ART

The Fevered Specters Of Art

Sternberg Press 2019 ISBN 9783956793707 Acqn 29552
Pb 16x23cm 240pp 80ills 70col £17.25

Edited by Natasa Ilic

Contributions by Stefanie Baumann, Felix Gmelin, Ho Tzu Nyen, Rajkamal Kahlon, Sarinah
Masukor, Kirill Medvedev, Edit Molnar, Livia Paldi, Rachel O'Reilly, Ana Teixeira Pinto, Marcel
Schwierin, Catarina Simao, Suzanne Treister, Jan Verwoert

The Fevered Specters of Art is the final chapter of a long-term project curated by Edit Molnar,
Livia Paldi, and Marcel Schwierin that started with a group exhibition at Edith-Russ-Haus fur
Medienkunst, Oldenburg, in 2016. The show looked back on the epoch of Cold War radicalism
and anti-colonial revolution, an era characterized by a proliferation of ideas about how radical
social change might permeate the globe.

The publication, like the exhibition itself, presents a variety of approaches that, through specific
events and historical contexts, survey the theories and practices of radical leftist politics of the
1960s and 1970s and the relationship between politics and aesthetics. The book also investigates
the ways in which artists rethink the possibilities of new political subjects and how complex
sociohistorical connections can be questioned and revisited in the realm of art.

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Travis Jeppesen - Bad Writing

Sternberg Press 2019 ISBN 9783956794100 Acqn 29565
Pb 15x21cm 390pp £17.75

Travis Jeppesen's Bad Writing is a collection of interconnected essays and "fictocriticisms," many
appearing in print for the first time, that etches a pathway for a truly radical "bad" modernism in
art and literature. Erudite, witty, and occasionally controversial, Bad Writing reinvigorates the too-
often staid medium of art criticism as an iconoclastic and inventive literary art form.

"Travis Jeppesen's 'willful defiance of the commodification of art criticism' is not just necessary,
it's outrageous. Following leads from Gertrude Stein and Bjarne Melgaard, zombie formalism and
flarf, tracing perceptions too peculiar to name or too confusing to process, he fails better than one
could have possibly hoped for." -Barry Schwabsky, art critic, The Nation.

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Florian Hecker - Halluzination, Perspektive, Synthese

Sternberg Press 2019 ISBN 9783956794711 Acqn 29598
Pb 24x32cm 384pp 46ills 44col £24.95

Edited by Vanessa Joan Muller

Texts by Matthew Fuller, Vincent Lostanlen, Vanessa Joan Muller, Michael Newman, Axel Robel,
Magnus Schaefer

Florian Hecker: Halluzination, Perspektive, Synthese follows the eponymous exhibition at

Kunsthalle Wien that took place from November 2017 to January 2018. In Hecker's multichannel
installation Resynthese FAVN, the auditory stimuli produced from the objects within the exhibition
space and the synthetic sounds he composed were designed to subliminally override the
mechanical processes of human sense. The result was an intervention into the psychoacoustics
of the audience, dramatizing their subjective experience through auditory hallucinations.

The catalogue collects essays by curators, researchers, theorists, and art historians on Hecker's
work and its relation to topics ranging from musique concrete, Mallarme's poem "The Afternoon of
a Faun," and computer music. The psychoacoustic phenomenon of Resynthese FAVN is
illustrated via a series of tensor acoustic measurements resembling the colorized impressions of
thermal imaging, which is followed by 270 pages of densely sprawling data tables abstracting
sound and its textures into text.

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Oliver Marchart - Conflictual Aesthetics - Artistic Activism and the Public Sphere
Sternberg Press 2019 ISBN 9783956792045 Acqn 29659
Hb 11x18cm 192pp £15.25

A new wave of artistic activism has emerged in recent years. The ever-increasing dominance of
authoritarian neoliberalism has prompted many artists to turn toward more direct forms of action.
On closer inspection, however, activist practices have been around much longer in the art field.
As Oliver Marchart claims, there has always been an activist undercurrent of art. In this book, he
traces some of the trajectories of artistic activism in theater, dance, performance, and public art,
and investigates the political potential of urbanism, curating, and the "biennials of resistance."
What emerges is an aesthetics that is conflictual in a double sense: it conflicts with a traditional
approach to aesthetics, and it works out the political dimension of conflictual artistic practice.

Oliver Marchart is a political theorist and philosopher. He is currently professor of political theory
at the University of Vienna. His books include Post-foundational Political Thought: Political
Difference in Nancy, Lefort, Badiou and Laclau (2007), Thinking Antagonism: Political Ontology
after Laclau (2018), and the forthcoming Post-foundational Theories of Democracy: Reclaiming
Freedom, Equality, Solidarity.

