The Art of Memory

“When Brazilian Minister of Culture Gilberto Gil invited Célio Turino to develop a programme to democratise access to culture, no one could have imagined the extraordinary initiatives that today cross Brazil from one extreme to the other: from semi-arid sertão to the sea, from Amazônia to the fertile lowlands of the South. The Ponto de Cultura programme has provided instruments for the multiple voices of a diverse nation to find expression in music, literature, petry… Turino’s book is a map of living Brazilian Popular Culture, disseminated to every corner of a nation that is finally seeking to be a country for everyone.” -Emir Sader

“This publication assembling the practices and discourses of ‘Asian contemporary performance’ is assuredly a statement of ‘the world we have made’ for the now and the future, as well as a means of connecting TPAC and other ‘worlds.’ “－Ruo-Yu LIU, Chairwoman of Taipei Performing Arts Center

“While it is now hardly unusual to find choreographers working in an exhibition setting, or visual artists performing on a stage, it is still rare to see practitioners from the different fields working together, as can be found at ADAM.”－John Tain, Head of Research at Asia Art Archive

“With various understandings from multiple disciplines, life journeys and international practices, this publication is neither a collected manifesto, nor an imprint of harmony and integration. On the contrary, it is the very embodiment of incarnations and trajectories of the world history and the network of contemporary corporeality.”－Chun-Yen WANG, Art Critic

The first of its kind, Troubling the Line: Trans and Genderqueer Poetry and Poetics, gathers together a diverse range of 55 poets with varying aesthetics and backgrounds. In addition to generous samples of poetry by each trans writer, the book also includes “poetics statements”-reflections by each poet that provide context for their work covering a range of issues from identification and embodiment to language and activism.

Documents the work of fourteen performance artists who marked the personal and political resonances of the new Millennium in a series of site-specific actions. Contrasting with the epic, populist and homogenising nature of the official celebrations, these works focused on forgotten and ephemeral experiences, enacting small but significant interventions in the public sphere.

Jacques Derrida deftly guides us through an extended meditation on remembrance, religion, time, and technology-fruitfully occasioned by a deconstructive analysis of the notion of archiving. Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a synergistic reading of archives and archiving, both provocative and compelling.

“A love letter to artistic research, Seita’s writing celebrates the desire, disorientation, and discovery to be found in feminist practices of reading. A potent reminder of generative passin thatwe can only wish motivated all critical inquiry.” -Gordon Hall

Yoko Ono is an artist who has made an indelible mark on contemporary culture and political activism through her radical and innovative practice. This remarkable and essential publication, developed n collaboration with Yoko Ono and her studio, traces in full the evolution of an artist whose visionary spirit has transcended boundaries and challenged conventions. In Music of the Mind, explore the world of Yoko Ono and discover the profound impact of her art on the collective consciousness of our time.

The function of the critic and the function of the artist have been traditionally divided; the artist’s concern was the production of the work and the critic’s was its evaluation and interpretation. During the past several years a group of young artists evolved the idiom of Conceptual Art, which eliminated this division. Conceptual artists take over the role of the critic in terms of framing their own propositions, ideas, and concepts.

An essential aspect of Conceptual Art is its self-reference; often the artists define the intentions of their work as part of their art. Thus, many Conceptual artists advance propositions or investigations. It is in keeping, then, with Conceptual Art that it is best explained through itself, i.e., through the examination of Conceptual Art, rather than through any assumptions outside of itself. In this sense, this book is not a “critical anthology” but a documentation of Conceptual Art and Statements.

Wait it Out is published in relation to the research and preparations made for Sandra Johnson’s solo exhibition at Project Arts Centre in 2019 with newly commissioned works. Through an extensive conversation between the artist and curator, editor Livia Paldi, and additional texts and visual documentation the book presents a rich trajectory and variety of reflections to relate to the exhibition and performance at Project, as well as the pre-history that undergirds the project with special focus on Johnson’s work in Dublin during the 1990s.

Before we begin to practice self-design, we find ourselves already designed by the gaze of others. That is why the practice of self-design mostly takes a critical and confrontational turn. We want to bring others to see us in the way we want to be seen – not only during our earthly life but also after our death. This is a complicated struggle, and the aim of this book is to describe and analyze it.

This book explores the self in modern and contemporary art. Accompanying an exhibition in four chapters of the ISelf Collection at the Whitechapel Gallery, it looks at the complex ways in which artists are thinking about identity as an individual, in relation to others, to society and the wider world.