits. Phase 2 explored termite eusociality, pheromonal communication, building behavior, biomimicry, superorganism and swarm intelligence. Phase 3 deployed termite collectivism as a speculative model for rerouting human neural pathways. Within each phase, Mangan developed specific methods to explore these phenomena formally, spatially, and through moving images.
Termite Economies grappled with the potentiality of collective social behavior and complexities of systematic exploitation of non-human intelligence.
The book presents each phase in the order of the exhibition series. It includes process and research photographs, diagrams, installation and detailed imagery. It includes an essay by Artist Mariana Silva, a fictional text by writer ST.Lore, a conversation between Mangan and cultural theorist Ana Teixeira Pinto, and a republished essay by Dr. Guy Theraulaz Research Director Member of Team CAB: Collective Animal Behavior Center for Research on Animal Cognition, CNRS.
Alert to both history and science, Nicholas Mangan (born 1979, Geelong, Victoria, lives and works in Melbourne) is a multi-disciplinary artist known for interrogating narratives embedded in a diverse range of objects. With a keen interest in the processes of forming meaning from objects, culture and natural phenomena, Mangan creates unnerving drawings, montages, sculptures and installations. His work addresses a wide range of themes, including the ongoing impacts of colonialism, humanity's fraught relationship with the natural environment, contemporary consumptive cultures and the complex dynamics of the global political economy.
Mangan completed a two year studio residency at Gertrude Contemporary, Melbourne, in 2002. He has been awarded numerous international residencies, including Recollets Artist Residency, Paris, 2011 and Australia Council's New York Green Street Residency, 2006. In 2007 he was a recipient of the Anne and Gordon Samstag International Visual Arts Scholarship, resulting in post graduate studies at Universität der Künste in Berlin, Germany.
Edited by Nicholas Mangan and Žiga Testen.
Texts by Nicholas Mangan, Ana Teixeira Pinto, Guy Theraulaz, Mariana Silva.
Graphic design: Žiga Testen.
2019, English
Softcover, 272 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 - Out of stock
"EVIL," the theme of this latest issue of TEXTE ZUR KUNST is often understood as simply the opposite of “good,” and as pure immorality, evil is everywhere today, and somehow also nowhere. It is the “other” par excellence; something we ourselves never are, but by which one always measures one’s own distance. “Evil is over there, not here, not with me.” Given its ubiquity today, we offer texts that investigate what this thing we call “evil” is, as it so often functions as the polar opposite of that which people hold to be just and right. Indeed, who could argue that point, and yet. In this issue, we look specifically at evil’s manifestations in the art world, and in film, politics, and theory, always with an eye toward evil as something potentially playful and ironic.
TABLE OF CONTENTS
PREFACE
OLIVER PRECHT
TALKING ABOUT EVIL / Reflections on Moral Judgment
SUPERNATURE / Amanda Schmitt in Conversation with Loretta Fahrenholz, Madeline Hollander, and Monica Mirabile
MAX CZOLLEK
EVIL / Some Thoughts on the Contemporaneity of a Category
REMAIN IN DARK / Interview between Colin Lang and Stephen O’Malley
A BRIEF GLOSSARY OF SOCIAL SADISM / by Ana Teixeira Pinto and Kerstin Stakemeier
NEW DEVELOPMENT
BESEELTE GABEN IM TAUSCHSYSTEM / Überlegungen zur Malerei von Jack Whitten anlässlich der Ausstellung “Jack Whitten. Jack’s Jacks“ im Hamburger Bahnhof, Berlin
