Various Artists 이 책은 지난 11월 열린 “2006 인미공 화두: 생각은 입에서 만들어진다”의 부분인, Traveling Magazine Table 워크숍 프로젝트의 결과물로 초대작가인 빅반데폴, 인미공, 그리고 한국 워크숍 참가자들이 공동제작한 출판물이다. 워크숍은 Traveling Magazine Table의 전시와도 병행되었는데 TMT는 작가, 독립기획그룹, 공공미술기관, 대안공간 등이 비영리 목적으로 제작한 잡지와 정기간행물을 수집한 아카이브로서, 자료 수집을 통해 주류 미술정보들의 순환과 유통구조 바깥에서 표류하는 다양한 생각과 견해, 가치를 수집한 발언들의 아카이브라 볼 수 있다.

참가자들
빅반데폴
김희진
박찬경
그레고리 숄렛
강우성
심드렁
문승용
장용석
고군 & 조군
김상돈
김민영
이호석
문나
뿌직
쎄 프로젝트
MSPL
워킹매거진
나일라 다바지 & 지아드 비타

David Crowley, Steven Ball, David Curtis, Anselm Franke, Leire Vergara, Jan Verwoert, Axel J Wieder, Micha Wolinski

David Crowley, Steven Ball, David Curtis, Anselm Franke, Leire Vergara, Jan Verwoert, Axel J Wieder, Micha Wolinski

Artur Zmijewski, Joanna Warsza This reader accompanies the seventh Berlin Biennale for Contemporary art, with text and interviews that address the premise of this year's iteration: How can art transform politics and bring about real change in our society? Contributors include Pawel Althamer, Yael Bartana, Christian Boltanski, Jón Gnarr, Teresa Margolles, Srda Popovic, Fernando Vallejo and Voina.

한금현, 한홍구, 노순택, 이영준 전시제목인 “39조 2항”은 국민의 권리와 의무에 대해 명기한 헌법 제 2장 중에서 제 39조의 2항 “누구든지 병역의무의 이행으로 인하여 불이익한 처우를 받지 아니한다”는 조문에서 인용하였다. 헌법은 39조 1항에서 “모든 국민은 법률이 정하는 바에 의하여 국방의 의무를 진다”라고 명기하였고, 2항의 조문은 군복무에 대한 헌법상의 보상규정으로 원용되어 왔다. 전시 제목에는 헌법에 명시된 한 줄의 문장으로 개인의 불이익에 대한 통제가 가능할 수 있을까 하는 현실적인 의구심이 담겨있다. 5 명의 참여작가들도 한국의 군사문화와 전쟁의 이미지를 그들의 작업 안에서 각자 다른 방식으로 아이러니와 수수께끼를 담아내고 있다. 이 전시가 한국 사회 안에서 다양하게 드러나고 있는 모순과 갈등의 하나로 군사문화와 전쟁이미지를 제시하고 있다는 점에서 “39조 2항”을 전시의 제목으로 인용하였다. This book is published in conjunction with the contemporary photography exhibition titled '39(2)' at Artsonje Center, Seoul from December 2008 to February 2009. The five Korean photographers featured capture the traces of war that permeate everyday life in Korea. Artist biographies included.

토머스 크로 지음, 조주연 옮김

김희진 2011년 군산 프로젝트는 신석호 디렉터와 초빙 기획자인 김희진/현 사단법인 아트스페이스 풀 대표의 공동 기획으로 진행되었습니다. 2011년 프로젝트의 주제는<우여곡절: 迂餘曲折-군산의 사람과 움직임 Twists, Turns, Ups, Downs: (In)visible Move and Human Agency>입니다. 지난 3월부터 8개월간 총 12명(팀/개인)의 초대 작가와 공동기획자는 지역에 거주하는 사람, 그들의 삶의 형태, 사사, 정서 구조, 인식 체계 및 가치관, 주체들 간의 관계 방식과 같은 유무형적 작업과 네 차례의 중간 공동 토론 워크숍 과정을 거치며 초대 작가들은 레지던시라는 기제 안팎을 넘나드는 지역과의 소통과 만남의 조사 연구 과정을 거쳤습니다. 이 자리에서 소개되는 전시는 그 과정의 결과물을 보고하는 전시이자, 다시금 지역에 건네는 인사입니다(...)
 
(...)2011년 군산 아트 레지던시 프로젝트 제목은 우여곡절입니다. 해당 번역어로 영어에 vicissitudes라는 단어가 있지만 의도적으로 본 프로젝트의 영제를 Twists, Turns, Ups, Downs라고 하였고, 부제로 군산의 사람과 움직임, 즉 (In)visible Move and Human Agency라 하였습니다. 우여곡절은 다사다난, 파란곡절과 동의어로서 여러 가지 사정이 뒤얽혀 몇 번이고 변화한다는 결과론적 흐름을 지칭하는 정태적 단어로만 이해되는 경향이 있습니다. 하지만 동시에 낱낱이 한자를 들여다보면, 굽을 우 迂, 나머지 여 餘, 굽을 곡 曲, 꺽을 절 折 이라는 매우 다양한 양태의 운동성과 대응방안을 함의하고 있습니다. 또한 그 속에는 선택적 우회, 잔여, 구속, 미등록 되어 유보된 중간지대, 비장소, 협상의 기술 등 이분법과 엄격한 위계질서가 강한 삶의 질서에 생존해 가는 적극적 전술과 이치들이 숨어 있습니다(...)
 
 
 
김희진, 『우여곡절 迂餘曲折: 군산의 사람과 움직임』, 서울: 포럼에이, 2011, 책머리에

노재운, 노병우 Jae Oon Rho, Myungwoo Nho  2012 아르코미디어 비평 총서 시리즈 1
 
목차
ㅇ 인사말 /  이한신
 
ㅇ 작가 소개
ㅇ 글쓴이 소개
 
ㅇ 글 / 미디어 신체의 예술가와 랜덤 SF시간- 비말라키와 목련경의 미디어화된 세계와 노재운의 미디어 미학
            미디어 신체를 지닌 예술가———————— p. 27
            이중 미디어화된 세계: 비말라키 넷이라는 `A New World`————————p. 41
            시간의 화살이 부러지면—————————— p. 71
            극종(劇終)과 역사의 종말————————— p. 77

안정주, 임산 Jungju An, Shan Lim 2012아르코미디어 비평 총서 시리즈 2
 
목차
ㅇ 인사말 / 이한신
 
ㅇ 작가 소개
ㅇ 글쓴이 소개
 
ㅇ 글 / 역설의 자유를 향유하다- 안정주의 비디오예술——————————————-p. 19

정은영, 진수미 Siren Eun Young Jeng, Su Mee Chin 목차
ㅇ 인사말 /이한신
 
ㅇ 작가 소개
ㅇ 글쓴이 소개
 
ㅇ 글 / 연대의 열정과 초연 사이
             1. 흐름, "모든 안착한 사람들"에게—————————————————————— p. 19
             2. 스침, "이때 대답해야 하는 것이 바로 살갗이다."——————————— p. 25
             3. 시적인 것들, "내 언어가 아닌 다른 언어로 언술하고 싶다."———— p. 47
             4. 연대, "성직자는 한 사름도 따라가지 않았다."————————————— p. 63
             5. 투쟁, "우리는 우리 자신의 마귀이다."—————————————————— p. 83
             6. 종착, "그리하여 밤이 밤을 밝히었다."—————————————————— p. 95 

이영주, 김태연 목차
ㅇ 인사말 / 이한신
ㅇ 소개글 / 이영주
ㅇ 아르코미디어 비평총서 시리즈 선정작가 소개
     노재운
     안정주
     정은영
ㅇ 아르코미디어 작품 공모 선정작가 소개
     김도희
     김태은
     김혜지
     노기훈
     리금홍
     무진브라더스
     박민하
     박성연
     신정균
     임선희
     장규정
     장종완
 ㅇ벨기에 아르고스 미디어 센터 초청 특별 스크리닝 & 강연
 ㅇ아르코미술관의 미디어 아카이브 / 김태연
 ㅇ아르코미디어 아카이브 콜렉션
 ㅇ참여작가 약력 

양정무 외 엮음, 참여사회연구소 기획

Kengo Kuma An "object" is a work of architecture that is expressly designed for maximum isolation. While not exclusive to any particular architectural style, objects have been the organizing principle for many modernist and postmodernist works. Indeed, they might even be said to be the very strategy by which modernism succeeded in conquering the world. Why is objectification so widespread? In Anti-Object, Kengo Kuma argues it is because it shares the aims of the prevailing economic system. He suggests and illustrates his alternative to objectification through a discussion of the various stratagems of his work.

Amale Andraos, Dan Wood Forty years after French protestors took to the streets with the rallying cry Sous les pavs, la plage! (Beneath the pavement, the beach!), a new form of radical expression took shape at MoMA's P.S.1 courtyard in Queens, New York. Above the Pavement—the Farm! reveals the groundbreaking efforts of architecture firm WORKac and their team of more than 150 collaborators—farmers, politicians, horticulturists, technicians, soil scientists, engineers, architecture students, and artists—to create a working urban farm, hoisted 30 feet high, using industrial cardboard tubes filled with more than 50 varieties of locally grown fruits and vegetables. Called Public Farm 1 (P.F.1), this new breed of sustainable infrastructure, capable of generating its own power, recycling rainwater, cultivating crops, and encouraging leisure, demonstrated that even the most impossibly utopian visions of green city living are within our reach.

Above the Pavement—the Farm! presents a delectable range of ideas and issues situated at the intersection of architecture, urbanism, and food. Featuring a lively mlange of voices depicting the making of P.F.1—with contributions by artist and agricultural activist Fritz Haeg, architectural historian Meredith TenHoor, architect Winy Maas, and head chef Michael Anthony of New York City's Gramercy Tavern—this book introduces a new era of ecological thinking and urban sustenance.

Amale Andraos and Dan Wood are the founders of New York City-based WORK Architecture Company.

Paul Virilio We are living under the administration of fear: fear has become an environment, an everyday landscape. There was a time when wars, famines, and epidemics were localized and limited by a certain timeframe. Today, it is the world itself that is limited, saturated, and manipulated, the world itself that seizes us and confines us with a stressful claustrophobia. Stock-market crises, undifferentiated terrorism, lightning pandemics, "professional" suicides.... Fear has become the world we live in.

The administration of fear also means that states are tempted to create policies for the orchestration and management of fear. Globalization has progressively eaten away at the traditional prerogatives of states (most notably of the welfare state), and states have to convince citizens that they can ensure their physical safety.

In this new and lengthy interview, Paul Virilio shows us how the "propaganda of progress," the illuminism of new technologies, provide unexpected vectors for fear in the way that they manufacture frenzy and stupor. For Virilio, the economic catastrophe of 2007 was not the death knell of capitalism, as some have claimed, but just further evidence that capitalism has accelerated into turbo-capitalism, and is accelerating still. With every natural disaster, health scare, and malicious rumor now comes the inevitable "information bomb"—live feeds take over real space, and technology connects life to the immediacy of terror, the ultimate expression of speed. With the nuclear dissuasion of the Cold War behind us, we are faced with a new form of civil dissuasion: a state of fear that allows for the suspension of controversial social situations.

Anselm Franke When Anselm Franke curated this exhibition on the role of aesthetic processes in the drawing of the boundaries between humans and things, the animate and the inanimate, he ranged far and wide. From Marcel Broodthaers to Walt Disney, Louise Lawler to Victor Grippo (the father of conceptual art in Argentina), Lebanese film master Harun Farocki to Rosemarie Trockel (and many others), this exhibition catalog from Extra City Kunsthal Antwerpen does more than document the show. It includes an active dialogue among artists and thinkers on the subject of the effects of animation and mummification, the relationship between nature and culture, ''persons'' and ''things.'' Franke brings together artistic and theoretical perspectives that reflect on the boundary between subjects and objects.

Anton Vidokle, Brian Sholis Anton Vidokle is an artist who captures the attention of 70,000 people each day through e-flux, as well as unitednationsplaza, Martha Rosler Library, and other traveling projects. Yet comparatively few members of this audience consider him an artist, despite the fact that he has publicly identified himself as such for over a decade and has exhibited in museums and galleries across the world. The contributors to this book emphasize two aspects of his artistic practice that are partly responsible for this disparity. The first characteristic is the self-effacing nature of his endeavors. Not only are many of his projects subsumed under an anonymous-sounding corporate identity, e-flux, but they are also nearly always collaborative. The second quality is his relative freedom from the network of institutions that is generally believed to confer legitimacy upon individual artistic practices. Vidokle, through e-flux, is able to produce, disseminate, and critically interrogate the ideas that animate his practice. He can also display the fruits of this process publicly and convene friends and collaborators to discuss and refine them. Vidokle does not shun conventional artistic institutions, but e-flux is a robustly healthy ecosystem that grants him the opportunity to engage them selectively.

This book focuses attention on the implications of this singular undertaking: Can one be an artist without making anything that is easily defined as art even at a moment when nearly everything can be so designated? Can one play down one s own contributions to diverse projects and still be recognized as the point of convergence that unifies them?

Contributions by Media Farzin, Liam Gillick, Boris Groys, Maria Lind, Monika Szewczyk, Jan Verwoert. Interview with Martha Rosler by Bosko Blagojevic.

Fredric Jameson Utopian thought since Thomas More, and science fiction in the neoliberal age.In an age of globalization characterized by the dizzying technologies of the First World, and the social disintegration of the Third, is the concept of utopia still meaningful? Archaeologies of the Future, Jameson’s most substantial work since Postmodernism, Or, the Cultural Logic of Late Capitalism, investigates the development of this form since Thomas More, and interrogates the functions of utopian thinking in a post-Communist age. The relationship between utopia and science fiction is explored through the representations of otherness … alien life and alien worlds … and a study of the works of Philip K. Dick, Ursula LeGuin, William Gibson, Brian Aldiss, Kim Stanley Robinson and more. Jameson’s essential essays, including “The Desire Called Utopia,” conclude with an examination of the opposing positions on utopia and an assessment of its political value today.

Aaron Levy, William Menking The origins of the architecture biennale are generally traced to the 1970s, when it emerged from under the umbrella of the larger Venice Biennale, which was itself established in 1895. Since then it has become one of the most prestigious forums for architectural discourse today, and has served as a model for a range of international exhibitions. The book explores the biennale through the directors who established its particular discourse, including Vittorio Gregotti, Paolo Portoghesi, Francesco Dal Co, Kurt W Forster, Massimiliano Fuksas, Hans Hollein, Richard Burdett, Deyan Sudjic, Aaron Betsky and Kazuyo Sejima, as well as the current president of the Venice Biennale, Paolo Barrata. These conversations do not seek to recapitulate the exhibitions themselves but rather explore the questions that these exhibitions raise, with the hope of offering a model for future curatorial endeavours.

