S IF - 16 Dialogues about Sheep, Black Holes, and Movement is a reader about life and multiplicity and the desire to shape the present and imagine the future through artistic and creative processes. "Activating Contextual Practices", "The Public Space as a Field of Action", "Sharing Knowledge", and "A Sense of Belonging" are the four chapters that weave together a synaptic network of individual and collective biographies, relating geographies, history, and nature. Sixteen dialogues, trialogues, scenographies, correspondences, and glossaries connect people, fields of work, and disciplines to embrace alternative and diverse ways of living and thinking. Fifty-four voices that together reveal how active and visionary engagement can create a resonance that connects, heals, and fosters transformation processes.Angelika Burtscher and Daniele Lupo are the founders and the artistic directors of Lungomare, a platform for cultural production and design. They work at the intersection of artistic production and design with a focus on public urban space. With a transdisciplinary approach, they realize and design multiple collaborations and exhibition and publication projects as well as site-specific artistic productions
Was, wenn die primären Erfindungen der Menschheit nicht der Speer des Helden, sondern ein Korb mit wildem Hafer, ein Medizinbündel, eine Geschichte waren? In The Carrier Bag Theory of Fiction (1986) entwirft Ursula K. Le Guin eine feministische Technologiegeschichte, die den kollektiven Lebensunterhalt ins Zentrum rückt und in den Tragebehältnissen der Sammler*innen Werkzeuge für das Erzählen seltsam realistischer Fiktionen erkennt. Neue Texte und Bilder antworten auf Le Guins erzählerische Praxis des world-making durch Sammeln und Festhalten. --What if humanity's primary inventions were not the Hero's spear but rather a basket of wild oats, a medicine bundle, a story. Ursula K. Le Guin's 1986 essay The Carrier Bag Theory of Fiction presents a feminist story of technology that centres on the collective sustenance of life, and reimagines the carrier bag as a tool for telling strangely realistic fictions. New writings and images respond to Le Guin's narrative practice of worldmaking through gathering and holding.
In the 1950s, Frei Otto's tent structures left their mark on the horticultural shows of the new Bonn Republic; together with Behnisch & Partner he created the roof landscape for the Munich Olympic Games in 1972. The innovative potential in his work is based on the interdisciplinarity of a mode of thinking that took in architecture, technology, art, science, and society. He saw nature as a model and tried throughout his life to harness it for the sake of architecture and civil engineering¿-¿and thus also for the future. The Frei-Otto Archive features a large number of experimental models. The book will come out in two editions (German and English) and will be the first time Frei Otto's models have appeared in print. The book is being published in conjunction with the most extensive exhibition to date of the work of Frei Otto at the ZKM | Center for Art and Media Karlsruhe in association with the Wüstenrot Foundation. The exhibition will open in autumn 2016.
In 1988 Manfred Paul was invited to go on a six-week trip to study in Paris. At the time, this was a rare opportunity for a photographer from East Germany to explore a country on the other side of the Iron Curtain. He managed to borrow a Leica M3 from one of the staff at the French Cultural Centre in Berlin; looking through the viewfinder of this camera gave him a special experience of Paris, which changed his way of seeing and had a lasting effect on his photography.The sixty-five pictures comprising Paris 1988 are not concerned with the tourist version of Paris, nor are they a social documentary exploration: rather, they are a rehearsal for a postmodernist visual practice. Paul sets up an opposition between the fragment and the long shot; instead of watching out for the decisive moment, he is interested in the peripheral aspects of an event. Sur-faces, shop windows, the everyday tokens and material qualities of city life-impressions that no longer piece themselves together into a complete image, but which convey the atmosphere of the time: L'air de Paris.Manfred Paul has lived and worked in East Berlin since 1968. He was one of the most important exponents of auteur photography in the GDR.
Proto-Habitat is a transcript of conversations, visits, essays, photographs, paintings objects, and architectures exploring different cultures of dwelling as well as the associated imageries and means of production. Proto-Habitat is both a theoretical and a practical (built) experiment to explore ways of dwelling that are closer to contemporary lifestyles. The idea is to broaden collective representation to include environmentally responsible modes of existence and prioritizing conditions of habitability over questions of production. The book builds on research initially carried out at the French Academy in Rome - Villa Medici, the exhibition at arc en rêve, Collection Lambert, and Grand Hornu, and the construction of Proto-Habitat (Bordeaux, Chamonix, Clermont Ferrand), protoCAMPO (Rome), and SOLARproto (Almere). Flavien Menu is an architect whose practice combines research, building, and sustainable develop-ment.
