Valiz Folder Fall/Winter 2020/21

art • theory • critique • design • urban culture

fall/winter herfst/winter 2020/21

valiz kunst • theorie • kritiek • design • stadscultuur

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NEW — Art & Humanities MAGIC An interesting light is shed on this by a famous insight of the Jewish-German philosopher Walter Benjamin. He sensed the turning of the tide when photography and film made it possible to reproduce artworks mechanically. Without the need for human hands, pictures could now be infinitely copied and shared. The human factor was taken out of the production process, paradoxically right at the time when art, thanks to the new technical possibilities, could, for the first time, show real life. In a brazen tribute to transience ‘the movies’ set still lifes in motion, as if by magic. And in front of the camera newlyweds no longer flirted with eternity, like the Arnolfinis, but with the flash of the moment. At last, the here and now could be captured in images. Or so it seemed.

Because in spite of all this newly gained dynamics, Benjamin observed, something was also lost in this technical reproduction: the aura of the artwork.

In his 1936 essay on the artwork Benjamin described the aura as ‘the unique phenomenon of a distance, however close it may be’. To him, that distance was linked to the origin and particular history of the artwork and the tradition to which it belongs. As a human artefact, the art object confronts us with the here and now of its originality, but it

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Eind maart ontving ik een opmerkelijk bericht van een collega: ‘Ik gebruik geen Teams of Skype. Ik zou het overleg liever uitstellen.’ Heerlijk! Klein verzet in vreemde tijden. Aan de universiteiten loopt nu alles digitaal, van administratie tot lesgeven en vergaderen.

Uiteraard is het fantastisch dat het onderwijs in volle crisis kan voortdraaien. Toch deel ik met veel collega’s de hoop dat deze crisis en haar digitale oplossingen niet het begin inluiden van een nieuw tijdperk. Want met het vooruitzicht dat ook volgend jaar nog veel online zal worden lesgegeven, lijkt de lang gevreesde coup van het afstandsonderwijs plots erg dichtbij.

Er valt namelijk veel winst te boeken met de digitalisering van onderwijs, zowel op het financiële als op het praktische vlak. Minder inzet van personeel (eenmaal opgenomen gaat dat ene college gerust wel een tijdje mee) en minder verplaatsingen. Hoewel ik voor het ecologische aspect van dat laatste argument niet ongevoelig ben, vrees ik dat de menselijke prijs in dit geval te hoog is. Digitalisering raakt aan de kern van het onderwijs. Online lesgeven is geen leven.

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Tijdens het coronahoogtij stuurde een vriendin een filmpje van haar vader achter de piano. Hoewel ik niet zoveel met klassieke muziek heb, greep het me naar de keel. De melancholie van het opgevoerde stuk, Sergej Rachmaninovs Lilacs, had daar zeker iets mee te maken, maar het was toch vooral het gestuntel van de al wat oudere concertpianist dat raakte. Begrijp me niet verkeerd. Voorzover ik dat kan inschatten was de uitvoering feilloos. Aandoenlijk was de onbeholpenheid waarmee de man een smartphone installeerde om zijn eigen concert te filmen. Maar het was toch vooral de onbeholpen blik frontaal naar de camera na zijn opvoering. Toen brak er iets. Wat zei die blik?

Wie miste deze pianist? Zijn naasten? Zijn kinderen, kleinkinderen? Een publiek? Het moet bevreemdend voelen om voor zo’n levenloos ding te spelen.

Jongeren – en eigenlijk allang niet meer alleen jongeren – doen nochtans niets anders dan zichzelf te portretteren. Creatief of niet, hun reëel bestaan lijkt van hun online verschijning af te hangen. Levende kunst – of het nu om een theater-, muziekuitvoering of een beeldendekunsttentoonstelling gaat – valt echter morsdood zonder livepubliek. De uitvoerende kunstenaar blijft verweesd achter wanneer die niet met levende lichamen kan resoneren. Een kunstwerk hangt er maar verloren bij wanneer het niet in een zaal kan vibreren. Covid-19 raakte dan ook het hart

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Covid-19 • Condition humaine • Longread

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NEW — Art & Humanities

Nabijheid Kunst en onderwijs na Covid-19

arlies De Munck & M Pascal Gielen

NEARNESS

ENG: The Covid-19 crisis teaches us how priceless human nearness is. Art and education can’t do without it either. Like works of art, people lose their aura when kept at digital arm’s length. Art is lifeless when it can’t resonate with bodies. In Nearness, Marlies De Munck and Pascal Gielen diagnose a new reality. Only culture marks the difference between surviving and living.

