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Seductive Exacting Realism - Irena Haiduk

Sternberg Press 2016 ISBN 9783956792694 Acqn 26803
Hb 13x20cm 168pp 11ills 21.50
Edited by Irena Haiduk, Solveig vsteb
Contributions by Ivo Andri, Hannah Feldman, Irena Haiduk, Monika Szewczyk, Marina Vishmidt,
Solveig vsteb
A 13-volume set of Marcel Prousts collected works was published in Yugoslavia in 1967. This
edition, in the Latin alphabet, was highly valued by Yugoslav intelligentsia for its elegant
translation from French by the poet Tin Ujevi. During the Bosnian civil war, these Proust sets
fetched up to the equivalent of a full years salary in the Belgrade black markets. They were
frequently looted together with other valuables from Bosnian homes. The set exhibited in Irena
Haiduk's Seductive Exacting Realism was seized by local police from Belgrade Kaleni Market
in 1995. It was acquired at a public auction in 2014. It is missing volume number 12.
Published on the occasion of Irena Haiduk, Seductive Exacting Realisma two-part project that
was presented as parallel exhibitions at the Renaissance Society and the 14th Istanbul Biennial
this volume features contributions by Ivo Andri, Hannah Feldman, Irena Haiduk, Monika
Szewczyk, Marina Vishmidt, and Solveig vsteb.

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Karina Mendreczky
Sternberg Press 2016 ISBN 9783956792274 Acqn 26804
Pb 13x19cm 48pp 15ills 5col 9
Contributions by Gerald Bast, Lucas Gehrmann, Nicolaus Schafhausen, Brbel Vischer
With delicate lyricism, Karina Mendreczky creates fictional landscapes using light and shadow. As
a recipient of the 2015 Kunsthalle Wien Prize, she created the installation Thin Dream at
Kunsthalle Wien Karlsplatz. Silhouettes of acrylic trees, whose details were hand-carved with an
etching needle, were projected onto the back wall of the gallery to create the impression of actual
large-format drawings. Mendreczky draws on the techniques of graphic printing and stage design
to remind us that nature cannot be reproduced, although it frequently serves as a projection for
our desires. At the same time, Thin Dream reflects on Mendreczkys constant travels between
Hungary, where she was born, and Austria, questioning the idea of a fixed sense of place.
Karina Mendreczky is the joint recipient of the 2015 Kunsthalle Wien Prize. Along with a colour
insert, this publication includes an essay on Mendreczkys work by Brbel Vischer, a conversation
between the artist, Lucas Gehrmann, and Nicolaus Schafhausen, as well as forewords by Gerald
Bast and Schafhausen.
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Anastasiya Yarovenko
Sternberg Press 2016 ISBN 9783956792267 Acqn 26805
Pb 13x19cm 48pp 27ills 5col 9
Anastasiya Yarovenko, a recipient of the 2015 Kunsthalle Wien Prize, makes work concerned
with the bodys relationship to societal structures, behaviours, and space. In her
installation Mimicry at Kunsthalle Wien Karlsplatz, the Ukrainian-born artist assembled a selection
of objects that dont represent any definitive state but that possess the potential to interact with
the viewer or surroundings. These objects consist of collapsible and modular furniture-like
elements, as well as seemingly nonfunctional sculptures made of light materials. All of these
objects fit together into a single portable case, thus signalling mobility and transitory states. For
Yarovenko, the fundamental meaning of space is in its potential to reproduce and connect
various aspects of reality.
The Kunsthalle Wien Prize was established in 2002 and is awarded in collaboration with the
University of Applied Arts Vienna and the Academy of Fine Arts Vienna. Yarovenko is the joint
recipient of the 2015 prize. Along with a colour insert, this publication includes an essay on the
artists work by Hemma Schmutz, a conversation between the artist, Lucas Gehrmann, and
Nicolaus Schafhausen, as well as forewords by Eva Bliminger and Schafhausen.
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Angela Bulloch, Maria Zerres - Considering Dynamics & The Forms Of Chaos
Sternberg Press 2016 ISBN 9783956792373 Acqn 26806
Pb 17x24cm 172pp 84ills 81col 22.95
Edited by Amira Gad, Brigitte Schenk
Texts by Manal Ataya, Lotte Everts, Amira Gad, Vanessa Joan Mller, Brigitte Schenk, Corinna
Thierolf
This volume accompanies the eponymous exhibition at the Sharjah Art Museumtwo parallel
solo shows by Angela Bulloch and Maria Zerres brought together under one title, framed by the
notion of entropy. Likewise, the publication takes the form of two separate but related exhibition
catalogues, each leading toward the books centre.
A key term that characterizes the movement toward chaos, entropy appears in a variety of fields
such as physics, probability theory, sociology and information technology. Within contemporary
art, entropy has emerged to refer to installations often associated with representations of order,
disorder and information, and their homogeneity. Through the works of Angela Bulloch and Maria
Zerres, suggestions of entropy transpire in different ways and through their respective artistic
forms. Inherent to both practices is a representation of a movement towards chaos.
Angela Bulloch works with sculpture, installation, and sound. Her interdisciplinary practice spans
forms that manifest her interest in systems, patterns, and rules, and the creative territory between
mathematics and aesthetics. She proposes that this experience can be subliminally
programmed; her work stages that which is beyond our grasp. Maria Zerress paintings explore
the aesthetic languages of abstraction and figuration. Her canvases play with the use of space by
emphasizing the blank space of the canvas and overpainted areas that emerge from
improvisation and result in compositions that bridge abstract and figurative painting.