Proto-Habitat is a transcript of conversations, visits, essays, photographs, paintings objects, and architectures exploring different cultures of dwelling as well as the associated imageries and means of production. Proto-Habitat is both a theoretical and a practical (built) experiment to explore ways of dwelling that are closer to contemporary lifestyles. The idea is to broaden collective representation to include environmentally responsible modes of existence and prioritizing conditions of habitability over questions of production. The book builds on research initially carried out at the French Academy in Rome - Villa Medici, the exhibition at arc en rêve, Collection Lambert, and Grand Hornu, and the construction of Proto-Habitat (Bordeaux, Chamonix, Clermont Ferrand), protoCAMPO (Rome), and SOLARproto (Almere). Flavien Menu is an architect whose practice combines research, building, and sustainable develop-ment.
AP205 Amancio Williams is dedicated to the work of Argentinian architect Amancio Williams(1913-1989), one of the key figures of modern architecture in Latin America. His most famousproject, Casa sobre el Arroyo in the province of Buenos Aires, is one of his few built works. Thevast range of projects and proposals produced by his office between the 1940s and the 1980sis instead attested to by an extensive archive of drawings, photographs, correspondence, andmodels, donated to the Canadian Centre for Architecture by the Williams family in 2020. Thepublication features research by Studio Muoto, Claudia Shmidt, and Pezo von Ellrichshausen, whoeach possess distinct backgrounds in architectural practice and history. Together, their readingspresent new and expanded understandings of Williams's work and situate social, material, andpolitical dimensions of his practice within contemporary architectural discourse.Studio Muoto is an architectural office founded in Paris in 2003 by Gilles Delalex and Yves Moreau.Claudia Shmidt is a professor and researcher at Universidad Torcuato Di Tella in Argentina. Pezovon Ellrichshausen is the name of an art and architecture studio based in southern Chile that wasfounded in 2002.
Artist Rebecca Horn sees herself as an inventor, director, author, composer, poet, and, first andforemost, a choreographer. She uses the idea of embodiment and creates symbols to expressthe interconnectedness, at a technical and physical level, between her first works on paper in the1960s, her early performances and films of the 1970s, her mechanical sculptures from the 1980son, and the large-scale installations she embarked on in the 1990s. Horn repeatedly uses thelanguage of dance as a medium and catalyst for her choreographic fictions. The catalogue showsa selection of her works spanning six decades and includes installation shots of her artworks inthe exhibition, and unpublished historical images.Rebecca Horn, b. 1944, is one of the most important contemporary artists on the internationalscene by virtue of her transdisciplinary work. She has featured in numerous editions of documenta,the Venice Biennale, the Biennale of Sydney, the Tokyo Biennale, the São Paulo Biennale, andCarnegie International. Hendrik Folkerts is Curator of international contemporary art and ExhibitionDirector at Moderna Museet in Stockholm. Jack Halberstam is Director of the Institute for Researchon Women, Gender and Sexuality at Columbia University. Jana Baumann is Senior Curator atHaus der Kunst in Munich. Nancy Spector is a Curator, who has held positions at the Solomon R.Guggenheim Museum in New York and the Brooklyn Museum. Timothy Baum, expert on Dadaand surrealism, was a companion and performer in Rebecca Horn's films.
Can design cater to a diverse society? How does it respond to the disparate demands of the peopleusing it? Debates about inclusion and participation have been an important part of the designdiscourse since at least the 1980s. Contemporary design approaches expand on the conceptsof Universal Design and Design for All, reinterpreting them in a community-based, participatorydesign practice.Design for All? Inclusive Design Today gathers together a variety of recent projects, initiatives,and concepts drawn from different design disciplines, and sets up a dialogue with teachers andresearchers who are active on the international scene to discuss them for the first time. Dealingwith a range of different voices in inclusive design strategies can be seen as part of a paradigmshift that radically questions society's normative values: Can design also make a society fairer?Evelyn Steiner, dipl. Arch. ETH / MA Art History, works as an independent curator, journalist, andmoderator. Sara Zeller did her doctorate in art history and is a curator at the Museum fü r Ge-staltung Zürich.