Jan Turnovsky Originally published in German in 1985 as Die Poetik eines Mauervorsprung, Jan Turnovsky's The Poetics of a Wall Projection is ostensibly a description of a corner within the breakfast room of the Villa Stonborough in Vienna, designed by Ludwig Wittgenstein and Paul Engelmann. But it is also much more. Working from within an established Viennese tradition (practised most famously by Krauss, Freud, Loos and Wittgenstein himself), Turnovsky's study elucidates a complex set of ideas from something seemingly trivial - in this case, an analysis of the villa's corner detail expands into a wider exploration of the logics of architectural syntax and his belief that good and poetic architecture is always also practical. Jan Turnovsky (1941-1995) at various times worked as a carpenter, graphic designer, tenor saxophonist, poet and architectural researcher at the Architectural Association and the Technical University in Vienna. The Poetics of a Wall Projection is translated, and introduced, by Kent Kleinman, Dean of the College of Architecture, Art, and Planning at Cornell University.

Charles Merewether In the modern era, the archive—official or personal—has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing conflicts, the emergence of the postcolonial era, and the fall of communism have each provoked a reconsideration of the authority given the archive—no longer viewed as a neutral, transparent site of record but as a contested subject and medium in itself.

This volume surveys the full diversity of our transformed theoretical and critical notions of the archive—as idea and as physical presence—from Freud's "mystic writing pad" to Derrida's "archive fever"; from Christian Boltanski's first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Renée Green, and The Atlas Group in the present.

Copublished with Whitechapel Art Gallery, London

Lieven De Cautier, Ruben De Roo, Karel Vanhaesebrouck "What roles can art and activism play in a post-Fordist "society of the spectacle"? Can activist art effect real change? Art & Activism in the Age of Globalization asks these and other pressing questions facing contemporary activist art, through case studies by established artists and filmmakers such as Steven Cohen and Christoph Schlingensief, as well as emerging voices such as Renzo Martens and Les Chiens de Navarre. It investigates issues of urban activism and the activism of anonymous networks, giving special consideration to the effects of the War on Terror upon the activist agenda. In our era of unchecked globalization and the extreme crisis of global warming, this indispensable reader concludes by proposing a theoretical scaffolding for modern-day activism, making a passionate appeal for a truly political art.

Charles Esche, Will Bradley The relationship between art and social and political change is not only a highly topical area of current debate, it is also fundamental to the history of modern art. This volume gathers together for the first time the essential texts that have defined this area since the late nineteenth century. Using primary sources, case studies, and new commissions, Art and Social Change provides an overview of the historical development of art with ideas of social and political change, from utopian imaginings to active engagement. Incorporating artists’ writings and public statements, as well as critical and theoretical texts, the volume also highlights developments outside established Western art history.

Charles Harrison, Dr Paul J. Wood This popular anthology of twentieth-century art theoretical texts has now been expanded to take account of new research, and to include significant contributions to art theory from the 1990s.New edition of this popular anthology of twentieth-century art-theoretical texts.Now updated to include the results of new research, together with significant contributions from the 1990s.Includes writings by critics, philosophers, politicians and literary figures.The editors provide contextual introductions to 340 texts.Complements Art in Theory 1648-1815 and Art in Theory 1815-1900 to create a complete survey of the theories underpinning the development of art in the modern period.

Daniel Birnbaum, Anders Olsson This mind-altering meditation on hunger, the true nature of food and melancholy was first published in Sweden in 1992. It is no less
relevant today, as the authors examine the enigmatic relation of melancholia to an early kind of cannibalism, using readings from Kafka,
Beckett, Freud, and Hegel, among others, to illustrate their points. Touching on such themes as primitive sacrificial rites and contemporary
anthropology, philosophy, and linguistic theory, the text asks if it is possible to transfer this idea of a different kind of food to other art forms, such as painting and sculpture. "The saturnine mind is gloomy and depressed, yet inspired and radiant," write the authors. "It is the state of mind of inspiration."

Sabine Bitter, Helmut Weber, Jeff Derksen The artist book by Sabine Bitter and Helmut Weber is based on an unpublished original text by French philosopher and urbanist Henri Lefebvre which is printed as a facsimile. This central text is contextualized and interpreted by accompanying commentaries and texts by Ljiljana Blagojevic, Zoran Eric, Klaus Ronnberger, and Neil Smith.

The text from Henri Lefebvre was submitted as part of a proposal with French architects Serge Renaudie and Pierre Guilbaud for the International Competition for the New Belgrade Urban Structure Improvement in 1986, sponsored by the state of Yugoslavia. In his urban vision for New Belgrade the capital of former Yugoslavia founded in 1948 Lefebvre emphasizes the processes and potentials of self-organization of the people of any urban territory to counter the failed concepts of urban planning from above. For Lefebvre, at this late point in his life, the promises of both modernist capitalist as well as state socialist architecture and city planning had failed. Yet, Lefebvre viewed New Belgrade and Yugoslavia as having a particular position in what he has elsewhere called the urban revolution; As Lefebvre states, ; because of self-management, a place is sketched between the citizen and the citadin, and Yugoslavia is today [1986] perhaps one of the rare countries to be able to pose the problem of a New Urban.

With contributions by Sabine Bitter and Helmut Weber, Ljiljana Blagojevic, Zoran Eric, Klaus Ronnberger and Neil Smith.

Geert Van Kesteren Photojournalist Geert Van Kesteren shows the disorienting reality of war-torn Iraq as he chronicles the lives of ordinary Iraqi people living in Baghdad, Jordan, Syria, and Turkey during 2006 and 2007. This engrossing book combines Van Kesteren's professionally photographed images with the stories of Iraqis in their own words and hundreds of cell phone pictures and digital snap shots taken by the Iraqis themselves. Some reveal places that journalists dare not tread, others are a vivid chronicle of day-to-day life, as likely to show a beloved pet or two best girlfriends as the aftermath of a bombing attack.

Herman Melville This beautifully packaged series of classic novellas includes the works of Anton Chekhov, Colette, Henry James, Herman Melville, and Leo Tolstoy. These collectible editions are the first single-volume publications of these classic tales, offering a closer look at this underappreciated literary form and providing a fresh take on the world's most celebrated authors.

The rat race of Wall Street is turned on its head when Bartleby the copier decides that he simply "would prefer not to" in this absorbing early modernist tale.

이솔 지음

Ines Kaag, Desiree Heiss

박보나, 이대범 Bona Park, Daebum Lee This book was published on the occasion of an exhibition by Bona Park that took place in a room at the Total Museum, Seoul in January 2009. Of the three works, X, XX and X2 included in the book, only X2 was featured in the exhibition. The audience/exhibition visitor is expected to use binoculars and look through the window beyond the exhibition space, interacting with an "invigilator" (지킴이), having read the text of the stories (X, XX, X2).

Tove Jansson In a delightful, curious game of what comes next, Moomintroll travels through the woods to get home with milk for Moominmamma. A simple trip turns into a colorful adventure as Moomintroll meets Mymble, who has lost her sister, Little My. Along the way, they endure the hijinks of all the charming characters of the Moomin world, including the Fillijonks and Hattifatteners. Will Moomintroll ever make it home safe and sound?

A beautiful and boisterous story by internationally acclaimed children’s author Tove Jansson, this picture book is sure to tickle the fancies of parents and kids as well as Moomintroll fans everywhere!

Lucy Lippard, Hans Ulrich Obrist Part of JRP|Ringer's innovative Documents series, published with Les Presses du Reel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field—from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs—with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator's death in 2005, critic Aaron Schuster summed up, "the image we have of the curator today: the curator-as-artist, a roaming, freelance designer of exhibitions, or in his own witty formulation, a 'spiritual guest worker'... If artists since Marcel Duchamp have affirmed selection and arrangement as legitimate artistic strategies, was it not simply a matter of time before curatorial practice—itself defined by selection and arrangement—would come to be seen as an art that operates on the field of art itself?"

Gabrielle Bell Short stories, including the adapted-to-film original Cecil and Jordan in New York  Gabrielle Bell splits her cartooning time between creating wry sketchbook autobiographical comics, such as those included in her 2006 graphic novel, Lucky, and working on more detailed fictional short stories. This collection represents her short comics work that has been published in various anthologies over the past five years, including Kramer’s Ergot, Mome, and The D+Q Showcase Book Four. The surrealist title story, in which a young woman turns herself into a chair so as not to be too much of a bother to those around her, is being adapted into a short film, Interior Design, by director Michel Gondry (Eternal Sunshine of the Spotless Mind and The Science of Sleep) as part of the forthcoming Tôkyô! trilogy set for fall 2008 release.

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Olav Velthuis, Maria Lind How will artists and galleries produce and distribute their work? How much money will everyone make? This pocket sized reader provides a provocative look into the future by mapping the complex entanglements of contemporary art and its commercial markets. In cheeky, controversial essays, critics, academics and artists offer insights into the artwork as an asset category and celebrity accessory, the rise of the art fair and the increased competition of auction houses. The first in a series from Temsta Konsthall and Sternberg Press.

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컨템포러리 아트 저널 편집부 엮음

Frederique Bergholtz

H.G. Wells

Markus Miessen, Nikolaus Hirsch

Paul O'Neill Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul O'Neill examines the emergence of independent curatorship and the discourse that helped to establish it. O'Neill describes how, by the 1980s, curated group exhibitions—large-scale, temporary projects with artworks cast as illustrative fragments—came to be understood as the creative work of curator-auteurs. The proliferation of new biennials and other large international exhibitions in the 1990s created a cohort of high-profile, globally mobile curators, moving from Venice to Paris to Kassel. In the 1990s, curatorial and artistic practice converged, blurring the distinction between artist and curator. O'Neill argues that this change in the understanding of curatorship was shaped by a curator-centered discourse that effectively advocated—and authorized—the new independent curatorial practice. Drawing on the extensive curatorial literature and his own interviews with leading curators, critics, art historians, and artists, O'Neill traces the development of the curator-as-artist model and the ways it has been contested. The Culture of Curating and the Curating of Culture(s) documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.

Beatrice von Bismarck, Jorn Schafaf

Daniel Buren, Charles Esche, Paul O'Neill, Mick Wilson In recent years there has been increased debate on the incorporation of pedagogy into curatorial practice-on what has been termed "the educational turn" ("turn" in the sense of a paradigmatic reorientation, within the arts). In this new volume, artists, curators, critics and academics respond to this widely recognized turn in contemporary art. Consisting primarily of newly commissioned texts, from interviews and position statements to performative text and dialogue, Curating and the Educational Turn also includes a number of previously published writings that have proved primary in the debate so far. Companion to the critically acclaimed Curating Subjects, this anthology presents an essential question for anyone interested in the cultural politics of production at the intersections of art, teaching and learning. Contributors include David Aguirre, Dave Beech, Cornford & Cross, Charles Esche, Liam Gillick, Tom Holert and Emily Pethick.

edited

Chantal Mouffe A new understanding of democracy that acknowledges the inescapable and essential antagonism in its workings, by one of today’s foremost radical political theorists.The Democratic Paradox is Chantal Mouffe’s most accessible and illuminating study of democracy’s sharp edges, fractures, and incongruities. Orienting her discussion within the debates over modern liberal democracy, Mouffe takes aim at John Rawls, Jürgen Habermas, and the consensus building of 'third way' politics to show how their conceptions of democracy fall victim to paralyzing contradictions. Against this background, Mouffe develops a rich conception of 'agonistic pluralism' that draws on Wittgenstein, Derrida, and the provocative theses of Carl Schmitt, attempting to reclaim the antagonism and conflict of radical democracy as its most vital, abiding feature.

Alex Coles This reader in Whitechapel's Documents of Contemporary Art series investigates the interchange between art and design. Since the the Pop and Minimalist eras—as the work of artists ranging from Andy Warhol to Dan Graham demonstrates—the traditional boundaries between art and architectural, graphic, and product design have dissolved in critically significant ways. Design and Art traces the rise of the "design-art" phenomenon through the writings of critics and practitioners active in both fields.

The texts include writings by Paul Rand, Hal Foster, Miwon Kwon, and others that set the parameters of the debate; utopian visions, including those of architect Peter Cook and writer Douglas Coupland; project descriptions by artists (among them Tobias Rehberger and Jorge Pardo) juxtaposed with theoretical writings; surveys of group practices by such collectives as N55 and Superflex; and views of the artist as mediator—a role assumed in the past to be the province of the designer—as seen in work by Frederick Kiesler, Ed Ruscha, and others. Finally, a book that doesn't privilege either the art world or the design world but puts them in dialogue with each other.

Contributors:
David Bourdon, Peter Cook/Archigram, Douglas Coupland, Kees Dorst, Charles Eames, Experimental Jetset, Vilém Flusser, Hal Foster, Liam Gillick, Dan Graham, Clement Greenberg, Richard Hamilton, Donald Judd, Frederick Kiesler, Miwon Kwon, Maria Lind, M/M, N55, George Nelson, Lucy Orta, Jorge Pardo, Norman Potter, Rick Poynor, Paul Rand, Tobias Rehberger, Ed Ruscha, Joe Scanlan, Mary Anne Staniszewski, Superflex, Manfredo Tafuri, Rirkrit Tiravanija, Paul Virilio, Joep van Lieshout, Andy Warhol, Benjamin Weil, Mark Wigley, and Andrea Zittel.

Copublished with Whitechapel Art Gallery, London

Bruno Munari How do we see the world around us? "The Penguin on Design" series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. Bruno Munari was among the most inspirational designers of all time, described by Picasso as 'the new Leonardo'. Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze.

Bruce Altschuler, Hans Ulrich Obrist Based on the concept of a do-it-yourself manual, Do It provides step by step instructions for producing actions, artworks and events that can be constructed and conducted either at home or at a museum.

Carolyn Christov-Bakargiev, Chús Martinez, Franco Berardi The Book of Books offers an overview of Documenta 13's guiding themes through a compilation of art projects and essays. Documenta 13's Artistic Director Carolyn Christov-Bakargiev has proposed the 2012 festival as a refusal of conceptual unity, instead "choreographing many different kinds of materials, methodologies and forms of knowledge." Responding to the political and economic uncertainty of our times, Christov-Bakargiev declares that "Documenta must aspire, by contrast, to instead exercise imagination as a space of accuracy in which to practice and challenge our definition of the political." The Book of Books reproduces the entire 100 Notes-100 Thoughts series of publications (either as facsimiles or with entirely new layouts), and is supplemented by essays from Carolyn Christov-Bakargiev, Chus Martínez, Franco Berardi and others, plus statements by some of the festival's agents and advisors. Illustrated short biographies of all participating artists are included, along with a catalogue of the works on display.

Carolyn Christov-Bakargiev The Guidebook is entirely devoted to the artists participating in Documenta 13. Each one is introduced in an illustrated essay written by one of the Documenta's agents, in close collaboration with the artists-who also contribute illustrations, which are as diverse as the projects themselves. These essays are individual visual statements, ranging from drawings to notes. Narrative introductions to the various venues combine factual details with Carolyn Christov-Barkargiev's key ideas and concepts, which are connected to each of the venues. Containing a map of the exhibition and brief descriptions of all of the sites and projects, this short guide is an indispensable tool both for those attending Documenta 13 and anyone unable to visit the show in person.

David Lamelas

Anton Vidokle, Julieta Aranda, Brian Kuan Wood Since conceptualism, the field of art has become increasingly accustomed to playing host to its own critique, and recent decades have found institutions engaged in self-critique as if by mandate. Important notions of legibility, autonomy, and critical engagement that were once necessary to carve out a space for a critic or critical art publication have transposed themselves onto artistic production proper, and are now considered to be of equal importance to artist, curator, institution, and engaged audience member alike.

