Jennifer Lacey & Nadia Lauro – Dispositifs chorégraphiques

An encounter between dance and visual arts.

Dance First Think Later - The Thinking Body between Dance and Visual Arts follows on from the exhibition-festival Dance First Think Later - An Encounter between Dance and Visual Arts, presented in Geneva in summer 2020, documenting it with a wealth of iconography and enriching it with a critical, theoretical and historical perspective on the works and the project. Commissioned texts are devoted to the 22 artists, written by authors active in museums, festivals, art schools, independent critics and artists.

The biennial event Dance First Think Later explores the converging fields between dance, performance, visual arts and moving images. Arta Sperto, which is organising and producing the exhibition-festival and publishing the book, is developing a cross-disciplinary approach that combines the operating mechanisms of the visual and performing arts, and the respective characteristics of museums/art centres and theatres/festivals. This approach is motivated by the need to support artists whose cross-disciplinary practices come up against the way in which culture is still largely organised by field, whether in terms of cultural policies, institutions, funding or the media. Starting with the works themselves, the book offers food for thought on cross-disciplinary approaches to the contemporary arts.

With / around Halil Altindere, Alexandra Bachzetsis & Julia Born, Pauline Boudry & Renate Lorenz, Alex Cecchetti, Clément Cogitore, Dara Friedman, Gerard & Kelly, Marie-Caroline Hominal, Lenio Kaklea, La Ribot, Pierre Leguillon, Xavier Le Roy, Klara Lidén, Melanie Manchot, Olivier Mosset & Jacob Kassay, Samuel Pajand, Christodoulos Panayiotou, Alexandra Pirici, Julien Prévieux, Marinella Senatore, Gregory Stauffer, Barbara Wagner & Benjamin de Burca.

This first monograph includes all of Van der Stokker's murals and most of her drawings.

In an interview in this collection of Van der Stokker's wall paintings and drawings, John Waters says, 'Millions of teenage girls have drawings that are good, but no one ever tells them that they are'. Van der Stokker celebrates teenage girlishness, and has since 1983 found both immense support and immense rejection within the art world community. Includes interviews with Van der Stokker and a complete presentation of her works in situ, printed on full-page spreads on quality mat paper.

Dutch-born van der Stokker (1954, Hertogenbosch), active artist-gallery owner on the East Side of New York in the 80's, now lives between Amsterdam and New York. She developed pictorial murals with happy candy-coated slogans that incited acid sarcasm from her contemporaries.

Texts by Anne Pontégnie, Éric Troncy, John Waters/Charles Esche, Mirjam Westen, Amy Kellner.

A comprehensive overview of the unique work of the Italian artist born in 1931 and "discovered" late on the international scene, with numerous texts and an interview.

Published after the eponymous exhibition at Consortium Museum, Dijon, April 26th – September 8th 2024.

Born in Naples, Italy, in 1931, Isabella Ducrot is a young artist with a young career. Like many women of her generation, she moved into art after raising her children. Her formative years were marked by continuous travels with her late husband, during which they amassed hundreds of Persian miniatures and rare antique textiles of many kinds.

Contributions by Franck Gautherot & Seungduk Kim, Verena Lueken, Tobias Pils, Tschabalala Self, Andrea Viliani, Miranda Fengyuan Zhang.

L'édition inédite et définitive (établie à partir des tapuscrits originaux en français) du traité fabuleux du philosophe tchéco-brésilien Vilém Flusser (1920-1991), une fiction philosophique et poétique qui, par des chemins détournés, nous confronte à la violence et à l'impasse des sociétés contemporaines.

Un monstre venu des profondeurs de l'océan, un poulpe vampire. Sa violence rappelle les nazis, ses mœurs sont libertaires et libidineuses. C'est une créature infernale, cannibale et brutale, pouvant changer de couleur à volonté, et dotée de trois pénis.
Et c'est notre cousin.

Dans cette fable fantastique, Vampyroteuthis infernalis émerge, non des abysses de l'océan, mais du plus profond de nous-mêmes pour nous tendre un miroir, nous montrer à quel point nous, les hommes, sommes ses proches parents et que nos histoires, nos sociétés, nos modes de vie ne sont, au fond, pas si différents.
Ce texte délibérément provocateur du philosophe tchéco-brésilien Vilém Flusser (1920-1991) n'est ni scientifique, ni objectif : c'est une fiction philosophique et poétique qui, par des chemins détournés, nous confronte à la violence et à l'impasse des sociétés contemporaines.