Between 1977 and 1990, Gundula Schulze Eldowy roamed East Berlin with her camera: her powerful,direct images capture the long post-war period in the socialist part of the city, the deep scars ofthe inferno that had engulfed Germany, and the old Berlin milieu with its one-of-a-kind individualsand people living on the fringes, who soon vanished from the face of the city after the fall of thewall. Schulze Eldowy trains her gaze on the existential aspects of life. She looks at the world witha rare combination of sensitivity and a lack of inhibition that is both touching and painful.The series of images that are being shown in Berlin on a Dog's Night constitute Schulze Eldowy'searly work. These are the pictures that brought her international recognition and now feature inimportant photographic collections. The book, which has long been out of print, is now beingreprinted in a new layout with over thirty additional photographs.Gundula Schulze Eldowy, b. 1954 in Erfurt, studied at the Academy of Fine Arts Leipzig (HGB) andbegan working as a freelance photographer in Berlin in 1984. In the period up until 1990, sheproduced the black-and-white works Berlin in einer Hundenacht, Arbeit, Aktporträts, Tamerlan,and the two colour cycles Der große und der kleine Schritt and Den letzten beißen die Hunde. In1990 she embarked on a series of journeys that took her to Egypt (1993-2000), Japan (1996 -97),and, from 2001 on, to Peru, Bolivia, and Ecuador. She lives in Berlin and Peru.
Zygmunt Rytka (1947-2018) was an intermedia artist associated with the Polish neo-avant-garde ofthe 1970s and the independent artist community of the 1980s. In his conceptual work, he combineda philosophical and artistic study of nature and perception with ironic reflections on contemporarymedia and politics. The artist saw the camera as an instrument that creates a convention andbegins to influence reality. The book-the first monograph of his photographic work in English-is a comprehensive collection including early conceptual cycles, works dealing with consumerculture, politically charged analytical studies of the language of mass media, and works focusingon the relationship between culture and nature. There is commentary on the cycles provided bynotes from the author, an interview conducted by Anna Maria Lesniewska, and new texts by DavidCrowley, Karol Hordziej, and Daniel Muzyczuk.Zygmunt Rytka (1947-2018), Polish conceptual photographer and intermedia artist. His work is insuch collections as Muzeum Sztuki, Lódz or Kontakt Collection, Vienna. He collaborated closelywith the Mala Gallery in Warsaw, the Wschodnia Gallery and the FF Gallery in Lódz and was theco-founder of the In Situ Contemporary Art Foundation. Daniel Muzyczuk is chief curator at theMuzeum Sztuki in Lódz. Karol Hordziej is a curator, art manager, and lecturer based in Kraków,Poland.
The book Archive of Dreams is published in conjunction with the exhibition of the same name thatwill open the Archiv der Avantgarden. Marking the hundredth anniversary of the first surrealistmanifesto and the founding of the Bureau of Surrealist Research in Paris in 1924, the volume isdedicated to the surrealist movement as well as the networks it engendered and the artistic stimuliit provided in the twentieth century. The idea was for the Bureau to collect dream testimonies inwhatever form, not only to preserve and analyse them but also to give active expression to themin artistic processes. The publication shows how the practices of the avant-gardes blurred theboundaries between dream and reality, between the traditional, passive notion of the archiveand the idea of active, innovative artistic experiment-and thus ultimately also between the past,the present, and possible futures.Works and documents from the period before, during, and after the Second World War shed lighton the working methods of international artists and the global network they were involved in. Theyare complemented by diverse reflections on global protest movements and the traumas of war,thus connecting, too, to everyday experiences in a Europe beset by warfare.
Coup de dés (Collection): Books and Ideas after Mallarmé brings together a vast number ofeditions of Mallarmé's chef d'oeuvre as well as many of its historical and contemporary editionsand appropriations by other authors. Mallarmé's arrangement of the poem on opposite pagesturned each side into a compositional entity. Constellations of words on a spread and the interplaybetween the text fragments and the surrounding white-similar to the way a constellation of starsinteracts with the sky-was a metaphor explicitly used and introduced into literature by Mallarmé.His notion of "constellation", for example, is connected to Ulises Carrión's vision of a "new" book."In the old art, to read the last page takes as much time as to read the first one./In the new art thereading rhythm changes, quickens, speeds up," as he wrote in 1975. The richly illustrated bookcontextualizes the perception and appropriations of Mallarmé's masterpiece through criticalessays written by the editor and leading scholars such as Annette Gilbert, Craig Dworkin, LucBoltanski/Arnaud Esquerre, and Ryoko Sekiguchi.Michalis Pichler is a Berlin-based artist, primarily operating independently of the commercialgallery system, and one of the founders and organizers of Miss Read and Conceptual Poetics Day.Pichler's works often make use of found and pre-used material. He treats pages as canvases andcanvases as pages for works of art.