Art and Education after Covid-19

Art and Education after Covid-19

9 789492 095862

v

Marlies De Munck & Pascal Gielen

valiz

ENG

Printed and bound in the Netherlands

Marlies De Munck & Pascal Gielen

ISBN 9789492095862

9 789492 095879

ISBN 978-9 4 -92095 -87-9

Printed and bound in the Netherlands

Kunst en onderwijs na Covid-19

MARLIES DE MUNCK teaches philosophy of Music at the University of Antwerp and the Royal Conservatoire in Ghent PASCAL GIELEN is professor of cultural sociology at the Antwerp Research Institute for the Arts (ARIA).

PARTNER ARIA (Antwerp University) DRAWINGS Lotte Schröder

Marlies De Munck & Pascal Gielen

Valiz, Amsterdam w w w.valiz.nl

NABIJHEID

Kunst en onderwijs na Covid-19

De Covid-19-crisis leert dat menselijke nabijheid goud waard is. Kunst en onderwijs kunnen niet zonder. Mensen verliezen net als kunstwerken hun aura wanneer ze op digitale afstand worden gehouden. Kunst ontbeert leven wanneer ze niet met lichamen kan vibreren. In Nabijheid maken Marlies De Munck en Pascal Gielen een diagnose ISBN 9789492095879 van een nieuwe realiteit. Alleen cultuur markeert het verschil tussen overleven en leven.

NABIJHEID

NED: De Covid-19 crisis leert dat menselijke nabijheid goud waard is. Kunst en onderwijs kunnen niet zonder. Mensen verliezen net als kunstwerken hun aura wanneer ze op digitale afstand worden gehouden.

Kunst ontbeert leven wanneer ze niet met lichamen kan vibreren. In Nabijheid maken Marlies De Munck en Pascal Gielen een diagnose van een nieuwe realiteit. Alleen cultuur markeert het verschil tussen overleven en leven.

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DESIGN Lotte Schröder termsofcircumstance.org Marlies De Munck & Pascal Gielen

NED

NEAR NESS

s t do lose h. odies. l Gielen s the

valiz

INFO pb, 16,7 x 11,5 cm (h x w), 64 pp, separate English and Dutch version, August 2020, € 9,90 ISBN (ENG) 978-94-92095-86-2 ISBN (NED) 978-94-92095-87-9

Covid-19 • Condition humaine • Longread

Nearness Art and Education after Covid-19

Sexuality • Power • Violence • Intimacy

NEW — Art and Intersectionality / PLURAL SERIES

Shame! and Masculinity Ernst van Alphen (ed.)

ERNST VAN ALPHEN is a cultural analyst and professor of Literary Studies at the Leiden University Centre for the Arts in Society.

He is the curator of the exhibition ‘Shame! and Masculinity’ at H401 in Amsterdam, opening in October 2020.

Since the MeToo movement, masculine exercise of power, and sexual abuse have been widely brought under close scrutiny.

The focus on ‘toxic’ masculinity impacts our perception of male sexuality, which substantially influences the self-image and self-esteem of men. Men are being shamed by others for their transgressive and contemptuous attitudes; and they feel intrinsically ashamed of their own wrong-doings or of the virulent patterns and traditions of Western manhood.

This book explores both positions. It looks at the representation of male sexuality, nudity, fatherhood, male violence, rape, fascism and virility, men and war. It shows works of art that deal with the intricacies and contradictions of these socio-cultural constructs and realities.

Shame! and Masculinity is hybrid in terms of genre, combining scholarly essays with short stories, personal testimonies, and provocative and intimate artist’s contributions. It stimulates reflection on shame in collusion with masculinity, from male as well as female perspectives. Thus it encourages us to reimagine these issues that simultaneously play a role in society, in our own experience, in our history, and in our own bodies and being.

