Issue 23

Spring 2010

Issue 23 features texts and interviews with Babette Mangolte, Lidwien van de Ven, Thea Djordjadze and Trinh T. Minh-ha. Accompanying essays look at Latin American Conceptualism, Expanded Cinema, Renzo Martens, the US housing crisis and Carl Einstein.

Editors: Pablo Lafuente, Nuria Enguita Mayo, Dieter Roelstraete, Melissa Gronlund.

Founding editors: Charles Esche, Mark Lewis.

Table of contents
Foreword
Contextual Essays
Artists
Events, Works, Exhibitions
Purchase

Foreword

Contextual Essays

How Do We Know What Latin American Conceptualism Looks Like? – Miguel A. López
Magic Tricks? Shadow Play in British Expanded Cinema – Lucy Reynolds

Artists

Babette Mangolte

Performing Histories: Why the Point Is Not to Make a Point… – Barbara Clausen
Babette Mangolte in conversation with Elena Filipovic – Elena Filipovic

Lidwien van de Ven

In Defence of Contemplation – Roger M. Buergel
What Is Visible?

Thea Djordjadze

Tokens of Sense: The Work of Thea Djordjadze – Sarah Lowndes
Non-objective Objects: Some Remarks on Works by Thea Djordjadze – Vanessa Joan Müller

Trinh T. Minh-ha

Indirect Flow Through Passages: Trinh T. Minh-ha’s Art Practice – Dienderen An Van.

Trinh T. Minh-ha

Trinh T. Minh-ha Essaying Ethics – Joshua Fausty

Events, Works, Exhibitions

Adaptive Reuse: New Strategies in Response to the Housing Crisis – Claire Barliant
On the Outside: Exteriority as Condition for Resistance – Pieter Van Bogaert
Carl Einstein: Reproducing the Real – David Quigley

Foreword

Written by Nuria Enguita

UNIA arteypensamiento, a project of the Universidad Internacional de Andalucía in Seville, has been collaborating in the publication of Afterall journal since issue 22.

Since its foundation in 2001, UNIA arteypensamiento has been operating as a transformative, generative and critical agent engaged in the production of knowledge on and around artistic practice, with a view to open a space for creation and production – a space in which artists and thinkers can develop projects that are not limited by a cult of the art object but instead defined by attention to process and dialogue. The overall goal has been to give both art and thought the ability to reconsider the world and, at the same time, improve their transformative and emancipatory potentials.

As well as these, UNIA arteypensamiento shares with Afterall a methodological approach shaped by notions of transversality and extra-disciplinarity of art, which leads to connections between practitioners and resources from the art field and projects and experiments situated outside of it. By means of seminars, workshops, symposia, online projects, publications and film programmes, UNIA arteypensamiento attempts to generate ongoing research, favouring a notion of shared intelligence – that is, creating links between activities that are often thought of as unrelated, and at the same time putting into question conventional notions of authorship and intellectual property.

Many projects have been developed in the nearly ten years UNIA arteypensamiento has been active, but at the core of all of them are elements shared by Afterall in all its projects: a questioning of the limits of artistic and discursive practice, an opposition to hegemonic discourses and a search for moments of disruption and blind spots – as well as the commitment to the singularity of art as a mode of expression, and therefore a mode of production of language and thought.