Hanns Eisler was Arnold Schönberg's favourite pupil. He worked intensively with Bertolt Brecht andcomposed the GDR's national anthem. Veronika Eberhart's artistic study focuses on the years 1938to 1948, which the composer spent together with his wife Lou(ise) in exile in Los Angeles. Shortlyafter their arrival, the two became the focus of FBI investigations. They were bugged and followed.In 1947, Eisler was finally called before the House Un-American Activities Committee (HUAC), and ayear later he and his wife were deported from the USA. The book contains images from Eberhart'slatest film Garten sprengen (2022) and a series of new sculptural and photographic works thatcan be seen in her exhibition at the IKOB Museum of Contemporary Art in Belgium.Veronika Eberhart is an artist, filmmaker, and musician.
Un coup de dés jamais n'abolira le hasard (Sculpture) (A Throw of the Dice Will Never AbolishChance) is a close copy of the 1914 edition of French symbolist Stéphane Mallarmé's poem of thesame name, but with all the words cut out by laser. Published sixteen years after the death ofthe poet, Un coup de dés became famous for its intimate combination of free verse and unusualtypographic layout. The twenty-page-long poem anticipated the interest in graphic design andconcrete poetry that emerged in the twentieth century.The preface of Michalis Pichler's version of Mallarmé's masterpiece features the entire poemwritten as a block of text with each line separated by a slash ( / ). Twelve double spreads follow,with immaculately cut-out windows standing in for the text. As you turn the pages, numerousshadows are generated by the cut-outs.The first edition of Michalis Pichler was published in 2008 and quickly sold out. This new editionmakes the artist book accessible again.Michalis Pichler is an artist operating on both sides of the imaginary border between visual artand literature and one of the founders and organizers of Miss Read and Conceptual Poetics Day.A monograph of his work was co-published by Spector Books and Printed Matter, Inc
The state of the world's forests has become an alarming indicator of the imbalances that existbetween the planet's tree population and humanity's production of carbon dioxide. Logging andthe profit-oriented exploitation of woodlands are accelerating the ecological crisis, while climatechange fuels deforestation. The publication Into the Woods, which accompanies the exhibitionof the same name, focuses on the forest as a habitat, its ecological processes, and the threats itfaces. Works by eighteen contemporary artists examine how humans influence the condition offorests and cause their destruction, while at the same time exploring the collective and symbioticnature of the forest ecosystem.With works by Rodrigo Arteaga, Anca Benera & Arnold Estefán, Eline Benjaminsen, Alma Heikkilä,Monica Ursina Jäger, Markus Jeschaunig, Isa Klee, Susanne Kriemann, Jeewi Lee, Antje Majewski,Richard Mosse, Katie Paterson, Oliver Ressler, Abel Rodríguez, Diana Scherer, Rasa smite & Raitissmits.The publication appears in conjunction with the Klima Biennale Wien 2024, 5 April - 14 July 2024
Revolutionary Romances? Global Art Histories in the GDR looks at East Germany's relations-rooted in a spirit of friendship and revolution-with its socialist "sister" countries in Asia, Africa, andLatin America. The concepts of "international solidarity" and "friendship between nations" hadan inherent geopolitical agenda: as such, they not only determined East Germany's foreign policybut also supported a multitude of transcultural contacts and became a key focus of propagandaand the visual arts in the GDR. The book accompanying the exhibition of the same name presentsthemes and motifs of actual and putative "revolutionary romances", including the ideals andicons of socialist internationalism, artistic protests against war and violence, travel images, mailart, and works produced by foreign art students in East Germany.Mathias Wagner is an art historian and conservator at the Albertinum, Staatliche KunstsammlungenDresden. Hilke Wagner is an art historian and director of the Albertinum, Staatliche Kunst-sammlungen Dresden. Kerstin Schankweiler is a professor for visual studies in a global contextin the Institute of Art and Music at TUD Dresden University of Technology. Kathleen Reinhardt isan art historian and director of the Georg Kolbe Museum, Berlin.
