Sunday, December 14, 2008
Sunday, December 7, 2008
Published are papers presented at the 2008 International Symposium on Electronic Art (ISEA) invited-panel “Passing and Peril in the Information Super Highway.” Kóan Jeff Baysa moderated the panel and did an introduction with the same title. The other papers are “Reflections of Contemporary Chinese Society: Representations of Chinese Identity in Cyberspace” by Jiayi Young; “Kenkanryu (The Hate Korean Wave): Images of Hatred and Racism in Japanese Manga” by Mina Cheon; “Self-representations of Malaysian Bloggers” by Roopesh Sitharan; and “How We Have Represented Ourselves as Ctrl+P thus Far” by issue editor Judy Freya Sibayan.
The second part of this issue focuses on the art market and the value of art to contextualize Ctrl+P's decision to advertise the Asian Contemporary Art Fair New York a first with Ctrl+P and a timely opportunity considering the current world financial crisis. Marian Pastor Roces reviews “On (Surplus) Value in Art” a book by Diedrich Diederichsen published by Witte de With. Ana Prvacki talks on her art practice as a form of giving. Varsha Nair offers an image to represent her deep sadness as artist-friends lose themselves in the commerce of art.
The issue also includes a review by Sara Haq and Olivia Altaras, a conversation about the exhibition “Or” by The Readymaids.
To be part of the Ctrl+P mailing list, please email firstname.lastname@example.org.
Ctrl+P Journal of Contemporary Art
Tuesday, December 2, 2008
Monday, November 17, 2008
The Happy Hypocrite:
Hunting and Gathering, Issue 2
edited by Maria Fusco
Published by Book Works
19 Holywell Row
The Happy Hypocrite is a biannual journal led by artists' writings. Informed by a lineage of modern experimental and avant-garde magazines, this journal will provide a greatly needed testing ground for new writing and research-based projects, somewhere for artists, writers and theorists to express experimental ideas that might not otherwise be realised or published.
Issue 2: Hunting and Gathering (Out Now)
New writing, from commission and open submission, forays into territories of collage and bricolage, interspersed with appropriated and parodic writing. Artists' pages and artists' writings from: ArtstrA/Barbara Reise Archives, Steve Beard, Susanne Clausen, Marie Darrieussecq, Brian Dillon, Andrew Dodds, Thomas Hirschhorn, Gabriel Lester, Jo Melvin, Rashanna Rashied-Walker, Lisa Robertson, Nick Thurston and Lynne Tillman.
Visit http://www.bookworks.org.uk/asp/home.asp for full subscription information
Reviews for, The Happy Hypocrite: Linguistic Hardcore, Issue 1
'A venue for creativity and polemical "secret" history' — Michael Bracewell, frieze magazine, June-August 2008
'A timely response to the fraying of the edges of art criticism, the boom in artists' writings, the general exhaustion of mainstream literary venues and the artistic bankruptcy of the niche creative writing crowd' — Brian Dillon, Art Review, September 2008
'...persuasive, a chancer to keep an eye on, with the potential to grow into a figure of consequence...' — Rick Poyner, eye magazine, August 2008
'A journal that nods to the history of avant-garde writing' — nought to sixty, Issue 5 /September 2008
'A visually smart intellectual overture' — Art World Magazine, June/July 2008
'Suffused with humour, absurdity and a serious playfulness' — Kit Hammonds, September-October 2008
'Great work' — Grafik Magazine, August 2008
Issue 3: Volatile Dispersal — Speed and Reading (Spring/Summer 2009)
Presenting: mail art, spam, grammatical glitches and pragmatic punctuation, in collision with distributive structures and amphetamine-fuelled prose. Contains: effervescent and evaporating data, from commission and open submission.
Issue 4: A Rather Large Weapon (Autumn/Winter 2009)
Systematic illuminations of factories and the progressive darkening of machines, smiles, old files, manifestos, polemics, and other short-lived rants.
