Challenging the colonial narratives surrounding the Netflix film Against the Ice, this personal, editorial project by a present-day descendant opens-up to cultural and historical inclusion by broadening the storytelling. The new Netflix film Against the Ice is based on the adventures of a Danish polar explorer, captain, and coloniser in Kalaallit Nunaat (Greenland), who marked his agenda and achievements in books and maps that contributed to the production of 'collective memory' and the dominant history of Nordic colonialism. This book is designed and edited by Gudrun Havsteen-Mikkelsen, the great-granddaughter of this same explorer, in collaboration with designer Anna Bierler. Combining visual and textual contributions, archival material, dialogues, and controversies, Snowblindness - Let's talk about storytelling, colonialism, Netflix and my great grandfather presents new grounds for engagement with the polar explorer's stories, whether these are visually, orally, or textually transferred. The result is a generous and vulnerable reader, which weaves information from a multiplicity of sources, and places particular emphasis on collaboration, trust, and questioning. Our lives resonate through storytelling. The writing and rewriting of history, family stories handed down through generations, the inclusion of plural perspectives and subsequent broadening of conversations; our identities are made by narratives colliding and shifting. In Snowblindness, colonial narratives are challenged through such storytelling, encouraging a questioning of history, ethics, and aesthetics.
Ten artists offer new considerations for grieving in the digital ageIn the digital era, the experience of death and grief is the opposite of that of centuries past: saturated with information, yet devoid of rituality. With this influx of media and "content," is it possible that some form of visual culture could cut through the noise in order to reconcile human beings with death? Death Design Data unites 10 contemporary artists and designers to explore how different creative practices can produce new, innovative rituals surrounding death and loss, and how they affect us. The experiences, memories and invocations shared on these pages invite us to reconsider our mortality and the vessels that we use to navigate life and death.Contributors include: MAalex, Thomas Walskaar, Camille Wiesel, Studio GISTO & Goga Mason, Perrine De Donato, Susanne Duijvestein, Lorenzo Montinaro, Mourning School.
Artistic practices that share intimate, speculative and queer observations of tree kinshipPlants make the world; they literally create soil, shape landscapes and regulate the climate to some extent. They provide oxygen, fuel, food, building materials and shelter. Is anthropomorphism a way to strengthen the connection between humans and trees or a danger that makes it impossible to acquire objective knowledge? A Tree: A Reader on Arboreal Kinship showcases research and works in which artists explore the relationship between people and trees and ways we can relate more closely to their time span. (Some species, such as pines and Japanese cypress trees, can live up to 5,000 years.) A Tree is about vegetal agency, plant knowledge and the interaction between plants and people. The aim of this reader is to nurture and encourage dialogues and to share inspiration on exercising arboreal kinship by taking the time to think about trees differently.
An artist's rigorous examination of the historical and future significance of a hallucinogenic member of the nightshade familyThe mandragora plant, commonly known as the mandrake, is one of the best-recorded gynecological herbal substances. It is also the only plant in the European context historically depicted as half human and half plant. In the richly illustrated Three Becomes Two Becomes One Becomes None, the Swiss artist Leonie Brandner (born 1992) explores the medicinal and magical properties of the plant, moving from the beginning of recorded storytelling to ancient Egyptian and Greek mythology and the many other stories that have grown around mandragora throughout history. Joining rigorous historical research with her own perception and encounters, she traces mandragora through medicinal tomes and folklore, eventually arriving at the impact the plant had during the witch hunts of the Middle Ages. Could the mandragora's many stories hold the potential for new orders and world-making? Brandner creates a dazzling kaleidoscopic image of human-plant imaginations across time.
VISIONS BY PEOPLE ABOUT MATERIAL CULTURES is a knowledge platform based in Barcelona and Mexico City, with a biannual magazine that addresses the different perspectives on materiality and material cultures, from a critical and speculative research focus. It aims at generating awareness through materials beyond their physical properties. We focus on the perception and social impact of materials in activating and dynamizing cultures and socioeconomic systems. VISIONS BY Issue No. 6 EDITOR'S NOTETwo Gazan friends share their adventure amidst the war toward success: What's in your bag? As we exploit people, we too exploit the ocean, both for fish and now, for minerals. Miss Universe is a violent erotic object, death and labour are erotic material and sadness is performed with things at the Museum of Broken Relationships. We take a look at street icons: Lenin, Stalin, Mao Zedong, Kim Il-sung and Kim Jong-il (are all of them right-handed?), St. Jude Thaddaeus and La Santa Muerte (LONG LIVE RITUAL!). We explore the symbolic correspondences between Catholic folklore and makina music. From ecstasy Garda Pills to Tescocracy, when there's no future, we learn to appreciate the remnants.
In her research, Pinaka uses the term porno-graphing to group together and examine lens-based artworks where artists use material sexual situations or sets of sexual dynamics present in their lives and independent of their practices, to make art. Pinaka considers how artists act upon these sexual situations, the art-results they produce, and their means of sharing them with an audience. These situations and dynamics share commonalities as they can be regarded as 'taboo' or 'transgressive'; also, in that artists use them to underline the 'dirtiness' or 'wrongness' of their sexual and artistic subjectivities. For example, Kathy Acker with Alan Sondheim, after recognising the sexual dynamic between them as work-material, they act upon it to make art (instead of treating it as private enjoyment) and to do so they self-objectify into certain roles. In the Blue Tape, discussions of art, romantic love and phenomenology are talked-through video sequences of sexual stimulation and negation as a way of deliberating and reorganizing meaning and value. Pinaka argues that in porno-graphing, artists negotiate how subjectivity, and its value, is produced by self-submitting into the 'dirtiness' of sexual and artistic positions. To approach the 'dirtiness' of these works as well as their processes, Pinaka uses, amongst other theories and strategies, the notion of 'queer negativity'. AnnaMaria Pinaka was educated as a video artist, and developed her thesis in the department of Theatre, Drama and Performance at Roehampton University. Her research is practice-based; it involves creative work in performance and image-making alongside theoretical reflection derived from gender studies, queer theory and visual studies. Broadly speaking, Pinaka's focus is sexualised representation, and the development of a visual language that borrows in part from the rhetorics of pornography, but which also relates to the visual arts that focus on the intimacy of private life, the lived ordinary, the ecstasies of the everyday, lack of spectacularisation and the aesthetics of banality.