The painter Achim Freyer, who was a master student of Bertolt Brecht's, has gained an internationalreputation for his theatre works since the 1970s. However, he always remained first and foremosta visual artist, who made a systematic study of aesthetic and social issues. He escaped fromEast Germany in 1972, whereupon he changed the theatre using the visual arts as his medium. Hetook part in documenta in 1977 and 1987. Stagings like his 1988 Einstein on the Beach embody asynthesis of stagecraft and painting. This monograph is the first to focus on his complete artisticoeuvre, placing it in the context of his theatre work and collection of art. Freyer's late paintingsare a brilliant body of work powered by his undimmed creativity.Achim Freyer, b. 1934 in Berlin, is a visual artist, theatre- and film-maker, university lecturer, collector,and benefactor. Johannes Odenthal, b. 1956 in Cologne, is an art historian and archaeologist.From 2006 to 2022, he was head of programming at the Akademie der Kü nste in Berlin.
Argentinian artist Adrian Villár Rojas's artist's book The End of Imagination, a dystopian graphicnovel, weaves together three stories: The Last American, a futuristic novel by John Ames Mitchellfrom 1889; The Last Joke on Earth, an essay about the end of the world that Rojas himself wrotein 2011; and images taken from the 1928 animated short Steamboat Willie, the first Mickey Mousefilm to be set to music.This montage of literature and cartoon pictures takes readers on a journey in the company of ahand-drawn Mickey Mouse, navigating the margins of a photocopied edition of The Last American,while the story of the last humans on earth unfolds.The Last American and Steamboat Willie have something in common: both are out of copyright,which means that they have become a commodity. The artist's book thus also examines how wecan continue working with the wealth of material that has already been produced.Adrian Villár Rojas is an Argentinian sculptor and installation and video artist.
Artist Angela Glajcar works with fragile materials-torn strips of paper, delicate glass fabrics,and plastic-which she layers and curves to create sculptural forms that, with the help of incidentlight, develop into bodies that seem to glow from within. The sculptor made a name for herselfon the basis of her tiered paper sculptures: "terforations". The term comes from a combinationof foramen (hole) and terra incognita (unknown or unexplored territory). The catalogue raisonné,which includes more than 1,600 objects, reliefs, and spatial installations, gives a comprehensiveaccount of the trajectories involved in the development of artistic works that are often temporaryand site specific.Angela Glajcar, b. 1970 in Mainz, studied at the Academy of Fine Arts (AdBK) Nuremberg. Her workshave featured in exhibitions around world at venues that include Landesgalerie Niederösterreich,Jeonbuk Art Museum (South Korea), Kunstmuseum Bochum, National Museum of Women in theArts, Washington, DC, MOCA Jacksonville. She won the Paper Art Award in 2021. Sasa Hanten-Schmidt is the editor of the catalogue raisonné. As a court expert on art and head of AngelaGlajcar's studio, she has had a close connection with the artist's work for more than a decade
Can design cater to a diverse society? How does it respond to the disparate demands of the peopleusing it? Debates about inclusion and participation have been an important part of the designdiscourse since at least the 1980s. Contemporary design approaches expand on the conceptsof Universal Design and Design for All, reinterpreting them in a community-based, participatorydesign practice.Design for All? Inclusive Design Today gathers together a variety of recent projects, initiatives,and concepts drawn from different design disciplines, and sets up a dialogue with teachers andresearchers who are active on the international scene to discuss them for the first time. Dealingwith a range of different voices in inclusive design strategies can be seen as part of a paradigmshift that radically questions society's normative values: Can design also make a society fairer?Evelyn Steiner, dipl. Arch. ETH / MA Art History, works as an independent curator, journalist, andmoderator. Sara Zeller did her doctorate in art history and is a curator at the Museum fü r Ge-staltung Zürich.
