Mute has entered into a second partnership project with Leuphana university, Lüneburg, where its Post-Media Lab project is now entering its second year. The Hybrid Publishing Consortium (HPC) will be launched this Winter, as part of the university's publishing lab at the Centre for Digital Cultures, and brings together a twenty-five member research team to focus on the fast changing landscape of digital publishing.
The HPC will run for three years and support open source and open access infrastructures for a variety of sectors engaged with 'hybrid publishing' (combining web, print, multi-format and social media). Foremost among these are the worlds of academic and independent publishing and the HPC will develop technical, financial and workflow models for both, as well as work towards the launch of its own university press. The consortium has made a general commitment to open access publishing as a means to remove the artificial barriers readers encounter in their engagement with critical and scholarly work.
The lab's dedication to 'open source infrastructure' groups together the many technical and social processes that can benefit academic/independent publishers, granting them the sustained attention and resourcing they demand. These include multi-platform delivery, collaborative writing, the ability to circumvent sales monopolies, open IPR and distribution into 'open education' environments.
The consortium will be a meeting point for the many stakeholders in open access academic and independent publishing - the authors, the readers, the publishers and the technologists. The HPC looks to be a connection point for these communities and will using rapid prototyping and agile development models to support, improve and network existing open source projects. The ultimate objective is to provide easy and inexpensive tool sets to allow publishers to make the switch to multi-platform publishing.
Forthcoming from Mute Books in collaboration with the Post-Media Lab, Leuphana University, Germany
'The Human Strike Has Already Begun & Other Essays'
by Claire Fontaine
In this volume, passionate texts from the last decade by artist and theory collective Claire Fontaine are brought together with an extended concluding essay and foreword. Moving across militant, aesthetic and poetic registers these texts consider what resistance might look like in the age of human capital, where all dimensions of the self are infiltrated and conscripted by capital in its pursuit of value. Their answer is the human strike - a strike against the demands on the self imposed by power - in the interest of 'changing ourselves', becoming who we want to become. This strike has been happening all along, throughout history, but has today reached a peak of political consciousness.
The Tiger's Mind (2012) is a new film commission by British artist Beatrice Gibson. An abstract crime thriller set against the backdrop of a Brutalist villa, it sees six characters - the Tiger, the Mind, the Tree, Wind, the Circle and a girl called Amy, (the set, the music, the sounds, the special effects, the director and narration respectively) - battle one another for control of the film as it unfolds on screen. Taking as structure a 1967 experimental score by Cornelius Cardew, Gibson invited five practitioners from different fields to contribute to the production.
Image credit: Beatrice Gibson, The Tiger's Mind, 2012 (film still), 16mm transferred to HD, 23 minutes. Courtesy the artist
The Tiger's Mind Publication and Edition
In 2010 filmmaker Beatrice Gibson and typographer Will Holder instigated a production process using British composer Cornelius Cardew's musical score The Tiger's Mind as a means of producing speech. Six practitioners from other fields were invited to contribute to conversations, after which printed documents was made and distributed. The final conversation took the form of the production of a film: this book is a document of its making. Holder's typographic letterpress prints of Cardew's 1967 text are also available.
Publication (ed. Will Holder, Sternberg press) available from The Showroom priced £18, and Sternberg Press: www.sternberg-press.com Limited edition of 30 (+4AP) available from The Showroom for £65 (unframed) ∗∗∗special Christmas discount price £52 (unframed)∗∗∗
Image credit: The Tiger's Mind publication, ed. Will Holder, 2012, Sternberg Press
Afterall issue 31 is now available online and at all good bookshops. It looks at migration and transformations in identity, with essays on Lukas Duwenhögger, Boudry/Lorenz, Ivan Kožarić, Sven Augustijnen, Almagul Menlibayeva and Slavs & Tatars. Accompanying texts address the cancelled exhibition 'Fighting City' and Paul Chan's war trilogy. To subscribe click here
New One Works
Two new One Work books have also recently been published. Anne Rorimer writes on Michael Asher's Kunsthalle Bern, 1992 (1992), for which the late artist relocated the building's radiators from its exhibition spaces to its entry-way gallery and presented them as a group. Rorimer considers the work in the context of Asher's ongoing desire to fuse art with the material, economic and social conditions of institutional presentation, and analyses the work in relation to earlier Minimalist artists and to a younger generation including Fred Wilson, Andrea Fraser and Maria Eichhorn.
Jo Applin writes on Yayoi Kusama's landmark installation Infinity Mirror Room - Phalli's Field (1965). Shifting between pop-like and surreal, minimal and metaphorical, figurative and abstract, psychotic and erotic, it embodies the 1960s, completely absorbing the viewer into an parallel world. Applin examines the work's importance in the context of Kusama's 'obsessional art' and discusses its relationship to the practice of artists such as Lee Lozano, Louise Bourgeois and Eva Hesse, involving environments, 'eccentric abstraction', play, sexuality and softness. The One Work series is distributed by the MIT Press.
A solo exhibition by Helen Marten, featuring a new body of sculptural works set within a bespoke installation environment. This is Marten's first solo exhibition in a UK public gallery.
