are cordially invited to the launch of 'Dandilands', a book by artist
group pick nick co published by BOM DIA and Point Centre for
Contemporary Art. On the occasion of the book launch, Manuel Raeder
will share his experience as a publisher in collaboration with
artists, museums, and art institutions, and will talk about BOM DIA’s
practices. Τhe book is the culmination of 'Dandilands', a project
which began by pick nick in August 2014 in collaboration with artists
Marc Bijl, Mustafa Hulusi, Mahony, Jumana Manna, Michelle Padeli,
Liliana Porter, Kevin Schmidt, Socratis Socratous, Kostis Velonis,
and Carla Zaccagnini. Urban and natural landscapes as sites of both
intimate and destabilizing experiences materialized in a standing
sign. The sign which was found along a circular trail in the high
forest of Troodos was imagined as both site and object; a place of
intention and image; a setting of the social. The publication
'Dandilands' consists of essays by Guilherme Altmayer, Alev Adil,
Sophie Houdart, Antonis Hadjikyriacou, Sofia Lemos, Marko
Stamenkovic, and the Palestinian collective, The Jerusalem of Things.
From different research interests, these writers meet with pick nick,
metaphorically and socially, in the intimate space of the book taking
walking as a metaphor around social events and public practices,
generating discussions of inclusion exclusion, relations of conflict
(resolution), and, around non authoritative places that practice
critiquing normalisation integrated in urban and rural patterns.
DIA is specialized in artist books that are conceived as an integral
part of an art work or as the art work itself that, often, plays with
the format of the book and reflects its medium. This event will take
place in the context of pick nick’s residency at Point between 13
March and 13 April 2018.
this time, the group will be presenting a series of activities and
events. pick nick will be present every Tuesday between 15:00 19:00.
DIA was founded in 2011 by Manuel Raeder and Manuel Goller in Berlin,
solely run by Manuel Raeder since 2013. A focus of Bom Dia lies in
publishing contemporary artists from Latin America. The books of Bom
Dia are produced in close collaboration with a group of artists,
among others Henning Bohl, Daniel Steegmann Mangrané, Mariana
Castillo Deball, Haegue Yang, Leonor Antunes, Abraham Cruzvillegas,
Danh Vo, Nina Canell, and BLESS. bomdiabooks.de
by pick nick Point Commissions 201
Launch Manuel Raeder, BOM DIA,Berlin Friday, 30 March 2018/18:30
Denes, Wheatfield - A Confrontation: Battery Park Landfill, Downtown
acres of wheat planted and harvested by the artist on the Battery
Park landfill, Manhattan, Summer 1982.
months of preparations, in May 1982, a 2-acre wheat field was planted
on a landfill in lower Manhattan, two blocks from Wall Street and the
World Trade Center, facing the Statue of Liberty. Two hundred
truckload of dirt were brought in and 285 furrows were dug by hand
and cleared of rocks and garbage. The seeds were sown by hand adn the
furrows covered with soil. the field was maintained for four months,
cleared of wheat smut, weeded, fertilized and sprayed against mildew
fungus, and an irrigation system set up. the crop was harvested on
August 16 and yielded over 1000 pounds of healthy, golden wheat.
and harvesting a field of wheat on land worth $4.5 billion created a
powerful paradox. Wheatfield was a symbol, a universal concept; it
represented food, energy, commerce, world trade, and economics. It
referred to mismanagement, waste, world hunger and ecological
concerns. It called attention to our misplaced priorities. The
harvested grain traveled to twenty-eight cities around the world in
an exhibition called "The International Art Show for the End of
World Hunger", organized by the Minnesota Museum of Art
(1987-90). The seeds were carried away by people who planted them in
many parts of the globe.
questionnaire was composed of existential questions concerning human
values, the quality of life, and the future of humanity. The
responses were primarily from university students in various
countries where I spoke or had exhibitions of my work. Within the
context of the time capsule the questionnaire functioned as an open
system of communication, allowing our descendants to evaluate us not
so much by the objects we created—as is customary in time
capsules—but by the questions we asked and how we responded to
microfilm was desiccated and placed in a steel capsule inside a heavy
lead box in nine feet of concrete. A plaque marks the spot: at the
edge of the Indian forest, surrounded by blackberry bushes. The time
capsule is to be opened in 2979, in the 30th century, a thousand
years from the time of the burial.
are, still within the framework of this project, several time
capsules planned on earth and in space, aimed at various time frames
in the future.
The time has come to talk of many things, While
all laid bare is seemingly forgot Of grave unearth a corpse of hot
line rings As bells of hells awake the piping hot Enough to
boil through a bone of steel And smelt it down into a might
pen Dueling sharp whips from an electric eel For might foes
hide not in darker dens To raise the dead beyond the catacombs Or
fear the ghouls kept watch between the lines For monsters be not
built of styrofoams Nor trims of meat chorus deafening whines As
mobs chew on the fat of Romeos I am Frankenstein at the rodeo!