Pan Daijing devises performances and exhibitions as Gesamtkunstwerke, total works of art inwhich architectural intervention, light, sound, and movement interact to tell stories that go beyondlanguage. Her haunting compositions for voice and electronic instruments combine opera andnoise music. Mute-in which the artist and composer examines silence and liveness-is Pan'sbiggest solo exhibition to date. This monograph is published in conjunction with the exhibitionand in collaboration with Tai Kwun Contemporary is the first comprehensive presentation of Pan'swork in the dynamic zone straddling music and visual art.Pan Daijing, b. 1991 in Guiyang, China, lives as an artist and composer in Berlin. She is one of thewinners of the prestigious Preis der Nationalgalerie 2024. Sarah Johanna Theurer, b. 1988, is acurator, whose focus is on time-based arts and techno-social entanglements. She is currentlyworking in the Haus der Kunst in Munich.
As the largest alpine valley in the world, the San Luis Valley is a land of sand dunes, wetlands, andfarmland-nearly all of it above 8,000 feet in elevation. It is characterized by an unparalleled rangeof physical geography, social, cultural, and economic diversity, and extraordinary environmentalphenomena-all within a footprint of roughly 150 by 75 miles. Only sparsely covered by historiansand geoscientists, the San Luis Valley has been home to mixed Hispanic ancestral villages, Spanishand Anglo settlements, Indigenous territories, and Catholic, Mormon, Amish, Hindu, and Buddhistcommunities. Today, the vast majority of land is owned by state or federal agencies or is usedfor agricultural production. Dominated by the presence of the Rio Grande, one of the main riversin the American Southwest, the San Luis Valley is the headwaters of many lifeways that flow andbranch out across the region. This publication summarizes M12 studio's Landlines Initiative, amulti-year engagement with Colorado's rural San Luis Valley, which took place from 2018 to 2022.M12 is a collaborative studio known for art projects that explore public space, rural cultures, andlandscapes. Richard Saxton is an artist and University of Colorado professor whose work focusesprimarily on rural knowledge and landscape. He is the Founder and Creative Director of M12 Studio.Margo Handwerker is a practitioner with M12 Studio and serves as Chief Curator and Director ofthe Texas State Galleries at Texas State University. Trent Segura is a practitioner with M12 Studioand independent graphic designer.
Akinbode Akinbiyi's street photography takes in the world's major cities, which he explores on foot.His images are visual metaphors ruminating on cultural change, social exclusion, and colonialism'ssociopolitical consequences and its impact on urban planning. Whether he is out and aboutin Bamako, Berlin, Lagos, or Durban, the photographer uses his camera to investigate socialstructures in urban spaces.The book presents key aspects of Akinbiyi's work since 1990. In 2024 the photographer and authoris being awarded the Berlin Senate's Hannah Höch Prize for his life's work.Akinbode Akinbiyi, b. 1946 in Oxford, grew up in England and Nigeria, in the city of Lagos. Hestudied literature and English and began teaching himself photography as a young man. He hasfeatured in numerous exhibitions and biennials worldwide. He exhibited his work in Athens andKassel as part of documenta 14 in 2017.
The photobook Permanent Concern consists of a series of smartphone photographs that Cavaliertook in the Netherlands in 2021. The objects and situations that he portrays are often recognizableand ordinary: from a plastic table to a brick wall blotched with paint or a girl's skipping rope. Thefull zoom used by Cavalier reveals-in much the same way as his presentation of the photographsas monochrome laser prints does-the inherent structure of his subjects and how, as "foreignobjects", they break with the original order. In this way, Cavalier emphasizes the various aspectsof urban planning, including among them the unintentional, the "mishap", which he characterizesas a quality that allows room for a subjective and personal use of the cities in which we live.Bertrand Cavalier, b. 1989 in France, is a multidisciplinary artist based in Brussels.
AP205 Amancio Williams widmet sich mit dem argentinischen Architekten Amancio Williams(1913-1989) einer Schlüsselfigur der modernen Architektur in Lateinamerika. Sein bekanntestesProjekt, die Casa sobre el Arroyo in der Provinz Buenos Aires, ist eines der wenigen Bauwerke, dieer realisiert hat. Das breite Spektrum von Projekten und Entwürfen, die sein Büro von den 1940erbis in die 1980er Jahre hervorgebracht hat, zeigt sich allerdings in einem umfangreichen Archivmit Zeichnungen, Fotografien, Korrespondenz und Modellen, das die Familie Williams 2020 demCanadian Centre for Architecture (CCA) überlassen hat. Diese Publikation beruht auf Recherchenvon Studio Muoto, Claudia Shmidt und Pezo von Ellrichshausen, die alle einen, je eigenen, Hinter-grund in Architektur und Architekturgeschichte haben. Ihre Lesarten ergeben ein neues, weiter-gehendes Verständnis von Williams' Werk und verorten seine Praxis mit ihren sozialen, materiellenund politischen Dimensionen im zeitgenössischen Architekturdiskurs.Studio Muoto ist ein Architekturbüro, das 2003 von Gilles Delalex und Yves Moreau in Paris ge-gründet wurde. Claudia Shmidt ist Professorin an der Universidad Torcuato Di Tella in Argentinien.Pezo von Ellrichshausen ist der Name eines 2002 gegründeten Studios für Kunst und Architekturim Süden Chiles.
