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Cave 1Territories
Sternberg Press 2016 ISBN 9783956791369 Acqn 26182
Pb 17x24cm 176pp ills 15.95
With contributions by Beirut, Clmentine Deliss, Kersten Geers, Jef Geys, Anders Kreuger,
Maarten Liefooghe, Jens Maier-Rothe, Doris Maninger, Winke Noppen, Louise Osieka, Jasper
Rigole, Marije Sennema, Els Silvrants-Barclay, 3Maarten Van Den Driessche, Richard Venlet,
Pieternel Vermoortel
Cave is a series of publications featuring commissioned and republished explorations, anecdotes,
research, documents, case studies, essays, and scenarios on how to think and practice
contemporary collecting. The first issue of Cave looks into the territory of the public collection
considering it both a semantic ground for institutional collecting as well as political and cultural
infrastructure.
Artists, scholars, and other thinkers address the role of museums and collections for identitymaking and territorial representation, the increasing invisibility of the collection, productive and
problematic processes of inclusion and exclusion, and what seems to be a general distrust
towards history in the contemporary art museum. As such they speculate on radical yet tangible
strategies for the activation and sedimentation of the collection in the contemporary art
museum from the point of view of its architecture, scale, locality, history, organizational model,
display, research, and collecting methodologies.

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The Silent University - Toward a Transversal Pedagogy

Sternberg Press 2016 ISBN 9783956792458 Acqn 26246
Pb 17x24cm 140pp 18ills 14.50
Edited by Florian Malzacher, Ahmet u t, Pelin Tan
With contributions by Florian Malzacher, Mara do Mar Castro Varela, Chantal Mouffe, Ahmet
u t, Rubia Salgado, Pelin Tan, and the Silent Universities in Amman, Athens, Hamburg,
London, Mu lheim/Ruhr, and Stockholm
The Silent University, initiated by artist Ahmet t in 2012, is an autonomous platform for
academics who cannot share their knowledge due to their status of residence, because their
degrees are not recognized or regaining access to academia is blocked for other reasons. It is a
solidary school by refugees, asylum seekers and migrants who contribute to the program as
lecturers, consultants and researchers.
The Silent University proposes a new institution outside of the restrictions of existing universities,
migration laws and the other bureaucratic or juridical obstacles many migrants face. At the same
time it mimics the idea of exiting universities, using their representational logics by developing
alternative structures of pedagogy beyond border politics, race/ethnicity and normative education.
This first comprehensive publication about the Silent University introduces the initiative and
contextualizes it in the wider framework of both radical pedagogy and socially engaged art
projects. In addition, all current branches of the Silent Universityin Amman, Athens, Hamburg,
London, Mlheim/Ruhr, and Stockholmdescribe their very different achievements as well as
their struggles and failures.

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Charlemagne Palestine GesammttkkunnsttMeshuggahhLaandttttt

Sternberg Press 2016 ISBN 9783956792328 Acqn 26364
Hb 25x33cm 82pp 75col ills 19.50
Edited by Luca Lo Pinto, Samuel Saelemakers
Contributions by Defne Ayas & Nicolaus Schafhausen, Luca Lo Pinto, Charlemagne Palestine,
Samuel Saelemakers, Jay Sanders
Charlemagne Palestine works from a highly personal universe of ritual, intoxication, and
shamanism. Over the last four decades the artist has created an extensive body of experimental
musical compositions, bodily performances, and, in later years, visual artworks inhabited by
stuffed animals. To Palestine, teddy bears figure as powerful shamanic totems, which he fondly
calls divinities.
Central to GesammttkkunnsttMeshuggahhLaandtttt, Palestines solo exhibition at Kunsthalle
Wien and Witte de With Center for Contemporary Art, is a grand piano as the sounding heart, and
a new large-scale version of God-Bear Museum Model, a proposal for a new kind of museum
where music and performance find a home just as easily as a painting would. Also part of the
exhibition are Palestines extraordinary music and sound annotations, and a vast collection of
works on paper, which aim to translate sound into image.
This catalogue visually documents this exhibition and features an interview between
Charlemagne Palestine and Luca Lo Pinto, curator at Kunsthalle Wien, as well as an essay on
Palestines work by Jay Sanders, curator of performance at the Whitney Museum of American
Art.

