Edited by Elena Filipovic
Available at Mousse Publishing
Alhena Katsof's essay about the legendary exhibition Times Square Show (1980) curated by Colaborative Projects Inc., is included in this anthology alongside texts by Alexander Alberro, Monica Amor and Carlos Basualdo, Biljana Ciric, Ekaterina Degot, Elena Filipovic, Claire Grace, Anthony Huberman, Dean Inkster, William Krieger, Elisabeth Lebovici, Ana Longoni, James Meyer, Isabelle Moffat, Nina Möntmann, Natalie Musteata, Sandra Skurvida, Dirk Snauwaert, Lucy Steeds, Monika Szewczyk, and Kaelen Wilson-Goldie. Afterword by Hans Ulrich Obrist
The book is an anthology of essays that first appeared in The Artist as Curator, a series that occupied eleven issues of Mousse from no. 41 (December 2013/January 2014) to no. 51 (December 2015/January 2016). It set out to examine what was then a profoundly influential but still under-studied phenomenon, a history that had yet to be written: the fundamental role artists have played as curators. Taking that ontologically ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. This anthology surveys seminal examples of such exhibitions from the postwar to the present, including rare documents and illustrations.
It includes an introduction and the twenty essays that first appeared in Mousse, a newly commissioned afterword by Hans Ulrich Obrist, and two additional essays that appear here for the first time, discussing twenty-two exhibitions by the Avant-Garde Argentinian Visual Artists Group; Mel Bochner; Marcel Broodthaers; Hank Bull, Shen Fan, Zhou Tiehai, Shi Yong, and Ding Yi; John Cage; Judy Chicago, Miriam Schapiro, and the CalArts Feminist Art Program; Collaborative Projects Inc. (Colab); Alice Creischer, Andreas Siekmann, and Max Jorge Hinderer; Liam Gillick and Philippe Parreno; Group Material; Richard Hamilton and Victor Pasmore; David Hammons; Martin Kippenberger; Mark Leckey; Goshka Macuga; Lucy McKenzie and Paulina Ołowska; Hélio Oiticica; Walid Raad and Akram Zaatari; Martha Rosler; Avdey Ter-Oganyan; Philippe Thomas; and Andy Warhol.
Co-published with Koenig Books, London
Alhena co-authored the book Solution 263: Double Agent with Dana Yahalomi, Director of Public Movement. The book includes contributions by Karen Archey and Janto Schwitters, and Jill Magid.
The phenomenal performative relationship between the state and its cultural institutions was perhaps best exemplified when the declaration of the State of Israel was staged at the Tel Aviv Museum of Art in 1948. This relationship has been at the heart of Public Movement’s research. Solution 263: Double Agent, authored by Alhena Katsof and Dana Yahalomi, presents a methodology, manual, and performance offered as a culmination of efforts by the Office of Strategy and Protocol. It contains the necessary tools to activate Debriefing Sessions and in doing so trains future Agents in a series of one-to-one exchanges gathered from work in the field. Debriefing Sessions explore the possibility that to activate art in the political field, an agent may be a double agent.
On the occasion of the book release, Alhena gave the following presentations:
September 19, 2015 as part of The Classroom organized by David Senior at New York Art Book Fair, New York
October 28, 2015 at Rongwrong, Amsterdam
November 3, 2015 at Kunsthalle Basel, Basel
"We go backwards to go forwards. We go back in time, to find ourselves now. We awaken the future through our encounter with the past. The artist Andrea Geyer has spent years mapping social histories that shaped modernity. Her piece, Revolt, They Said is an actual map, drawn in pencil, on a large sheet of paper. It begins with the radical feminist roots of the modern American museum...
I want to know the narratives and histories that Geyer is mapping. More so, I want to re-awaken them. Politics are a dormant knowledge that is activated when we come into proximity with the social self. This dormant knowledge is embodied in the way we move. Travel on Slender Threads are a set of directives, extrapolated from Geyer’s map and composed in a distinctive vocabulary. When Geyer invited dancers to work with these directives through dance, the ensuing set of movements became a bodily invocation of social choreography..."
Excerpts from Proximities of the Social Self, Alhena Katsof, 2015.
The Reader for 67,3% performative research seminar was a compilation of key texts that Malin Arnell has written, performed and/or published as part of her artistic research. It was made through the collaborative effort of Malin Arnell and Alhena Katsof, with the help of Clara López Menéndez. Graphic design by Sara Kaaman. As a part of 67,3% performative research seminar,
67,3% performative research seminar Malin Arnell
May 10-12, 2014
Weld in Stockholm
Over the course of three days, artist Malin Arnell enacted a performative research seminar at Weld in Stockholm. The seminar encompassed a number of public actions, screenings and discussions that directly engaged her ongoing artistic research, which was generated through the live events. Specifically, the title 67,3% performative research seminar points to the moment that this seminar occupied within the arc of her research, which currently takes place within the framework of a PhD in Choreography at University of Dance and Circus / Stockholm University of the Arts.
Arnell understood 67,3% performative research seminar as a methodology of entanglements in which each participant comes to exist within the research, and in which the movement across reenactments, presentations and conversations generates the choreographic.
Alhena worked as an editor on the detailed program of events, which outlined the actions, activities and discussions that took place during 67,3% performative research seminar, which were all open to the public.
Invited participants were: Katherine Brewer Ball, Camilla Damkjaer, Ulrika Gomm, Hanna Hallgren, Lena Hammergren, Anna Koch, Efva Lilja, Clara López Menéndez, Teresa Maria Diaz Nerio and Stefanie Seibold.
Image: Malin Arnell, 2015