This climate of disciplinary reconfiguration and geographic dispersal has made the art world a highly complex place the objective position that once defined the role of a critic has been effectively replaced by a need to understand just how large and varied the whole thing has become. The urgent task has now become to engage the new intellectual territories in a way that can revitalize the critical vocabulary of contemporary art. Perhaps the most productive way of doing this is through a fresh approach to the function of an art journal as something that situates the multitude of what is currently available, and makes that available back to the multitude. The selection of essays included in this book seeks to highlight an ongoing topical thread that ran throughout the first eight issues of e-flux journal a sequence of overlapping concerns passed on from one contribution to the next.

Contributions by Michael Baers, Luis Camnitzer, Liam Gillick, Boris Groys, Tom Holert, Gean Moreno and Ernesto Oroza, Marion von Osten, Raqs Media Collective, Dieter Roelstraete, Irit Rogoff, Sean Snyder, Hito Steyerl and Monika Szewczyk.

Julieta Aranda, Anton Vidokle, Brian Kuan Wood It is infuriating that most interesting artists are perfectly capable of functioning in at least two or three professions that are, unlike art, respected by society in terms of compensation and general usefulness. Furthermore, when the flexibility, certainty and freedom promised by being part of a critical ''outside'' are considered as extensions of recent advances in economic exploitation, does the field of art then become the uncritical, complicit ''inside'' of something far more compelling? This latest issue of e-flux journal addresses these important (though somewhat hostile) questions in the in-your-face style the journal is known for. Cover design by Liam Gillick.

Julieta Aranda, Brian Kuan Wood, Anton Vidokle, et al. This book began as a two-part issue of e-flux journal devoted to the question: What is contemporary art? At this point, has modernity become our antiquity? A single hegemonic ''ism'' has replaced clearly distinguishable movements and grand narratives. But what exactly does it mean to be working under the auspices of this particular ism? This absorbing collection of writings puts the apparently self-evident term into doubt, asking critics, curators, artists and writers to contemplate the nature of this catchall category. Contributors include Julieta Aranda, Brian Kuan Wood, Anton Vidokle, Cuauhtemoc Medina, Boris Groys, Raqs Media Collective, Hans Ulrich Obrist, Hu Fang, Jorg Heiser, Martha Rosler, Zdenka Badovinac, Carol Yinghua Lu, Dieter Roelstraete, and Jan Verwoert.

Felicity Allen This book will be an original and indispensable resource for all who believe in the importance of art in the wider educational realm. Framing the recent "educational turn" in the arts within a broad historical and social context, this anthology raises fundamental questions about how and what should be taught in an era of distributive rather than media-based practices. Among the many sources and arguments traced here is second-wave feminism, which questioned dominant notions of personal and institutional freedom as enacted through art teaching and practice. Similarly, education-based responses by the art community to the catastrophes of World War II and postcolonial conflict critically inform contemporary art confronting the interrelationships of education, power, market capitalism, and—as Michael Hardt and Antonio Negri describe it—the global condition of war. These writings by artists, philosophers, educators, poets, and activists center on three recurring and interrelated themes: the notion of "indiscipline" in theories and practices that challenge boundaries of all kinds; the present and future role of the art school; and the turn to pedagogy as medium in a diverse range of recent projects. Other writings address such issues as instrumentalism and control, liberation and equality, the production and the politics of culture, and the roots of research-based practice and experimental participatory works.

Hans Ulrich Obrist, April Elizabeth Lamm Everything you ever wanted to know about Hans Ulrich Obrist but were afraid to ask has now been asked, revealing the truth from the beginning of his career as a young curator in his Zurich kitchen to his recent position as co-director of the Serpentine in London. This book is a ''production of reality conversations,'' otherwise known as interviews. It undertakes the impossible: pinning down this peripatetic curator, and affirming the wisdom of an artist who told Obrist ''don't go'' when he contemplated leaving the art world for other fields. Interviews by Jean Max Colard, Robert Fleck, Jefferson Hack, Nav Haq, Sophia Krzys Acord, Brendan McGetrick, Ingo Niermann, Paul O'Neill, Philippe Parreno & Alex Poots, Juri Steiner, Gavin Wade, et al.

Rutu Modan Set in modern-day Tel Aviv, a young man,Koby Franco, receives an urgent phone call from a female soldier. Learning that his estranged father may have been a victim of a suicide bombing in Hadera, Koby reluctantly joins the soldier in searching for clues. His death would certainly explain his empty apartment and disconnected phone line. As Koby tries to unravel the mystery of his father's death, he finds himself piecing together not only the last few months of his father's life but his entire identity. With thin, precise lines and luscious watercolors, Rutu Modan creates a portrait of modern Israel, a place where sudden death mingles with the slow dissolution of family ties.

Exit Wounds is the North American graphic-novel debut from one of Israel's best-known cartoonists. Modan has received several awards in Israel and abroad, including the Best Illustrated Children's Book Award from the Israel Museum in Jerusalem four times and Young Artist of the Year by the Israel Ministry of Culture. She is a chosen artist of the Israel Cultural Excellence Foundation.

Wouter Davidts, Kim Paice, Julia Gelshorn, MaryJo Marks Valiz's Antennae series picks up new currents in the arts and commissions essays that transmit current waves of thought. The Fall of the Studio: Artists at Work, a collection of new essays examining the role and significance of the artist's studio in the cultural production and criticism of the second half of the twentieth century, is its first publication. It critically assesses the changes that have occurred in the nature and function of the artist's studio from the postwar period on. A blend of art history, art criticism and art theory, written in an accessible, non-academic style, the book illuminates a number of artists' studio habits—from the 1960s through the present—including Eva Hesse, Mark Rothko, Olafur Eliasson, Bruce Nauman, Robert Morris, Daniel Buren, Martin Kippenberger, Paul McCarthy, Jason Rhoades and Jan De Cock.

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Rob Hamelijnck, Nienke Terpsma

Paolo Cherchi Usai, David Francis, Alexander Horwath, Michael Loebenstein What are the major issues and challenges film archives, cinémathèques and film museums are bound to face in the Digital Age and at a time when there is an expectation of Access on Demand?

Film Curatorship neither offers a scholarly analysis, nor attempts to provide definitive answers to a complex situation involving aesthetic as well as technological, economic and political issues. As a collective text, a montage of dialogues, conversations and exchanges between four professionals representing three generations of film archivists and curators, this book calls for an open philosophical and ethical debate on fundamental questions the profession must come to terms with. What is curatorship, and what does it imply in the context of film preservation and presentation? Is there a concept of the "film artifact" that transcends the idea of film as "content" or "art" in the information age?

The four authors of Film Curatorship have agreed to lay bare their concerns, visions, and strategies in a multi-faceted brainstorming session, aimed at fostering an open, non-dogmatic debate on the relationship of film to other forms of moving image and its presentation and preservation in the 21st century.

Slavoj Zizek From the tragedy of 9/11 to the farce of the financial meltdown.

Billions of dollars have been hastily poured into the global banking system in a frantic attempt at financial stabilization. So why has it not been possible to bring the same forces to bear in addressing world poverty and environmental crisis?

In this take-no-prisoners analysis, Slavoj Zizek frames the moral failures of the modern world in terms of the epoch-making events of the first decade of this century. What he finds is the old one-two punch of history: the jab of tragedy, the right hook of farce. In the attacks of 9/11 and the global credit crunch, liberalism dies twice: as a political doctrine and as an economic theory.

First as Tragedy, Then as Farce is a call for the Left to reinvent itself in the light of our desperate historical situation. The time for liberal, moralistic blackmail is over.

Peter Friedl

Ingo Niermann, Erik Niedling, Chus Martinez In this book/DVD combo, Niermann, everybody's favorite kindacomic provocateur asks, ''Could a single object transform the future of art? Could an artist succeed in merely creating this one object?'' With artist Erik Niedling, Niermann starts asking art-world figures for advice on his quest to create an artwork of epochal importance; the results, on paper and video, will surprise you. With guidance by Thomas Bayrle, Lady Jaye and Genesis Breyer P-Orridge, Olafur Eliasson, Boris Groys, Damien Hirst, Gregor Jansen, Terence Koh, Marcos Lutyens, Philomene Magers, Antje Majewski, Hans Ulrich Obrist, Thomas Olbricht and Tobias Rehberger; and commentary by Chus Martinez. Including the DVD The Future of Art by Erik Niedling and Ingo Niermann (HD, 157 min.)

Umbro Apollonio Manifestos and artists' statements were crucial to Futurism, the revolutionary art movement that took Europe by storm in the years preceding the First World War. This title presents some of the most comprehensive selection of the writings that defined the movement.

Michael Hirsh Featuring more than 250 images, Why Mister, Why? is a compelling account from photojournalist Geert van Kesteren. For the most part of 2003 and into 2004, van Kesteren made these images in a struggling Iraq, intertwining them with his personal experience of the situation in diary-like notes. In that way, this body of work resonates with an honesty found only when the narrator and photographer of a story are one and the same. The situation in Iraq, following the declaration of "mission accomplished," represented a culture clash of rare proportions, and van Kesteren was witness to what went wrong. He saw clouds of sadness coming from the mass graves created by the Saddam regime, while Shi'ites enjoyed their awakening freedom. Embedded within the ranks of US troops, he witnessed disgraceful raids on Iraqi citizens. And these accounts are presented here for the reader to see, feel, and try to understand. In a clear photojournalistic way, van Kesteren outlines why it will take a long time before the Iraqi people can enjoy the semblance of peace. Accompanying the images is an introduction by Newsweek senior editor Michael Hirsh, with whom Van Kesteren shared several tense moments in Iraq. Introduction by Michael Hirsh. Paperback, 6.5 x 9 in./544 pgs / 245 color.

Boris Groys, Julieta Aranda, Brian Kuan Wood, Anton Vidokle If all things in the world can be considered sources of aesthetic experience, suggests media critic and philosopher Boris Groys, then art no longer holds a privileged position. Rather, art comes between the subject and the world, and any aesthetic discourse used to legitimize art must also necessarily serve to undermine it. As editor, Groys assembles a multi layered collection of essays by influential contributors as the latest issue of E-Flux Journal, including noted curator Lars Bang Larson and visual artist Paul Chan. Groys and his contributors attempt to disentangle tensions like artist vs. spectator and creator vs. viewer, presenting artistic practices as a type of public address.

함양아 This monograph documents Korean artist Ham Yangah's works from multiple disciplines, including her installation works Nonsense Factory (2010) and Pole installation as individuals in society (2007), the chocolate sculpture Chocolate Head (2007) and performance video Adjective Life - Out of Frame (2007), plus examples from her significant bodies of video works - such as Dream... in Life (2003-04), Transit Life (2005), 10 to 3 (2005), Illusions of Memory (2005), Tourism in Communism (2005), and Land, Home, City (2006), to name but a few. Includes essays, interview and artist biography.

John Baldessari, Hans Ulrich Obrist Hans Ulrich Obrist has been a staunch supporter of the Los Angeles maestro of Conceptualism John Baldessari from early on in his career. For these conversations, the artist and curator were joined by, among others, the Uruguayan artist and author Alejandro Cesarco, a friend and previous public interlocutor of Baldessari's. Baldessari himself offers readers insight into the motives and semiotics of his multimedia work and his life as an artist, always expressing himself with precision and with wit. A recurrent topic throughout these discussions is the interaction of text and image (on which so much of Baldessari's work leans), and issues such as the museum as institution, idea archives and unrealized projects, and on his career, exhibitions and retrospectives of the past few years.

Hans Ulrich Obrist, Hu Fan On January 31, 2008, Swiss curator, critic and historian Hans Ulrich Obrist conducted a "marathon" of conversations in Beijing, after the example of his famous Serpentine Gallery marathons. This marathon called on artists, cultural producers and media practitioners to discuss the post-Olympic state of the city. Participants included internationally renowned artists Ai Weiwei and Cao Fei, writer and publisher Hung Huang, fashion designer Zhang Da and many others. Topics discussed included everyday life in contemporary Chinese society, the impact of the Olympic Games and the role of the internet in daily life.

Gregor Stemmrich, Lawrence Weiner, Gerti Fietzek Lawrence Weiner's art uses language in reference to materials. Language itself is a material and at the same time a means of presentation of his work. Weiner evolved this approach in the context of the Conceptual art of the late 60s, yet he does not see his own work as "conceptual." The "space" he works within is the entire cultural context, and his works are associated with various different media and forms of presentation: books, posters, videos, films, records, drawings, multiples, installations indoors and outdoors, and more.

Since his earliest days as a professional artist, Weiner has given written and verbal expression to questions concerning his work and its context. These utterances—statements, interviews, lectures, and conference contributions—have been collected together in this publication for the first time, and ordered chronologically. Taken as a whole they afford an insight both into a complex individual biography and into the wider development of art and culture and the challenge that this entails. Edited by Gregor Stemmrich and Gerti Fietzek. Paperback, 6.5 x 9.5 in. / 496 pgs / 190 b/w.

헤드에이크 편집부 엮음

Jonas Ekeberg

Jaye Rhee 이재이 Imageless: Jaye Rhee (Seoul: Specter Press, 2010). Monograph of the artist. Hardback, 225 x 305 mm, 120 pp.

R.hehl Eds. M.angelil The first volume in a forthcoming series developed in conjunction with the Urban Mutations on the Edge seminar at the ETH, Zurich. The collection of essays presents a cross-section of urban informality by drawing from specific case studies in Serbia, Morocco, and India as well as broader theoretical frameworks.

Lynne Cooke, Johanna Burton Encounters with art engage various conditions of interiority whether through psychic spaces or specific physical environments such as museums and private residences. The exhibition If you lived here, you d be home by now, presented at the Hessel Museum of Art, CCS Bard, was the catalyst for this anthology. The first in a series titled CCS Readers, this volume provides a paradigmatic case study for probing issues of the personal and subjective experience within realms of the sociological, political and cultural. Features commissioned essays, conversations and talks, historical writings and artistic projects from such intellects as Anni Albers, Moyra Davey and Virginia Woolf to establish the notion of self, society and the contemporary art world.

Nayoungim, Gregory S. Maass

Janet Cardiff, George Bures Miller Using existing elements in prison cells at the massive Eastern State Penitentiary in Philadelphia, sound artists Janet Cardiff and George Bures Miller produced a percussive site-specific work that was rhythmic and musical at some points and at other times pure sound, as if made by the multitude of ghosts inhabiting the cells. Eastern State Penitentiary was the world's first true "penitentiary," designed to inspire profound regret—or penitence—in the hearts of criminals. Its influential design featured cell blocks extending like the spokes of a wheel so that each inmate lived in solitary confinement in a vaulted skylit cell. The artists chose Cell Block Seven, an enormous, cathedral-like, two-story wing completed in 1836 for their piece. It had never before been open to the public. Pandemonium documents this haunting and ephemeral work with color and black-and-white photographs and an audio CD, enclosed.

Mirjam Schaub This is the definitive edition documenting Janet Cardiff's audio Walks in Paris, London, and New York. For these walks, Cardiff provided gallery-goers with walkmans which led them through the cities relying solely on the acoustic guide. The urban environment thus became the scene of a mysterious narrative in which the visitors became ever more involved. An artist's book with a CD that "guides" readers through the book with regards to text and illustrations.

