Pelin Tan

Florian Malzacher

Ahmet Öğüt

David Tushingham

An insightful philosophical essay on the work of minimalist sculptor Carl Andre by Brooklyn-based poet and critic Jeremy Sigler (b.1968). While researching and editing the catalog for Andres recent retrospective at Dia Art Foundation, Sigler gleaned surprising new readings from a series of lost negatives that resurfaced at Dia. Shot by Andres close friend and collaborator Hollis Frampton in the 1960s, the photos depict small, carved wooden artworksmany lost or destroyed shortly after being photographed. Sigler draws connections between these early inchoate artworks and Andres later scatters, spills and floor pieces, all of which are analyzed through a compellingly personal lens. Writing on Andres poetry and his confounding book-length masterpiece, Stillanovel, Sigler further proposes that Andres greatest contribution may be to literature. Is it possible that one of the modern eras greatest experimental love poets is hiding in plain sight, disguised as a unionized blue-chip art worker? Sigler taught at Yale University School of Arts, edited the Swiss art journal Parkett, and has published numerous books of poetry.

Towards a Transversal Pedagogy

The Silent University

Alper Sen

Özge Çelikaslan

As an institutional practice, archival practices often tent to serve to colonization, surveillance and discipline society of the Modern world. In the last ten years, with the digital technology and social movement detecting, recording and accumulating images become a civil activity. Thus, archiving videos and other types of visual images brought also non-institutional practices and as well contemporary discussions related to image, open source, collectivity and forensics. Beside interviews with video activists; this book compiles several writers’ articles on their practices and discussions of archives from several angles: forensics, decolonization and commons. The term “archiving” in digital video production and dissemination designates not only open source memory making that is revealing hidden disobedient practices but also an autonomous structure that leads to tactics of montage, uploading, leaking images to re-build a collective memory of political disobedience. This book aims to discuss the notion of “autonomy” in the practice of “archiving”, as well as in the perspective of videogram montage in comparative perspectives from different geographically based practitioners.

Pelin Tan

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