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Signature Strengths
Sternberg Press 2016 ISBN 9783956792588 Acqn 26813
Pb 20x27cm 112pp 8col ills 13.50
When first introduced, mass-market paperbacks sparked a publishing revolution. Critics despised
them as lowbrow diversions, which did not impact their popularity. But the business model barely
worked. Prices were so low, the books needed to sell in incredible numbers to make a profit. An
industry norm emerged to pump up sales, whereby most of the novels were wrapped with images
of women in provocative settings and states of undress. Many readers were duly provoked to
purchase, but this recurring allure eventually lost its sway.
Simultaneously, an opposing theme of essentialism was asserting itself in grocery stores. The No
Frills brand presented goods in unadorned packaging. It was as if the very intention to sell had
been excised from the labels straightforward design and terse declaration of contentsSALAD
DRESSING, FRUIT PRESERVES, LAUNDRY DETERGENT. No Frills stripped the cloying
appeal of traditional marketing and replaced it with a candid offering of canned beets and corned
beef, pure and plain.
Inspired by this direct approach, Terry Bisson and art director Frank Kozelek developed the NoFrills book series in the early 1980s. Signature Strengths, conceived and edited by Boy
Vereecken, reproduces in full the four books published in the seriesWestern, Mystery, Science
Fiction, and Romanceas well as critical evaluations of the fascinating experimental endeavour
in genre writing and mass-market publishing. Introduction by Mark Mann.

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Lawrence Abu Hamdan - [inaudible] A Politics of Listening in 4 Acts

Sternberg Press 2016 ISBN 9783956792410 Acqn 26814
Pb 11x16cm 68pp 10ills 4col 16
Edited by Fabian Schneich
Contributions by Lawrence Abu Hamdan, Emily Apter, Giovanni Carmine, Omar Kholeif, Fabian
Schneich
A politics of listening is an intervention into and a reorganization of forms that listening takes
rather than a call for free speech or for a platform for voices to be heard. Listening is a political
act, a pedagogical process, and an activity that can lead to the development of an organized
protocol for engagement.
In his art and research, Beirut-based artist Lawrence Abu Hamdan explores the perception of
language, sound, and listening. National identity, human rights, and the administration of justice
are recurrent themes in his work. The techniques used in his audio-aesthetic practice have been
used to conduct forensic audio analysis for several legal investigations. This monograph includes
a series of transcripts of live speech from sermons, monologues, testimonies, and interviews
made over the course of the last five years.

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Nicholas Mangan - Limits to Growth

Sternberg Press 2016 ISBN 9783956792526 Acqn 26818
Pb 17x24cm 246pp 142ills 102col 26.50
Edited by Aileen Burns, Charlotte Day, Krist Gruijthuijsen, Johan Lundh
Texts by Max Andrews and Mariana Cnepa Luna (Latitudes), Helen Hughes, Ana Teixeira Pinto
This publication accompanies Australian multidisciplinary artist Nicholas Mangans survey
exhibition Limits to Growth. The exhibition and book bring together four of Mangans most
significant works of the past seven years, alongside a new commission. The works in the show
tackle narratives from his own geographical regionAsia Pacific, in which his home country of
Australia plays a colonial roleand weaves them into a bigger picture to take into account the
global economy, resource extraction, and the ultimate power of the sun. Featuring an in-depth
series of conversations between the artist and the Barcelona-based curatorial collective
Latitudes, and essays by Ana Teixeira Pinto and Helen Hughes, this publication is richly
illustrated with documentation of Mangans artworks and historical source material.