Book Works will launch The Happy Hypocrite: Hunting and Gathering, issue 2, on 11 November 2008, as part of Existential Territories, a new series of talks and events, organised by Jeremy Akerman and Gavin Everal. For more information contact: email@example.com
Monday, October 13, 2008
Del 07 al 28 de octubre entrá a www.boladenieve.org.ar, navegá los perfiles de artista y elegí tus 3 páginas favoritas. Ya hay más de 900 artistas en la red, muchas nuevas incorporaciones y perfiles puestos a punto para la ocasión. Además, con tu voto participás en el sorteo por 3 iPod Nano.
+ info en: www.boladenieve.org.ar/premio
Reenviá para que todos puedan participar!
Premio 10 Años de Bola de Nieve
07 a 28 de octubre
01 a 23 de noviembre
(+ 5411) 4953-2696/6772
Sunday, September 14, 2008
White Fungus is happy to announce it will be a media partner to Colophon 2009 – Second Edition, an international symposium on independent magazine publishing to be held in Luxembourg next March 13-15 in 2009. A biennial festival, the inaugural Colophon was held in 2007 and co-founded by leading Luxembourg independent publisher Mike Koedinger and Jeremy Leslie, Executive Creative Director at John Brown and author of influential publishing tomb Mag Culture.
Colophon 2009 is produced by Koedinger in collaboration with Casino Luxembog – Forum d’art contemporain. The international event will include exhibitions, talks, workshops, events and one-off publications, with more magazines, more attendees and a far more expansive programme than Colophon 2007. The symposium will be accompanied by a book, the second We Love Magazines, which explores the world’s independent magazine culture and contains the most comprehensive directory ever compiled on international pop culture magazines and the shops where you can buy them.
The opening exhibition for Colophon 2009 is BEYOND KIOSK - Modes of Multiplication curatated by Christoph Keller. A discussion between Keller and Mudam curator Chritophe Gallois will kick things off.
Check out Colophon 2009’s website here: http://blog.colophon2009.com/
Also, check out the White Fungus interview on the site here: http://www.colophon2009.com/archive/?mag_id=2282
Wednesday, July 30, 2008
A commonplace book is a book of memorabilia, a scrapbook filled with recipes, quotes, letters, poems, legal formulas and so on. Originally the book was a memory aid and orators would “go” to metaphorical “places” to gather their arguments. They were places to which one could return for future reference. The commonplace book became a precursor to the modern reference book. This book takes ‘the commonplace’ – the ordinary and the everyday as well as the insignificant and references these moments within a commonplace book; as a way to recall and to make the insignificant significant.
The Canary Annual ‘07: A Momentum of Activity
The Sunset Years: Canary Gallery September 2005 - September 2006
Published November 2007 by Canary Gallery
Edited by Paula Booker and Rachel O’Neill
Designed by Hannah Ngaei
NZ $20 available from firstname.lastname@example.org
and Parsons Fine Art Books, Auckland, NZ
This second annual publication by Canary Gallery celebrates the momentum of activity Canary inspired, and continues to motivate, in its immediate Auckland environs and beyond.
The quiet after-life of the space that closed in 2006 is disturbed enthusiastically by those who have contributed to the Annual ’07, enlivening once more the network of artists, contributors, audience and supporters that make the Canary call heard even now.
Writing featured in the Annual '07 is not restricted to the chronology of shows at Canary, or indeed the artists and works that showed there. The Annual ’07 expands outwards from the gallery and its limitations, be they financial, social, spatial or geographic.
Nick Austin’s series of photographs pay homage to sites of potential pause or activity, while a pagework by J. A. Wallace illustrates his recent drawing experiments based on the perfect explosion. The Canary Gallery Minder Survey provides a behind-the-scenes insight into the day of an anonymous gallery sitter.
Laura Preston looks at the relationship between the works of Finn Ferrier and Gordon Matta-Clark, and the future-focused time capsule project by Fiona Connor, Finn Ferrier, Chris Fitz and Ben Tankard is also documented. ‘Which Craft?’ by James Robertson will have you knitting your brow as he tries to untangle craft practices presented in the Canary exhibition program.
Harold Grieves expands on the synthetic taste of original flavor, while Frances Loeffler observes on photographer Courtney Lucas. The work of Susie Pratt inspires Rachel O’Neill to argue for phenomenological forthrightness, while Paula Booker has contributed an arcade archaeology.