ROTATION
BEING POROUS / Alice Blackhurst on Chantal Akerman’s My Mother Laughs
IMPURITY AND ENTANGLEMENT / Adam Butler in Conversation with Ben Lerner
REVIEWS
A CHIROGRAPHIC IMAGINARY / Colin Lang on Edmund de Waal at Galerie Max Hetzler, Berlin
ANDERE ORTE / Elisa R. Linn über Ariane Müller bei Schiefe Zähne, Berlin
ARCHIVING INSPIRATION / Dave Beech on Albert Oehlen at the Serpentine Gallery, London
MYALGIE / Jessica Aimufua über Diamond Stingily im Kunstverein München
GO TELL IT ON THE ISLAND / Nadja Abt über die 16. Istanbul Biennale
INTIMATE INVESTIGATIONS / Jesi Khadivi on Sharon Hayes at Tanya Leighton Gallery, Berlin
ICH BIN ELEKTRISCH / Hans-Christian Dany über Puppies Puppies (Jade Kuriki Olivo) in der Halle für Kunst Lüneburg
HUNGRY MINDS / Rachel Haidu on Leidy Churchman at the Hessel Museum of Art, Bard College, Annandale-on-Hudson
VERFREMDEND NAH / Stephanie Holl-Trieu über „The Making of Husbands: Christina Ramberg in Dialogue“ in den KW Institute for Contemporary Art, Berlin
POETS AND ARTFANS / Pujan Karambeigi on Sarah Rapson at Essex Street, New York
EROSION UND WACHSTUM / Markues über „Soil Is an Inscribed Body. Über Souveränität und Agrarpoesien“ bei SAVVY Contemporary, Berlin
MATERIAL FUTURES / Adrienne Ange Rooney on Lubaina Himid at the New Museum, New York
DIES IST KEIN PHALLUS / Francesca Raimondi über „Maskulinitäten. Eine Kooperation von Bonner Kunstverein, Kölnischem Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf“
WHICH SIDE ARE YOU ON? / Chris Reitz on Latoya Ruby Frazier at the Renaissance Society, Chicago
MAGISCHE POLITIK / Fiona Geuß über Andrea Bowers in der Weserburg, Museum für moderne Kunst, Bremen
MOTHER OF PEARL / Enzo Shalom on Nicolás Guagnini at Bortolami, New York
(BE-)ZEUG DICH! / Alida Müschen über Julia Phillips im Kunstverein Braunschweig
GHOSTS NOT WELCOME / Nina Prader on Omer Fast at the Salzburger Kunstverein
CRITICAL AFFECTIONS / Sophie Goltz über „Awakenings: Art in Society in Asia 1960s–1990s“ in der National Gallery in Singapur
ZWISCHEN ALLEN STÜHLEN / Dorothea Zwirner über Senga Nengudi im Lenbachhaus, München
NACHRUFE / OBITUARIES
SARAH SCHUMANN (1933−2019) by Vojin Saša Vukadinović
DOUGLAS CRIMP (1944–2019) by Marc Siegel
DOUGLAS CRIMP (1944-2019) by Louise Lawler
DOUGLAS CRIMP (1944-2019) by Juliane Rebentisch
EDITION
JESSICA STOCKHOLDER
RAPHAELA VOGEL
JORINDE VOIGT
2020, English
Softcover, 280 pages, 16.2 x 21.8 cm
Published by
Sternberg Press / Berlin
$54.00 $30.00 - Out of stock
Not long ago, a melancholic left and a manic neoliberalism seemed to arrive at an awkward consensus: the foreclosure of futurity. Whereas the former mourned the failure of its utopian project, the latter celebrated the triumph of a global marketplace. The radical hope of realizing a singularly different, more equitable future displaced by a belief that the future had already come to pass, limiting post-historical society to an uneventful life of endless accumulation. Today, amidst an abundance of neofuturisms, posthumanisms, futurologies, speculative philosophies and accelerationist scenarios, there is as well an expanding awareness of a looming planetary catastrophe driven by the extractionist logic of capitalism. Despite this return to the future, the temporal horizon of our present moment is perhaps more aptly characterized by the “shrinking future” of just-in-time production, risk management, high-frequency trading, and the futures market. In Futurity Report, theorists, historians, and artists address the precarious futurity of the notion of the future itself.