CONTRIBUTORS Ernst van Alphen, Lorenzo Benadusi, Jeannette Christensen, Adeola Enigbokan, Tijs Goldschmidt, Arnoud Holleman, Hans Hovy, Marlene Dumas, Natasja Kensmil, Wahbie Long, Nalini Malani, Maaike Meijer, Philip Miller, Andrea Petö, Lotte Schröder, Artur Żmijewski PARTNER H401, Amsterdam h401.org See h401.org for the parallel exhibition, lectures and programmes.

SUPPORT FOR THE PROJECT Mondriaan Fund, Prins Bernhard Cultuurfonds Noord-Holland, LIRA, Creative Europe Programme of the European Union DESIGN Lotte Schröder termsofcircumstance.org; of speculativepress.info INFO Pb. with flaps, 23 x 16,8 cm (h x w), c. 208 pp, English, October 2020, ISBN 978-94-92095-92-3, € 25,00

NEW — Art and Intersectionality / PLURAL SERIES

SHAME! and Masculinity Ernst van Alphen 1. Eve Kosofsky Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity.

Durham 2003, Duke University Press, p. 36

Recent Me-Too scandals have inflicted two powerful affects on people: anger and shame. Those two affects are intimately related, because anger is often expressed by inflicting shame on the person to whom the anger is directed, as in “shame on you!” We punish people by making them shameful. Whereas the former affect of anger and “shame on you!” is directed against the perpetrators, the affect of shame is much more difficult to locate. It can be experienced by victims, bystanders, as well as perpetrators, and people who identify with one of these positions. But because of the fact that Me-Too perpetrators are most often male, the affect of shame is especially felt by men. In order to broaden this and better understand how masculinities have been shaped by feelings of shame, this book as well as the exhibition in the context of which this book is published, will explore the different manifestations of shame, in intimate relation with its repercussions on masculinity.

Cultural analyst Eve Sedgwick has explained the nature, origin and effect of shame most clearly: The shame response, when it appears, represents the failure or absence of the smile of contact, a reaction to the loss of feedback from others, indicating social isolation and signalling the need for relief of that situation.1 Because of the fact that the relationality with the other person is broken or no longer under control, a painful individuation is the outcome. This implies that shame

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The PLURAL series focuses on how the intersections between identity, power, representation and emancipation, play out in the arts and in cultural practices. The volumes in this series aim to do justice to the plurality of voices, experiences and perspectives in society and in the arts and to address the history and present and future meaning of these positions and their interrelations. PLURAL brings together new and critical insights from cultural and social researchers, theorists, artists, arts professionals and activists.

This tradition has become standard, so that this pose or gesture has become completely ‘normal’ and naturalized. As a result, one does not recognize it anymore as a specific pose or gesture: it seems natural. The question that arises is: how is femininity constructed by means of this gesture, since this gesture is not at all natural?

As I already said, in Western art the female nude has a much later origin than the male nude, a discrepancy of four centuries. The differences between the male nude and female nude are striking. From the archaic period we know the so-called kouroi, athletic young men. These idealized figures depict men as young, naked and heroic. The corresponding korai, in contrast, are dressed in elaborate draperies.

Salomon formulates the difference between kouroi and korai as follows: The male figure is portrayed as coherent and rational from within; the female figure is portrayed as attractive from without; the male body is dynamically explored as an internal logic, organic unity, the female body is treated as an external surface for decoration. (71)

5. See Norman Bryson, “Géricault and masculinity”, in Norman Bryson, Michel Holly and Keith Moxey, eds.,Visual Culture: Images and Interpretations. (Hanover NH 1994: Wesleyan University Press), pp 228-259

The fact that an idealized notion of youthful nakedness was exclusively reserved for the male subject has a lot to do with the Greek definition of beauty. Beauty was an exclusively male attribute and has an important role in male homosexual desire, which was privileged. So, men are depicted fully naked, their penises are exhibited without any restrictions, not covered as the venus pudica does with her pubic area.

But what characterizes the Greek and Roman traditions of the male nude, is that the penis is slightly reduced in size. This is of course a difficult issue, because of the underlying norm: what is the standard size of a penis?

