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In this ground-breaking collection of critical essays, 15 writers explore the experimental, interdisciplinary and radically transgressive field of contemporary live art in South Africa.
Set against a contemporary South African society that is chronologically `post' apartheid, but one that continues to grapple with material redress, land redistribution and systemic racism, Acts of Transgression finds a representation of the complexity of this moment within the rich potential of a performative art form that transcends disciplinary boundaries and aesthetic conventions. The collection probes live art's intersection with crisis and socio-political turbulence, shifting notions of identity and belonging, embodied trauma and loss, questions of archive, memory and the troubling of colonial systems of knowing,
an interrogation of narratives of the past and visions for the future.These diverse essays, analysing the work of more than 25 contemporary South African artists and accompanied by a striking visual record of more than 50 photographs, represent the first major critical study of contemporary live art in South Africa; a study that is as timeous as it is imperative.
Taking their cue from Okwui Enwezor’s title for the 56th International Art Exhibition of la Biennale di Venezia, All the world’s futures, Rose and Till present an array of works by artists who are deeply invested in local iterations of power, freedom, and civil liberty. The curators wish not only to represent recent, important work from South Africa, but also to set in motion a complex and dynamic debate about the relationship between the contemporary moment and the narratives of the past. With this in mind, they have sought ways of inserting new works into a series of historic moments without, in any way, making those moments explicit or suggesting a crass opposition to or identification with history. Rather, they see—and seek to represent—the past as an alluvial undertow in South Africa’s fractured and multivocal present, a stream of dreams, desires, and memories that frequently boil to the surface in ways both useful and destructive. The contemporary works on the exhibition pose a series of counter moves. Some are little interested in history and focus instead on ruptures in the present. Some embed themselves in regurgitated narratives of liberation and national identity with the view to unsettling the certainties of these narratives. Some, through their representation of the fraught particularities and singularities of individual lives, interrogate the grand myths of democracy and nation building. Some are subtle meditations on loss or escape or hope; others, strident refusals of the normative. Given the strength of the works to be presented, the curators face the challenge of saying too much or offering too confused an experience of the works and their disparate imperatives. They thus bring to bear on the conceptualising of this exhibition, their combined experience—from work in the public sector, the management of museums and biennales, curatorship, architecture, gallery and museum design—of locating and communicating a strong but multilayered curatorial idea that encourages critical debate and brings fresh insights to our own particular contemporary moment.
In the east end of the inner city of Johannesburg, a former textiles factory undergoes a dramatic transformation to become, over the next several years, one of the city’s foremost artists’ studios. When the sale of the building seems imminent, not only must the artists face the daunting prospect of relocation, but a remarkable chapter in the complex narrative of contemporary South African art seems about to close. Sensing the importance of this moment, Kim Gurney, herself a former tenant of the atelier, follows the stories of several of the August House denizens through some of the artworks that came to life in their studios. The result is a fascinating study of the role of the atelier and its artists in South Africa’s fractious art world, and a consideration of the relationship between art and the ever-changing city of Johannesburg.
With the eye of an urbanist, artist and resident, Kim Gurney [constructs] a compelling assemblage of individual, visual and urban narratives brilliantly illuminates the complex life of a building, August House, located in inner city Johannesburg. Her cast of characters—artists, workers, neighbours, August House and the city—lend poignant contours to the ebbs and flows of daily life,the pressures of gentrification, the ruthlessness of poverty, the radicality of the imagination and the ghosts of history.
This almanac of overlooked vintage subject matter has an emphasis on art, design, photography and culture. With an extensive array of rare images, Outr Journal presents a curated compendium of the unusual that takes its cues from cabinets of curiosities and journals of miscellany such as The Saturday Book of old. The focus on underground topics and pop culture extends across time and continents to include highlights such as: religious architecture in the Space Age, found photos and images of masked people, Satan, pop culture and many more.
In June of 2010, William Kentridge asked Denis Hirson to join him in a public conversation at the opening of Cinq Thèmes, the artist’s retrospective exhibition at the Jeu du Paume in Paris. So fruitful was this event that the two decided to have further conversations, public and private, whenever the time and the occasion seemed right. Nine engagements followed, allowing them to explore at great length the many issues and themes arising from Kentridge’s work. These conversations, in which a writer and an artist grapple with the enormous complexities of making art, grow out of a friendship that stretches back to the 1980s and that is deeply entwined in the fortunes of the city where they both grew up and the country that is the wellspring of their work.