Texts by Eric C. H. De Bruyn, T. J. Demos, Haytham El-Wardany, Kodwo Eshun, Natascha Sadr Haghighian, Sven Lütticken, Silvia Maglioni, Pedro Neves Marques, Achille Mbembe, Doreen Mende, China Miéville, Ana Teixeira Pinto, Johannes Paul Raether, Felicity D. Scott, Kerstin Stakemeier, Graeme Thomson, Marina Vishmidt, Mckenzie Wark
2020, English
Softcover, 272 pages, 17 x 24 cm
Published by
Mousse / Milan
Ujazdowski Castle Centre for Contemporary Art / Warsaw
$65.00 - Out of stock
The publication is an anthology of both newly commissioned and reprinted essays, as well as interviews and fiction that reflect on performance today. It is structured around four major sections that investigate the new performance phenomenologies by looking at artistic institutions, curatorial practices, and exhibition formats, as well as the technological turn and performative fiction. Over recent decades, the definition of performance has changed. Performance Works examines changes taking place in the traditional exhibition format, which has recently taken a back seat to hybrid forms that link the visual arts with the performing arts, literature, and music. The book reflects on the changing role of the viewer, who increasingly has become a performer and active participant. Authors also analyze the role of the performer’s body and the work that is involved in extended performative exhibitions. Additionally, Performance Works presents the research outcomes linked to the performance program launched in 2016 at Ujazdowski Castle Centre for Contemporary Art in Warsaw, which examined the performative turn in visual arts and its consequences for art institutions, as well as artistic and curatorial practices.
Edited by Joanna Zielińska
Texts by Oreet Ashery, Pierre Bal-Blanc, Claire Bishop, Marie de Brugerolle, Yann Chateigné, Korina Giaxoglou, Michał Grzegorzek, Shannon Jackson, Eliel Jones, Chris Kraus, Laura Lima, David Maroto, Ingo Niermann, Kathy Noble, Johannes Paul Raether, Mark von Schlegell, Agnieszka Sosnowska, Ana Teixeira Pinto, Transformella, and Joanna Zielińska
2016, English
Softcover (w. dust jacket, poster and postcard), 246 pages, 17 x 24 cm
Published by
IMA / Brisbane
KW Institute for Contemporary Art / Berlin
MUMA / Victoria
Sternberg Press / Berlin
$46.00 - Out of stock
Edited by Aileen Burns, Charlotte Day, Krist Gruijthuijsen, Johan Lundh
Texts by Max Andrews and Mariana Cánepa Luna (Latitudes), Helen Hughes, Ana Teixeira Pinto
This publication accompanies Australian multidisciplinary artist Nicholas Mangan’s survey exhibition “Limits to Growth.” The exhibition and book bring together four of Mangan’s most significant works of the past seven years, alongside a new commission. The works in the show tackle narratives from his own geographical region—Asia Pacific, in which his home country of Australia plays a colonial role—and weaves them into a bigger picture to take into account the global economy, resource extraction, and the ultimate power of the sun. Featuring an in-depth series of conversations between the artist and the Barcelona-based curatorial collective Latitudes, and essays by Ana Teixeira Pinto and Helen Hughes, this publication is richly illustrated with documentation of Mangan’s artworks and historical source material.
Copublished with the Institute of Modern Art, Brisbane; KW Institute for Contemporary Art, Berlin; and Monash University Museum of Art, Melbourne
Design by Žiga Testen
2018, English
Softcover, 240 pages, 21.5 x 28 cm
Published by
Sternberg Press / Berlin
$79.00 $20.00 - Out of stock
This Is Television addresses the increasingly obsolete medium of television by way of the medium of the book—by extension commenting on media’s continuous changes of form and format. Through an interplay of theory and artistic research material, the book extends Judy Radul’s ongoing investigation of media with an idiosyncratic perspective on television—while still feeding off collective experience. The book thematizes television as a cultural container, both in its format as a “box” for content and as an ideologically saturated apparatus for reception. With sections titled Craig, Oral History, Moon, Display, Landing, End of Analog etc., the book charts our identification with specific media and a nostalgia connected with the obsolescence of technology. Springing from a desire to engage intermedia form by way of a book about television, and to commit to the ambiguity of its title’s announcement, This Is Television is organized around three central chapters: “This,” “Is,” and “Television” are individually interpreted in newly commissioned essays by Honor Gavin, Ana Teixeira Pinto, and Diedrich Diederichsen, with additional short texts by Judy Radul.