Unstable as penises are, opinions about what the standard size is can differ. But in art history the established idea is that classical penises are reduced in size. In general, that is correct, because in the tradition of the Greek male nude impressively big penises do not exist in idealized depictions of men.5 Of course, also in classical art men are sometimes depicted with a grotesquely big penis, but those representations are not idealized, rather, comical. In order to represent male beauty convincingly the penis has to be reduced in size.

Praxiteles, Knidian Aphrodite, c. 340 bce (Roman Copy), Vatican Museum

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Kleobis and Bilon, Delphi Archeological Museum

SHAME! and Masculinity

eminist Art Activisms and F Artivisms, Katy Deepwell (ed.)

ISBN 978-94-92095-72-5, € 27,50

Activism • Power • Violence • Intimacy

Capitoline Venus, Roman copy of Hellenistic original, c. 120 bc, Rome

NEW — Design and Society / PLURAL SERIES

↑ Decolonising Design group, Feminism is Revolution ← Griselda Flesler and students, University of Buenos Aires

→ Jacob Lawrence, Through Forest – Through Rivers – Through Mountains, 1967 © WahooArt.com

Intersectionality • Feminism • Anti-colonialism • Counter-culture • Activism

NEW — Design and Society / PLURAL SERIES

Claudia Mareis, Nina Paim (eds.)

Design Struggles December 2020

CLAUDIA MAREIS is a design researcher and cultural scientist with a background in design practice. She is professor for design history and theory at the FHNW Academy of Art and Design in Basel.

NINA PAIM is a Brazilian curator, researcher, designer, and educator, based in Basel. Paim holds an MA in design research from HKB Bern. She has taught and lectured worldwide.

Design Struggles critically assesses the complicity of design in creating, perpetuating and reinforcing social, political, and environmental problems—both today and in the past.

The book proposes to brush the discipline against the grain, by problematizing Western notions of design, fostering situated, decolonial, and queer-feminist modes of disciplinary self-critique. In order to reimagine design as an unbound, ambiguous, and unfinished practice, this publication gathers a diverse array of perspectives, ranging from social and cultural theory, design history, design activism, sociology, anthropology, critical and political studies, with a focus on looking at design through the intersections of gender, culture, ethnicity and class. It combines robust scholarly insight with engaging and accessible modes of conveyance and storytelling by bringing together an urgent and expansive array of voices and views from those engaged in struggles with, against or around the design field.

CONTRIBUTORS Danah Abdulla, Tanveer Ahmed, Zoy Anastassakis, Brave New Alps (Bianca Elzenbaumer & Fabio Franz), Johannes Bruder, Cheryl Buckley, Sria Chatterjee, Alison J. Clarke, common-interest (Nina Paim & Corinne Gisel), Sasha Costanza-Chock, Decolonising Design (Ahmed Ansari & Matthew Kiem), depatriarchise design (Anja Neidhardt & Maya Ober), Bianca Elzenbaumer, Arturo Escobar, Kjetil Fallan, Griselda Flesler, Paola De Martin, Ramia Mazée, Claudia Mareis, Tania Messell, Nina Paim, Luiza Prado de O. Martins, Rebecca Ross, Nan O’Sullivan, Mia Charlene White PARTNER Swiss Design Network SDN DESIGN Lotte Schröder termsofcircumstance.org INFO pb, 23 x 16,8 cm, c. 448 pp, English, December 2020, ISBN 978-94-92095-88-6, € 27,50

Intersectionality • Feminism • Anti-colonialism • Counter-culture • Activism

Design Struggles Intersecting Histories, Pedagogies, and Perspectives

Local vs global • Art and activism • Political agency

NEW — Art and Society

Forces of Art Perspectives from a Changing World arin Kuoni, Jordi Baltà Portoles, C Nora N. Khan & Serubiri Moses (eds.)

↑ La Toma del Mambo, ‘taking over’ the Museum of Modern Art, Bogotá.

Photo: Andrea Gamboa, 2018.

Forces of Art investigates the way in which artists, artworks and cultural organizations affect people and their social environments, and explores how cases of creative practice have been operational in empowering people, communities, and societies in their given contexts. It is a dense, multi-layered, polyvocal compendium of current thinking about the impact of art on civil society and social change, and contains a large number of essays and case studies located all over the world, from Central Asia to Meso and Latin America, from Africa to Central Europe, from South and South-East Asia to the Middle East.