Jessica Morgan, Leslie Jones A major figure in contemporary art, John Baldessari is widely considered one of the most influential artists to emerge since the mid-1960s. From his early text-and-image paintings to his more recent photo collages and installations, Baldessari has continued to make art that addresses the social impact of mass culture, often playfully through strategies of appropriation and deconstruction. Baldessari's lifelong interest in language, written and visual, and the interaction between the two, raises questions about the nature of communication and perception. More than 400 illustrations are presented in full colour in this monograph published in conjunction with a major exhibition organised by the Los Angeles County Museum of Art and Tate Modern in London. Eleven essays by critics, curators, art historians, and an artist and former student of Baldessari's round out this volume. Few contemporary artists have achieved the range and relevance of Baldessari's oeuvre, which is finally given its due in this elegant retrospective book.

Keren Cytter The Seven Most Exciting Hours ... is an adventure novel based on a true story told in a televised interview by the notorious Danish
filmmaker Lars von Trier. Set around a Copenhagen hospital, it describes seven hours in the life of Tibor Klaus Trier the filmmaker's
father from the moment that his wife goes into labor early in the morning until Lars is born. The plot only then begins to thicken: carjackings, family murder, zombies, Armageddon, and phantom diagnosis
of cancer all vie for attention. Using classic slasher flicks and psychological pot-boilers and a wink to Glenn Gould as its guides,
Cytter explores the metaphysical wildness of mind representative of von Trier's work.

Nav Haq, Tirdad Zolghadr Class inevitably raises awkward questions for the protagonists of contemporary art — about their backgrounds, patrons and ideological proclivities. Lapdogs of the Bourgeoisie investigates this latent yet easily overlooked issue, which has been historically eclipsed by gender, sexuality, ethnicity and nationality. This book creates a conversation on a sensitive subject, bringing together essays by art-world types including artists, curators and critics. On one hand, the ideas here raise the question of whether a given socio-economic background still helps define an artistic career — and to which point this career might reflect or consolidate the hierarchies in question. On the other hand, the project asks whether the traditional ways of analyzing class structure are actually helpful in an examination of who makes art today.

Lawrence Weiner Lawrence Weiner's trademark graphic text and sign pieces are here juxtaposed with a few erotic and/or marine-ish photographs. First published in 2003, this artist's book is now available again in an edition of 600 numbered copies. The first edition was printed all in black. The new one is all in blue.

John Maeda Received an Honorable Mention in the Communication and Cultural Studies category of the 2005 Professional/Scholarly Publishing Annual Awards Competition presented by the Association of American Publishers, Inc.

Finally, we are learning that simplicity equals sanity. We're rebelling against technology that's too complicated, DVD players with too many menus, and software accompanied by 75-megabyte "read me" manuals. The iPod's clean gadgetry has made simplicity hip. But sometimes we find ourselves caught up in the simplicity paradox: we want something that's simple and easy to use, but also does all the complex things we might ever want it to do. In The Laws of Simplicity, John Maeda offers ten laws for balancing simplicity and complexity in business, technology, and design—guidelines for needing less and actually getting more.

Maeda—a professor in MIT's Media Lab and a world-renowned graphic designer—explores the question of how we can redefine the notion of "improved" so that it doesn't always mean something more, something added on.

Maeda's first law of simplicity is "Reduce." It's not necessarily beneficial to add technology features just because we can. And the features that we do have must be organized (Law 2) in a sensible hierarchy so users aren't distracted by features and functions they don't need. But simplicity is not less just for the sake of less. Skip ahead to Law 9: "Failure: Accept the fact that some things can never be made simple." Maeda's concise guide to simplicity in the digital age shows us how this idea can be a cornerstone of organizations and their products—how it can drive both business and technology. We can learn to simplify without sacrificing comfort and meaning, and we can achieve the balance described in Law 10. This law, which Maeda calls "The One," tells us: "Simplicity is about subtracting the obvious, and adding the meaningful."

Paul O'Neill Locating the Producers investigates how and why more long-term and/or accumulative public art projects have began to emerge in response to single locations, and provides in-depth examination of sustained public art projects, including: The Blue House, IJburg (NL), Trekroner Art Plan, Roskilde (DK), Grizdale Arts, Cumbria (UK), and Edgware Road, London.

various Twenty years of Maison Martin Margiela is examined in this unique retrospective exhibition catalogue. Departing from the traditional idea of presenting a comprehensive overview, the catalogue explores the different themes and concepts that have been present in the Maison's production. This extends to their collections, events, the interior designs of their boutiques and offices, and the unmistakeable approach to their graphics and communication

Cuauhtémoc Medina, Dawn Ades, Katerina Gregos The 2012 Manifesta—the nomadic European Biennial of Contemporary Art—explores the impact that industrial practices such as the production of coal have had on some of the most innovative artists of the twentieth and twenty-first centuries. This catalogue to the biennial is loosely based on the format of an encyclopedia.

Boris Groys, Okwui Enwezor, Francesco Bonami, Rosa Martinez, Isabel Carlos, Michele Robecchi, Udo Kittelman, Nicolas Bourriaud, Viktor Misiano, Igor Zabel In 2008 Manifesta Foundation together with Italian publisher Silvana Editoriale made available a reprint of the Manifesta Journal in the form of two books. Initially the single Manifesta Journals were published between 2003 to 2005 in a series of six issues. The first book is composed of the following MJs : MJ#1 The Revenge of the White Cube? (Spring / Summer 2003), MJ#2 Biennials (Winter 2003 / Spring 2004) and MJ#3 Exhibition as a Dream (Spring / Summer 2004).

Various The Grammar of the Exhibition Manifesta Journals new series on contemporary curatorship starts with an inquiry into the fundamental aspects of curating - namely the grammar of the exhibition. In this context, grammar can be defined as the linguistics and vocabulary of curating, and can also be considered an accepted methodology to help interpret and define the ideas, decisions and actions of the curator. Subdivided in various sections, a differentiated group of authors has been invited to contribute to MJ#.

Various

Various

Various

Robert Fleck, Richard Wood, Natasa Petresin, Francesco Manacorda, Jens Hoffmann, Barbara Steiner, Michele Robecchi, Hans Ulrich Obrist, Viktor Misiano, Igor Zabel In 2008 Manifesta Foundation together with Italian publisher Silvana Editoriale made available a reprint of the Manifesta Journal in the form of two books. Initially the single Manifesta Journals were published between 2003 to 2005 in a series of six issues. The second book contains MJ#4 Teaching Curatorship (Autumn / Winter 2004), MJ#5 Artist & Curator and Archive (Spring / Summer 2005, first published in this book) and MJ#6 Memory of the Show (Autumn / Winter 2005, first published in this book).

Markus Miessen Welcome to Harmonistan! Berlin-based architect/writer Markus Miessen tackles the pervasive contemporary overuse of the concept of ''participation'' in the final part of his paradigm-changing trilogy. Supported by a nostalgic veneer of worthiness, phony solidarity and political correctness, participation has become the default of politicians withdrawing from responsibility. Miessen argues for an urgent inversion of participation, reflecting cogently on the limits and traps of its real motivations. He dreads breeding the next generation of facilitators and mediators, insisting on conflict as an enabling, instead of disabling, force. With refreshing candor, this internationally known architect and professor outlines a format for acting as uninvited irritant, forcing entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, Miessen writes, democracy has to be avoided at all costs!

Boris Groys

Pascal Gielen Here, art sociologist Pascal Gielen examines the notion that the global art economy-with its ever-renewable youth quota, its gender imbalance, flexible working hours and short-term contracts (or lack of contracts)-is wholly congruent with the worst aspirations of late capitalism, and is ripe for economic exploitation. Conscious that art also offers real liberties, Gielen also proposes alternative models and argues for a recognition of the values implied by the creative process, rather than by the subtle coercions of post-Fordist production imperatives to which we are all subject

Ranjit HOSKOTE, Nancy ADAJANIA, Ricardo BASBAUM, Jean-Paul FARGIER, YANG Haegue(양혜규), Peter WEIBEL, John RAJCHMAN, Arjen MULDER, Hiroshi YOSHIOKA(吉岡洋), Clara KIM, Lev MANOVICH, JO Jeonghwan(조정환), PARK Wongil, Susanne RENNERT, KissPal SZABOLCS, Simon O'SULLIVAN, David ZERBIB First issue of the biannual journal by the Nam June Paik Art Center. Digital version available for download.

'The aim of the NJP Reader is to contextualize Nam June Paik's artistic thought and random access strategies in a topical discursive practice.' (Excerpt from the editorial on page 2)

This issue presents selected responses of international artists, critics and curators to the following 3 questions posted in the form of a questionnaire:
1. Artistic anthropology intends to produce novel models of relationality and connectivity. Could (Nam June Paik’s legacy as a form of) artistic anthropology contribute to an artistic discourse going beyond the framework of “relational aesthetics”? What artists in our day have developed relevant examples of rethinking and recontextualizing an artistic anthropology?
2. What could artistic anthropology mean to current artistic practice? How could it relate to medium-specific qualities? Is it a form of artistic communication defined by a postmedium-condition? Or is it a practice demanding the concept of medium-specificity to change?
3. What could artistic anthropology - as a form of knowledge production - mean for the current classification system? Will it challenge the dominant paradigms of the established humanities and sciences? What type of new models might trigger this? How could artistic anthropology contribute to a better and more political understanding of the “human condition”? And what could artistic anthropology mean for the concept of art in general?

노순택 지음

Pnina Avidar, Klaske Havik, David Mulder Is gentrification necessary for urban renewal? To what extent is it a natural course of events, and to what extent is it being induced? The process of transforming a low-income neighborhood into a middle-class enclave, often driven by members of the creative classes, used to start from the bottom, as seen in run-down parts of London and New York. It has since been discovered by the market, and developers now look to lure creative industries and cultural facilities as top-down mechanisms to kick-start the process. This issue of the architectural journal OASE explores the theoretical background of the gentrification phenomenon from perspectives including the visual arts, cultural history, economics, landscape and urban design and sociology. It also includes case studies on London, Amsterdam, Rotterdam, Antwerp and Vienna.

옥인 콜렉티브 지음

Richard Grusin, Jorinde Seijdel, Liesbeth Melis With the rise of less formal, more personal media outlets like YouTube and blogs, the mass media is no longer our only public forum. This issue of the Dutch architectural journal Open investigates these new user-tailored media, asking, "What are the opportunities for artistic practices and critical forms of publicness?"

Maria Hlavajova, Thierry de Duve, Chantal Mouffe, Molly Nesbit This year, Open celebrates its fifth anniversary with this extra edition, which addresses the role of the art biennial in city marketing. Open 16 is published concurrently with the first Brussels Biennial.

Laura Rascaroli The Personal Camera is an exploration of an elusive but more and more compelling field: essayistic cinema. The essay film, together with its cognate forms—the diary, the travelogue, the notebook and the self-portrait—is cinema in the first person. It is a cinema of thought, of investigation and self-reflection, in which the filmmaker, instead of withdrawing behind the camera, comes out into the open, to say 'I', to take responsibility, and to address and engage with the spectator within a shared space of embodied subjectivity. Authorial, experimental and radical, essayistic cinema belongs within the lineage of avant-garde and political filmmaking and responds above all to the need we feel today for more contingent, autobiographical, private forms of expression. This study provides a unique insight into an intricate but fascinating field, by engaging with the work of directors such as Jean-Luc Godard, Chris Marker, Harun Farocki, Pier Paolo Pasolini, Alexander Sokurov, Michelangelo Antonioni, Derek Jarman, Federico Fellini, Wim Wenders, Jonas Mekas and Agnés Varda.

Peter Friedl, Anselm Franke An engrossing collection of writings and interviews by Berlin-based artist Peter Friedl brings together — for the first time — wide-ranging work dating back almost 30 years. As in his artworks, Friedl's writings quote from and re-work multiple genres, offering reviews and portraits of George Sand, Clarice Lispector and Jean-Luc Goddard; examining theater, film and art history through the work of Robert Wilson, Yoko Ono and Glauber Rocha; and expanding and reflecting on his own projects. Alongside these are essays delving deep into the past, exploring mainly colonial history and its paradoxical traces in the present through narratives about Haiti, South Africa and Italy's repressive colonial rule in Africa. A mind-expanding reader from one of the art world's great contemporary thinkers, author of Four or Five Roses and Working at Copan.

Matthias Ulrich From 2009 to 2011, Schirm Kunsthalle presented more than 50 performances, happenings, installations, workshops, markets, rallies and demonstrations in Frankfurt downtown center.The 58 international artists involved shared the aim of interacting with the public, often by turning bystanders into participants themselves. The project incorporates important artistic strands from earlier in the 20th century from Dada and Fluxus to the Situationists with those characterized as social turn, or the community based art currently in vogue. In this jam packed, lively reader, curator Matthias Ulrich engages 51 of the artists by asking them ten central questions about participatory public art and creates through those insights a comprehensive roundup on interactive, cooperative practices today.

Noam Chomsky

Alex Ross Winner of the 2007 National Book Critics Circle Award for Criticism
A New York Times Book Review Top Ten Book of the Year
Time magazine Top Ten Nonfiction Book of 2007
Newsweek Favorite Books of 2007
A Washington Post Book World Best Book of 2007

In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

Zoe Gray, Miriam Kathrein, Nicolaus Schafhausen, Monika Szewczyk, Ariadne Urlus This book documents three large-scale symposia at Witte de With Center for Contemporary Art. Structured to establish a lively platform for debate and exchange, these symposia explore the practice of three of the protagonists of the contemporary art world: the critic, the curator and the artist. Are they still the people who decide what art is made, what is seen, and whether it is ''good''? The book includes transcripts from workshops and dialogues, and also contains spirited contributions that arrived from participants in the months after the dialogues took place. Bringing together the cross-generational experience of the attendees, this compendium offers insights from some of the most renowned and promising figures in their fields.

임민욱 Minouk Lim Published on the occasion of the 2010 Media Art Korea Award (MAK Award) which recognises promising Korean media artists and helps them gain greater international recognition. This book features Minouk Lim's award-winning work S.O.S. – Adoptive Dissensus (2009), a documentary video of a participatory performance given on a cruise ship along the Han River. Two of the artist's previous works titled New Town Ghost (2005) and Portable Keeper (2009), as well as three more recent works, The Weight of Hands (2010), FireCliff 1(2010), and FireCliff 2 (2011), are also included. With essays by Hong-hee Kim, Mike Stubbs, Yeongok Kim, Nathalie Boseul Shin, and Manray Hsu. Includes artist biography.

Will Bradley, Mika Hannula, Cristina Ricupero, Superflex

Sarah Thornton Named one of the best art books of 2008 by The New York Times and The Sunday Times [London]: “An indelible portrait of a peculiar society.”—VogueThe art market has been booming. Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion.