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Intersubjectivity Vol. 1- Language and Misunderstanding

Sternberg Press 2016 ISBN 9783956791994 Acqn 26439
Pb 19x26cm 166pp 78ills 14.50
With contributions by Cory Arcangel, Fia Backstrm, Alain Badiou, Erica Baum, Xu Bing, Paul
Chan, Andrew Durbin, Jimmie Durham, Daniel Gr, Lucy Ives, Jenny Jaskey, William Kherbek,
Nicky Marsh, Julia Moritz & YGRG, Ariane Mller, Vincent Romagny, Hito Steyerl
Intersubjectivity, a two-volume collection of essays, is concerned with a new account of our ideas
of what subjects are, and what is means for them to meet. The project explores these concepts in
the context of the interaction of non-sentient beings, attempting to move beyond anthropomorphic
theories of objectivity and materiality, as well as subjects whose boundaries resist definition.
Intersubjectivity takes up the complementary problems of non-discursive language and nonlinguistic discourse, in an attempt to locate the distinctions and respective abilities of philosophy
as a particular kind of art and art as a particular kind of philosophy.
The first volume, Language and Misunderstanding, addresses concretism and its discontents.
The essays and performance texts herein argue for an expanded consideration of concretism in
contemporary practices oriented toward the embodiment of language, in works that challenge the
privileging of the body of the word over the body of the artist. Thus Cory Arcangel, Fia Backstrm,
Erica Baum, Paul Chan, Jimmie Durham, and Hito Steyerl all contribute works that in different
ways insist on the somatic nature of writing; Andrew Durbin, and Ariane Mller, and Vincent
Romagny address the drift of meaning across material; Lucy Ives, Daniel Gr, and the Young
Girl Reading Group are sceptical of dogmas of authorship and identity; Alain Badiou asks when
modern art will end; and Abraham Adams polemicizes against the loss of the body in the concrete
work. With an introduction by Lou Cantor.

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Josephine Meckseper - 10 Minutes After

Sternberg Press 2016 ISBN 9783956792281 Acqn 26463
Pb 23x31cm 96pp 97ills 32col 21
Texts by Domenick Ammirati and Piper Marshall
For the last two decades, Josephine Mecksepers practice has interrogated politics, capitalism,
and art history through the juxtapositions of images and objects. Drawn from the visual and
material cultures of protest and political activism, advertising, cinema, and early twentieth-century
display architecture, Mecksepers works are visually confrontational yet subtle, relying on
strategies of infiltration rather than explicit positions.
Central to the body of work featured in 10 minutes after is an investigation of the object as a form
of analogue recording device, in which found materials document temporal environments or
situations. Wall vitrines, shelves, denim assemblages, and abstract sculptures composed of
industrial display racks become repositories of social, cultural, political, and economic
significance. The window frame becomes a vehicle to convey a perspective of the world inside
and outside the studio. Accumulated objects and ephemera, recycled studio materials, items
salvaged from the street or obtained from now-extinct local stores are reconceived within a new
series of window vitrines.
The publication features installation views from Mecksepers recent exhibition at Timothy Taylor,
a gallery of psychoimages, and two newly commissioned texts. Independent curator and writer
Piper Marshall considers ideas of dtournement, the readymade, and base materialism in
Mecksepers oeuvre, while writer and editor Domenick Ammirati explores the significance of
painting and text within Mecksepers installations.

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Florian Hecker / John McCracken

Sternberg Press 2016 ISBN 9783956792151 Acqn 26485
Pb 14x21cm 44pp 6col ills 7.95
Edited by Sandro Droschl
Texts by Christian Egger and Joo Ribas
Following the 2015 exhibition Florian Hecker/John McCracken at Knstlerhaus, Halle fr Kunst
& Medien Graz, this publication probes the experimental capacity of the white-cube space of the
gallery. For the exhibition, two complementary yet autonomous artists were brought into dialogue
with each other: German artist and computer composer Florian Hecker, and the late American
sculptor John McCracken.
The fiberglass-coated, monochrome planks by McCracken spanned the floor and the walls of
the building, evoking a juncture between painting and sculpture, while Heckers computergenerated sound pieces dramatized both space and time. By combining the work of the two
artists, a framework was created in which an aesthetic experience occurred between the shifting
boundaries and intersections of sculpture and sound as they affected each other within a space
consisting of geometric and architectural formations as well as temporal and subjective
formations. At the same time, the viewer/listener became more sensitized to the conditions,
qualities, and degrees of intensity between the physical and the ephemeral.
The publication includes a curatorial introduction by Christian Egger, and a comprehensive essay
by the author and curator of the Serralves Museum of Contemporary Art, Porto, Joo Ribas. The
cover has been designed by Florian Hecker using an objectness measure algorithm.