Kostis Velonis Kωστης Βελωνης
is what you bump into when you back up to see a painting.
to Barnett Newman (sometimes Ad Reinhardt), the above quote alludes
to the primacy of painting in modernist art history. Newman suggested
that sculpture is visually forgettable, but also that painting’s
increasingly large scale demanded more gallery space. Although
nowadays sculpture is most often bumped into in order to take a
selfie, Newman’s quote still resonates in the contemporary museum’s
placement of sculpture.
readymades to installations, the concept of the sculpture and its
relationship to the spaces around it shifted radically in the
twentieth century from the object on the pedestal to an engagement
with the phenomenological and material world, what Rosalind Krauss
called the “expanded field.” Many of minimalism’s forms even
literalized Newman’s criticism of physical obstruction by
enlarging sculpture to the scale of architecture. By
placing works on the floor, artists like Donald Judd and Carl Andre
challenged (or dared) viewers not to trip over or step onto their
works. Their works created more of a physical hazard for the
gallery-goer than she posed to precious objects on elevated
pedestals. In short, minimalist sculpture made the viewer more aware
of the physical field of the gallery and less engrossed in the
visual. At least, this is what happens when installed in certain
gallery spaces. In recent years I have noted the placement
of minimalist sculpture in major museums following large renovations
or new constructions negates these challenges to the viewer.
Zentrum für Politische Schönheit (ZPS) ist eine Sturmtruppe zur
Errichtung moralischer Schönheit, politischer Poesie und
menschlicher Großgesinntheit. Das ZPS gehört zu den innovativsten
Inkubatoren politischer Aktionskunst und steht für eine erweiterte
Form von Theater: Kunst muss weh tun, reizen, Widerstand leisten. In
eine Begriffsallianz gebracht: aggressiver Humanismus. Die
Publikation stellt erstmals alle wichtigen Aktionen des
künstlerischen Kollektivs in Buchform vor und hinterfragt deren
Arbeit zudem in fünf Essays namhafter Autoren – Karen van den
Berg, Florian Malzacher, Mely Kiyak, Raimar Stange, Florian Waldvogel
– mit unterschiedlichen theoretischen Fragestellungen. Ein
Interview von Raimar Stange mit Shermin Langhoff und Jakob Augstein
beleuchtet schließlich die Aktionen des ZPS gleichsam aus der
des ZPS ist, dass die Lehren des Holocaust durch die Wiederholung
politischer Teilnahmslosigkeit, Flüchtlingsabwehr und Feigheit
annulliert werden und dass Deutschland aus der Geschichte nicht nur
lernen, sondern auch handeln muss.
als Handlung - Das Zentrum für Politische Schönheit
von Raimar Stange, Miriam Rummel, Florian Waldvogel
vacuum cleaner, a hair straightener, a laptop, Christmas lights, an
e-reader, a blender, a kettle, two bags, a pair of jeans, a
remote-control helicopter, a spoon, a dining-room chair, a lamp and
hair clippers. All broken.
sounds like a pile of things that you’d stick in boxes and take to
the tip. In fact, it’s a list of things mended in a single
afternoon by British volunteers determined to get people to stop
throwing stuff away.
is the Reading Repair Cafe, part of a burgeoning international
network aimed at confronting a world of stuff, of white goods
littering dumps in west Africa and trash swilling through the oceans
in huge gyres.
hair clippers belong to William, who does not want to give his
surname but cheerfully describes himself as “mechanically
incompetent”. He has owned them for 25 years, but 10 years ago they
stopped working and they have been sitting unused in his cupboard
centuries, we have been telling ourselves a simple story about the
origins of social inequality. For most of their history, humans lived
in tiny egalitarian bands of hunter-gatherers. Then came farming,
which brought with it private property, and then the rise of cities
which meant the emergence of civilization properly speaking.
Civilization meant many bad things (wars, taxes, bureaucracy,
patriarchy, slavery…) but also made possible written literature,
science, philosophy, and most other great human achievements.
everyone knows this story in its broadest outlines. Since at least
the days of Jean-Jacques Rousseau, it has framed what we think the
overall shape and direction of human history to be. This is important
because the narrative also defines our sense of political
possibility. Most see civilization, hence inequality, as a tragic
necessity. Some dream of returning to a past utopia, of finding an
industrial equivalent to ‘primitive communism’, or even, in
extreme cases, of destroying everything, and going back to being
foragers again. But no one challenges the basic structure of the
is a fundamental problem with this narrative.
words together while working on this exhibition at the Arts Club of
needle, the haystack, the thread made
a certain sense, made a certain space for Britta
Marakatt-Labba and Lala
Meredith-Vula and Aboubakar
the late Maria
these artists and the fruits of their labors cannot be easily
summarized, thematized, named, tamed, or otherwise put in a
proverbial drawer of available artistic or geographic or cultural
criteria, their shared story is telling and wants to be told.
speaks of a free association that keeps the society of things and
thoughts and animals and plants and minerals and materials together.
Humans take part. Yet they are not necessarily the center. There is
no center. There is rather an invitation to connect and consider what
is sometimes called traditional work or farm work or craft work anew.
between these artists, between their works, something like the red
thread handed by Ariadne to Theseus to get him in and out of the
to their integrated ways of working and living [grounded in distinct
traditions, advancing techniques shared across continents, and
resistant to the soul-draining transformations of their communities
wrought by violent histories of division and conquest] becomes our
common task, however temporarily.
it also as the seed of a sur-rural imaginary in an urban context