Born in Cambridge in 1951, Denis Hirson lived in South Africa until the age of twenty-two, studying social anthropology at the University of the Witwatersrand in Johannesburg. In 1975 he settled in France, where he has worked as an actor and lecturer at the École Polytechnique. He has written seven books, almost all of them at the frontier between prose and poetry and concerned with memories of South Africa in the time of apartheid. The most recent of these is the novel The Dancing and the Death on Lemon Street. He has also assembled and edited three anthologies of South African writing, including In the Heat of Shadows: South African poetry 1996–2013. Ma langue au chat, a book in French about the delight and torture experienced by an Anglophone when speaking and writing in French, is forthcoming from Les Éditions du Seuil in October 2017.
William Kentridge was born in Johannesburg, South Africa in 1955. He is a graphic artist, filmmaker and theatre artist renowned for his humanist and poetic perspective on apartheid, colonialism and totalitarianism, and on their lingering effects. Best known for his allegorical animations of charcoal drawings that he erases and appends frame by frame, Kentridge has explored disciplines ranging from sculpture to books, stereoscope to opera. His works are included in numerous international collections, including the Museum of Modern Art, New York; Tate Modern, London; the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; the Stedelijk Museum, Amsterdam and the Albertina Museum, Vienna. His acclaimed production of Wozzeck travels to the Metropolitan Opera, New York, for the 2019–20 season.
This visually stunning survey provides an in-depth look at Eileen Hogan's (b. 1946) working methods. Covering her entire career, it focuses particularly on two dominant themes in the artist's oeuvre-enclosed gardens and portraiture. Her depictions of gardens range from London's well-known Kew Gardens and Chelsea Physic Garden to Little Sparta, Ian Hamilton Finlay's garden in the Pentland Hills near Edinburgh. Her portraits include expressive sketches and paintings of veterans of the Second World War, and of HRH The Prince of Wales and HRH The Duchess of Cornwall. The book includes images from Hogan's sketchbooks, her studies, and finished paintings, accompanied by striking photographs of the artist at work. Essays by scholars and Hogan herself trace the artist's career from her student days at Camberwell School of Arts and Crafts through the present. This volume provides an unprecedented, intimate look at the life and work of one of the most interesting and evocative artists working today.
The disturbing, exciting, and defiantly avant-garde films of Jesus "Jess" Franco, director of such films as Vampyros Lesbos and Lilian the Perverted Virgin. Jesus "Jess" Franco is an iconic figure in world cinema. His sexually charged, fearlessly personal style of filmmaking has never been in vogue with mainstream critics, but for lovers of the strange and sado-erotic he is a magician, spinning his unique and disturbing dream worlds from the cheapest of budgets. In the world of Jess Franco freedom was the key, and he pushed at the boundaries of taste and censorship repeatedly, throughout an astonishingly varied career spanning sixty years. The director of more than 180 films, at his most prolific he worked in a supercharged frenzy that yielded as many as twelve titles per year, making him one of the most generative auteurs of all time. Franco's taste for the sexy and horrific, his lifelong obsession with the Marquis De Sade, and his roving hand-held camera style launched a whole new strain of erotic cinema. Disturbing, exciting, and defiantly avant-garde, films such as Necronomicon, Vampyros Lesbos, Virgin Among the Living Dead, and Venus in Furs are among the jewels of European horror, while a plethora of multiple versions, re-edits and echoes of earlier works turn the Franco experience into a dizzying hall of mirrors, further entrancing the viewer who dares enter Franco's domain. Stephen Thrower has devoted five years to examining each and every Franco film. This book-the second in a two-volume set-delves into the latter half of Franco's career, covering titles including Shining Sex, Barbed Wire Dolls, Swedish Nympho Slaves, and Lilian the Perverted Virgin. Assisted by the esteemed critic and researcher Julian Grainger, Thrower shines a light into the darkest corners of the Franco filmography and uncovers previously unknown and unsuspected facts about their casts, crews, and production histories. Unparalleled in scope and ambition, Flowers of Perversion brings Franco's career into focus with a landmark study that aims to provide the definitive assessment of Jess Franco's labyrinthine film universe.