The Canary Annual ‘05: Conversation, Critique and Community
The Golden Age: Canary Gallery March 2004 - September 2005
Published October 2005 by Canary Gallery (2nd edition Nov 2007)
Edited by Paula Booker
Designed by Shane Fairhall
NZ $20 available from email@example.com
and Parsons Fine Art Books, Auckland, NZ
Subjects covered include:
• Melbourne artist-run-initiative Dudespace
• Water Features, public sculpture and Ben Tankard's grand splish splashery
• Kah-Bee Chow likens the Ship of Fools installation by Andrew Barber and Paula Booker to the endeavors of the ambitious and foolhardy Howard Hughes
• A transcript from Spark 04 Artist-run space panel discussion at WINTEC
• The work of Ryan Moore is discussed
• Pageworks by Fiona Connor, Damen Joe and Finn Ferrier
• James Robertson and Paula Booker discuss the ballistic artwork of JA Wallace
• A photographic chronology of all Canary's shows to date.
• ...and more
Reunited siblings is a collective of poets and artists who is combining the art of spoken word with the impact of fine art to create a new experience. Their aim is to bring together, art siblings that have been divided for so long by fusing such disciplines on various platforms and to create ways and means to make a living from their arts. Having said that, they have successfully launched three poetry and fine art anthologies; where they fuse the written word and fine art, and hosted numerous events in and around Jozi, this time bringing the word to life and adding yet another perspective with live performances from the featured wordsmiths. They have started relationships with siblings internationally, either featuring in the anthologies or by working on certain projects.
Members: Wesley (Creative Director), Ricky (Editor in Chief), Denis (Multimedia Director)
Nka: Journal of Contemporary African Art is a triennial journal which serves as a platform for critical writing on contemporary African and African diaspora art and visual culture as they intersect with discourses on internationalism and globalization in the arts. It also promotes contemporary African and African diaspora artists and strengthen their presence on a global level.
ZX is published annually by the Manukau School of Visual Arts, in Auckland New Zealand. In 2006 we established an editorial board for ZX and we are grateful to its members for the effort they have put into reviewing, and commenting upon, contributions.
Y3k Newsletter (& Y2kgallery.blogspot.com) is an open vessel for varied contributions. It is a growing entity with a folded A4 page (or in other words 4 A5 pages) being added each month (mostly photocopied). It is a free form exercise in printed matter, open to various contributors, but with on going image conversations, and boxed features from Evergreen and Matt Hinkley. The web component does much the same with content on current exhibitions, artist pages and meandering discourse. it is free from various Gallerias monthly.
Based in Wellington, New Zealand, White Fungus is a biannual print publication of experimental arts from throughout the Asia / Pacific region. Featuring articles on art and new music, poetry, literature, comics and political satire, each issue of White Fungus is teeming with interdisciplinary content. Produced in Wellington, the publication is international in its focus and contains regular contributions from Germany, Australia, the US, China, Taiwan and Singapore. White Fungus is distributed by Disticor in North America. It is distributed independently throughout New Zealand and Australia, Asia and Europe. For more information or to subscribe checkout
From 2004-2006 un Magazine published seven issues of Volume 1, establishing itself as a significant part of Melbourne’s art community. By supporting and encouraging critical dialogue in the local art community, un Magazine’s continuing intention has been to develop a new approach to visual art discourse and publishing.
In March 2008 un Magazine relaunched with a new edition. Volume 2, Issue 1 extends and explores the creative possibilities of visual art writing. Edited by Rosemary Forde, the edition is a compendium of critical and crafted approaches, including responses to exhibitions in 2007-08, features, essays, fiction, and text-based artworks. Issue 2.1 offers innovative ways to engage with art practice through different forms of writing, as well as creating in-depth discussion around contemporary art works.
Volume 2, issue 2 will be released in November 2008. Back issues are downloadable from the website
The Reader is a monthly publication co-edited by Tahi Moore and Kate Newby and printed and distributed though the gallery Gambia Castle that is based in Auckland, NZ. The Idea with the Reader is to have it act as a somewhat informal platform for a variety of people, local and international to contribute to.