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Jill Johnston - The Disintegration of a Critic

Sternberg Press 2019 ISBN 9783956794896 Acqn 29660
Pb 11x18cm 224pp 11ills £13.75

Edited by Fiona McGovern, Megan Francis Sullivan, Axel Wieder

Texts by Jill Johnston; contributions by Bruce Hainley, Jennifer Krasinski, Ingrid Nyeboe

Jill Johnston - cultural critic, auto/biographer, and lesbian icon-was renowned as a writer on
dance, especially on the developments around Judson Dance and the 1960s downtown New
York City scene, and later as the author of the radical-feminist classic Lesbian Nation (1973). This
book collects thirty texts by Jill Johnston that were initially published in her weekly column for The
Village Voice between 1960 and 1974. The column provided a format in which Johnston could
dissolve distinctions between the personal, the critical, and the political. Her writing took turns and
loops, reflecting its times and contexts, and set a stage for the emergence of Johnston as a public
figure and self-proclaimed radical lesbian that defied any prescribed position.

Johnston's original texts are accompanied by three new contributions by Ingrid Nyeboe, Bruce
Hainley, and Jennifer Krasinski, as well as an appendix with archival material related to a panel
Johnston organized in 1969, titled "The Disintegration of a Critic: An Analysis of Jill Johnston."

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The Place Is Here - The Work of Black Artists in 1980s Britain

Sternberg Press 2019 ISBN 9783956794667 Acqn 29662
Pb 19x25cm 431pp 346ills 204col £25.75

Contributions by Nick Aikens, Sonia Boyce, Laura Castagnini, Deborah Cherry, Alice Correia,
Chandra Frank, June Givanni, Sunil Gupta, Evan Ifekoya, Claudette Johnson, Raisa Kabir, Gail
Lewis, Amna Malik, Samia Malik, Priyesh Mistry, Dorothy Price, susan pui san lok, Raju Rage,
Elizabeth Robles, Ashwani Sharma, Marlene Smith, Leon Wainwright, Michelle Williams
Gamaker, Rehana Zaman

The publication developed from the exhibition and research project The Place Is Here (2016-19),
which traced the urgent and wide-ranging conversations taking place between black artists,
writers, and thinkers in Britain during the 1980s. Within the context of Thatcherism and a racist art
establishment, a new generation of black artists and intellectuals produced some of the most
compelling ideas and images in recent British cultural history. Across four exhibitions, The Place
Is Here brought together over one hundred works by forty artists and collectives, spanning
painting, sculpture, installation, photography, video, and expanded archival displays. Richly
illustrated, the book includes thematic essays, close readings of works, and a series of panel
discussions bringing together key scholarly, critical, and artistic voices foundational to art in
Britain in the 1980s. The result is an intergenerational dialogue around pressing intellectual,
political, and aesthetic debates, highlighting the significance of the work of these artists for the
present.

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Of Other Spaces - Where Does Gesture Become Event?

Sternberg Press 2019 ISBN 9783956793783 Acqn 29670
Pb 13x21cm 224pp 60ills 20col £15.50

Contributions by 12, Anne Bean, James Bell, Laura Edbrook & Sarah Forrest, Rose English,
Rebecca Gordon-Nesbitt, Althea Greenan, Margaret Harrison, Sophia Yadong Hao, Susan Hiller,
Amelia Jones, Mary Kelly, Alexandra Kokoli, Linder, Kirsty Logan, Katherine Maynell, Lynda
Morris, Laura Mulvey, Annabel Nicolson, Adele Patrick, Cullinan Richards, Su Richardson,
Monica Ross, Hannah O'Shea, Catherine Spencer, Georgina Starr, Marina Vishmidt

"Of Other Spaces: Where Does Gesture Become Event? commemorates and continues two
events that brought together women's voices in art and thought through an exhibition and a
symposium. Radical time and radical space meet here. Citing the spirit of feminist collectives in
the 1970s, the 12-Hour Action Group International Symposium celebrated a fluid, shifting, and
nonchronological present tense that could engage with the public space of exhibition making as a
site for critical inquiry and political contestation. This collection of ideas makes an invaluable
contribution to feminist aesthetics while also documenting important but ephemeral moments of
performance and dialogue between women." -Laura Mulvey

"I would say, without doubt, 'Of Other Spaces' was the most important exhibition of art informed
by feminism that I have participated in since the 1980s. Thoughtfully curated with a focus on
women artists in the UK, who were also activists in the 1970s, the exhibition traced the
reappearance of the past in the present in a way I found extremely timely." -Mary Kelly

Resonating with the ethos of open dialogue and the experimentation of women artists' collectives
in the 1970s and 1980s, Of Other Spaces: Where Does Gesture Become Event? constructs a
dynamic, open, and collaborative arena that foregrounds practices of resistance, collectivity, and
self-organization. Highlighting the inherent seditiousness that animates feminist thinking, the book
seeks out the lodestone of a volatile politics that calls for and instigates urgent alternatives to the
cultural, political, and economic machineries of power that haunt this world. Contributors include
seminal women thinkers, writers, and artists.

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