The networked image is a slice of network production that is emblematic of the current image economy. As a hub within a techno-social infrastructure it manages the network as a directive tool. This is a result of its existence within a production protocol that is programmed by technologies such as web applications, digital cameras and smartphone apps. Since networked images are part of a specific software, they are marked by software proper- ties, which enables them to be transformed into scripts or protocol. Image management discusses a move from images as representation, to the application of images as productive networked objects. It is about the role of the image as mediator between technological and social protocols.
We design for life, death and posterity, all together - while understanding who and/or what is permissible to kill or let die. We try to understand why water is a false dragon and how it gives and takes life. We are encouraged to do some push-ups. We rearrange things made of more things, we steal them and we question their economic value, trying to make sense of it in the process. We dance Kumbia and listen to the earth with the people who work under and on it.
What if we reconsider contemporary rural challenges through relationships rather than oppositions? Based on seasonal work experiences, Seasonal Matters Rural Relations delves into the realm of contemporary agriculture and European labour migration. Through a variety of discursive formats, ranging from essays and interviews to drawings and recipes, this book explores the socio-political implications on rhythms, rituals, and cohabitation in Europe's countryside. The publication encourages a layered conversation between agricultural workers, engaged citizens, artists, and designers.
Memoirs, illustrations and The Hundred and One Dalmatians propose a new way of thinking about mother-daughter relationshipsCentered on media that explores the relationship between dogs and humans, Of Dogs and Daughters redefines the mother-daughter relationship through a surrogate lens, exploring images of closeness and anxiety conjured up by nostalgic media aimed at caregivers and children.
If you walk into the book shop, through the large open gallery space and past the kitchen, through the unsettling mirrored door frame, into the Riso-workshop, past the ink- drums, drying racks and narrow wooden staircase, you will see two doors. On them is written 'staff only'. Go through those doors and there is the warehouse of Onomatopee; high and full, with racks and racks full of books. This publication started with a warehouse full of books, which turned into an exhibition, and then turned back into printed matter. Anything can be an archive. Its definition is mutable and open for interpretation and hard to define, as it is used in various ways depending on context. One definition is: a collection of documents created or gathered by one person or institution and selected for long-term preservation as evidence of their activities. We extended an open invitation to artists, writers, publishers, graphic designers and poets to write about these themes from their own perspective and expertise. The contributions range from A Warburgian Constellation by Leonie Harkes to the gossipy poetics of unpublished/unpublishable photobook reviews by S*an D. Henry-Smith. There are compact essays on the design, form and feeling of three of Onomatopee's publications by Formal Settings, the authors of Notes on Book Design (2023), as well as Ambient Reading, A Method by Sal Randolph. Mia You has contributed A List of Prepositions as Propositions, to which Romy Day Winkel has responded by applying an erasure poetry writing method to fifty silk bookmarks. Natasha Rijkhoff contributed notes on Unstable archiving and Jesse Muller writes about archives and drawings in her text 'Sometimes I ask my brother to make me a drawing.' The publication has been designed and put together by Tjobo Kho. As we navigate through the pages of this publication, it becomes evident that the book and the archive are no rigid entities with clear boundaries; they are malleable objects and concepts, shaped by interpretation and their social and material context. They emerge as living organisms, adapting to the changing currents of the people moving alongside them: a testament to both curatorship and chance, design and chaos. This publication celebrates this unruliness that comes with amassing and assembling a publishing practice.
In the White Smoke project by Hexaplex man and machine engage: the audience engages a world of color codes and names. On the eve of the information era, White Smoke lays down poetic and semantic tensions between man and machine! White Smoke encourages the audience to enter the information society with human, poetical effort!The publication contains a text by Audrey Samson (new-media theorist) explaining the evolution of colour experiences from the perspective of new media. Freek Lomme (Onomatopee) describes the cultural poetry of White Smoke. To finish the sum, there's also a conversation between Hexaplex and Steven Pemberton (W3C) about the history of web colours + much White Smoke!u
The Rondom project includes an exhibition and a publication with contributions in the light of the exchange and overlap between linguistic context and visual image. Artists who see textual discourse as their working terrain and subject matter are matched with policymakers ; critics and theorists whose role is not usually visible in the actual art product. The core question is where artistic space is located and whether artistic ; visual strength can withstand far-reaching social embedding and instrumentalization.
To visualize a brainstorm through diagrams is a proven strategy to generate
"Notes on Book Design is a collection of 50 texts written by designers Siri Lee Lindskrog and Amanda-Li Kollberg of graphic and type design studio Formal Settings, based on books from the collection of Hopscotch Reading Room in Berlin. The texts draw parallels between the book as a design object and the cultural movements, political landscapes and economic conditions under which it was created. With an introduction by Formal Settings, a foreword by Hopscotch Reading Room and an afterword in which designer, author and educator Prem Krishnamurthy offers additional framing and perspective to the project."--Publisher information.
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