In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture. 8 illustrations

Kaelen Wilson-Goldie This digital document is an article from Artforum International, published by Artforum International Magazine, Inc. on June 22, 2011. The length of the article is 1032 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

Citation Details
Title: Sharjah Biennial 10: Sharjah art museum and other venues, UAE.('Plot for a Biennial')
Author: Kaelen Wilson-Goldie
Publication: Artforum International (Magazine/Journal)
Date: June 22, 2011
Publisher: Artforum International Magazine, Inc.
Volume: 49 Issue: 10 Page: 399(1)

Distributed by Gale, a part of Cengage Learning

Claire Doherty

Tom McDonough The Situationist International (SI), led by the revolutionary Guy Debord, were active throughout the 1950s and 60s. They published the journal Internationale Situationniste that included many incendiary texts on politics and art, and were a galvanizing force in the revolutions of May 1968. The importance of their work has been felt particularly in their revolutionary analysis of cities. The SI were responsible for utopian imaginings of the city, where its alienating effects from its routine use as a site of consumption and work were banished and it was instead to be turned into a place of play. Tom McDonough collects all the SI’s key work in this area for an essential one-stop collection. Including such essential works as ‘The Theory of the Derive’, ‘Formulary for a New Urbanism’, and many previously untranslated texts, the book will also be strikingly illustrated by the images that were core to the Situationist project.

김영글 김영글의 세 번째 책작업인 <Six Fingers>는 역사적, 허구적 인물들의 입을 빌어 세상의 여러 '육손이'들에 관해 쓴 텍스트 모음이다. 육손이는 원래 태어날 때부터 손가락이 여섯 개 달린 사람을 낮추어 부르는 말이지만, 이 책에서 작가는 인간의 힘을 넘어서는 삶의 기대와 공포, 그리고 필연적으로 품고 가는 우리 내부의 불균질한 속성들로 그 의미를 확장한다.  

목차

작가 Author
무용수 Dancer
상담사 Life planner
봉제공 Seamstress
메이저리거 Mager Leaguer
그 외 기록된 사람들 The Rest
그 외 기록되지 않은 사람들 and More

Slavs and Tatars Slavs and Tatars is a multi-artists' collective which is fascinated by the area east of the former Berlin Wall and west of the Great Wall of China. Through their often-playful art they delve into the riches of this cultural crossroads, the romantic sphere of influence between Slavs, Caucasians, and Central Asians. Here they plunge into the fables and myths of the mountainous Caucasus region: the first part addresses the complexity of languages and identities on the fault line of Eurasia, and the second part, slyly titled Steppe by Steppe, explores the region's seemingly reactionary approaches to romance. Whether they're looking at art, fashion, lifestyle or science, Slavs and Tatars bring a new point of view to the table.

Abbie; Haber, Izack; Forcade, Tom; Cohen, Bert Hoffman Steal this Book [Mass Market Paperback] [Jan 01, 1971] Abbie Hoffman

T.J. Demos, Okwui Enwezor, Claire Gilman, Margaret Sundell Amid the popularity of documentary practices in contemporary art, The Storyteller addresses the use of storytelling as a means of exploring recent political events. For the artists in this volume, the story operates neither as a purely imaginary conceit nor as an item of verifiable information. In some cases, it may take the form of an invented drama based on real events; in others, it adopts literary genres such as the fairy tale or the quest; in still others, a dialogue is conceived between active participants in a contemporary political situation. Edited by Claire Gilman and Margaret Sundell, The Storyteller includes works by Cao Fei, Jeremy Deller and Mike Figgis, Omer Fast, Mounir Fatmi, Ryan Gander, Lamia Joreige, Joachim Koester, Emanuel Licha, Missing Books, Steve Mumford, Adrian Paci, Michael Rakowitz, Liisa Roberts and Hito Steyerl.

Rosten Woo, Meredith TenHoor Downtown Brooklyn's Fulton Mall is one of the most bustling public spaces in New York City. A colossus of commerce, it welcomes over one hundred thousand shoppers daily and ranks among the most profitable commercial real estate in the entire country, and is also home to some of the city's most recognized institutions, including cheesecake mecca Junior's, that have been immortalized in song, film, and culture. Despite its historic link to Brooklyn's past and its financial success as a shopping district, Fulton Street is rarely celebrated in New York. The street's hand-painted signs, customized jewelry, rare sneakers, mega-church, and vendors offer a special sampling of noncorporate commerce, but many consider its sensorial and physical density a sign of blight. Misunderstandings about race, class, and profitability have led Fulton Street to be characterized as run-down, dangerous, or underutilized, and as a result it has been subject to nearly continuous renovation. Recently rezoned and becoming increasingly attractive to national chain stores, Fulton Street is once again poised for big changes.

Street Value is a challenge to creatively rethink the planning and urban design of Fulton Street and other urban shopping districts. Street Value explores the mall's historical and contemporary conditions through original essays, oral histories, new and archival photographs, historic documents, and interviews with key planners, developers, city officials, historians, and activists from the 1960s to the present. Street Value probes the ideology of redevelopment and demonstrates how commercial, governmental, and activist forces have coalesced to produce one of Brooklyn's most legendary public spaces.

Ann Demeester, Luis Carcamo-Huechante, Sung Hwan Kim, Joan Jonas This first monograph on Korean-born, New York-based Sung Hwan Kim offers a multifaceted encounter with the artist's lyrical, perfomative work via the artist's own writing, a conversation with Joan Jonas, an account of his Prix de Rome performance by Ann Demeester and an essay by Harvard's Luis E. Carcamo-Huechante. With an introduction by Eva Huttenlauch.

Stine Hebert, Federica Bueti, Sophie Gosselin, Brandon LaBelle The latest Surface Tension gathers the fruits of the Manual project, a collaborative sound-art venture undertaken by six international artists. It includes a randomly chosen CD<\p>by one of the contributors.

Tessa Overbeek, Jeroen Boomgaard, Pascal Gielen, Paul De Bruyne Throughout the world, the educational field is being transformed into a marketplace in which institutions must compete for students, and are called on to assess their cultural contributions in terms of finance and management. Is there any room left for art in such a system? Teaching Art in the Neoliberal Realm investigates the wide-scale reorganization of art education in the United States, Europe, Asia, Australia, Latin America, Russia and The Netherlands, and seeks to determine both the current impact and future ramifications of market education on the arts and the artist. Most importantly, it provides prescriptions for a positive direction forward, steering between the cynical big business of the art market and the threatened idealism of classic art education. The thematic chapters, interviews and essays adopt both practical and theoretical approaches, and include such contributors as Richard Sennett, Marco Scotini and Dieter Lesage.

정금형 Geumhyung Jeong, 임근준 The performance Technical Problem was a collaboration between the designer-artist Jackson Hong, who selected and supplied various equipments as “props” for the piece; the performer Geumhyung Jeong, who tried an interplay with the inert objects onstage; and the writer Chungwoo Lee, who initiated the project and introduced the two artists to each other.
The book starts from the middle: having its “cover” inside, the reversed structure suggests the non-narrative nature of the performance. The pages alternate between the documentation photographs and the text, which includes a revealing transcription of the artists’ talk after the second and last performance on 24 April 2010.

Tiqqun Historical conflict no longer opposes two massive molar heaps, two classes—the exploited and the exploiters, the dominant and dominated, managers and workers—between which, in each individual case, it would be possible to differentiate. The front line no longer cuts through the middle of society; it now runs through each one of us... "—from This Is Not a ProgramTraditional lines of revolutionary struggle no longer hold. Rather, it is ubiquitous cybernetics, surveillance, and terror that create the illusion of difference within hegemony. Configurations of dissent and the rhetoric of revolution are merely the other face of capital, conforming identities to empty predicates, ensuring that even "thieves," "saboteurs," and "terrorists" no longer exceed the totalizing space of Empire. This Is Not a Program offers two texts, both originally published in French by Tiqqun with Introduction to Civil War in 2001. In "This Is Not a Program," Tiqqun outlines a new path for resistance and struggle in the age of Empire, one that eschews the worn-out example of France's May '68 in favor of what they consider to be the still fruitful and contemporary insurrectionary movements in Italy of the 1970s. "As a Science of Apparatuses" examines the way Empire has enforced on the subject a veritable metaphysics of isolation and pacification, "apparatuses" that include chairs, desks, computers; surveillance (security guards, cameras); disease (depression); crutch (cell phone, lover, sedative); and authority. Tiqqun's critique of the biopolitical subject and omnipresent Empire is all the more urgent as we become inured to the permanent state of exception that is the War on Terror and to other, no less intimate forms of pacification. But all is not lost. In its unrelenting production of the Same, Empire itself creates the conditions necessary for the insurrection to come.

이득영 Duegyoung Lee This book presents Duegyoung Lee’s photography, Two Faces, which is “a panoramic picture of the Hangang riverside landscape, composed of about 13,000 photographs Lee took for four days on several boats (cleaning boat, cruise boat, municipal boat), traveling the 48 km waterway of the Hangang from the upper region of Misa-ri, Gyeonggi-do, passing through Seoul, all the way down to Gimpo area, Gyeonggi-do.”
Conceptually, Two Faces is a combination of two books: one with the north side view and the other the south side. The book is constructed as if the two books are put together bottom-to-bottom, so that the two views from the Hangang correspond to each other geographically. The pages are Asian-folded to create the impression of a continuous flow of the landscape. The cover shows the entire work compressed widthwise to 1%. A short, personal essay by Z-won Rhee, reflecting the modern history of the Hangang, is included as a supplement.

Maurice Blanchot The Unavowable Community is an inquiry into the nature and possibility of community, asking whether there can be a community of individuals that is truly "communal." The problem, for Blanchot, is that the very terms of an ideal community make an "avowal" of membership in it a violation of the terms themselves. This meditation ranges from the problematic effects of a defect in language to actual historical experiments in community. As Blanchot's first direct treatment of a subject that has long figured in or behind his work, this small but highly concentrated book stands as an important addition to his own contribution to literary, philosophical, social, and political thought, figuring as it does at the center of the emerging concern for a redefinition of politics and community. Readers of Blanchot know not to expect answers to the great questions that move his thought-rather, to live with the questions at the new level to which they have been raised in his discourse.

Christian Marazzi The 2010 English-language edition of Christian Marazzi's The Violence of Financial Capitalism made a groundbreaking work on the global financial crisis available to an expanded readership. This new edition has been updated to reflect recent events, up to and including the G20 summit in July 2010 and the broad consensus to reduce government spending that emerged from it. Marazzi, a leading figure in the European postfordist movement, argues that the processes of financialization are not simply irregularities between the traditional categories of wages, rent, and profit, but rather a new type of accumulation adapted to the processes of social and cognitive production today. The financial crisis, he contends, is a fundamental component of contemporary accumulation and not a classic lack of economic growth. Marazzi shows that individual debt and the management of financial markets are actually techniques for governing the transformations of immaterial labor, general intellect, and social cooperation. The financial crisis has radically undermined the very concept of unilateral and multilateral economico-political hegemony, and Marazzi discusses efforts toward a new geomonetary order that have emerged around the globe in response. Offering a radically new understanding of the current stage of international economics as well as crucial post-Marxist guidance for confronting capitalism in its newest form, The Violence of Financial Capitalism is a valuable addition to the contemporary arsenal of postfordist thought. This edition includes the glossary of the esoteric neolanguage of financial capitalism—"Words in Crisis," from "AAA" to "toxic asset"—written for the first English-language edition, and offers a new afterword by Marazzi.

CTG, Kohei Ando, Takahiko Iimura, Keigo Yamamoto, Toshio Matsumoto, Video Earth Tokyo, Mako Idemitsu, Nobuhiro Kawanaka, Katsuhiro Yamaguchi, Norio Imai, Hakudo Kobayashi, Tatsuo Kawaguchi, Saburo Muraoka, Keiji Uematsu, Morihiro Wada
2010, 162 min, color and b&w, sound, DVD, Japanese with English subtitles
Vital Signals is a survey of the vibrant, interdisciplinary video art scene in Japan in the 1960s and '70s. Produced by EAI, the DVD anthology features sixteen works by fifteen Japanese artists, among them key figures such as Takahiko Iimura, Mako Idemitsu and Toshio Matsumoto. The DVD is accompanied by a 100-page, bilingual (English and Japanese) illustrated catalogue publication. Essays by Barbara London, Glenn Phillips, and Hirofumi Sakamoto draw out the unique art historical and cultural contexts of early Japanese video art, and its relation to film and other visual art forms. The Vital Signals DVD is organized in three parts: The Language of Technology, Open Television, and Body Acts. In technical experiments, activist statements, and conceptual performances, Japanese artists of the 1960s and '70s transformed the intangible—time, gesture, the electronic signal—into rich art-making material. The Vital Signals DVD anthology and catalogue publication illuminate this fertile period of creative engagement in Japan.

William Morris

William Morris

Wendelien Van Oldenborgh Dutch film artist Wendelien van Oldenborgh believes, as Faulkner wrote, ''The past is never dead. It's not even past.'' Her films, which mix scripted scenes with improvisational participation, investigate the Dutch colonial past in Indonesia. This publication features two of her recent films, No False Echoes (2008) and Instruction (2009), which present as photonovels traumatic episodes that still reverberate in the Netherlands. The book also includes a reprint of a 1913 essay of national freedom by Soewardi Soeryaningrat, Indonesian nationalist, and another text, from 1935, concerning national education in Indonesia. Oldenborg's films are rich in the layering of cultural history and issues of memory and race.

Chris Kraus In Where Art Belongs, Chris Kraus examines artistic enterprises of the past decade that reclaim the use of lived time as a material in the creation of visual art. In four interlinked essays, Kraus expands the argument begun in her earlier book Video Green that "the art world is interesting only insofar as it reflects the larger world outside it." Moving from New York to Berlin to Los Angeles to the Pueblo Nuevo barrio of Mexicali, Kraus addresses such subjects as the ubiquity of video, the legacy of the 1960s Amsterdam underground newspaper Suck, and the activities of the New York art collective Bernadette Corporation. She examines the uses of boredom, poetry, privatized prisons, community art, corporate philanthropy, vertically integrated manufacturing, and discarded utopias, revealing the surprising persistence of microcultures within the matrix.Chronicling the sometimes doomed but persistently heroic efforts of small groups of artists to reclaim public space and time, Where Art Belongs describes the trend towards collectivity manifested in the visual art world during the past decade, and the small forms of resistance to digital disembodiment and the hegemony of the entertainment/media/culture industry. For all its faults, Kraus argues, the art world remains the last frontier for the desire to live differently.

George Orwell Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization, and helped make us who we are. Whether puncturing the lies of politicians, wittily dissecting the English character or telling unpalatable truths about war, Orwell's timeless, uncompromising essays are more relevant, entertaining and essential than ever in today's era of spin.

백남준아트센터 편집부 지음

Workroom 편집부 엮음

Patrick Vonderau, Pelle Snickars YouTube has come to epitomize the possibilities of digital culture. With more than seventy million unique users a month and approximately eighty million videos online, this brand-name video distribution platform holds the richest repository of popular culture on the Internet. As the fastest growing site in the history of the Web, YouTube promises endless new opportunities for amateur video, political campaigning, entertainment formats, and viral marketing—a clip culture that has seemed to outpace both cinema and television.

The YouTube Reader is the first full-length book to explore YouTube as an industry, archive, and cultural form. This remarkable volume brings together renowned film and media scholars to debate the problems and potential of "broadcasting yourself." The YouTube Reader takes on claims of newness, immediacy, and popularity with sytematic and theoretically informed arguments, offering a closer look at the available texts on YouTube and the policies and norms that govern their access and use.