Each month the title of the Reader is decided and named by an invited person and then this title is given to the 3-5 contributors to loosely inform the writing submitted. Previous titles have been “ Discreet and Popular”(Kate Newby), “You know when you really want to do something and then you get distracted and you’re doing something else and then you can’t be bothered with that first thing anymore” (Tahi Moore), and “Slow Connection” (Nick Austin).
For information regarding the Reader please contact; firstname.lastname@example.org
The National Grid is a graphic design magazine operating loosely in the shadowy areas between academia and professional practice, and between art and design. The first issue was published in March 2006. The National Grid is produced twice a year, is independently published in New Zealand and is distributed internationally.
The National Grid was initially set up to provide a platform and point of distribution for certain sorts of projects and writing that were considered to be untenable within our peculiar national context. The hope was—and still is—that New Zealand graphic design might achieve a greater sense of literacy. In this sense it has been important for The National Grid to operate within a broader international context—while always trying to maintain a sort of girl-next-door status at home.
Jonty Valentine and Luke Wood (editors)
The Happy Hypocrite
For and About Experimental Art Writing
Edited by Maria Fusco (2008)
The Happy Hypocrite is a biannual journal led by artists’ writings. Informed by a lineage of modern experimental and avant-garde magazines, such as: Bananas, Documents, The Fox, Merlin and Tracks, this journal aspires to unpack the methodology of such key journals, whilst providing a brand new approach to art writing. It will provide somewhere for artists, writers and theorists to express experimental ideas that might not otherwise be realised or published.
Spit & Polish is a new model for providing content to existing publications.
It functions as a mobile column that delivers material specific to a hosting publication.
This process may arise from a direct submission by Spit & Polish or through a specific commission. Under the moniker Spit & Polish, with a distinctive emblem to identify the space allocated by the publication, Melbourne based writers Jessie Borrelle and Caroline Clements administer compelling social observation that is relevant to the host's established audience and modus operandi. Employing a variety of formats and styles, including original texts, curated material, illustrations, fiction, interviews and the like, Spit & Polish is a roving collaborative project that exists so that all may be aware that in order to Polish - first you must Spit.
Sab0t (Mexiko-Stadt) erscheint als gedruckte Broschüre und beschäftigt sich mit Kunst, Aktivismus, experimenteller Erzählung sowie Medien- und Netzkultur. Es wird online im Kollektiv mithilfe von Open-Source-Software redigiert. Sab0t ist eines der Projekte von possible worlds, einer wirtschaftlich unabhängigen Initiative und eines autonomen Serverbetreibers, der Webspace zur Verfügung stellt. Unter possible worlds vereinen sich eine virtuelle Community, Online-Fernsehen, ein Medienarchiv, eine Mediathek und ein Netlabel sowie eine Reihe internationaler Konferenzen über Kulturproduktion und politische Netzwerke.
Erscheinungsweise: unregelmäßig, irregularly
ChefredakteurIn: Fran Ilich
Redaktion: luisa ungar (co-editor)
runway is an independent, artist driven project aimed at enabling artists to participate on a level beside and beyond exhibition. Published by The Invisible Inc. runway presents a forum for discourse, documentation and discussion centring on visual arts in the Sydney region and beyond. Initiated in 2002, runway is steadily building a reputation as a vital artist run initiative, providing young, emerging and early career artists with the opportunity to present new work in a format alternative to the gallery space.
The Revista de Crítica Cultural was founded in Santiago, Chile, in 1990. From its beginnings, the magazine has presented itself as a trans-disciplinary review (literature, social sciences, philosophy, theory, art, politics, feminism, etc.) that seeks to activate a debate of ideas inside and outside the university, and between the academic disciplines and the arena of intellectual criticism. The Revista de Crítica Cultural appears twice a year, and is the independent review with the greatest continuity and relevance in the Chilean cultural scene.
Editor Nelly Richard
Editor-in-chief: Nelly Richard
Producer:s Ana María Saavedra and Luis Alarcón.
ramona is a journal of visual arts based in Argentina.
ramona magazine is an independent monthly art magazine published since 2000 in Buenos Aires, Argentina.
