ART

Jenny Odell - Inhabiting the Negative Space

Sternberg Press 2021 ISBN 9783956795817 Acqn 31265
Pb 12x19cm 80pp col ills £12.95

Artist and writer Jenny Odell hadn't originally planned to deliver the Harvard University Graduate
School of Design's 2020 Class Day Address from her living room. But on May 28, 2020, bounded
by the abnormal conditions of a global pandemic, she joined graduates and their guests in a fully
virtual commencement ceremony. Framed by a Zoom background of a rose garden, she spoke to
an audience she could not see about the role of design in a suspended moment marked by
uncertainty. Odell's message, itself a timely reflection on observation, embraces the standstill and
its potential to deepen our individual and collective attention and our sensitivity to time, place, and
presence-in turn, perhaps, enabling us all, amid our "new" virtual contexts, to better connect with
our natural and cultural environments.

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Ho Tzu Nyen - G For Gong

Sternberg Press 2021 ISBN 9783956792854 Acqn 31246
Pb 17x24cm 176pp col ills £22.50

Edited by Edit Molnar, Marcel Schwierin. Contributions by Anselm Franke, Edit Molnar, Marc
Opper, Marcel Schwierin, David Teh.

G for Gong looks at the artistic practice of Singaporean video artist and theater director Ho Tzu
Nyen. An extension of the artist's large-scale solo exhibition at the Edith-Russ-Haus for Media Art
in 2019, this book not only explores Ho's distinctive artistic approach but also dives deeper into
the themes of his work. Stunning both visually and acoustically, Ho's works brim with intricate
cultural references-concepts, imaginaries, and allusions to the histories of Eastern and Western
literature, art, and music. Through in-depth analysis of Ho's work and the inspiration behind it-in
essays by Anselm Franke and David Teh and a scholarly text by historian Marc Opper, together
with an interview with the artist-G for Gong untangles this complex web of references and follows
Ho through his hallmark artistic process.

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Josephine Meckseper
Sternberg Press 2020 ISBN 9783956795572 Acqn 30805
Pb 21x26cm 64pp col ills £13

Text by Joshua Decter. With artistic contributions from Becky Beasley, Karla Black, Kate Blacker,
Katinka Bock, Monica Bonvicini, Claire Fontaine, Melanie Counsell, Jason Dodge, Lili Dujourie,
Michel Gerson, Johannes Kahrs, Sister Corita Kent, Louise Lawler, Sherrie Levine, Jack Pierson,
Martha Rosler, Rosemarie Trockel, Valie Export

For the last two decades, Josephine Meckseper has created large-scale installations, sculptures,
paintings, and films that simultaneously expose and encase signifiers such as advertisements,
political imagery, and everyday objects to form an exploration into the collective unconscious of
our time. The artist's exhibition at the Frac des Pays de la Loire is her first major institutional
survey show in France. Taking place at the Frac, Carquefou, and the associated HAB Galerie in
Nantes, the twofold exhibition brings together a selection of significant works by the artist from the
last fifteen years and an artist-curated selection of works from the Frac's collection. Meckseper
creates a dialogue around gender and scale by including artworks by Becky Beasley, Karla Black,
Kate Blacker, Katinka Bock, Monica Bonvicini, Claire Fontaine, Melanie Counsell, Jason Dodge,
Lili Dujourie, Michel Gerson, Johannes Kahrs, Sister Corita Kent, Louise Lawler, Sherrie Levine,
Jack Pierson, Martha Rosler, Rosemarie Trockel, and Valie Export. Partly informed by the
abandoned industrial landscape and the old shipping cranes surrounding the gallery in Nantes, as
well as by the escalating "yellow vest" protests across France, Meckseper's own monumental
sculptures and politically charged works intersect with the artworks from the collection, which are
exhibited in part on wood and mirror shelves designed by Meckseper, providing an additional
conceptual mode of display and narrative. An in-depth essay on the exhibition by writer and critic
Joshua Decter accompanies the exhibition views and index of works in the catalogue.

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Critical Spatial Practice 12 - Don't Follow the Wind

Sternberg Press 2021 ISBN 9783956795688 Acqn 31292
Pb 11x15cm 256pp col ills £15.50

Texts by Jodi Dean, Silvia Federici, Sven Lutticken, Noi Sawaragi, Jason Waite. Featuring
artwork by Ai Weiwei, Chim_Pom, Don't Follow the Wind, Nikolaus Hirsch & Jorge Otero-Pailos,
Meiro Koizumi, Eva & Franco Mattes, Grand Guignol Mirai, Aiko Miyanaga, Ahmet Ogut, Trevor
Paglen, Taryn Simon, Nobuaki Takekawa, and Kota Takeuchi.

