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Spacing Philosophy - Lyotard and the Idea of the Exhibition

Sternberg Press 2019 ISBN 9783956793882 Acqn 29883
Pb 12x19cm 248pp 4ills £17.25

In 1985, the philosopher Jean-Francois Lyotard curated "Les Immateriaux" at Centre Georges
Pompidou. Though widely misunderstood at the time, the exhibition marked a "curatorial turn" in
critical theory. Through its experimental layout and hybrid presentation of objects, technologies,
and ideas, this pioneering exploration of virtuality reflected on the exhibition as a medium of
communication, and anticipated a deeper engagement with immersive and digital space in both
art and theory. In Spacing Philosophy, Daniel Birnbaum and Sven-Olov Wallenstein analyze the
significance and logic of Lyotard's exhibition while contextualizing it in the history of exhibition
practices, the philosophical tradition, and Lyotard's own work on aesthetics and phenomenology.
"Les Immateriaux" can thus be seen as a culmination and materialization of a life's work as well
as a primer for the many thought-exhibitions produced in the following decades.

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Theater, Garden, Bestiary - A Materialist History of Exhibitions

Sternberg Press 2019 ISBN 9783956794551 Acqn 29805
Pb 21x28cm 308pp 131ills 85col £24.50

Contributions by Etienne Chambaud, Elitza Dulguerova, Anselm Franke, Tristan Garcia, Fabien
Giraud & Raphael Siboni, Dorothea von Hantelmann, Yuk Hui, Pierre Huyghe, Sami Khatib,
Jeremy Lecomte, Stephane Lojkine, Rafael Mandressi, Vincent Normand, Peter Osborne, Filipa
Ramos, Juliane Rebentisch, Joao Ribas, Pamela Rosenkranz, Anna-Sophie Springer, Lucy
Steeds, Olivier Surel, Etienne Turpin, Kim West, Charles Wolfe.

This volume both gathers and expands on the results of the research project "Theater, Garden,
Bestiary: A Materialist History of Exhibitions" held at ECAL/University of Art and Design
Lausanne, and proposes to draft a history of exhibitions sourced from a wide corpus reaching
beyond the framework of art institutions. It undertakes a transdisciplinary history, at the nexus of
art history, science studies, and philosophy, exploring the role the exhibition played in the
construction of the conceptual categories of modernity, and outlines a historiographical model
that grasps the exhibition as both an aesthetic and epistemic site.

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Mischa Kuball - res.o.nant

Sternberg Press 2019 ISBN 9783956794964 Acqn 29847
Pb 17x24cm 196pp 50col ills £20.95

Edited by Gregor H. Lersch, Leontine Meijer-van Mensch

Contributions by Christoph Asendorf, Juan Atkins, Horst Bredekamp, Diedrich Diederichsen,

Kathrin Dreckmann, Shelley Harten, Norman Kleeblatt, Alexander Kluge, Daniel Libeskind,
Gregor H. Lersch, Leontine Meijer-van Mensch, W. J. T. Mitchell, Hans Ulrich Reck, Richard
Sennett, Peter Weibel, Lawrence Weiner, John C. Welchman, Alena J. Williams

From November 2017 to September 2019, res.o.nant, a conceptual light and sound installation by
Mischa Kuball, reverberated throughout the basement of the Libeskind Building in the Jewish
Museum Berlin. This book comprises five thematic sections-Space of Experience, Void, Sound
Space, Light, and Urban Space-through which twenty-two thinkers, artists, and writers have
examined and interpreted Kuball's work. Like the architecture of the Libeskind Building itself,
res.o.nant also responds to the void, the absence of Jewish life in Europe after the Shoah.

In Kuball's installation and its concurrent performance program, in the spaces of architecture, the
membrane and the skin, resonance becomes the antithesis to alienation in the world.

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Pedro Barateiro - How To Make A Mask

Sternberg Press 2019 ISBN 9783956793615 Acqn 29808
Pb 20x28cm 216pp 140ills 40col £23.50

Texts by Anders Kreuger, Ana Teixeira Pinto, Pieternel Vermoortel, Els Silvrants-Barclay

How to Make a Mask borrows its title from one of Pedro Barateiro's performances in which the
artist reflects upon the role of the individual within the sociopolitical situations of the collective
through references ranging from psychological tests to the history of theater. By sharing the same
title as the performance, the publication acknowledges the central role this piece has attained in
terms of understanding and articulating Barateiro's ongoing inquiry into what modes of being in
the world we are able to (re) produce. It was developed and first presented in a period in which
social media exposure started defining new forms of personal interaction, only to be further
mediated by technology and interpreted by algorithms and bots whose sole purpose seems to be
to satisfy our immediate desires. It is now apparent to us, after all these years, that such new
forms of communication and interaction are easily manipulated, facilitating new forms of political
control.

Along with the artist's own writings and visual material, this volume features new essays by Ana
Teixeira Pinto and Anders Kreuger, an epilogue by Pieternel Vermoortel and Els Silvrants-
Barclay, and an extended note by the editors Joao Mourao and Luis Silva.

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Shirana Shahbazi - New Good Luck

Sternberg Press 2019 ISBN 9783956794940 Acqn 29807
Pb 20x30cm 64pp 60col ills £17.95

New Good Luck presents a new series of photographic works by Shirana Shahbazi. Taken during
the artist's three-month stay in India, the photos, often of solitary people in architectonic space or
a landscape, have been taken apart and reshaped through a digital collage technique, their
colour removed or reconfigured. Carefully selected areas of luminous colour are layered on top of
one another, sometimes protruding far beyond the edges of the actual scene, flowing together
with selected openings, or breaking open the composition like a prism. The effect is to dissolve
motifs from the journey, fragmenting them from their original narratives. Similar to previous series
by Shahbazi such as "Tehran North" (2015), these works explore how the encounters
experienced during travel can be perceived photographically without being determined by the
visual power and cultural charge of their original colours.

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Agents of Abstraction - Ana Ofak

Sternberg Press 2019 ISBN 9783956794575 Acqn 29879
Pb 19x27cm 398pp 86ills 16col £23.50

As the cold war gained momentum in Europe, Tito's break with Stalin led to Yugoslavia being
expelled from the Eastern bloc in 1948. Confronted with this new reality, the Yugoslav
government decided to bridge the indeterminacy of its cultural politics through a creative strategy:
it commissioned young artists and architects to draft the aesthetics of a non-Soviet form of
socialism. Guided by abstraction and the idiom of modernism, four friends and later founders of
the EXAT 51 collective-Ivan Picelj, Zvonimir Radic, Vjenceslav Richter, and Aleksandar Srnec-
gave shape to this endeavour. During the 1950s, they produced exhibitions at home as well as
developed Yugoslav pavilions for trade fairs around the world, arguing the case for the possibility
of an abstract socialism. Agents of Abstraction frames the liaison of socialist cultural politics and
modernist artistic practice by interlinking ideas of decentralization, experiments in state-funded
arts and architecture, non-representational forms, and self-reliance. The cultural and geopolitical
contexts are accompanied by rare visual material, much of which appears in print for the first
time.

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