ALAIN ROBBE-GRILLET MEETS FATBOY SLIM AT RUTA DESTROY! Copy noun. (1.) A thing made to be similar or identical to another. Synonyms: duplicate, duplication, reprint, facsimile, photocopy, carbon copy, carbon, mimeograph, mimeo, transcript. Replica, reproduction, replication, print, imitation, likeness, lookalike, representation, mock-up, dummy, counterfeit, forgery, fake, sham, bootleg, informalpirate, phoney, knock-off, dupe. (2.) A single specimen of a particular book, record, or other publication or issue. Synonyms: edition, version, impression, imprint, issue; specimen, sample, example. (3.) Matter to be printed. Material for a newspaper or magazine article. Synonyms: material, articles, stories, features. The text of an advertisement. Copy verb (1.) Make a similar or identical version of; reproduce. Synonyms: duplicate, photocopy, xerox, photostat, mimeograph, make a pho- tocopy of, take a photocopy of, run off, transcribe, reproduce, replicate, clone, forge, fake, falsify, counterfeit, bootleg. Computing, reproduce (data stored in one location) in another location. Write out information that one has read or heard. Send a copy of a letter or an email to (a third party). Send someone a copy of an email that is addressed to a third party. (2.) Imitate the style or behaviour of. Synonyms: imitate, mimic, ape, emulate, follow, echo, mirror, simulate, parrot, reproduce, plagiarise, poach, steal, 'borrow', infringe the copyright of; rip off, crib, lift. Informal: nick, pinch. (3.) Hear or understand someone speaking on a radio transmitter.

Copy

Literature & Fiction

Martínez, Chus

Literary

Ledatape Organisation

Issue

San Francisco-based artist Kota Ezawa draws on iconic imagery to create simplified renderings that comment on the influence of television, film and photography in shaping collective experience. Ezawa grew up in Germany, studying at the Kunstakademie Düsseldorf before moving to San Francisco in 1994. Since that time, he has worked and exhibited in a number of media, including film and, more recently, digital animation. Using well-known films, videos, and photographs, Ezawa explores the appropriation and mediation of current events and images. The History of Photography Remix draws on important art and documentary photographs made throughout the history of the medium. Kota Ezawa's work has been widely exhibited throughout the United States and Europe, and is included in such permanent collections as the Israel Museum, Jerusalem; the Museum of Modern Art, New York; and the San Francisco Museum of Modern Art."New good artists generate considerable excitement nowadays, the more so because there are so few who are really good. One of them is Kota Ezawa"-- The New York Times. Hardcover, 12 x 12,56 pages, 42 four-color plates.

The History of Photography Remix

Larsen, Lars Bang

Ezawa, Kota

History

Nazraeli Pr

Essays on the question on how art—and contemporary art practices in particular—embodies an intelligence capable of serving the erasure of the culture/nature distinction.\nThe Complex Answer: On Art as a Non-Binary Intelligence presents a series of entangled essays on the question on how art—and contemporary art practices in particular—embodies an intelligence capable of serving the erasure of the culture/nature distinction. The book is conceived in four parts and each not only introduces a slightly different writing on the subject matter, but also refers to concrete questions that affect the practice of art, the exercise of exhibiting, the duty of reflecting, and the institutional forms that define our present but may radically change in a near future.\nThe book imagines art and contemporary art as an organ. An organ that produces an experience of inexpressible realities that are fundamental to understanding life and its processes. Stem cells exist, first, without a purpose and it is for the whole organism to decide if they will become part of an auditive nerve or the brain or the cornea of an eye. This adding to an organ is how Chus Martínez understands the intelligence of art. Poets and artists have claimed to understand the language of birds and flowers. We speak now of multi-species communication without a trace of metaphoric language. The experience of nature has evolved inside artistic practice. One could claim that the very fact that we talk about artificial intelligence is a merit of the arts. To transfer traits of organic life to inorganic entities such as information systems is a bold move that took centuries to prepare. Art has been essential in getting our senses and our arguments ready to accept this reality. The same with animal language, the synchronized reactions of a rainforest, and the transformative way fish have been discovered as able to recognize their own image in a mirror. These are just jests on the part of the sciences, developments of technical knowledges.