2018, English / German
Softcover, 240 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 - Out of stock
Issue # 112 of Texte zur Kunst, “Noise/Silence,” focuses on these two sonic extremes that define the boundaries of the audible, framing all possible sonic expressions therein. Given the emergence of sound as its own field of inquiry within the arts, and the development of newer media forms for sound production, can we still reliably argue that noise and silence are open to artists and musicians today in the ways that they were for Luigi Russolo in his 1913 manifesto, “The Art of Noises;” or, in John Cage’s writings on silence? In our analysis and judgment on the contemporary significance of noise and silence within sound and music, we are also questioning the potential for radical gestures with sound tout court—the all or nothing. What is left for music and sonic interventions today? What kinds of subversive noises can be marshaled against the deafening silence? And where, if anywhere, can silence provide a shelter from the relentless noise from the outside? We assembled a group of media historians and philosophers to give us a theoretical orientation in this shifting sonic landscape, and also asked four artists/musicians to weigh in on the possibility for radical gestures in their own practice. The results offer a much-needed revision of the terms for sound in the arts today.
Issue No. 112 / December 2018 "Noise/Silence"
Table Of Contents
Forward
Preface
Rolf Grossmann - Silence, Sound, Noise / Aesthetic And Media-Technological Observations
Ute Holl - Excavating Silence
Fiona Mcgovern - Curating Sound
Sound Rules / Colin Lang And Cevdet Erek In Conversation
Michaela Melián - Electric Ladyland
Andrea Neumann - Production By Subtraction
Arto Lindsay
Puce Moment
New Development
Political Myth – Prefiguration – Brexit / Angus Nicholls On The Mythic Structures Behind Brexit
Rotation
Metabolismen Der Moderne / André Rottmann Über „Entgrenzter Formalismus. Verfahren Einer Antimodernen Ästhetik“ Von Kerstin Stakemeier
Migration Und Film Denken / Nanna Heidenreich Über Brigitta Kusters „Grenze Filmen“
The Third Persona / Amanda Schmitt On Ben Lerner And Anna Ostoya’s “The Polish Rider”
Klang Körper
Figuring Space / Steven Warwick On Catherine Christer Hennix
Reviews
This Is The Rented Moment / Nicolás Guagnini On Jack Smith At Artists Space, New York
Konzeptueller Fehlschlag / Fabio Cypriano Über Die 33. Biennale In São Paulo
Enjoy Your Sinthome / Sven Lütticken On Dora García At The Reina Sofía, Madrid
Artists Must Begin Helping Themselves / Pedro De Llano On Stephan Dillemuth At A Certain Lack Of Coherence, Porto
Der Traumzauberbaum / Inka Meißner Über Amy Lien & Enzo Camacho Im Kunstverein Freiburg
Burnt By The Sun / Colin Lang On Katarina Sieverding At Manifesta 12, Palermo
Star Alliance / Alida Müschen Über Ei Arakawa Im Kunstverein Für Die Rheinlande Und Westfalen, Düsseldorf
Canon Fodder / Julia Pelta Feldman On Charline Von Heyl At Petzel Gallery, New York
Manspainting / Georg Imdahl Über Balthus In Der Fondation Beyeler, Basel
Case Of Urgency / Christina Catherine Martinez On Gerry Bibby At O-Town House, Los Angeles
Meshes Of The Platform Age / Jakob Schillinger On Loretta Fahrenholz At Mumok, Vienna
Re-Call, Re-Take, Represent / Rattanamol Singh Johal On Vivan Sundaram At The Kiran Nadar Museum Of Art, New Delhi And Haus Der Kunst, Munich
Grasping History / Frauke Zabel Über Karin Schneider Im Kunstverein Nürnberg
Stacked Cards / Ana Vogelfang On Pablo Accinelli At Malba, Buenos Aires
Computerkunst Jenseits Des Computers / Karel Císař Über „1968:Computer.Art“ In Brno
Abstraction Of The Body / Melissa Gordon On Amy Sillman At Camden Arts Centre, London
Feministischer Dekolonialismus Avant La Lettre / Michaela Wünsch Über Theresa Hak Kyung Cha Im Kulturzentrum Der Koreanischen Botschaft, Berlin