Contributors include Christopher Anderson, Thomas Elsaesser, Richard Grusin, Bernard Stiegler, Toby Miller, Lisa Parks, William Uricchio, and Janet Wasko.

자크 랑시에르 지음, 오윤성 옮김

미셸 푸코 지음

앨리 러셀 혹실드 지음, 이가람 옮김

빌 리제베로 지음, 박인석 옮김

프란츠 파농 지음, 이석호 옮김

이상우 지음

미디어버스 편집부 엮음

베르나르 앙리 레비&미셸 우엘벡 지음, 변광배 옮김

서경식 지음, 송현숙 그림

미디어버스 편집부 엮음

강태희 외 지음

콘스탄스 M. 르발렌 엮음, 김현주 옮김

웬디 브라운 지음, 이승철 옮김

프리드리히 키틀러 지음, 윤원화 옮김

피에르 부르디외 지음, 최종철 옮김

피에르 부르디외 지음, 최종철 옮김

월터 J. 옹 지음, 이기우 외 옮김

리타 펠스키 지음, 김영찬 옮김

천정환 지음

당대비평 기획위원회 엮음

빌렘 플루서 지음, 김현진 옮김

수잔 손택 지음, 이병용.안재연 옮김

박길종 지음

김한용 지음

비교역사문화연구소 지음, 이재원 외

슬라보예 지젝 지음, 이성민 옮김

강태희 외 지음

김용익 지음 이 책에 수록된 글은 모두 김용익 자신이 쓴 글이다. 그에게 글쓰기는 ‘미술하기'의 한 방식이었다. 그는 작업의 과정 일부로, 작품 해제로, 생각의 기록으로, 스스로의 실천 방안으로, 무엇보다 타인에게 말을 거는 대화의 노력으로 평생 글을 써왔다. (...)
 
(...) 작가 김용익은 미술을 무엇이라 보는가, 그리고 왜 하는가. 그에게 미술은 미래의 에너지가 되는 것을 꿈꾸고 설계하는 일이다. 그것을 가로 막는 것들에 덫을 놓고 논리적으로 수정해 가는 일이다. 논리를 극한으로 전개하면 그것은 다름 아닌 순리純利에 닿게 된다. 결국 ‘미술하기‘는 인간이 순리대로 살기 위해 행하는 온갖 몸부림이 된다. 책의 마지막 장인 “무통문명에 소심하게 저항하기”에서 우리는 순리대로 살기위해 일상의 작은 혁명을 고요히 치르고 있는 김용익을 만난다. 순리대로 살기 어려워진 사회에서 순리와 상식을 지키기 위해 김용익은 여전히 미술을 하고 있다. 우리가 사는 도시에서 구현 가능한 순리가 어디까지인지 스스로 몸으로 깨쳐가며 일러주고 있다. (...)
 
김희진, 『나는 왜 미술을 하는가-정치적인 것과 개념적인 것의 연결 보여주기』, 서울: 포럼에이, 2011, 책머리에

조지 오웰 지음, 이한중 옮김

김성희 외 지음

조지 L. 모스 지음, 서강여성문학연구회 옮김

홍두승 지음

임영균 지음

파트타임스위트 발행일. 2011년 3월 10일
발행. 파트타임스위트 프레스 
인쇄. 삼원프린팅 
디자인. 신동혁 (hey-ok) 
번역. 정수혁 
도움주신 분들. 박준석, 백경원, 이산하, 이지민, 이지연, 이형주 
후원. 문래예술공장, 서울문화재단
[다목적 근거지: 발간물]은 쇼케이스가 끝난 후 프로젝트와 관련해 각 멤버들이 교환한 총48개의 질문과 그에 대한 답변을 중심으로 엮어졌다. 그 동안의 어려웠던 협업과정과 서로에게 하지 못했던 말들, 기대와 아쉬움의 표현, 작업에 대한 태도들이 여러 가지 대화들과 이미지를 통해 드러난다.
-
Publish date. 10 March, 2011
Publish. Part-time Suite Press 
Print. Samwon Printing 
Design. Donghyeok Shin (hey-ok) 
Translation. Suu-hyouk Jeong 
Thanks to. 
Junsuk Park, Kyungwon Baek, Sanha Lee, Jimin Lee, Jiyeon Lee, Hyungjoo Lee 
Sponsorship. Seoul Art Space Mullae, Seoul Foundation for Arts and Culture
Multi Purpose Basecamp: the Publication mainly consists of the 48 questions involving the project and the members’ answer to them. The questions were exchanged by the collaboration members after the Showcase. A variety of talks and images reveal the difficulty of the collaboration process, words the members hadn’t been able say to each other, expectations and disappointments and different approaches on work.

비교역사문화연구소 기획, 임지현.염운옥 엮음

프란츠 파농 지음, 남경태 옮김

DOMINO 편집동인 엮음

박찬경.클라우스 펠링 글, 박찬경 사진

이영범 지음

박만우 기획

파트타임스위트 10 March, 2011
Publish. Part-time Suite Press 
Print. Dongang Printing + Samwon Printing 
Cover Design. Donghyeok Shin (hey-ok) 
Sponsorship. Seoul Foundation for Arts and Culture
Drop by Then: Pieces of the Scenery, preceded by Raw Cast and Drop by Then: Screening, is the final end-product of our travelling project Drop by Then. The 72 drawings are a belated result of our first plan, prior to the project, to record our journey by means of drawing, instead of taking photos. We used carbon paper to mark the route of our trip on the poster, which is about the size of an actual map. Also packed inside is a photograph of DMZ to the north, that we secretly took at the Taepung observatory. his package has been mailed to subscribers for free.

현시원 지음

서동진 지음

할 포스터 지음, 이정우.손희경 옮김

강현주 외 지음

노먼 포터 지음, 최성민 옮김

노먼 포터 지음, 최성민 옮김

조동환 외 지음

알랭 바디우 외 지음, 이현우 외 옮김

이솔 지음

김항 지음

슬라보예 지젝 지음, 주성우 옮김, 이현우 감수

김영글 지음

김영글 지음

김영글 지음

김영글 지음

페터 V. 지마 지음, 김태환 옮김

캐서린 애셴버그 지음, 박수철 옮김

복도훈 지음

김도훈 지음

수잔 손택 지음, 홍한별 옮김

주경철 지음

존 스토리 지음, 박모 옮김

대니얼 챈들러 지음, 강인규 옮김

제6회 서울 국제 미디어아트 비엔날레

김장언 지음

움베르토 에코 지음, 이현경 옮김

자크 랑시에르 지음, 주형일 옮김

믹스라이스 지음

발터 벤야민 지음, 조형준 옮김

황호덕 지음

Versus 편집부 엮음

발터 벤야민 지음, 조형준 옮김

데이브 히키 지음, 박대정 옮김

볼 편집부 엮음

볼 편집부 엮음

볼 편집부 엮음

프랑코 베라르디 지음, 유충현 옮김

앤드류 해슬램 지음, 송성재 옮김

알렉스 라이트 지음, 김익현.김지연 옮김

정주하 지음

임흥순 『비는 마음』은 임흥순의 개인전《비는 마음-제주 4.3과 숭시》(2011.10.7–11.3 space 99) 에 선보였던 작품들과 함께 작가 임흥순이 2년에 걸쳐 제주도와 일본 오사카를 답사하며 모은 제주 4.3 사건에 대한 기록-증언, 노트, 이미지-들이 수록된 작품집입니다. 제주도 야간 산행과 숲 속 산책을 통해 기록한 <이름 없는 풍경>들과 이야기들은 작가 임흥순이 ‘산 자가 할 수 있는 최소한의 애도’로써 끊임없이 ‘사자와 대화’하고자 한, 소멸되는 역사를 기억하는 ‘비는 마음’이자, 과거의 상흔이 다시 반복되는 지금 그곳-강정마을-을 망각의 권력 아래 놓지 않으려는 바람입니다.
 
마지막으로 이번 작업이 4.3의 진실을 설명하고자 한 것은 아니다. 이 흔적, 이 사건의 기억을 체험하고 이해하고자 하는 마음을 통해 지금의 삶 또한 과거와 다르지 않음을 인식하고자 함이다. 그것이 고통의 미래를 만들지 않는 유일한 방법이지 않을까 하는 이유이다. 타자에 대한 ‘연민'과 죽은 자에 대한 ‘애도'는 인간의 본성이고 기본적 예의이다. 참된 삶의 조건은 무엇일까. (...) 욕망과 물질로부터 내쳐진 ‘나'의 두려움과 영혼을 직시하는 것이다. -임흥순, 『비는 마음』, 서울:포럼에이, 2012, p.16
 

목차
비는 마음-제주 4.3과 숭시 _ 신성란
비는 마음 _ 임흥순
통로 B
숭시
롱굿바이
이름 없는 풍경
제주 노트
사자 아카이브
막다른길-별
허구의 우주 그 속을 바라보다 _ 강수정
제주노트

유현미 엮음

이대범 회화는 유령이다. 한 때 사형선고(죽음/폐기)를 받았으며, 많은 사람들이 그렇게 믿었다. 그러나 그들의 굳건한 믿음을 저버리듯 회화는 지금도 살아서 버젓이 현실계를 활보한다. 어쩌면 회화는 우리가 생각했던 것보다 거대한 몸(시간과 공간을 초월하는)을 지니고 있는지도 모른다. 이러한 회화의 거대한 몸의 근원지는 어디일까? 우선 ‘재현’을 바탕으로 현실을 시각화한다는 점을 들 수 있다. 여기에는 필연적으로 ‘본다’는 행위가 선행하지만, 그것으로만 귀결되지는 않는다. 왜냐하면, ‘본다’는 행위에 선행하는 ‘인식한다’는 행위 때문이다. 즉, 이미 인식의 체계를 장악한 무수한 시지각적 관습에 의해서 대상을 보기 때문이다. 그러기에 ‘본다’는 것과 ‘인식한다’는 것이 종합되는 과정에서 재현의 방법론을 거쳐 재구성되고 발견되는 것이 회화가 보여주는 세계의 시각화이다. 그렇다면 회화의 역사는 관습적인 시각체계를 거부하는 새로운 시각을 제시하면서 구축된 시지각 전복의 역사여야 한다. 한국현대회화는 외부적으로는 ‘미완의 민족국가’라는 정치적 환경이 야기한 ‘순수와 불온’의 극단적 이분법, 내부적으로는 서구 모더니티의 피상적 수용을 통해 현실이 배제된 화면을 구축했다. 그러기에 한국현대회화는 현실의 제 문제를 평면의 절대성 앞에서 지우고, 은폐하고, 과장하며 현실을, 삶을 왜곡했다. 그 결과 회화는 현실에 침묵하기 위한 과잉된 수사로 점철되면서 우리 눈앞에서 멀어질 대로 멀어진 것이 아닐까? 그렇다면 현실(삶)을 적극적으로 수용해 당대 시지각 체계를 의심했던 작가들은 한국현대회화의 가장 중요한 성과 일 것이다. 그리고 그것은 현재까지도 회화의 유효한 과제이다. 이번 전시는 이러한 관점에서 12명(김홍주, 유승호, 문성식, 민정기, 정재호, 이호인, 주재환, 안두진, 권경환, 황세준, 노충현, 박진아)의 작가가 참여한다. 같으면서도 다른 선후배들의 작업 그 ‘사-이에서’가 한국현대회화를 되짚어 보는 계기가 되었으면 한다.

알랭 바디우 지음, 현성환 옮김

양혜규, 김현진 Haegue Yang, Hyunjin Kim …국내 개인전 경력은 2006년 인천의 폐가에서 연 '사동 30번지' 한 번밖에 없지만, 그 전시를 본 이들은 대단히 특별한 작가가 등장했다고 입을 모았을 만큼 강렬한 인상을 남겼다… 2008.12.24 한국일보
양혜규의 국내 첫 개인전인 '사동 30번지'는 일반적인 전시 공간이 아니라 인천 변두리에 아무도 살고 있지 않은 주택에서 열린 것만으로도 많은 관심을 받았는데, 특히 세월이 그대로 느껴지는 가옥에 양혜규 특유의 감수성으로 구석구석 개입한 설치물로 인해 찾아가기 힘든 장소임에도 불구하고 전시가 연장될 정도로 이슈가 되었었다. 이처럼 작가 양혜규를 이야기할 때 아직도 언급되는 중요했던 국내 첫 개인전 '사동 30번지'의 기록물이 바로 이 책이다.
"이 작품이 작가의 작업개념, 방식 등이 집약적으로 표현된 것이었다"며 "미묘한 사유의 세계가 함축돼 있다"고 주은지씨 [뉴뮤지엄 큐레이터, 53회 베니스비엔날레 커미셔너]는 당시를 기억했는데, 오래 동안 사람이 살지 않은 집인 작가의 외가는 낡은 벽지와 문이 겨우 매달려있거나 폐자재가 방안 여기저기에 널려 있지만 그 위를 조용히 밝히는 전구들과 누가 잠시 머물며 손장난을 하고 난 뒤 두고 간 듯한 종이 접기로 만들어진 조형물들, 안방을 지키고 있는 천을 뒤집어 쓴 빨래 건조기, 원래부터 걸려있었던 것 같은 숫자가 뒤엉킨 벽시계 등을 설치함으로써 시간의 흐름과 그에 대한 굴절된 기억, 그리고 그것을 고스란히 감내하고 있는 공간이 직조되어 있는 현장을 그대로 때로는 조금 가까운 시선으로 이 책에 담았다.
기획자 김현진의 글과 다수의 전시 장면 외에도 이 책에는 '사동 30번지'에 대해 기획자와 양혜규, 김장언[비평 및 독립큐레이터]의 심도 있는 대담 내용도 실려 있다. This book documents Sadong 30 (2006), a site-specific installation by Haegue Yang. Occupying a dilapidated house in Incheon, Korea, it consisted of light and reflective elements as well as geometric origamis that led visitors from room to room, from the interior space to the exterior. Its intent was to encourage contemplation of the condition of the place, which the artist says "implied an anti-time and non-space in spite of its evident social and geographical codes".

Images of the installation and brief biography included.

정기용 지음

바루흐 고틀립 지음, 양지윤 엮음

최정우 지음

수잔 손택 지음, 이재원 옮김

베네딕트 앤더슨 지음, 윤형숙 옮김

수잔 레이시 엮음, 이영욱 외 옮김

함성호 외 지음

장 마르크 로셰트 외 지음, 김예숙 옮김

권김현영 외 지음

강수미 지음

가라타니 고진 지음, 조영일 옮김

카를-알브레히트 이멜 지음, 클라우스 트렌클레 그래픽, 서정일 옮김

양혜규 지음

미셸 우엘벡 지음, 이세욱 옮김

클로드 레비-스트로스 지음, 박옥줄 옮김

기 드보르 지음, 이경숙 옮김

할 포스터 지음, 최연희 옮김

한병철 지음, 김태환 옮김

장 보드리야르 지음, 하태환 옮김

최원준 사진.글, 문영민 글

최원준 사진.글, 문영민 글

슬라보예 지젝 지음, 김서영 옮김

에이메 세제르 지음, 이석호 옮김

전소정 Sojung Jun This book is published in conjunction with the solo exhibition of Sojung Jun, 'As You Like It', held at Insa Art Space, Seoul, from November to December 2010. It revolves around the stories of nine individuals whose particular fascinations place them on the border between daily life and art. With text by Sooyoun Lee and Younghyun Kim. Brief artist biography included.