The magazine uses a black and white, text only format and is limited to 100 pages. ramona is based upon an open submission policy in order to create a democratic system of dissemination and was conceived of as a way to give artists back their voice, and for them to reflect on the conditions of their production and their work. The magazine has become a landmark in the formation of visual art discourses within Argentina.
Around 300 authors - artists, historian, critics, curators, collectors, gallery owners, writers and researchers - have created a spontaneous polyphony with their collaborations in ramona. Some of them are Liam Gillick (U.K), Thierry de Duve (Belguim), Nelly Richard (Chile), Dmitry Vilensky (Russia), Brian O’Doherty (Ireland), Claire Bishop (U.K), Arthur Danto (USA), Gianni Vattimo (Italy) Abbas Kiarostami (Iran).
Many libraries in Argentina and Latin America receive ramona free of charge. In addition, ramona was invited to participate in documenta 12 magazine in Kassel 2007.
Public Good Itinerant responses to collective space
A new publication by Enjoy questions expected notions of art in public, and asks what alternatives may be offered. Considering the increasing amount of funds and energy being directed towards the commissioning of art sited within public space, and the continual civic development of the urban landscape, we thought it timely to attempt a collected discussion into the obviously political, and forever elusive notion of The Public.
Public Good is a collection of critical essays, artist’s pageworks and prose pivoting around an exploration of The Public. The journal draws from local and international contributions and Itinerant responses to collective space sees the coming together of diverse voices and interpretations from practitioners locally and internationally to form a varied thesis, offering a springboard for argument, thought and discussion. This journal is the first in what will be a biennial production, focussing on different themes.
Public Good Contributors:
Fiona Amundsen (Auckland)
Christina Barton (Wellington)
JC Borrelle (Melbourne)
Kate Brettkelly-Chalmers (Auckland)
Kah Bee Chow (Penang/Auckland
Tim Corballis (Wellington)
Harold Grieves (Christchurch)
Rudolph Hudsucker (Wellington)
Tushar Joag (Bombay)
Dane Mitchell (Auckland)
Kate Newby (Auckland)
Rachel O’Neill (Wellington)
Spiros Panigirakis (Melbourne)
Chaitanya Sambrani (Canberra)
Shuddhabrata Sengupta (New Delhi)
Simon Sheikh (Berlin/Copenhagen)
A journal published by Enjoy Public Art Gallery, Wellington, New Zealand
Edited by Paula Booker and Marnie Slater
Only NZ $18 / email email@example.com for your nearest stockist
Pages was started in 2004 by artists Nasrin Tabatabai and Babak Afrassiabi as an ongoing project, examining the possibilities of interaction and reflection between various local discourses and condition that may generate spaces of critique or instances of critical practices.
Pages project is defined through activities, such as the publication of a bilingual Farsi/English magazine, architectural proposals, video documentations and installation works.
With a particular focus on the Iranian context, Pages emphasises on those artistic practices that communicate the specific conditions in which they are produced, those socio-political circumstances against which an artistic production is inevitably read as a discourse. Yet, the specificity of the Iranian situation has triggered discussions of a broader context. Addressing issues with regard to locally specific conditions can bring one closer to the reality of these issues, problematizing their common notions and triggering their re-articulation. Pages tries to constantly point to those intricacies and dissonances within and among local currents that give way to alternative chains of meanings, relations and coincidences. As such, Pages activities are taken as ongoing processes of research, which inevitably tend to undermine predefined and geographically bound notions of subjectivity and locality. Both the projects and the bilingual magazine undergo constant rethinking of their disposition in regard to the social and political contexts to which they refer.
Natural Selection is an Australasian art reviews magazine edited by Gwynneth Porter and Dan Arps, and based in Auckland, New Zealand. Designed by Warren Olds, it is an online magazine distributed as a PDF that people can print out and assemble as a craft project.