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Gordon Bennett - Be Polite

Sternberg Press 2016 ISBN 9783956792144 Acqn 26819
Hb 15x24cm 186pp 60ills 45col 19.50
Edited by Aileen Burns, Johan Lundh
Texts by Helen Hughes, Ian McLean, Julie Nagam
Gordon Bennett: Be Polite follows the exhibition of largely unseen works on paper by one of
Australias most visionary and critical artists, Gordon Bennett (19552014). The exhibition and
publication are the first to present the work of Bennett since his death. Though rarely seen in
exhibition contexts, Bennetts drawing and writing formed the foundation of his practice.
This publication brings together three newly commissioned essays by art historian Ian McLean
and curators and arts writers Helen Hughes and Julie Nagam. The selection of works from the
Estate of Gordon Bennett comprises drawings, acrylic/gouache and watercolour paintings, poetry,
and essays from the early 1990s to the early 2000sa period that produced work of remarkable
force and revealed the artists working methods, research focuses, and ultimately his ambitions
for his work.

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Contemporary Condition - Introductory Thoughts on Contemporaneity and Contemporary

Art
Sternberg Press 2016 ISBN 9783956792816 Acqn 26820
Pb 12x19cm 48pp 2ills 7.25
What do we mean when we say that something is contemporary? And what should the designator
contemporary art refer to? An immediate response would be that contemporary art is an art of
the present, that it somehow addresses and expresses the present. But what is this present?
What constitutes the present present or the contemporary contemporary? This first book in the
Contemporary Condition series introduces some of the key issues concerning contemporaneity
as a defining condition of our historical present. It thus acts as an extended preface to the series
as a whole, calling for a rethinking of the deep structures of temporalization that render our
present the way it is.
The aim of the Contemporary Condition book series is to question the formation of subjectivity
and concept of temporality in the world now. It begins from the assumption that art, with its ability
to investigate the present and make meaning from it, can lead to an understanding of wider
developments within culture and society. Addressing a perceived gap in existing literature on the
subject, the series focuses on three broad strands: the issue of temporality, the role of
contemporary media and computational technologies, and how artistic practice makes epistemic
claims

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Contemporary Condition - The Contemporary Composition

Sternberg Press 2016 ISBN 9783956792830 Acqn 26821
Pb 12x19cm 88pp 7.25
Can we speak of composition when we are in a state of unfathomable decomposition? Art being
made today defies coherent categorization, and the world presents itself, day after day, as
spinning into confused chaos, structural disintegration, and violent disorder. Revising his wellknown histories of contemporary art, Terry Smith argues that we must respond to the compelling
need for coeval composition at a time defined by the contemporaneity of divisive difference. This
book traces howdespite many obstaclesvisual artists across the globe are rising to this
challenge.
The second volume of the Contemporary Condition series continues the investigation into
contemporaneity as a defining condition of our historical present. The series aims to question the
formation of subjectivity and concept of temporality in the world now. It begins from the
assumption that art, with its ability to investigate the present and make meaning from it, can lead
to an understanding of wider developments within culture and society. Addressing a perceived
gap in existing literature on the subject, the series focuses on three broad strands: the issue of
temporality, the role of contemporary media and computational technologies, and how artistic
practice makes epistemic claims.

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Contemporary Condition - A Slow, Contemporary Violence Damaged Environments of

Technological Culture
Sternberg Press 2016 ISBN 9783956792823 Acqn 26822
Pb 12x19cm 48pp 7ills 7.25
The contemporary moment is comprised of many overlapping speeds, rhythms, and periods of
time. A central theme of Jussi Parikkas book concerns slowness instead of acceleration: a
different sort of a temporal horizon in order to understand some of the environmental
temporalities that media and technological arts are involved in. This is approached through art
and design practices that unfold this multiplicity of time, closely entwined with contemporary
concerns in aesthetic theory, to understand and engage with the planetary time scales of slow
environmental violence.
The third volume of the Contemporary Condition series continues the investigation into
contemporaneity as a defining condition of our historical present. The series aims to question the
formation of subjectivity and concept of temporality in the world now. It begins from the
assumption that art, with its ability to investigate the present and make meaning from it, can lead
to an understanding of wider developments within culture and society. Addressing a perceived
gap in existing literature on the subject, the series focuses on three broad strands: the issue of
temporality, the role of contemporary media and computational technologies, and how artistic
practice makes epistemic claims.

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