이주요, 김현진 "This book contains and grows out of stories surrounding Jewyo Rhii's works over the past several years and concludes by documenting the entrustment of her works to friends following the exhibition, 'Ten Years, Please' at Gallery 27, Kaywon Art & Design School, in May 2007.  The book tells different stories of Jewyo Rhii's objects which are now only settling down following ten years of travel as independent entities.  The process of publishing the book comes at a transitional moment between the closures of the last decade and the beginning of a new chapter of the artist's career." —(Hyunjin Kim, p. 52)
The book contains an essay by curator Hyunjin Kim, the artist's notes, and photographs of the objects on exhibit as well as in storage. 

지그문트 바우만 지음, 정일준 옮김

당대비평 기획위원회 지음

백승우 사진, 김선정 외 글

다이아나 크레인 지음, 조진근 옮김

art 편집부 엮음

아티클 편집부 엮음

아티클 편집부 엮음

전상인 지음

안규철 지음

윤상욱 지음

미셸 우엘벡 지음, 이상해 옮김

김종길, 김홍희 'Eonni is Back' is the second incarnation of the annual 'Gyeonggi Art Project', an exhibition which addresses a socio-political and cultural issue of the Gyeonggi region. In this exhibition, 26 female artists depict the physical, psychological, and social experiences of women and make an issue of their history. Their works in the catalogue are grouped into the following four categories: Womad, Herstory, Sister Act and Femme Fatale. The artist Cho Duckhyun, a Korean artist of some international renown, was commissioned to create a 'meta-artwork' by reinterpreting the works of Rha Hyeseok and Yun Suknam from his 'male' point of view. Essays are in Korean, many of which are translated into English. Excerpts from artists' statements and previous reviews are included. Artists' biographies are provided.

('Eonni' translates into 'big sister', and the term is used by girls/women to address older girls/women.)

조너선 사프란 포어 지음, 송은주 옮김

앤털 패러디 지음, 강미경 옮김

존 르 카레 지음, 박현주 옮김

김지은 지음, 김수자 그림

임근준 지음

조르조 아감벤 지음, 김항 옮김

박삼철 지음

쌈지스페이스 Book published in conjunction with the lecture program, 'The Past of Alternative Spaces and the Future of Korean Contemporary Art' organized by SSamzie Space, Seoul in 2008.

이진경 지음

할 포스터 지음, 전영백과 현대미술연구팀 옮김

임태훈 지음

‘원동’은 18세기 무렵 원서동의 이름이었다. 일제 강점기에 창덕궁을 창경원이라고 격하시켜 부르면서 그 서쪽동네라고 ‘원서동’이라도 부르기 시작했다. 

이 책은 인사미술공간이 2006년 원서동 이전을 계기로 진행한 리서치 프로젝트의 결과물로 원서동의 원래 이름을 살려 ’원동’이라는 제목을 붙였다. 


목차

원서도_김보민

원서동 인미공_강성은

원서동 구적지도_김보민, 민지애, 신지선, 장석준, 조화연
원서동 이름의 유래
물길
창덕궁 이야기
현대사옥
유적지
원서동 사람들
언덕과 빌라

원서동 블루스_박해천

지도로 읽는 원서동과 발품으로 읽는 원서동_안창모

타임라인_신지선, 장석준, 전민경

부동산 앞, 오후 2시_양철모
 
원서동 프로젝트 : 원서강독
2006. 12. 13 - 12. 30

조지 오웰 지음, 이한중 옮김

폴라 마린콜라 엮음, 조주현 옮김

울리히 벡 지음, 홍성태 옮김

이영아 지음

문무경.김성곤 지음

쥬디스 버틀러 지음, 김윤상 옮김

이인성 외 지음

유운성 외 지음

고지마 기요타카 지음, 박지현 옮김

이택광 지음

정진열.김형재 지음

이영준 지음

이영준 지음

마르틴 졸리 지음, 이선형 옮김

이주요 Jewyo Rhii This catalogue accompanies Jewyo Rhii's exhibition, curated by Sunjung Kim and presented at SAMUSO: Space for Contemporary Art from September to November 2006. It includes images of her projects Once You Lie Down, Warming and Humidifying, Five Carts, Lie on the Han River and Airport Romance, as well as an interview conducted by Sunjung Kim. 

베르나르-앙리 레비 지음, 박정자 옮김

한나 아렌트 지음

문지문화원 사이 편집부 지음

김수환 외 지음

강동호 외 지음

이상길 외 지음, 유운성 외 옮김

이택광 지음

서도호 Do Ho Suh

박해천 소개
1. <일민 시각문화 총서>의 일곱번째 책으로 출간되는 <공원, 한강, 이득영>은 전시 도록이 아니다. 이득영 사진전 <공원, 한강>과 함께 기획되었지만, 그와는 일정한 거리를 유지하며 준-자율적인 형태로 제작된 단행본이다.
2. <의견 교환>에는 작가 이득영, 미술·디자인 평론가 임근준, 번역가 윤원화, 기계평론가 이영준이 참여해, 사진이라는 시각 기계, 운송 수단에 매개된 시선, 이미지의 디지털 처리 방식, 도시 경관과 시각성의 관계, 동시대 미술과 사진 등에 대해 각자의 의견을 교환한다.
 
목차
포획하는 거울: 이득영의 한강 사진 / 윤원화
헬리콥터에 의해 매개된 시선의 역사 속에서 본 이득영의 사진 / 이영준
메모: 이득영의 의사-광학적 시선의 초월성과 그것이 호출할 수 있는 사실들의 비역사성 / 임근준
한강 주변의 교통망: 육안과 통계적 눈으로 살펴보기 / 전현우
몸의 무게 / 이진
제목을 입력하십시오 / 김형재,박재현,배민기
 
Optical Race_김형재,박재현,배민기

사와라기 노이 지음, 김정복 옮김, 김용철 감수

임흥순 지음

리처드 커니 지음, 이지영 옮김

일민미술관

이택광.홍세화.임민욱 지음

테리 이글턴 지음, 이재원 옮김

최정우 외 지음

홍철기 외 지음

슬라보예 지젝 지음, 박정수 옮김

프로파간다 편집부 지음

프로파간다 편집부 엮음

윤난지 엮음

슬라보예 지젝 지음, 한보희 옮김

양혜규 외 지음

양혜규 외 지음

임민욱 Minouk Lim Catalogue of solo exhibition by Minouk Lim at Artsonje Center in 2008. With artist biography.

김찬동, 김인선, 황인 목차

인사말 _ 김찬동 아르코미술관장
서문 _ <정마리의 정가, 이수경의 헌신>전에 부쳐 _ 김인선(전시기획자/윌링앤딜링 아트컨설팅)
평문 _ 내부,외부,막,파동-정마리의 정가와 이수경의 헌신 _ 황인(미술평론)
도판1 _ 1층 정마리 공연장면
도판2 _ 2층 드오릴 설치장면
도판3 _ 이수경 드로잉 <매일 드로잉>
정가 가사 _ 가곡/스타바트 마테르
약력
크레딧

김정헌 외 엮음

에드워드 W. 사이드 지음, 김정하 옮김

미디어 시티 서울 2010

LEE Sunyoung(이선영), Pontus KYANDER, PARK Chankyong(박찬경), KIM Jangun(김장언), PARK Manu D.(박만우), KWON Youngjin(권영진), LIM Geunjun(임근준) This is the catalogue of the 10th Open Studio Exhibition at SSamzie Space. SSAMZIE SPACE ended its formal operation with its10th open studio, held in March 2009.  The residency program originated in 1998.  As an alternative cultural space equipped with galleries, performance hall, and studios, Ssamzie space invited many artists from all over the world to participate in its programs. The organization was sponsored by a leading Korean fashion and accessories company, SSAMZIE Co. Ltd.  The Open Studio Exhibition allows artists to show the fruits of their creative labour during their residency period and provides viewers a glimpse into the private studio spaces of artists who participate in the SSAMIZE residency program. The catalogue includes works by artists who were in the one-year program, the three-month program, the International Residence Exchange Program, and the Curatorial Residence Program.  International artists and curators included:  Dirk van Lieshout, Ash Keating, Ole Schwarz, Yaiza Nicolas, Heidi Vogels, Hakima El Djoudi, NM Crew, Tomas Michael Harold. A brief artist statement, interview, or essay accompanies each entry, in addition to the artists' education and exhibition histories at the end of the catalogue. 

해롤드 A. 이니스 지음, 김문정 옮김

루치아노 바사폴로 외 지음, 황성원.윤영광 옮김

이경민 지음

우석훈 지음

양혜규, 마르그리트 뒤라스 『죽음에 이르는 병』은 마르그리트 뒤라스 Marguerite Duras의 소설 『La Maladie de la mort』를 한국어판으로 번역하고(정희경 번역), 박준상(숭실대 철학과)의 서문과 작가 양혜규 자신의 에필로그를 덧붙인 책으로, 디자인은 네델란드의 그래픽 디자이너 다니엘 반 데어 펠덴(메타 헤븐)이 맡았다. 이는 그간 이미 존재하는 주제나 소재에 최소한도로 개입하여 그 소통의 순간만을 변주해온 작가의 작업 태도와도 맞닿는 새로운 시도이다. 자신이 오랜 기간 마르그리트 뒤라스에 심취해 왔으며 또 그녀와 대화해 왔다고 말하는 양혜규의 이번 책은 모리스 블랑쇼의 공동체 이론에 대한 작가의 관심이 마그리트 뒤라스의 연인들의 공동체를 거쳐 어떻게 현재 자신의 작업으로까지 연결되고 있는지를 보여줄 것이다.

마쓰시타 기와 지음, 황선종 옮김

마스다 스스무 지음, 김준균 옮김

더그 헨우드 외 지음, 신기섭 옮김

서도호 Do Ho Suh This monograph is published on the occasion of Do Ho Suh's solo exhibition at Leeum, Samsung Museum of Art in Seoul from March to June 2012. It presents an in-depth survey of Suh's work around the theme of 'home', including meticulously sewn, full-scale recreations of the hanok (traditional Korean-style house) in Seoul where he grew up and his former residences in cities such as New York and Berlin. The portable 'homes' are often made from light, translucent fabric. Leeum Senior Curator Hyesoo Woo writes, 'Do Ho Suh traverses boundaries between various binaries—such as self and others, past and present, imagination and reality, moment and eternity—through his homes. His homes appear to be passages that allow travels between such polarities.' The present exhibition encompasses Suh's major fabric works as well as sculpture and moving image works.

Includes numerous essays, artist's notes, biography and list of works.

김장언, 노말타입 2010. 12. 23 ~ 2011. 1. 15
갤러리 정미소 2010년 외부 기획초대전인 “지난 해 여름”은 독립큐레이터로 활동하고 있는 김장언과 normal type net에 의해서 기획되었다. 이번 프로젝트의 출발은 지난 8월 한국의 모 미술잡지에서 시작되었다. 잡지사는 큐레이터에게 ‘메거진 프로젝트’로써 전시를 의뢰했고, 기획자는 작가들에 의해서 기여된 이미지로만 구성된 프로젝트를 고안했다. 기획자는 작가들에게 끊임없이 이루어지는 대화를 요청하며 자신에게 이미지를 기여할 것을 부탁했다. ‘지난 해 여름’은 이미지 대화를 위한 하나의 키워드였다.
이번 프로젝트는 잡지를 위한 프로젝트가 책의 형식으로 확장된 것이다. 기획자는 ‘도록’이 아닌 ‘책’으로서 이미지의 대화를 구성하고자 했다. 메거진 프로젝트에 참여했던 작가들 중 일부와 책 프로젝트에 새롭게 참여한 작가들, 그리고 두 명의 필자가 기획자의 초대에 응했다.
이번 프로젝트는 삶과 의식 그리고 시간에 대한 흔적들이 이미지를 통해 파편적으로 드러난다. 그리고 각자의 의식들은 서로 교차되고 충돌하며 삶의 경험과 시간을 새롭게 구성한다. 그리고 대화는 대화없이 대화를 구성한다. 전시장에서는 이 도서의 구성 내용들이 파편적으로 보여질 예정이다. 도서는 24일 출간될 예정이며, 전시장에서 구입할 수 있다.
참여작가 Artists & Contributors
곽은지 Kwak Eun Ji, 권자연 Jayeon Kwon, 구동희 Donghee Koo, 김나영 & 그레고리 마스 nayoungim & gregory s. maass, 김시원 Kim Si Won, 김재범 Jaebum Kim, 나조영 Paul J.Y. Nah, 남화연 Hwayeon Nam, 노재운 Rho Jae Oon, 만들라 루터 Mandla Reuter, 믹스라이스 mixrice, 옥정호 Oak Jung Ho, 윤정미 JeongMee Yoon, 윤주경 Joo Kyung Yoon, 이고르  셰브츅 Igor Ševčuk, 이미연 Miyeon Lee, 이슬기 Seulgi Lee, 이윤호 Lee Yunho, 이재이 Jaye Rhee, 이주영 Jooyoung Lee, 쟈스미나 로벳 & 루이스 페르난데스 폰스 Jasmina Llobet & Luis Fernández Pons, 정소영 Soyung Chung, 정직성 Jeong Zik Seong, 정현 Jung Hyun, 조은지 Eunji Cho, 진시우 Jin Shiu, 하이디 보겔 Heidi Vogels
기획 Curated by
김장언 & 노말타입 Jang Un Kim & normal type net
책 디자인 Designed by
신덕호, 우태희, 정연일 shin, dokho + woo, taehee + jung, yeonil
* 23일은 오후 6시 오픈 합니다. 별도의 오프닝 행사는 없습니다.
* 전시기간 중 휴관일은 매주 월요일, 12월 25일 26일 31일, 1월 1일 2일 입니다.
주최 Organized by
갤러리 정미소Gallery JungMiSo
후원 Supported by
운생동, 스페이스 코디네이터, 한국문화예술위원회, 객석
Unsangdong Architects Cooperation, Space Coordinator, Arts Council Korea, auditorium
갤러리 정미소Gallery JungMiSo
110-810 서울시 종로구 동숭동 199-17번지 2층
2 Foor, 199-17, Dongsung-dong, Jongro-gu, Seoul, 110-810 Korea
Tel. 82 (2) 743 5378 E-mail [email protected]

미셸 우엘벡 지음, 장소미 옮김

심우진 지음

권병준.마크 베인.O+A 지음 청취의 기술
인사미술공간
2007
135 쪽
180*260mm
컬러도판
한글/영어
ISBN: 978-89-93082-27-2
15,000원
 
 
‘사운드 아트’와 ‘음악’의 차이는 무엇이고 경계는 어디인가? 라는 질문은 사운드 아트가 현대미술에서 중요하게 다루어지기 시작하면서 지속적으로 제기되고 있지만 여전히 합의된 정의는 없다. 이렇게 사운드 아트는 정의되거나 구분되지 않은 채로 계속해서 증식하고 미술과 음악, 심지어 문학까지 장르를 넘나들며 그 영역을 넓혀나가고 있다.

