Josefine Wikström reviews Tate Britain’s timely symposium on art and ‘immaterial labour’, calling for a closer consideration of recent critiques of this concept and its foundational theories.
I was 17 when I acquired my first book of Hans-Peter Feldmann's The Museum in the Head (1989). The title lodged itself in my mind, where it has remained to the present day...
In this study of A Line Made by Walking, Dieter Roelstraete explores how the work combines the organic, the temporary, the non-material and the performative in order to offer a critique of the art system and its language, forms and values.
Agata Pyzik traces the history of former Soviet architecture to show how the architects of the Eastern Bloc have turned into the architects of Capitalist Realist skyscrapers and glass towers.
The second book in Afterall’s Exhibition Histories series focuses on the third edition of the Bienal de La Habana, which took place in 1989, and interrogates the ways in which this exhibition extended the global territory of contemporary art and redefined the biennial model.
In this examination of Group Material's Timeline, Claire Grace
considers the ambivalent relationship to time and
historicisation embedded within their use of a graphic, linear
timeline.
Josefine Wikström reviews Tate Britain’s timely symposium on art and ‘immaterial labour’, calling for a closer consideration of recent critiques of this concept and its foundational theories.
I was 17 when I acquired my first book of Hans-Peter Feldmann's The Museum in the Head (1989). The title lodged itself in my mind, where it has remained to the present day...
In this study of A Line Made by Walking, Dieter Roelstraete explores how the work combines the organic, the temporary, the non-material and the performative in order to offer a critique of the art system and its language, forms and values.
Agata Pyzik traces the history of former Soviet architecture to show how the architects of the Eastern Bloc have turned into the architects of Capitalist Realist skyscrapers and glass towers.
The second book in Afterall’s Exhibition Histories series focuses on the third edition of the Bienal de La Habana, which took place in 1989, and interrogates the ways in which this exhibition extended the global territory of contemporary art and redefined the biennial model.
In this examination of Group Material's Timeline, Claire Grace
considers the ambivalent relationship to time and
historicisation embedded within their use of a graphic, linear
timeline.
Maeve Connolly identifies artists’ cinemas as a new form of contemporary public art, demonstrating how artists make explicit the importance of desire, fantasy and projection in the ongoing production of the public sphere.
Doug Rickard’s photography appropriates imagery of American suburbs found in Google Street View. In this interview Siobhán Bohnacker questions the role of the photographer and discusses Rickard’s social critique.
'Does art have a sex? And if so, what does it look like?' With these questions Amna Malik opens her study of Sarah Lucas's Au Naturel, an assemblage of objects that suggest male and female body parts.
Kathy Noble identifies a yearning for pre-digital days in her survey of AV Festival 2012 and asks whether the outcome of fast-paced technological revolutions might be a new appreciation of human failure.
MRes: Exhibition Studies
MRes Art: Exhibition Studies, run by Afterall's editorial team,
is accepting applications for its second academic year. Located at
the new campus of Central Saint Martins in King's Cross, the course
examines how contemporary art exhibitions shape the way art is both
seen and made. Visiting lecturers have included art historian
Claire Bishop and curator Roger
Buergel. The application deadline is 30 June 2012. To learn
more about the course, click
here.
Books
Tate Modern presents 'Alighiero Boetti: Game Plan', an opportunity to see significant works by the influential Arte Povera artist, including Mappa and other works related to travel, geography and displacement.
For a focused study of Alighiero Boetti's practice, read Luca Cerizza's One Work Book on Mappa, in which he contextualises his work within the contemporary art movements of Minimalism, Conceptualism and Arte Povera.