Indonesian art entered the global contemporary art world of independent curators, art fairs and biennales in the 1990s. By the mid-2000s, Indonesian works were well-established on the Asian secondary art market, achieving record-breaking prices at auction houses in Singapore and Hong Kong. This comprehensive overview introduces Indonesian contemporary art in a fresh and stimulating manner, demonstrating how contemporary art breaks from colonial and post-colonial power structures, and grapples with issues of identity and nation-building in Indonesia. Across different media, in performance and installation, it amalgamates ethnic, cultural and religious references in its visuals, and confidently brings together the traditional (batik, woodcut, dance, Javanese shadow puppet theatre) with the contemporary (comics and manga, graffiti, advertising, pop culture). Spielmann's Contemporary Indonesian Art surveys the key artists, curators, institutions and collectors in the local art scene, and looks at the significance of Indonesian art in the Asian context. Through this book, originally published in German, Spielmann stakes a claim for global relevance of Indonesian art.
As artists push further and further beyond their, and our, comfort zones, this book aims to help decipher the bizarre and often intimidating aspects of modern and contemporary art by exploring twenty works of art in terms of seven `keys'. History, biography, aesthetics, experience, theory, criticism and the market represent conventional `modes of existence' for every artwork discussed, but in a fascinating variety of ways. Simon Morley shows how twenty well-known but little-understood works of art can serve as useful springboards not only for understanding each other, but also for appreciating works by the same artists, and from the wider world of art in general. Rather than proceeding on the basis of familiar art `movements' or `-isms', Morley focuses on just twenty individual works of art, from Matisse's The Red Studio to Doris Salcedo's Untitled. Representing a variety of media, styles, subjects and intentions, being the creations of men and women of different periods and places, coming from disparate social and ethnic backgrounds, these works show a rich diversity in modern and contemporary art.
For the Haus der Kunst in Munich, the question of how to deal with its own past arose directly after the end of the Second World War, when the building once again served as an exhibition space . This richly illustrated volume spans the key historical dates during which a social and political development took place, at whose beginning stood the ideology of the National Socialists and whose end marked the start of Germany's transformation into a democratic state. In this time period, it was not only the orientation of the Haus der Kunst's content that changed; as a result of the cultural-historical upheavals of this time, the basis for the building's development as an international exhibition venue was also laid. Today the Haus der Kunst plays a formative role in the discussion of relevant positions in contemporary art. It documents the historical developments within the context of political and cultural transformations, as well as their international parallels and references. Large exhibitions that were influential for the topography of the art of the twentieth century such as the World Exposition in Paris in 1937, the biennials in Venice, and the first documenta in 1955 provide the coordinates for the international dimension of the Haus der Kunst's story.
New Hardcover Edition! Deceived by the forces of evil into prematurely bringing about the end of the world, WAR - the first Horseman of the Apocalypse - battles both Heaven and Hell across the ravaged remains of Earth, searching for vengeance and vindication. Showcasing the unparalleled artwork of Joe Madureira (X-men, Battle Chasers, Ultimates) and the Vigil Games art team, The Art of Darksiders features hundreds of full-color illustrations, character and environment designs, development sketches, early concepts, promotional artwork, and more.
28 Paradises is a rare book: it reveals not only the individual talents of the authors, Modiano and Zehrfuss, but also the depth of the couple's creative union. Sensitively translated into English for the first time by Damion Searls, 28 Paradises captures the exquisite sadness of waking from a beautiful dream. There are twenty-eight dreams in this book, or perhaps one dream in twenty-eight parts-visions of paradise imagined by Zehrfuss during a time of deep sadness. Captured first in Zehrfuss's brightly colored gouaches, each paradise was then refashioned as a poem by Modiano. Zehrfuss's paintings are Edens in miniature, and rather than describe them outright, Modiano dreams himself into these reveries in quiet, understated verse. The reader enters this shared realm in an experience less like paging through a book and more like slipping into a shared world. These paradises are wishes for moments when a painting, or a poem, or a lover-perhaps they are not so different-relieves the loneliness of being human. As Modiano writes with a touch of wistfulness, "The Lilliputian painted her paradises / And I / Next to her / Wrote a poem." A pure example of ekphrastic writing-poetry inspired by paintings- this book shows how writing and visual art can together create a unique emotional experience.