‘청취의 기술’은 이러한 사운드 아트를 연구하고 시각 중심으로 발달된 우리의 문화를 청각을 동원해 살펴보고자 2007년 인사미술공간에서 진행한 워크숍, 아티스트토크, 스크리닝, 퍼포먼스의 내용을 수록하고 있다. 또한 워크숍 과정에서 제작한 DVD가 포함되어있다.

<목차>

청취의 기술_강성은

워크숍
-약간-
소리텍스트
약간_권병준
약간 아마츄어

-소리, 건축, 공공장소-
공공장소의 심리음파와 변조_마크 베인
사운드워크숍 다이어리_최태윤
동대문에서

-듣기의 원근법-
듣기의 원근법: 귀로생각하기_O+A
듣기의 원근법: 서울

아티스트 토크
크리스티나 쿠비쉬
데이빗 미카엘 디 그레고리오
마크 베인
O+A

스크리닝
비주얼 사운드

퍼포먼스
비주얼 사운드 퍼포먼스_VJ권 & 프라이머리
존 케이지, 뉴욕스쿨과 그 이후_발톤 워크숍
 
관련 페이지 - [인미공 워크샵]
2007 인미공 워크숍 ‘청취의 기술’
2007. 11. 5 - 12. 15

움베르토 에코 지음, 오숙은 옮김

로베르토 볼라뇨, 우석균, 아후벨

김한민 지음

박해천 지음

김현진 외 지음

한스 울리히 오브리스트 지음, 송미숙 옮김

폴 오닐 엮음, 변현주 옮김

정서영.김현진 지음

로빈 도드 지음, 김경선 옮김

진 로버트슨.크레이그 맥다니엘 지음, 문혜진 옮김

이득영 The photographer Lee Duegyoung methodically documents urban spaces, and for this exhibition he took a series of aerial photographs of Teheran Street in Seoul, and combined them to a very long, single photograph. In this catalogue, the image is divided to six parts, each printed over two pages with the introductory essay and other information printed on the back. The book is left unbound, so the reader can rearrange the sheets to reconstruct the work.

권소원, 딘 큐 레, 리 호앙 리 외 4인 필진 : 권소원 Sowon KWON, 딘 큐 레 Dinh Q. LÊ, 리 호앙 리 Ly Hoang LY, 린+럼(라나 린+H. 란 타오 럼) Lin + Lam(Lana LIN + H. Lan Thao LAM), 박진영 Area PARK, 배영환 BAE Young Whan, 산드린 루케트 Sandrine L 

한국 베트남 리믹스 transPOP: Korea Vietnam Remix>는 초국적인 아시아 대중문화에서 한국과 베트남이 안고 있는 역사적인 트라우마, 전통과의 긴장 관계, 그리고 두 국가간의 디아스포라가 어떻게 교차하는지를 검토하는 그룹전이다. 비엣 레(Viet Le)와 민영순이 공동으로 기획한 이번 전시는 한국, 베트남, 미국 출신의 작가 16명(팀)이 함께 어우러지는 역동적인 무대로서 한국과 베트남을 결합하는 역사적, 동시대적 연결고리를 다각적으로 제시한다. 
 
 
큐레이터 Curators

비엣 레 Viet Le, 민영순 Yong Soon Min 

참여작가 Artists
권소원 Sowon KWON, 딘 큐 레 Dinh Q. LÊ, 리 호앙 리 Ly Hoang LY, 린+럼(라나 린+H. 란 타오 럼) Lin + Lam(Lana LIN + H. Lan Thao LAM), 박진영 Area PARK, 배영환 BAE Young Whan, 산드린 루케트 Sandrine LLOUQUET, 송상 Sang-hee SONG, 안미레 An-My LÊ, 오용석 OH Yongseok, 유순미 Soon-Mi YOO , 응웬 만 흥 NGUYEN Manh Hung, 이용백 LEE Yong-Baek, 쩐 르엉 Tran LUONG, 최민화 Min Hwa CHOI Chul-Hwan, 티파니 정 Tiffany CHUNG

Contents

10. 인사말
12. 큐레이터들의 대담 / 서신
38. 한국의 베트남 전쟁: 침묵을 넘어
58. 익명의 진정성: 대중문화와 전쟁에 관한 미술
70. 참여작가소개
137. 동시대 베트남 미술에서의 몸과 자아
144. 한국계 미국인 청년과 대중문화의 태평양간 초국적 유통
172. 사회중의 이후 베트남에서 발견되는 동아시아 문화의 흔적들
196. 큐레이터들의 대담 / 서신(베트남어)
212. 연대기
216. 음악 모음
220. 심포지엄 정보
224. 큐레이터 / 필진
228. 전시작품 목록
232. 표제 / 크레딧
234. 감사의 글
236. 열바 부에나 미술관 정보
237. 아르코미술관 정보 

10. Foreword . BECK Jee-sook
12. Curatorial Conversations / Correspondences . Viet LE & Yong Soon MIN
38. Korea`s Vietnam War: Out of the Silence . Charles K. ARMSTRONG
58. The Authenticity of the Anonymous: Popular Culture and the Art of War . Viet Thanh NGUYEN
70. Art / Artists
137. The Body and the Self in Contemporary Vietnamese Art . Nora A. TAYLOR
144. Korean American Youth and Transnational Flows of Popular Culture across the Pacific . Jung-Sun PARK
172. East Asian Cultural Traces in Post-socialist Vietnam . Mandy THOMAS
196. Curatorial Conversations / Correspondences . Vietnamese Version
212. Chronology
216. Song Compilation
220. Symposium Information
224. Curators / Contributors
228. Exhibition Checklist
232. Captions / Credits
234. Acknowledgements
236. Yerba Buena Center for the Arts information
237. Arko art center information 

발행인 ㅣ 김정헌(한국문화예술위원회 위원장)
기획 및 편집 ㅣ 비엣 레, 민영순
번역 ㅣ 이정진, 정병선, 박지원
교정 ㅣ 이해원, 마야 와이머, 박지선
디자인 ㅣ 비연세
사진 ㅣ 코코
인쇄 ㅣ 현대원색문화사

Publisher ㅣ Kim Jung-heun(Chairman, Arts Council Korea)
Editors ㅣ Viet Le, Yong Soon Min
Translation ㅣ Yi Jungjin, Jung Byong-Sun, Jeewon Park, Thuy Anh T. Nguyen
Proofreading ㅣ Lee Hea-Won, Maya Weimer, Jeesun Park
Design ㅣ Byon Ce
Photography ㅣ Koh Koh
Printing ㅣ Hyundai Color Printing

Copyright ©
Arko Art Center, Arts Council Korea, 2008

조 사코 지음, 함규진 옮김

두산갤러리

메리 앤 스타니스제프스키 지음, 김상규 옮김

김홍석 외 지음

이영준 지음

윤난지 엮음

가야트리 스피박 지음, 태혜숙.박미선 옮김

한나 아렌트 지음, 김정한 옮김

우메즈 카즈오 글 그림, 장성주 옮김

우메즈 카즈오 글 그림, 장성주 옮김

우메즈 카즈오 글 그림, 장성주 옮김

김상돈 외 지음

파트타임스위트 파트타임스위트 프로젝트 리포트 2009 
(총 192페이지)
파트타임스위트 프레스에서 500부 한저으로 발행되었으며, 서울문화재단에서 후원했습니다. 이 책은 동강인쇄에서 인쇄/제본 되었으며 CD는 예인미디어를 통해 만들어졌습니다. 그래픽디자인은 황신혜 ([email protected]), 번역은 정수혁, 기획은 파트타임스위트, 음악은 파트타임스위트 사운드가 했습니다. 이 책에 수록된 텍스트의 저작권은 각 출판사와 저자, 작가에게 있으며 파트타임스위트는 각 저작권 소유자의 저작권을 존중합니다.
파트타임스위트의 2009년 프로젝트를 도와주신 
안정섭, 백경원, 차재민, 이은정, 김현진, 김장언, 이대범, 이형주, 최종운, 류한길, 임민욱, 이정은, 최복규, 충무로 부동산뱅크, 극단 다페르투토, 팽귄클래식, 열화당에 감사의 뜻을 전합니다.

TOLOVERUIN
(EP, 2010)
Intro
Music, 작곡: p-t s s / Turning to Ice, 작곡: 박재영+최태현, 가사: Cathy Acker의Blood and Guts in High School에서 무단 발췌 / Loop the Loop, 작곡: 최태현 / Reading, 작곡: 최태현 / Sudden Fiction, 작곡: 최태현, 작사: 이미연 / P-T S S,
작곡: 최태현, 작사: 이미연, 나레이션: 박재영+이미연
Part-times Suite Sound

기타/보컬: 최태현
베이스: 이미연
패드: 이병재
키보드: 박재영
프로듀싱: 최태현
마스터링: 장영규
-
Part-time Suite Annual Report 2009 
(192 pages)
Published by Part-time Suite Press in an edition of 500 copies. Sponsored by Seoul Foundation for Arts and Culture. The Book printed and bound by Dongang Print, CD-R printed by Yein Media in Soeul, Korea. Graphic design by Sinhye Hwang ([email protected]). Translated by Suu-hyouk Jeong. Edited by Part-time Suite. Music by Part-time Suite Sound. Copyrights of the original texts of the excerpts in this book are reserved by the original artists, authors, and copyright holders. Part-time Suite respects the rights of the original artists, authors, and copyright holders.
Part-time Suite would like to Thanks to 
Jeongsub Ann, Kyoungwon Baek, Jaemin Cha, Eunjeong Lee, Hyunjin Kim, Jang Un Kim, Daebum Lee, Hyungju Lee, Theater Company Cho Geung Jeong, Jong Un Choi, Hankil Ryu, Minouk Lim, Jeong Eun Lee, Bokgyu Choi(Donghaewon), Chungjeongno Budongsan Bank, Penguin Classic Korea and Yeol Hwa Dang pbl.
TOLOVERUIN
(EP, 2010)
Intro
Music by p-t s s / Turning to Ice, Music by Jaeyoung Park & Taehyun Choi, words by Cathy Acker (taken from Blood and Guts in High School without permission) / Loop the Loop, Music by Taehyun Choi / Reading, Music by Taehyun Choi / Sudden Fiction, Music by Taehyun Choi, words by Miyeon Lee / P-T S S
Music by p-t s s, words by Miyeon Lee, Narration by Jaeyoung Park and Miyeon Lee
Part-times Suite Sound

Guitar and Vocal. Taehyun choi

Bass. Miyeon Lee

Drumpad. Byoungjae Lee

Synth. Jaeyoung Park
Producing. Taehyun Choi

Co-mastering. Jang, Young-Gyu

김선정 Sunjung Kim 플랫폼 서울 2008 “I have nothing to say and I am saying it”은 영상, 사운드, 빛, 무용, 연극 등 시간과 공간에 개입하는 다양한 요소들과 접목된 동시대 예술 전시로 관람객으로 하여금 ‘방문자’가 아닌 ‘참여자’로 동참하게 한다. 현재성에 관계하는 이러한 비물질적인 형태의 예술은 관객과 작품이 거리를 두고 만나는 것이 아니라 작품을 통해 관객이 시간과 공간에 들어가서 새로운 경험과 에너지를 만나게 된다. “I have nothing to say and I am saying it”에는 개념미술, 미니멀리즘, 실험극, 미디어 아트, 현대무용과의 역사적 의미를 토대로 국제무대에서 활발히 활동하고 있는 국내외의 50여 명의 작가들이 참가하여 각각 독립적인 공간을 확보하여 실험적인 접근을 시도한다. 작품들은 상이한 매체를 가지고 개별적인 프로젝트로 진행되지만 전시의 개념적 맥락 안에서 조화를 이루게 된다. 육체의 움직임과 움직임을 통한 공간의 확장, 작품과 관객과의 관계, 예술의 일상화, 연극적 시공간 연출과 같은 다원적 관점은 1960-70년대 퍼포먼스 및 개념주의 작가들에 의해서 시도되었고 동시대 예술에서도 새로운 각도로 재조명되고 있다. 그리하여 “I have nothing to say and I am saying it”에서는 이러한 동시대 예술작품들과 함께 이에 대한 배경이 되는 역사적인 작품들의 영상, 사진, 공연, 오브제 등이 함께 제시된다.
 
총 12개의 장소에서 전시되는 “I have nothing to say and I am saying it”에 참가하는 작가들 중 대부분은 전시장이 지닌 장소성에 연관하여 새로운 작업들을 실행한다. 특히 구 서울역사에는 건물이 지닌 역사적이고 사회문화적인 맥락과 연계하여 전시가 구성되고 사간동 일대의 아트센터나 갤러리의 경우에도 전시 장소에 대한 탐구가 선행된 후 작업이 구성된다. 그리하여 플랫폼의 참여작가들은 대부분 자신이 전시할 장소에 미리 방문하여 장소와 결부하여 새로운 프로젝트를 제작하거나 기존의 작업을 설치할 경우에도 장소와 연계하여 새롭게 전개하는 형태로 참여하고 있다.
 
전시 설명
플랫폼 서울 2008 “I have nothing to say and I am saying it”의 기획을 맡은 사무소(SAMUSO)는 일반 관객에게 친숙하지 않은 동시대 미술의 이해를 돕고 12개의 공간에 퍼져있는 전시를 효율적으로 관람하기 위하여 모든 전시장에서 매일 도슨트 투어를 운영한다. 특히 구 서울역사는 수년간이나 방치된 공공 장소로서의 안전성 문제와 함께 효율적인 작품 관람을 위해 매 30분마다 도슨트 투어가 진행된다. “I have nothing to say and I am saying it”에서 도슨트는 단지 작품을 설명하는 자가 아니라 관객과 소통하고 토론을 유도하는 적극적인 매개자로서 전체 전시 구성의 일부분이 된다.
 
“I have nothing to say and I am saying it”
전시에 대한 경험은 결국 새로운 시간과 공간과의 조우이다. 이는 새로운 지각적 경험이지만 소통에는 한계가 있다. 지식과 개념은 전달될 수 있지만 감각과 경험이 완전하게 전달되는 것은 불가능하기 때문이다. “I have nothing to say and I am saying it” 전시에 들어서는 순간 관객은 작품이 속한 시간과 공간에 삽입되어 시각에 한정되지 않는 공감각적인 경험을 하게 된다. 존 케이지(John Cage)는 완전하게 침묵이 흐르는 방 안에서 자신의 맥박의 진동, 혈관의 흐름의 소리 등 평소에는 느낄 수 없었던 감각을 지각하는 경험을 한다. 이러한 의도되지 않는 지각적 경험을 “I have nothing to say / and I am saying it / and that is poetry / as I need it” 라는 말로 표현하였다. 비록 완전한 소통은 이루어지지 않지만 일방적인 시각적 경험을 강요하는 것이 아니라 직접 경험하고 체험해야 느낄 수 있는 감각의 경험을 제시한다는 의미에서 전시의 제목을 “I have nothing to say and I am saying it”이라 한다.

한병철 지음, 김태환 옮김

빌렘 플루서 지음, 김성재 옮김

김민수 지음

전남일 외 지음

최열 지음

수잔 손택 지음, 이민아 옮김

파블로 엘구에라 지음, 이수안 옮김

강태희 지음

롤랑 바르트 지음, 이화여자대학교 기호학연구소 옮김

조르조 아감벤 지음, 박진우 옮김