The twelfth volume of the Critical Spatial Practices series focuses on "Don't Follow the Wind," the
acclaimed collaborative project situated in the radioactive Fukushima exclusion zone. The book
explores the long-term environmental crisis in the coastal Japanese region through this ongoing,
inaccessible exhibition, which maintains traces of human presence amid the fallout of the March
2011 nuclear reactor meltdown that displaced entire towns. What can art do in a continuing
catastrophe when destruction and contamination have made living impossible?

The exhibition is located inside the exclusion zone, an evacuated radioactive area established
after the nuclear disaster that forcibly separated residents from their homes, land, and
community. In cooperation with former residents, participating artists installed newly
commissioned works at sites in the exclusion zone. Although the exhibition opened in March
2015, the zone is still inaccessible to the public-the exhibition, like the radiation, is virtually
invisible. The exhibition can only be viewed when restrictions are lifted and people are permitted
to return. This might take several years or decades-a period that could extend beyond our
lifetime. While nuclear contamination has displaced and ruptured communities, new temporary
and translocal formations have emerged among the residents who have lent their sites, other
former residents collaborating on the project, and the artists, curators, and cultural workers.

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Ilona Nemeth - Eastern Sugar

Sternberg Press 2021 ISBN 9783956795732 Acqn 31293
Pb 26x26cm 304pp col ills £21.50

Edited by Maja and Reuben Fowkes, Ilona Nemeth. Contributions by Edit Andras, Rado Bato,
Fedor Blascak, Johanna Bockman, Kathrin Bohm, Anetta Mona Chisa, Cooking Sections,
Annalee Davis, Maja and Reuben Fowkes, Ferenc Grof, Dusan Janicek, Katarina Karafova, Peter
Liska, Jason W. Moore, Ilona Nemeth, Michael Niblett, Raj Patel, Jozef Rosta, Joanna
Sokolowska, Olja Triaska Stefanovic, Imre Szeman, Raluca Voinea.

Eastern Sugar was the name chosen by Generale Sucriere and Tate & Lyle for their joint venture
to acquire sugar factories across Central Europe after the fall of communism in 1989. In the mid-
2000s, the Franco-British consortium cashed in its investment to take advantage of a European
Union compensation scheme and permanently shut down its sites. This book takes as its starting
point artist Ilona Nemeth's extensive research into the history of sugar production in the region,
from its beginnings in the early nineteenth century, when northern sugar beet emerged as a
competitor to southern sugar cane, to the social impact of the rapid decline of the industry in the
era of peak globalization. The fate of Eastern Sugar is explored as a microcosm of the
mechanisms of postcommunist transition across Central Europe from the opportunism of financial
speculators to the endemic corruption of privatization, posing the question of whether neoliberal
marketization was the only viable exit strategy from state socialism. Contributions dealing with the
social and environmental legacies of Caribbean sugar plantations situate the sugar histories of
Eastern Europe within the spread of a monocultural system based on (neo)colonial extractivism.

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Visual Cultures as Time Travel

Sternberg Press 2021 ISBN 9783956795381 Acqn 31294
Pb 15x20cm 88pp ills £10.50

With its capacity to unsettle our sense of the temporal-through montage, doublings, hauntings-
visual culture can enable a sense, or theory, of time travel. It invites us to consider the visual
outside the realm of art, and to think beyond the technocratic and colonial tropes of science
fiction. It can send us tumbling through deep space, into the past, or toward other speculations.

Visual Cultures as Time Travel proposes a notion of time travel in the aftermath of transatlantic
slavery and in the moment of mass illegalized migration, of wildfires and floods, of lost and co-
opted futures. Artist and writer Ayesha Hameed recounts her travels to islands in the Caribbean
Sea and off the coast of Finland to study how geologic and revolutionary time are produced
through the violent dispossession of the current climate emergency and the history of the slave
trade. Media and postcolonial scholar Henriette Gunkel examines time travel in relation to
blackness and vertigo as set out in Octavia E. Butler's novel Kindred and Kitso Lynn Lelliott's
multimedia installation South Atlantic Hauntings. These works suggest a nonnormative approach
to seeing and experiencing the world, and turn our attention to the body as the technological
device for traveling across and through time.

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