The driving force is the shared concern and responsibility for societies worldwide, with regards to culture and the well-being of its communities. Considering the question of how art can be consequential, the book challenges the reader to think beyond art as representation, as merely aesthetical, or as simply an object or commodity. Instead, it stirs thinking of art in terms of a force that has the ability to transform.

CONTRIBUTORS Mariam Aboughazi, Kobina Ankomah-Graham, Jordi Baltà Portolés, Ilka Eickhof, Fernando Escobar Neira, Fatin Farhat, Maya Indira Ganesh, Rocca Holly-Nambi, Miranda Jeanne Marie Iossifidis, Nuraini Juliastuti, Nora N. Kahn, Višnja Kisić, Diana T. Kudaibergenova, Carin Kuoni, Kabelo Malatsie, Jenny Mbaye, Zayd Minty, Nadia Moreno Moya, Serubiri Moses, Judith Naeff, Laura Nkula-Wenz, Joseph Oduro-Frimpong, Arnout van Ree, Naomi Roux, Vaughn Sadie, Anna Selmeczi, Nishant Shah, Rike Sitas, Lenneke Sipkes, Cristiana Strava, Goran Tomka, Kasper Tromp, Minna Valjakka, Paulina E. Varas, Mark R. Westmoreland, Kitty Zijlmans PARTNERS Prince Claus Fund for Culture and Development, princeclausfund.org Hivos, hivos.nl European Cultural Foundation, culturalfoundation.eu DESIGN Lu Liang, the-exercises.com INFO Pb. with flaps, 24 x 15 cm (h x w), c. 448 pp, English, November 2020, ISBN 978-94-92095-89-3, € 27,50

NEW — Art and Society Forces of Art November 2020

↑ VAN12 performance in Tripoli, Lebanon, part of Caravan series, new story-telling by and with children. Photo: Arnout van Ree, 2019.

CARIN KUONI is a curator and writer whose work examines how contemporary artistic practices reflect and inform social, political, and cultural conditions. She is senior director/chief curator of the Vera List Center for Art and Politics at The New School, New York, and assistant professor of Visual Studies.

JORDI BALTÀ PORTOLÉS is a researcher, consultant, and trainer at Trànsit Projectes. His work focuses on cultural policy and international affairs, including cultural rights, cultural diversity, the relation between culture and sustainable development, and local cultural policies.

NORA N. KHAN is a writer, curator, editor, and professor at Rhode Island School of Design. Her research focuses on digital visual culture, philosophy of emerging technology, and art and music that make arguments through software.

↑ Lucas Grandin, ‘Le Jardin Sonore’ de Bonamouti, 2010, Cameroon, documentation. Photo: Vaugh Sadie, 2019.

SERUBIRI MOSES is an independent writer and curator, and is currently Adjunct Assistant Professor in the Art Department at Hunter College, New York. He is co-curator of MoMA PS1’s survey of contemporary art, Greater New York. His current research focuses on theories of African art.

Local vs global • Art and activism • Political agency

NEW — Design and Society

Social design • Case studies • Critique

NEW — Design and Society

Jan Boelen & Michael Kaethler (eds.)

JAN BOELEN is a curator, educator and researcher in art and design. His curatorial and research practice is focused on reinventing design in order to reinvent the individual, society, and its various structures. Jan is the new Rector of Karlsruhe University of Arts and Design (HfG), among many other activities.

MICHAEL KAETHLER is a sociologist of design whose work focuses on the transmission, production and embodiment of knowledge in art and designoriented practices.