Where The Bodies Are Buried / Ana Teixeira Pinto On Roee Rosen At The Centre Pompidou, Paris
Chez Michel / Anke Dyes Über Henrik Olesen Im Schinkel Pavillon, Berlin
Obituary
Helena Almeida (1934–2018) / João Ribas
Klaus Herding (1939−2018) / Tom Holert
Edition
Dominique Gonzalez-Foerster
Jeanette Mundt
Wolfgang Tillmans
2014, English
Softcover (w. dust jacket), 244 pages, 107 color and 11 b/w ills., 12.6 x 21.6 cm
Published by
Sternberg Press / Berlin
Van Abbemuseum / Eindhoven
IMA / Brisbane
$40.00 - Out of stock
Edited by Nick Aikens
Texts by Nick Aikens, Karen Archey, Thomas Elsaesser, Pablo Lafuente, Sven Lütticken, David Riff, Hito Steyerl, Ana Teixeira Pinto
Hito Steyerl is rightly considered one of the most exciting artists working today who speculates on the impact of the Internet and digitization on the fabric of our everyday lives. Her films and writings offer an astute, provocative, and often funny analysis of the dizzying speed with which images and data are reconfigured, altered, and dispersed, many times over, accelerating into infinity or crashing into oblivion.
Published to accompany the artist’s survey exhibitions at the Van Abbemuseum, Eindhoven, and the Institute of Modern Art, Brisbane, Too Much World gathers a series of essays and close readings of Steyerl’s films from the past ten years. Newly commissioned texts by Sven Lütticken, Karen Archey, Ana Teixeira Pinto, and Nick Aikens, alongside writings by Thomas Elsaesser, Pablo Lafuente, David Riff, and Steyerl, are spliced with over one hundred pages of color stills. This publication is a charged slideshow of the artist’s extraordinary investigations into the status, circulation, and materiality of images.
Copublished with Van Abbemuseum, Eindhoven, and Institute of Modern Art, Brisbane
Design by Bardhi Haliti
2018, English
Softcover, 208 pages, 20 x 23.5 cm
Published by
Museum Abteiberg / Mönchengladbach
Kunstverein Hannover / Hannover
M HKA / Antwerp
Walther König / Köln
$47.00 $30.00 - Out of stock
Monographic catalogue published by Koenig Books on the occasion of a series of exhibitions by Anne-Mie Van Kerckhoven at Museum Abteiberg Mönchengladbach, Kunstverein Hannover, and M HKA, Museum of Contemporary Art Antwerp. Heavily illustrated throughout with a broad cross-section of Anne-Mie's history of work in drawing, collage, sound, painting, video, performance, installation, and more. Texts by Menno Grootveld, Anders Kreuger, Ana Teixeira Pinto, Kathleen Rahn, Susanne Titz, Travis Jeppesen. Design by Sara de Bondt.
Anne-Mie van Kerckhoven (also known as AMVK) was born in Antwerp and lives in Antwerp and Berlin. She studied graphic design at the Fine Arts Academy in Antwerp and has been prolific in her output of drawings and other works on paper and synthetic material, as well as short videos, since the early eighties. Anne-Mie van Kerckhoven has been fascinated for a long time with the representation in the mass media of images of women, of interiors, of the kinetic powers of any kind of language. She investigates supra-moral connections in contemporary society s.a. between sex and technology. Her work connects different knowledge systems, explores the areas of the unconscious, and looks at moral aberrations or the obscene from a female point of view. In the nineties, hand-made paper works gave way to computer graphics, while text has always featured alongside images, underlining the message of Van Kerckhoven’s proud, sometimes exhibitionist female figures like song-lyrics. Music plays an important role in Van Kerchkoven’s creative production in parallel to her visual output, and she and Danny Devos have stood as a key pair of the Antwerp experimental music scene under the band name Club Moral (1981–now).