Flusser avait écrit ce texte en français (outre des versions en allemand et en portugais), et ce livre est la première édition du texte original en français. Il est accompagné des fantastiques dessins de son ami l'artiste et « zoosystémicien » français Louis Bec (1936-2018), co-auteur du livre, traduisant en images pseudo-scientifiques les chimères vampyroteuthiques.

Des essais de Marc Lenot, Élise Rigot et Florent Barrère éclairent la démarche de Flusser et de Bec.

What does ‘user-friendly’ website mean if, on it, online behaviors like stalking, teasing, and ghosting — once considered peripheral — are now central to survival, care, and belonging? How to thrive without becoming an “Interdisciplinary Unicorn”: the state’s most beloved user-citizen fluent in multiple registers of production, optimization, and self-branding? How in this beautiful world is one supposed to log off, when surveillance and privacy erosion have been normalized? And how, oh how, could users possibly think of building the alternatives, when cool and cringe online acts, all activate the platform’s reward system: the unleashing of emoji-filled praise? How to resist the platform’s toxic seduction? 

Haunted by screenshots of early cyberfeminist websites and in dialogue with digital sages, web scripts, and business interests, media artist, web developer, and author Maisa Imamović embarks on a philosophical and practice-based crusade through the internet’s surface and its shadows. To expose the various ways of thriving online without surrendering to optimization, the book explores imperfect uses of perfect software, preservation of precarious web infrastructures, tactical content strategies, and experiments with autonomous financial systems — all wrapped in educational efforts to sustain criticality amid automation. Through these traversals beneath the scroll, Maisa finds her Webland: speculative, broken, and oftentimes, poetic infrastructure where logic destabilizes, binaries dissolve, and meaning evades monetization. But can a non-extractive internet exist beyond metaphor? Can poetry rewire protocol? Or will her sanctuary be absorbed into the very architectures it resists?

"In Maisa in Webland, Maisa Imamovic evokes the multidimensional, spontaneous human elements of the early web, using interviews, case studies, critical theory and fiction as her organic materials. She peeks behind the screen and through time to trace the subtle erosion of the web’s early utopian ideals to its cold and extractive present. Imamovic bravely wades through the swampy digital muck that mediates our everyday reality, examining its invisible psychic scaffolding with academic rigor, and a big dose of humor and heart. Was it an inevitable entropy, or an aberration? How and when did we get so off-course? Can we return? Do we want to? In Maisa’s Webland, we might very well be doomed, and maybe that’s a good thing. When the center of this tangled web no longer holds, something new can take shape.” - Nada Alic, author of Bad Thoughts

In Forensic Architecture, Eyal Weizman, the group’s founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed.

Included in this volume are case studies that traverse multiple scales and durations, ranging from the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere.

Weizman’s Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. Their practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy.

A collection of writings by Alina Popa and Florin Flueras written over a seven-year period.

Unsorcery composes and explores ways of sorcery that can eventually surpass or undo some of the contemporary realities and subjectivities. It is an Artworld involved in a productive alienation from concepts through experience and from experience through thought. Unsorcery is an environment in which Alina Popa and Florin Flueras were working together, each following their own path, doing their own practices, texts and performances around the concepts: Life Programming, Artworlds, Black Hyperbox, Second Body, Dead Thinking, End Dream.

New expanded edition of the book first published in 2019.

Alina Popa (1982-2019) was a Romanian artist who moved between choreography, theory, and contemporary art.

Florin Flueras (born 1978 in Târgu Mureș, Romania) oscillates between contemporary performance, visual arts and theory as contexts in which he activates.

Being together in the dark awaiting a film or play, we’re actually readying ourselves for a threshold experience, for something else to appear: ‘We catch a glimpse of how the possible and the impossible are in fact threaded together, always have been.’ In these essays on the intersection of theatre, ecology, magic and darkness, Augusto Corrieri unearths forms of knowledge and attention repressed by Western modernity. How can we explore particular modes of attending to worldly things, he wonders, ‘modes of attending that value impossibility, multiplicity, drift, impermanence and dislocation, that hold dear the importance of the un-seen, the un-extracted, the un-consumed. There are things not meant for human eyes.’

Augusto Corrieri is an artist and writer. In his work he deconstructs the apparatus of theatre, inviting spectators to reflect on questions of spectacle and ecology in the twenty-first century. He presents sleight-of-hand magic performances under the pseudonym Vincent Gambini. www.vincentgambini.com