CONTRIBUTORS Jonas Althaus, Stéphane Barbier Bouvet, Mariangela Beccoi, Ellie Birkhead, Gali Blay, Jan Boelen, Nadine Botha, Pablo Calderón Salazar, Marianne Drews, Brecht Duijf, Anastasia Eggers, Gabriel Fontana, Saba Golchehr, Alorah Harman, Dick van Hoff, Michael Kaethler, Eric Klarenbeek, Kuang-Yi Ku, Gabriel .A. Maher, Henrique Nascimento, Elisa Otañez, Ottonie von Roeder, Søren Rosenbak, Angela Rui, Vera Sacchetti, Noud Sleumer, Vivien Tauchmann, Henriette Waal SUPPORT Research supported by Creative Industries Fund NL

Social matter, social design challenges the way we look at, think of, and interact with the social world by emphasising the role of materiality. This enlarged field for engagement demands that design incorporates a more nuanced and complex reading of how the social is intertwined with the material, which confronts the often reductive or simplistic notion of ‘social design’, and offers novel forms of critical and meaningful engagement at a time of mounting social contradictions.

The essays in this book explore and unveil uncanny, disconcerting or discordant connections, bricolages, assumptions or breaches at critical junctures for transformation. They are centred around four major themes: the body; earth; the political; and technology.

DRAWINGS Billy Ernst DESIGN Wibke Bramesfeld bramesfeld.com & Billy Ernst INFO Pb with flaps, 22 x 14 cm (h x w), 240 pp., English, July 2020, ISBN 978-94-92095-84-8, € 19,90

Social design • Case studies • Critique

Social matter, social design For good or bad, all design is social

Research • Potential of Art and Design • Learning, relating

NEW — Art / Design and Society

IN/Search RE/Search Imagining Scenarios Through Art and Design

IN/Search RE/Search October 2020

Gabrielle Kennedy (ed.)

GABRIELLE KENNEDY is an Amsterdam-based design journalist. She is currently editor-inchief of DAMN° Magazine and has contributed to many publications on design, and education.

Solid research skills are crucial for artists and designers if they are to contribute viable and alternative ways of thinking to counter the dangerous and pervasive neoliberal forces influencing the globe.

How can research in art academies find a wider context?

How to select topics, how to build up processes and find results, how to reflect on the work and how to relate to the wider world? Many of the projects presented here change the angle, alter the understanding, and open up new possibilities in the hunt to discover what is not yet known or understood.

These ways of exploring, thinking, making, and reflecting provide feedback to the real world of culture, industry, housing, education, politics, public space, advertising, and science.

This embrace of research strives for a more transdisciplinary way forward, outside the bubble of graduation shows, gallery openings, peer feedback, and funding cycles. This approach both contributes to and advances knowledge in a complex, networked environment.

The projects are structured into twelve topical themes and each is embedded in a recent news story that positions how that topic is being discussed in the mainstream press.

Each chapter ends with a response from an academic who was invited to reflect on how the research fits with their own thinking.

THEMES: The Anthropocene Epoch The Climate Crisis The Coerced Existence The Limitations of Language Facts and Fictions The Fragile Human

The Instrumentalised Identity Gender and Violence The Question of Race Politics of Public Space Naked Capitalism The Morality of a Cyborg

CONTRIBUTORS Amade Aouatef M’charek, Lorand Bartels, David Bell, Jeroen Boomgaard, Fabrice Bourlez, Rogier Brom, Jane Coaston, Ronald W. Dworkin, Adam Gopnik, Will Grant, Gabrielle Kennedy, Toby Kiers, Matthew Longo, Robert MacFarlane, Deirdre McCloskey, John McWorter, Bart Nooteboom, Daan Oostveen, Jim van Os, Michael Paterniti, Pedro Ramos Pinto, Christopher Robinson, Tim Rogan, Richard Stenger, Doreen St. Félix, Rachel Wiseman, Aiora Zabala, and many artists and designers PARTNER Gerrit Rietveld Academie, Amsterdam rietveldacademie.nl Sandberg Instituut, Amsterdam sandberg.nl ILLUSTRATIONS Sunjoo Lee DESIGN Haller Brun, hallerbrun.eu INFO Pb, 21,5 x 11,5 cm (h x w), c. 420 pp, English, October 2020, ISBN 978-94-92095-80-0, € 19,90

NEW — Art / Design and Society

Research • Potential of Art and Design • Learning, relating

NEW — Design

BEINVLOEDT TECHNOLOGIE SIRI, ALEXA!

Waar zijn jullie?

Screenshot from HyperNormalisation (2016), Adam Curtis. Image courtesy of BBC. Chewinggum: Photography

HyperNormalisatioN

“My wife asked me why I spoke so softly in the house. I said I was afraid Mark Zuckerberg was listening!