First published to accompany Piano Nobile's exhibiton at Piano Nobile Kings Place, Thomas Newbolt: Drama Paintings - A Modern Baroque, this fully colour illustrated book presents a substantial publication on contemporary artist Thomas Newbolt. Newbolt's dedication to the figure in art, and the vitality of his work have gained him international recognition. An artist of talent and intellectual integrity, he was Harkness Fellow at the University of Virginia and the University of Wisconsin, and a Fellow-Commoner at Trinity College, Cambridge, as well as a respected teacher at Camberwell, Anglia Ruskin and The Royal Drawing School, London. Recent exhibitions include Ely Cathedral, the Estorick Collection, and a group show, Vital Signs, at Clifford Chance in 2015. His work is held in major international public collections. With essays by Mark Hudson, arts critic at the Telegraph, Professor Maurice Biriotti, and Martin Gayford, critic at the Spectator, this catalogue provides fresh insight into the work of this most enigmati and powerful of artists. Lavishly illustrated and beautifully designed as a work of art in its own right, Thomas Newbolt: Paintings is a reflection on Newbolt's career thus far, and a testament to the significance of his work. The publication includes three essays, a catalogue of works selected by Thomas Newbolt, a chronologyof the artist's career and an index.
In 2011, on a trip to South Africa for an exhibition, Gary Schneider began a series of handprint portraits of South African artists. Having grown up in South Africa, which he left in 1977 at the age of twenty-three, Schneider realised that this would not be an overview of South African art but rather a way to reconnect with a country that still has an enormous influence on his work. On several subsequent trips, he travelled widely to make handprint portraits in Johannesburg, Cape Town, Port Elizabeth, Grahamstown and Durban. Included in the book are seventy-seven handprint portraits. Each imprint is a record as singular and individual as a fingerprint but, at the same time, free of all the usual markers of physical identity.
Speed, regulation and mass production defined the first Industrial Revolution, but we have entered a new era. Today's revolution has been driven by digital technologies and tools, giving rise to entirely new working methods, skill sets and consumer products. Spearheading this movement is a new generation of creatives who fuse the precision and flexibility of computing and digital fabrication with the skill and tactility of the master artisan to create unexpected and desirable objects and products. For the first time on a global scale, Digital Handmade selects a group of 80 pioneering designers, artists and craftsmen who represent the best of this new trend. Profiles of each artisan's techniques are featured alongside the objects they produce, each conceived and made through a multifaceted process of hand and digital means and unique to its maker. Examples range from the affordable and obtainable to the extraordinary and priceless. Welcome to the next industrial revolution.
The Britpop movement of the mid-1990s defined a generation, and the films were just as exciting as the music. Beginning with Shallow Grave, hitting its stride with Trainspotting, and going global with The Full Monty, Lock, Stock and Two Smoking Barrels, Shaun of the Dead, and This Is England, Britpop cinema pushed boundaries, paid Hollywood no heed, and placed the United Kingdom all too briefly at the center of the movie universe. Featuring exclusive interviews with key players such as Simon Pegg, Irvine Welsh, Michael Winterbottom and Edgar Wright, Britpop Cinema combines eyewitness accounts, close analysis, and social history to celebrate a golden age for UK film.
Few directors of the 1930s and '40s were as distinctive and popular as Preston Sturges, whose whipsmart comedies have entertained audiences for decades. Beginning with a foreword by Peter Bogdanovich, this book offers a new critical appreciation of Sturges' whole oeuvre, incorporating a detailed study of the last ten years of his life from new primary sources. Preston Sturges details the many unfinished projects of Sturges' last decade, including films, plays, TV series and his autobiography. Drawing on diaries, sketchbooks, correspondence, unpublished screenplays and more, Nick Smedley and Tom Sturges present the writer-director's final years in more detail than we've ever seen, showing a master still at work--even if very little of that work ultimately made it to the screen or stage.
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