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Monica Ross - Ethical Actions. A Critical Fine Art Practice

Sternberg Press 2016 ISBN 9783956792021 Acqn 26486
Pb 16x24cm 128pp 96col ills 17.50
Edited by Susan Hiller, Suzanne Treister
Texts by Jorn Ebner, Eric Levi Jacobson, Alexandra M. Kokoli, Esther Leslie, Yve Lomax, Denise
Robinson, Monica Ross; photographic documentation by Bernard G. Mills
British artist Monica Ross (19502013) left behind forty years of socially engaged, feminist, and
performative artwork, which has had a deep effect on contemporary art and society. This fully
illustrated publication documents Rosss works from 1970 to 2013, including early feminist
collaborative works, drawings made at the Greenham Common Womens Peace Camp in the
1980s, poster designs for the antinuclear movement, works relating to the writings of Walter
Benjamin, and documentation from the sixty performances of Anniversaryan act of memory
(200813), solo, collective, and multilingual recitations from memory of the Universal Declaration
of Human Rights, which concluded with a final collaborative performance at the UN in Geneva on
the day of Rosss death. With essays by Esther Leslie, Eric Levi Jacobson, Alexandra M.
Kokoli, Denise Robinson, and Yve Lomax, this book is a valuable art-historical document.

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Decolonizing Nature - Contemporary Art and the Politics of Ecology

Sternberg Press 2016 ISBN 9783956790942 Acqn 26487
Pb 15x21cm 296pp 108ills 105col 17.50
While ecology has received little systematic attention within art history, its visibility and
significance has grown in relation to the threats of climate change and environmental destruction.
By engaging artists widespread aesthetic and political engagement with environmental conditions
and processes around the globeand looking at cutting-edge theoretical, political, and cultural
developments in the Global South and NorthDecolonizing Nature offers a significant, original
contribution to the intersecting fields of art history, ecology, visual culture, geography, and
environmental politics. Art historian T. J. Demos, author of Return to the Postcolony: Specters of
Colonialism in Contemporary Art (2013), considers the creative proposals of artists and activists
for ways of life that bring together ecological sustainability, climate justice, and radical
democracy, at a time when such creative proposals are urgently needed.

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Fredrik Vaerslev - All Around Amateur

Sternberg Press 2016 ISBN 9783956792298 Acqn 26515
Pb 20x29cm 352pp col ills 34
Edited by Martin Clark, Anne Pontgnie, Steinar Sekkingstad
Texts by Ina Blom, Martin Clark, Anne Pontgnie, Steinar Sekkingstad
Fredrik Vaerslevs work navigates between different painterly traditions, and demonstrates the
possibilities and relevance of the medium today. He treats his paintings as objects, often created
through more or less laborious, serial, or deterministic processes where time itself, as well as
various external factors, become active co-creators in the making of the work. In several series,
he has left his paintings outdoors for long periods of time, allowing the weather and external wear
to complete the work. Other works employ apparently clichd techniques, motifs, or art-historical
quotations (i.e., dripping and splattering). More recently, Vaerslev has been working with a tool
used for marking painted lines on roads and sports fields.
Published in conjunction with Fredrik Vrselvs exhibition All Around Amateur at the Bergen
Kunsthall and Le Consortium, Dijon, this publication, comes in two different versions, with each
book comprising 320 one-to-one digital images scanned from eight of Vrslevs new sunset
paintings. Each canvas produces a total of eighty scanned images, which are reproduced in the
book sequentially, left to right, top to bottom. The full-bleed scans in each volume, together,
reproduce an entire wall of paintings from the exhibition. The paintings, based on photographs of
sunsets taken by Vrslev on his iPhone from airplane windows, evoke the work of art-historical
figures such as J. M. W. Turner, Mark Rothko, and Edvard Munch.
The catalogue also includes newly commissioned texts by Ina Blom, Martin Clark, and Steinar
Sekkingstad as well as an interview with artist Anne Pontgnie.

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