Silver Rights

This book, Deux Ans de Vacances, Dos Años de Vacaciones, Dwa Lata Wakacji, Two years Vacation, Due Anni di Vacanza, documents the production of Céline Condorelli's process-based, cumulative artwork titled 'Tools for Imagination'. The title of the book raises the question of labour and working time, starting from a non-equivalence with its inverse: free time. We can read the various iterations of the title which appear on the cover as an expression of the impossibility of thinking about time outside of work in a univocal dimension.

Not Working brings together the contributions by artists, theorists and writers who in their work examine the interdependence of artistic production and social class.

The complex structures and substantial rise in social inequalities, particularly visible in light of the current pandemic, have given the concept of class a wide range of connotations. Despite the ongoing attempts to view contemporary art in the sense of "class homogeneity"; it remains complicit in the reproduction and masking of existing conditions which it often claims to overcome. The texts in this book form a ground were class can be mediated with respect to artistic practices and other structures in the art world.

Published on the occasion of the exhibition Not Working, Artistic production and matters of class at Kunstverein München in 2020.

Contributions by Maurin Dietrich, Melanie Gilligan & Marina Vishmidt, Annette Wehrmann, Stephan Janitzky & Laura Ziegler, Lise Soskolne, Josef Kramhöller, Leander Scholz, Dung Tien Thi Phuong, Steven Warwick, Mahan Moalemi.

What does it mean to be a curator who writes, and, more specifically, how can curators write about textiles? This publication steps outside the framework of the typical exhibition catalogue to occupy "the space between literature and criticism".

The Community of writers was set up to create time and space to retreat from these outside opinions and demands and to let curiosity and the joy of writing be the driving forces of the writing process. This book has been realised under the auspice of Interweaving Structures: Fabric as Material, Method, and Message, and specifically through collaboration between the Faculty of Fine Art, Music and Design at the University of Bergen and the Central Museum of Textiles in Łódź. The two partners have strong positions of specialisation—the museum acts as a caretaker of material textile traditions and art in Poland, and the faculty has a strong textile art tradition and offers the only education programme for curators in Norway.

Edited by Anne Szefer Karlsen.
Contributions by Andreas Hoffmann, Heather Jones, Martina Petrelli, Anne Szefer Karlsen, Lea Vene, Johanna Zanon.

A collection of essays, librettos, lyrics, memories, photos, personal anecdotes by musicians, visual artists, researchers and archivers that pays homage to the work and life of African-American composer, musician, performer, activist Julius Eastman.

The book investigates his legacy beyond the predominantly Western musicological format of the tonal or harmonic and the framework of what is today understood as minimalist music. By trying to complicate, deny or expatiate on the notions of the harmonic, tonal hierarchy, the triadic, or even the tonal centre, Eastman's compositions explore strategies and technologies of attaining the atonal. One might be tempted to see Eastman in the legacy of Bartok, Schoenberg, Berg and others, but here too, it is worth shifting the geography of minimal tendencies and minimalism in music. It is worth listening and reading Eastman's music within the scope of what Oluwaseyi Kehinde describes as the application of chromatic forms such as polytonality, atonality, dissonance as the fulcrum in analysing some elements of African music such as melody, harmony, instruments and instrumentation. This publication constructs a non-linear genealogy of Eastman's practice and his cultural, political and social relevance, while situating his work within a broader rhizomatic relation of musical epistemologies and practices.

Julius Eastman (1940-1990) was an American composer, pianist, vocalist, and dancer whose work fell under minimalism. He was among the first composers to combine minimalist processes with elements of pop music.

Contributions by Talal Afifi, Elena Agudio, Antonia Alampi, Ana Alenso, Alexander Apóstol, Iván Candeo, Pia Chakraverti-Würthwein, Haris Epaminonda, Eirini Fountedaki, Filippos Koutsaftis, Lal Laleş, Nikola Madzirov, Sarah Maldoror, Olivier Marboeuf, Marco Montiel-Soto, Bonaventure Soh Bejeng Ndikung, Erika Ordosgoitti, Rolando Peña, Franziska Pierwoss & Siska, Carlos Rebolledo, Stefanie Schulte Strathaus, Viola Shafik, Spotters.

To Become Two: Propositions for Feminist Collective Practice offers a narrative of artist Alex Martinis Roe’s research into a genealogy of feminist political practices in Europe and Australia from the seventies until today.

These practices include those of the Milan Women’s Bookstore co-operative; Psychanalyse et Politique, Paris; Gender Studies (formerly Women’s Studies) at Utrecht University; a network in Sydney including people involved in the Sydney Filmmakers Co-operative, Feminist Film Workers, Working Papers Collective, and the Department of General Philosophy at Sydney University; and Duoda – Women’s Research Centre and Ca la Dona, a women’s documentation centre and encounter space in Barcelona.

Drawing from their practices and experiences, Martinis Roe’s research forms a proposal for a transgenerational approach to feminist politics. This is further developed as a practical handbook of twenty new propositions for feminist collective practice, which were formed in collaboration with a network of contributors through experiments with these historical practices.