Marten plays upon our reference systems of physical stuff and a coding of the visual that establishes our most elemental relationships to the material world. Language and image become shorthand emblems for social activity or exchange as she explores what it means to be a human body preoccupied with the status of toothpaste, the floppiness of pasta or the eroticism of rubbish. The 'plank salad' of the exhibition's title conjures an image with uncomfortable physical implications and comic possibilities.
Marten's Chisenhale exhibition, Plank Salad, is co-commissioned with Kunsthalle Zürich where its first iteration Almost the exact shape of Florida ran from August to November 2012.
Helen Marten's exhibition is supported by The Henry Moore Foundation, The Cranford Collection and the Helen Marten Supporters Circle. With thanks to T293, Johann König and Sadie Coles HQ.
Chisenhale Exhibitions Partner 2012: Outset Contemporary Art Fund.
Image credit: Helen Marten, Falling very down (low pH chemist), detail, 2012. Photograph: Annik Wetter.
21st Century is a research-based programme of regular events by emerging artists in our adjunct studio space.
Katrina Palmer Tuesday 15 January 2013, 7pm
A presentation by artist and writer Katrina Palmer. Palmer locates the sculptural object in fictional narratives, live-readings and recordings. These stories typically feature artist-protagonists negotiating aspects of materiality and the dynamics of fictional spaces.
Recent projects include The Dark Object, published by Book Works, London (2010); ex, an audio recording for The Weight of Living at MOT International, London (2012); a live reading at Camden Arts Centre, London (2012) and a current residency at akermandaly.com
Toxic Play in Two Acts: Pauline Boudry / Renate Lorenz
14 December 2012 - 24 February 2013 South London Gallery
For their first solo exhibition in the UK, Berlin-based artist duo Pauline Boudry/Renate Lorenz present Toxic, 2012 and Salomania, 2009, alongside a programme of performance, screenings and talks. Through their installations of film and archival material they upset normative historical narratives with a host of collaborators including Ginger Brooks Takahashi, Werner Hirsch, Yvonne Rainer and Wu Tsang.
Image credit: Pauline Boudry / Renate Lorenz, Toxic, 2012, super 16mm film / HD, still. Courtesy of the artists, Ellen de Bruijne Projects and Galerie Marcelle Alix
Charming for the Revolution: A Congress for Gender Talents and Wildness
1 - 2 February 2013 The Tanks at Tate Modern
Charming for the Revolution is an experimental congress of artists, activists and thinkers, seeking to unpick underpinning, pressing questions of contemporary sexual and gender politics; exploring strategies that divert and destabilise normative gender and its representations.
The series of events features films, a performance and a symposium and brings together the UK premiere of Wu Tsang's award-winning film Wildness; a symposium convened by Carlos Motta with Xabier Arakistain, Esben Esther Pirelli Benestad, J. Jack Halberstam, Beatriz Preciado, Dean Spade, Terre Thaemlitz, Wu Tsang and Del LaGrace Volcano; a performance by Carlos Motta and Matthias Sperling; and a screening of works by Pauline Boudry / Renate Lorenz. The event is realised as a collaboration between Electra and Tate Film, for further information and tickets, please follow this link.
Preview: Thursday 6 December, 6.30 - 9pm Continues until 3 February 2013
Gasworks presents the first major UK solo exhibition by Libyan Italian artist Adelita Husni-Bey. Husni-Bey's practice is built upon research and collaboration and encompasses drawing, painting, collage, video and participatory workshops. Set against current controversies about the role of state education in England, Playing Truant sets out to compare today's neo-liberal understanding of 'free school' with past and present models of self-run or 'anarchist' education.
Image credit: Adelita Husni-Bey, Postcards from the Desert Island, SD video transferred to DVD, 23 min, 2010-11. Courtesy the artist and Galleria Laveronica.
Current residency artists Emanuel Almborg, Marina Camargo and Alberto Lezaca conclude their residencies by opening their studios to the public, giving visitors a unique opportunity to meet them and explore the work they have produced during their time in London. During the weekend there will be a studio tour, talks and other events - please visit Gaswork's website for further details.
Image credit: Marina Camargo, stills from Alpen Project, 2011. Courtesy the artist.
In tribute to Stephen Dwoskin and to mark the posthumous release of his last film, Age Is we present Video Letters, a little seen series of video letters made in exchange with the filmmaker Robert Kramer between February and June 1991 which represent a unique and intimate portrait of Dwoskin's filmmaking and thought processes. 'The Videoletters strip away the formalities that had littered our work and thinking. Through the making of the video letters we started to relearn and re-look.". The Videoletters provide the benefits of reflection -- a lubricant for thought made out of very basic stuff -- the reduction of complexity -- and they cemented a brotherhood. Sadly, Robert's untimely death prevented the continuation of the "video letters" and they remain unfinished and unedited' SD
Using 16mm cameras, artist Ben Rivers documents the solitary existence of Jake, a man who lives in isolation in the middle of the forest in remote Scotland. The film follows his unconventional life, capturing moments of profound beauty. Jake is seen in all seasons, surviving frugally, passing the time with strange projects, living the radical dream he has as a younger man, a dream he spent two years working at sea to realise. Gracefully constructed, Two Years At Sea creates an intimate connection with an individual who would otherwise be a complete outsider to us. Two Years At Sea DVD Includes a 16-page booklet with essays and exclusive behind-the-scenes photographs plus outtakes and other extras. "handmade cinema par excellence" Jonathan Romney, The Independent.