The Lumière Reader is New Zealand's online film + arts journal dedicated to criticism and review. Its Film Pages selectively canvas the local movie scene while actively engaging in alternate and ignored forms of cinema. Its critics write passionately and sophisticatedly on mainstream movies, the neglected and underseen, plus film festivals and events. As always, its advocacy is in promoting a conspicious film culture in New Zealand. Its Arts Pages, primarily Wellington-based, function as a broad spectrum of arts activity in New Zealand. Coverage is dominated by lively arts features and interviews, creative writing and essays, plus dedicated sections in Books, Music, Theatre + Performing Arts, and Visual Arts. A squadron of review columns curated by a savvy and devoted team of writers characterise these sections.
Founded in August 2003 as a low circulation zine, Lumière Magazine (ISSN 1176-4082) spanned seven print issues before migrating permanently online in August 2004. The site's design and development continues to be a work-in-progress, with most recent changes implemented in January 2008.
Kwani? is a journal, a performance, a website and a way of life. Founded in 2003 by Binyavanga Wainaina and a cohort of the most exciting young writers in Kenya, Kwani? has thrust African literature into the 21st century. We publish the hottest new journalism and fiction, cartoons and photography, poetry and experimental writing on the scene, pushing literary boundaries so far they end up falling off the page and landing on stage: Our monthly Open Mic and Sunday Salon events have become a staple of Nairobi’s nightlife, drawing everyone from hip hop kings and queens to university students and professors alike. To top it all off, the annual Kwani? Litfest, held in the first two weeks of August, draws an international cast of celebrated writers to Kenya for the ultimate celebration of all things literary.
Khanya: a journal for activists is a journal project of Khanya College. Established in 2002, the bi-monthly journal is run by an Editorial Collective that comprises mainly Khanya College staff and other progressive individuals. It seeks to compliment the work that is done by Khanya College within working class and poor communities. The following are the major aims of the Journal:
1. Re-building the fighting organisations of the working class and the poor in general, and building new forms of organisation capable of responding to new challenges of struggle;
2. Revitalising theoretical approaches to social analysis that form an important inheritance of egalitarian social movements all over the world;
3. Developing new theoretical approaches to better understand new developments in the world today;
4. Building a layer of activist cadre that is dedicated to democracy and egalitarian social change;
5. Building a culture of critical debate among the emerging layer of activists;
6. Developing the capacity of activists to engage in critical social analysis and debate;
7. Creating spaces for activists to publish, and have access to the work of other activists; and,
8. Providing a vehicle for activists to access debates on democracy and social change taking place among activists in other parts of the world.
In terms of its editorial policy, the Journal has a commitment to open, vigorous but comradely debate within progressive forces; tolerance of different views within the progressive movement; anti-sexism; anti-racism; commitment to social and economic justice; commitment to progressive approaches to environmental questions; and a commitment to non-market based forms of social organisation. Further, within these broad principles, freedom of expression is the guiding editorial policy of the Journal, and as such, the Collective does not impose views that contributors should conform to.
Brief note on Khanya College
Khanya College is an independent non-governmental organisation based in Johannesburg, South Africa. Established in 1986, the primary aim of Khanya College is to assist various constituencies within working class and poor communities to respond to the challenges posed by the forces of economic and political globalisation. Khanya College offers assistance through providing educational and training workshops, publications and research to organisations and individuals in these communities. Khanya College contributes to these challenges by emphasising solutions based on social solidarity, popular democracy and participation, organisation and mobilisation.
Our website is currently under construction, but you can access previous editions of the journal on: http://www.khanyacollege.org.za/journal13.html and navigate from there.
International Gallerie was conceived by one person’s simple, single-minded belief in the rich, diversity of the world’s cultures and the powerful universality of ideas. In an increasingly cynical world, the idea captured the imagination of a core group of people comprising design and print professionals, photographers, writers… and advertisers.
Encouraged by this support, its founder-publisher and editor, Bina Sarkar Ellias, launched the first issue of International Gallerie in July 1997. That issue was an instant success – not in numbers, but in terms of its quality of readers. The inaugural issue and subsequent issues went on to win no less than 9 national and international awards for excellence.
What began as an arts and literary journal that focused on creative excellence worldwide, soon evolved into a socio-cultural forum on global issues –– stringing art, music, theatre, cinema, poetry and travel into a cohesive theme.