"In opposition to the arbitrary, which is the origin of every written and spoken language, I have placed the unspoken, the mystic. From despair to ecstasy, that is what the mystic is about now. This is the all-devouring lust for life and love. Unification, not feeling separated from the rest. No ego, no boundaries. Creation becomes one with its creator. I call it the analogue. The analogue versus the arbitrary. The analogue is ritual, evil, mystery, desire, yearning, lust, while the digital is control, technology, sublimation, dependence, cleanliness, transparency. The analogue plus the digital is what humans are about: perspective." - Anne-Mie Van Kerckhoven, Some Sort of Manifesto, 2016–17
2017, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$30.00 - Out of stock
The theme of this issue - The New New Left - is not entirely “new new,” as indeed it relates to the old anti-capitalist Left in its insistence on a theoretical analysis of capitalism and the price paid by many in such a system. But as the discourses and strategies long associated with the Left (workerism, identity politics, or the mode of the avant-gardist troll) have been adopted by anti-progressive outlets, it has become increasingly complex to locate a Left stance from which to effectively speak and act. This issue explores the affective mechanisms and media strategies – from the rise of viral content (memes) to the harvesting and right-wing politicization of emotions – that are producing our post-millennial, post-financial crisis, post-Brexit/Trump present.
Issue No. 106 / June 2017 "The New New Left“
Table Of Contents
Preface
Cultural Resources / Sabine Hark And Sighard Neckel In Conversation On Feelings Of Resentment And Revenge
Verena Dengler
Fake Left, Punch Right
Jaleh Mansoor
Unveiling And/Or Re-Masking / Notes On The Political Dialectics Of The Opacity Of The Sign
Seth Price
Wrong Seeing, Odd Thinking, Strange Action
Matt Goerzen
Notes Toward The Memes Of Production
Diedrich Diederichsen
The Tough Stuff / “Populism," "Political Correctness," And The Like
Simon Denny
Face The Market On Your Own
Klaus Walter
Liberté, Egalité, Beyoncé?
Dan Bodan
Europe, 2016-17 / Selected Status Updates Of Recent Months
Bildstrecke
Kayode Ojo
Become What You Fear
New Development
Ana Teixeira Pinto
Artwashing / Nrx And The Alt-Right
Rotation
Obsessive, Compulsive, Disorder / Johanna Burton On Douglas Crimp’s “Before Pictures”
Probing Attitudes / Philipp Ekardt On “Putting Rehearsals To The Test” (Buchmann, Lafer, Ruhm, Eds.)
In Experimenten Seine Vernunft Aufs Spiel Setzen / Stefan Römer Über Hans-Jörg Rheinberger, „Der Kupferstecher Und Der Philosoph. Albert Flocon Trifft Gaston Bachelard“
Reviews
Nachrichten Aus Der Ideologischen Antike / Georg Imdahl Über Wade Guyton Im Museum Brandhorst
Schwere Verspannungen Lösen / Eva Scharrer Über Nairy Baghramian Im S.M.A.K. In Gent
Deviant Art / Dena Yago On Danny Mcdonald At House Of Gaga, Los Angeles
Put Your Money Where Your Mouth Is / Tina Schulz Über Nora Schultz Bei Isabella Bortolozzi, Berlin
Reverse Cubism Als Betrachtungsirrtum / Gunter Reski Über Pieter Schoolwerth Bei Capitain Petzel, Berlin
Mad World / Steven Warwick On Liz Craft & Pentti Monkkonen At Liszt, Berlin
Public Viewing / Moritz Scheper Über Sadie Benning In Der Kunsthalle Basel
Eye In The Sky / Ilya Lipkin On Ned Vena At Societé, Berlin
Kritische Stoffe, Shoppinglust Und Andere Ambivalenzen / Ines Kleesattel Über Ines Doujak (Und John Barker) Im Württembergischen Kunstverein
In Einem Anderem Land / Christian Kravagna Über „The Color Line“ Im Musée Du Quai Branly, Paris