The book Archive of Dreams is published in conjunction with the exhibition of the same name thatwill open the Archiv der Avantgarden. Marking the hundredth anniversary of the first surrealistmanifesto and the founding of the Bureau of Surrealist Research in Paris in 1924, the volume isdedicated to the surrealist movement as well as the networks it engendered and the artistic stimuliit provided in the twentieth century. The idea was for the Bureau to collect dream testimonies inwhatever form, not only to preserve and analyse them but also to give active expression to themin artistic processes. The publication shows how the practices of the avant-gardes blurred theboundaries between dream and reality, between the traditional, passive notion of the archiveand the idea of active, innovative artistic experiment-and thus ultimately also between the past,the present, and possible futures.Works and documents from the period before, during, and after the Second World War shed lighton the working methods of international artists and the global network they were involved in. Theyare complemented by diverse reflections on global protest movements and the traumas of war,thus connecting, too, to everyday experiences in a Europe beset by warfare.
Between 1977 and 1990, Gundula Schulze Eldowy roamed East Berlin with her camera: her powerful,direct images capture the long post-war period in the socialist part of the city, the deep scars ofthe inferno that had engulfed Germany, and the old Berlin milieu with its one-of-a-kind individualsand people living on the fringes, who soon vanished from the face of the city after the fall of thewall. Schulze Eldowy trains her gaze on the existential aspects of life. She looks at the world witha rare combination of sensitivity and a lack of inhibition that is both touching and painful.The series of images that are being shown in Berlin on a Dog's Night constitute Schulze Eldowy'searly work. These are the pictures that brought her international recognition and now feature inimportant photographic collections. The book, which has long been out of print, is now beingreprinted in a new layout with over thirty additional photographs.Gundula Schulze Eldowy, b. 1954 in Erfurt, studied at the Academy of Fine Arts Leipzig (HGB) andbegan working as a freelance photographer in Berlin in 1984. In the period up until 1990, sheproduced the black-and-white works Berlin in einer Hundenacht, Arbeit, Aktporträts, Tamerlan,and the two colour cycles Der große und der kleine Schritt and Den letzten beißen die Hunde. In1990 she embarked on a series of journeys that took her to Egypt (1993-2000), Japan (1996 -97),and, from 2001 on, to Peru, Bolivia, and Ecuador. She lives in Berlin and Peru.
Artist Rebecca Horn sees herself as an inventor, director, author, composer, poet, and, first andforemost, a choreographer. She uses the idea of embodiment and creates symbols to expressthe interconnectedness, at a technical and physical level, between her first works on paper in the1960s, her early performances and films of the 1970s, her mechanical sculptures from the 1980son, and the large-scale installations she embarked on in the 1990s. Horn repeatedly uses thelanguage of dance as a medium and catalyst for her choreographic fictions. The catalogue showsa selection of her works spanning six decades and includes installation shots of her artworks inthe exhibition, and unpublished historical images.Rebecca Horn, b. 1944, is one of the most important contemporary artists on the internationalscene by virtue of her transdisciplinary work. She has featured in numerous editions of documenta,the Venice Biennale, the Biennale of Sydney, the Tokyo Biennale, the São Paulo Biennale, andCarnegie International. Hendrik Folkerts is Curator of international contemporary art and ExhibitionDirector at Moderna Museet in Stockholm. Jack Halberstam is Director of the Institute for Researchon Women, Gender and Sexuality at Columbia University. Jana Baumann is Senior Curator atHaus der Kunst in Munich. Nancy Spector is a Curator, who has held positions at the Solomon R.Guggenheim Museum in New York and the Brooklyn Museum. Timothy Baum, expert on Dadaand surrealism, was a companion and performer in Rebecca Horn's films.
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