The launch of every issue is accompanied by theatre enactments and poetry reading, followed by a discussion pertinent to the issue. What distinguishes Gallerie is the way each issue connects India to the world and, in turn, the world to India. Each section often comprises of two features, each representing an Indian and an international subject or two respective viewpoints.
Hue & Cry is a New Zealand art and literary journal. It exists to promote new writers and artists, and encourage critical dialogue around their work. Founded and edited by Chloe Lane, Issue Two: Stakeout features writer Lawrence Patchett as a contributing editor, and is designed by Wellington studio Experimenta (www.experimenta.co.nz).
Issue Two contributions include: New fiction by Pip Adam and Eleanor Catton, winner of the 2007 Sunday Star Times Short Story Competition; poetry from Biggs award-winners Joan Fleming and Amy Brown; novelist Carl Shuker in interview, discussing The Method Actors and the film adaptation of The Lazy Boys; artist Tao Wells discussing Sarah Gruiters’ 2007 show, Not Even Tomorrow; specially commissioned works by artists Fiona Connor and Liz Allan, the 2008 Artist in Residence at the Govett-Brewster Art Gallery, New Plymouth; and new texts by artists Tahi Moore and Simon Denny.
Hue & Cry Journal
PO Box 6386
How does documenta gain access to specific knowledge in the world? And how can it communicate this knowledge?
One possible approach was found with documenta 12 magazines. 18 months ago, about 90 publications with different formats, orientations and focuses, as well as art, culture and theory media from around the world were invited to think collectively about the motifs and themes of documenta 12. They actively took on the exhibition’s guiding questions, discussing them at
The material generated by the three issues leading up to the exhibition — Modernity?, Life!, and Education: — is intended to act as a navigation aid for readers and visitors to documenta 12. documenta 12 magazines will continue to perform this function during the exhibition itself (in a separate section of the exhibition, a web journal, and a series of discussions and presentations)
Botsotso is a grouping of poets, writers and artists who wish to both create art as well as to generate the means for its public communication and appreciation. We speak particularly of art that is of and about the varied cultures and life experiences of people in South Africa – as expressed in all our many languages.
Botsotso is committed to a proliferation of styles and a multiplicity of themes and characters. Multidisciplinary art forms and performances are similarly embraced.
The transition from a closed, authoritarian society to a pluralistic and democratic one offers artists an opportunity to explore the truths of our inner and social lives with a freedom that has not existed before. Flowing from this, the consequences and lessons of Apartheid must still be examined while the challenges of the current period throw up their difficulties, their complexities.
Botsotso works with inter-action: the different elements of the South African mosaic colliding, synthesizing - affected both by social forces and the individual’s uniqueness.
art-ist takes a lively interest and focus on contemporary art practice in Turkey, re-examines the concepts of culture and power, and follows the ambiguous border between life and art space. Since the magazine is not funded by any institution, its future depends on young artists and writers’ contributions. Aside from observing the international visual arts events, art-ist also includes the following topics: visual art production in Turkey, the Balkans, Eastern Europe and Far East, in addition to the artworks of young artists and the very translation of their works within their social and political contexts depicting the differences of memories and cultural encodements which do vary in other cultures and spaces.
The editors are: Halil Atindere, Erden Kosova, Pelin Tan, Basak Senova, Sezgin Boynik, Alexander Brener, Barbara Schurz, Sureyyya Evren, and Azra Tuzunoglu.
Amkenah (Places) is a self-funded journal published in Alexandria. This non-periodical publication is concerned with “the culture of place” addressing the artistic specificity of place. This does not refer only to art in a narrow sense, but rather what has become art through everyday habits and customs, through force of circumstances, which cause us to continuously readjust our perception of the nature of art.
Frequency: jährlich, annually
Editor-in-chief: Alaa Khaled
Editors: Alaa Khaled, Salwa Rashad, Mohab Nasr
This publication was produced after the TRANS VERSA exhibition in Santiago Chile, in October 2006 as a response to the ideas and issues raised. Curators Zara Stanhope and Danae Mossman were interested in developing the notion of TRANS VERSA as a platform for discussion, production and exchange, and as an extension of this to create a document that reflected a range of perspectives on the exhibition from artists, writers and curators.