Mehr Epistemischer Ungehorsam! / Susanne Witzgall Über „Postwar: Kunst Zwischen Pazifik Und Atlantik 1945–1965“ Im Haus Der Kunst, München
With Or Without / Christian Philipp Müller On Yuji Agematsu At Miguel Abreu Gallery, Nyc
Kommunikation Ist Kein Objekt / Fiona Geuß Über Ian Wilson In Den Kw Institute For Contemporary Art, Berlin
Nachruf
Gustav Metzger (1926–2017): Ein Nachruf Von Sabine Breitwieser
Edition
Anne Imhof
Sean Landers
2016, English
Softcover, 240 pages, 145 x 210 mm
Published by
The MIT Press / Massachusetts
Whitechapel / London
$52.00 - Out of stock
Animals have become the focus of much recent art, informing numerous works and projects featured at major exhibitions including dOCUMENTA (13) (2013), the 10th Shanghai Biennale (2014), and the 56th Venice Biennale (2015). Contemporary art has emerged as a privileged terrain for exploring interspecies relationships, providing the conditions for diverse disciplines and theoretical positions to engage with animal behavior and consciousness.
This interest in animal nature reflects a number of current issues. Observations of empathy among nonhumans prompt reconsiderations of the human. The nonverbal communication of animals has been compared with poetic expansion of the boundaries of language. And the freedom of animal life in the wild from capitalist subordination is seen as a potential model for reconfiguring society and our relationship to the wider environment. Artists’ engagement with animals also opens up new perspectives on the dynamics of dominance, oppression, and exclusion, with parallels in human society. Animal nature is at the heart of debates on the Anthropocene era and the ecological concerns of scientists, thinkers, and artists alike. Centered on contemporary artworks, this anthology attests to the trans-disciplinary nature of this subject, with art as one of the principal points of convergence.
Artists surveyed include
Allora & Calzadilla, Francis Alÿs, Julieta Aranda, Brandon Ballengée, Joseph Beuys, Marcel Broodthaers, Lygia Clark, Marcus Coates, Jimmie Durham, Marcel Dzama, Simone Forti, Pierre Huyghe, Natalie Jeremijenko, Joan Jonas, Eduardo Kac, Mike Kelley, Henri Michaux, Robert Morris, Henrik Olesen, Lea Porsager, Julia Reodica, Carolee Schneemann, Michael Stevenson, Rodel Tapaya, Rosemarie Trockel, Apichatpong Weerasethakul, Haegue Yang, Adam Zaretsky
Writers include
Giorgio Agamben, Steve Baker, Raymond Bellour, Walter Benjamin, John Berger, Jonathan Burt, Ted Chiang, Simon Critchley, Gilles Deleuze, Jacques Derrida, David Elliott, Carla Freccero, Maria Fusco, Tristan García, Félix Guattari, Donna J. Haraway, Seung-Hoon Jeong, Miwon Kwon, Chus Martinez, Brian Massumi, Thomas Nagel, Jean-Luc Nancy, Ingo Niermann, Vincent Normand, Ana Teixeira Pinto, Will Self, Jan Verwoert, Eduardo Viveiros de Castro
About the Editor
Filipa Ramos is editor-in-chief of art-agenda and a Lecturer in Experimental Film at Kingston University and Moving Image at Central Saint Martins, London. She is the author of Lost and Found: Crisis of Memory in Contemporary Art (2009).
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$31.00 - Out of stock
Exile and marginality, network availability, mass- versus subcultural identities, privilege, opting (versus dropping) out – these are elements this issue takes on. The fading of bohemia’s appeal is no doubt linked in part to a growing preference for the web’s promise of total-connectivity. Though could another factor be at work here too: an underlying sense that perhaps the real displacement and disenfranchisement after which romantic notions of “bohemia” were later formed may again be a very real threat?
