ART PAPERS 38.03 - May/June 2014
A number of projects and initiatives featured in this May/June issue share a concern with public document, the right to access and distribute information freely, and the tangibility--the desirability, even--of “truth” in digital age. --Victoria Camblin, excerpt, Letter from the Editor
TABLE OF CONTENTS:
Àsìkò in Dakar
Amanda H. Hellman discusses the tradition and future of West African experimental arts education.
The Common Network
Stephanie Bailey follows Amar Kanwar's The Sovereign Forest and Stephen Willats' Inside the Ocean as maps towards social reform.
Give Us CPR
Trial lawyer Gerald FitzGerald calls for a centralized provenance database, funded by a levy on market sales.
To: Constant Dullaart; From: Carson Chan;
A curator and writer responds to a manifesto calling for sovereign communication in the digital age.
Being as Glass Eel
Rosa Aiello's textual veil reveals the form of the object beneath it.
Above and Beyond the Fence Line
Breonne DeDecker and Darin Acosta map the uncharted industrial territories of southern Louisiana.
Harun Farocki and Trevor Paglen
Niels Van Tomme and Jeroen Wille scan the work of two artists confronting the structures concealed within military image-making.
Yuri Pattison finds humanity in advanced communication technologies; he and Karen Archey discuss.
Art of the Stateless State
Jonas Staal calls for a state of permanent, stateless revolution.
Douglas Coupland secedes the Occident (so you don't have to).
A poster hails Nicolas Ceccaldi's public institutional debut at Kunstverein München [April 25-June 15, 2014].
Inside CERN (Lars Müller Publishers); Alien She (Philadelphia); James Lee Byars (Detroit); Mel Chin (New Orleans); Simon Denny (Colchester, UK); HIWAR (Amman, Jordan); Critical Machines (Beirut, Lebannon)