The Complex Answer: On Art as a Non-Binary Intelligence

Arts & Photography

History & Criticism

Sternberg Press

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.

Documenta 13: Catalog I/3, The Book of Books

Christov-Bakargiev, Carolyn

Berardi, Franco

Reference

Hatje Cantz

In her video collages, New York artist Rachel Rose interweaves historical recordings with her own visual material, combining voices, eras, and places to create collage-like moving imagery.The artist, who studied art history and painting, has found her own distinctive visual language within the medium of video.This catalogue documents the installation of her works at Kunsthaus Bregenz, whilst essays by Thomas D. Trummer, art historian Chus Mart#65533;nez, art critic Claudia La Rocco, and curator Laura McLean-Ferris address the complexities of her works.Published retrospectively after the exhibition, Rachel Rose at Kunsthaus Bregenz, Austria, 4 February - 17 April 2017.English and German text.

Rachel Rose

La Rocco, Claudia

McLean-Ferris, Laura

Pailos, Jorge

Individual Artists

Kunsthaus Bregenz

Teresa Solar Abboud

Moscoso, Manuela

Pardo, Tania

Segura Campins, Claudia

Calderoni, Irene

This Side Up

It has become almost obligatory to introduce a book on curating by noting the plethora of recent publications on the subject. How, in just a few short years, did we reach this point of saturation? What questions, exactly, do all these books address? Many attempt to offer an overview of the curatorial field as it exists today, or attempt to map its historical trajectory. Others propose a series of case studies under a common curatorial theme. All are hoping to contribute to this relatively new discipline and its accompanying canon. Edited by Jens Hoffmann, Ten Fundamental Questions of Curating offers a real critique of existing publications and modes of thinking by explicitly asking the questions that others have missed, ignored or deemed already answered: What is a curator? What is the public? What is art? What about collecting? What is an exhibition? Why mediate art? What to do with the contemporary? What about responsibility? What is the process? How about pleasure? Here, Peter Eleey, Elena Filipovic, Juan A. Gaitán, Sofía Hernández Chong Cuy, Maria Lind, Chus Martínez, Jessica Morgan, Adriano Pedrosa, João Ribas and Dieter Roelstraete each propose and then address one question. Ten Fundamental Questions of Curating takes a back-to-basics approach--a return to a kind of zero-degree state--at a time when a recalibration of what a curator is and does seems both necessary and urgent.

Ten Fundamental Questions of Curating

Roelstraete, Dieter

Morgan, Jessica

Eleey, Peter

Pedrosa, Adriano

Filipovic, Elena

Gaitán, Juan

Chong Cuy, Sofía Hernández

Lind, Maria

Ribas, João

Mousse Publishing

In a daring act of historical reconstruction, the curator Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, has recreated Harald Szeemann’s epochal Live in Your Head: When Attitudes Become Form, held at the Bern Kunsthalle in 1969, and installed by Celant at the magnificent Ca’ Corner della Regina in Venice in June–November 2013. Szeemann’s show was a dialogue with the Bern Kunsthalle, and Celant has reprised its spirit by placing the works in dialogue with the Ca’ Corner della Regina--a very different building, in its Venetian grandeur, to the Kunsthalle. This publication is divided into three parts: the first reproduces photo documentation of the original exhibit, the second compiles essays and interviews on Celant’s project and the third includes the installation views of the show in Venice. The book is completed by a "Register" of works included in both shows.

When Attitudes Become Form: Bern 1969/Venice 2013

Smith, Terry

Verwoert, Jan

Groys, Boris

Bishop, Claire

Esche, Charles

Hoffmann, Jens

Phillips, Glenn

BUCHLOH, BENJAMIN

Rattemeyer, Christian

Fondazione Prada

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