ISSUE NO. 97 / MARCH 2015 “BOHEMIA”
ENGLISH CONTENTS include:
DIEDRICH DIEDERICHSEN
THE PHYSIOGNOMY OF DISENFRANCHISEMENT
“Faces of bohemia at one hundred and fifty”
THE POSSIBILITY OF LIFE AT THE SYSTEMIC EDGE
Three questions for Saskia Sassen
AT THE END OF ALTERNATIVES
An interview with Cornelia Koppetsch
PHILIPP EKARDT
FIORUCCI MADE ME NORMCORE / Five observations on art, style, and scenes today
DOUGLAS COUPLAND
BOHEMIA = UTOPIA?
DANIEL KELLER
HOTTEST NEW ALT MARRIAGE STACK SOLUTIONS / Paratext and Glossary by Ella Plevin
CAROLINE BUSTA
BASIC INSTINCT / Cyber-channels and the female pose
STEPHAN DILLEMUTH
WHAT’S YOUR NAME, BOHEMIA?
THE DEATH OF ILLUSION / An interview with Noura Wedell
MORAG KEIL
BOHEMIA COMMISSION
O CRONENBERG! (A SPOILER) / Mark von Schlegell on David Cronenberg’s recent movie “Maps to the Stars” and novel “Consumed”
Nick Zedd on Greer Lankton at Participant Inc, New York
Tess Edmonson on Amalia Ulman at James Fuentes, New York
Ana Teixeira Pinto on Oliver Laric at Tanya Leighton, Berlin
NOT ONLY THE HEART IS NOT A METAPHOR / Rachel Haidu on Robert Gober at the Museum of Modern Art, New York
TOTAL CONFUSION / Christian Naujoks on Cosima von Bonin at Mumok, Vienna
GLOOM / Amy Lien and Enzo Camacho on the Taipei Biennial 2014
A GLIMPSE AT THE SOCIAL LIFE OF PAINTINGS / Catherine Chevalier on Marcel Duchamp at Centre Pompidou, Paris
LEWIS BALTZ (1945–2014)
by Jeff Rian
EDITION
TOMMA ABTS
AVERY SINGER
2013, English
Softcover, 136 pages (30 color ills), 12 x 18 cm
Published by
Sternberg Press / Berlin
$26.00 - Out of stock
Contributions by Marie-Luise Angerer, Armen Avanessian, Federica Bueti, Paul Feigelfeld, Graham Harman, Stefan Heidenreich, Vincenzo Latronico, Lucy Mercer, Katherine Richardson, Dieter Roelstraete, Ana Teixeira Pinto, Giovanna Zapperi
For years now our lives have been shaped by a crisis impacting both our economy and our personal lives. But what is ultimately in crisis? Survival Kits offers twelve perspectives on this issue—from fields as diverse as philosophy, politics, media theory, environmental activism, feminism, post-human theory, literature, geopolitics, art, and economics.
These theoretical investigations originated with artist Deborah Ligorio’s research. The book takes its title from an eponymous series of sculptures and video interviews describing situations of emergency, vulnerability, and struggle experienced by a living or a fictional person, which propose inventive tools for adaptation or resistance. A selection from this series is featured in the publication.
Design by Studio Manuel Raeder
2012, English / German
Softcover, 132 pages (68 color and 53 b/w ill.), 18.4 x 29 cm
$29.00 - Out of stock
Texts by Gary Lachman, Ana Teixeira Pinto
The phenomenon of the year 2012 refers to eschatological beliefs predicting transformative events on December 21, 2012. By now not only spiritual seekers have the conviction that something has to change. Still, there are different interpretations of the meaning of that specific date. Beyond the lunatic fringe views regarding the end of the world, a more constructive reading of the phenomenon is found in new age circles claiming that 2012 might be the beginning of a higher consciousness in humanity, coming to the realization that, in fact, Western systems have not brought prosperity and fulfillment to everybody as once imagined.
Published on the occasion of the eponymous exhibition at the Ursula Blickle Stiftung, September 9–October 14, 2012.