She laughed, I laughed, Alexa laughed, Siri laughed”. Do you laugh?

BE SOCIAL!

AUTOMATISERING

O YES O NO

The global outbreak of what is commonly called ‘the coronavirus’ has shaken and thrown up plenty of dust. The idea is to put a finger on a moment where neoliberal restructuring and accelerating mediatisation starts to sink in, for those previously too comfortable, distracted, or busy to notice, that they are subjected to neoliberal and terrestrial forces outside of their control (be it the climate, the stock market, viruses, or complex supply chains that rely on a myriad of taken-for-granted material conditions that can be disrupted), and that the agency we have for changing our world for the better requires creativity and courage outside of traditional notions of politics. A new form of political power is emerging, as Adam Curtis explains in “Hyper Normalisation”.

1000+

Heb jij vrienden die je niet kent?

We know that the precariousness of life under neoliberalism is real for a growing amount of people. We can see who can be counted on and who is willing to sacrifice human lives for their stock portfolios. We have to be conscious of the significance of the decisions and visions for and of the future that are being made now and create resilient local and global structures based on undifferentiated solidarity.

O YES O NO

criticaledges.com.

THE SPECTACLE IS NOT A COLLECTION OF IMAGES; IT IS A SOCIAL RELATION BETWEEN PEOPLE THAT IS MEDIATED BY IMAGES.

Maakt het internet of things jouw wereld groter?

Guy Debord, 1967

STAY SAFE!

FAMILIE

O YES O NO

FAMILIE

WE CHAT

IN HOEVEEL FAMILIE-APPS ZIT JIJ?

1.

2.

3.

4.

RANK YOUR FAMILY!

FAMILIE

Chloe bleef vaak op de achtergrond in de groepsapp en stuurde weinig berichtjes. Als haar familieleden dingen deelden waar zij het niet mee eens was, probeerde zij het conflict altijd te vermijden – totdat ze op een dag iets zag dat ze echt niet kon negeren.

“Normaal gesproken houd ik me stil,” zegt Chloe. “Maar ik kon echt m’n mond niet houden toen ze eens iets over migranten hadden gezegd.

Toen ging ik ertegenin.”

Dat ging niet goed. “Mijn broer zei dat ik moest oprotten, en dat hij zich ervoor schaamde dat ik onderdeel was van ‘hun’ familie. Mijn zus was het daarmee eens en mijn ouders zeiden niets. Daarna gooide m’n broer me uit de groep.”

De hoogte- en dieptepunten van de groepsapp met je familie. Ruby Lott-Lavigna 2020, vice.com

HEB JIJ ZELF AL EEN FAMILIE GESTICHT? Geen hardnekkiger stereotype dan de familie in traditionele, zeg maar rustig archaïsche vorm. Daarbij past de ongeschreven maatschappelijke regel dat je leven pas geslaagd is als je er zelf een gesticht hebt. Dat de familie als gegeven al lang niet meer de gouden standaard is, wordt schouderophalend genegeerd. We kunnen het afdoen als een cliché: de familie uit de koffiereclame, het verlangen ernaar leeft nog volop, dat heeft de reclame-industrie goed begrepen. Daarentegen is het eenpersoonshuishouden steeds vaker aan de orde. Nergens wordt zoveel ge-Tinderd als in een-persoonshuishoudens. Puur om de seks? Vanuit een partnerwens of uit sociaal-maatschappelijk schuldgevoel?

Ward Janssen

Push Notifications from Your Family. By James Folta 2020 newyorker.com

CREATIVITEIT

Jij bent er

WELK CREATIEF PROC

SEX

KNIPPEN MANIPULE HERGEBR PLAKKEN COMBINE COPY-PAS RECOMBI GROEIEN WE ARE ALL BO WHY IS IT SO DIE CO

Edward

The democratization of technologic has mad somebody else’s work. Copy paste, combin own inspiration, and free ideas to create e as something negative, something non-crea rations and ideas which can be transformed requires influence. There’s no need for prote connection in itself. sanne van beek. Curated Culture. sannevanderbeek.nl/

CREATIVITY C A CONFLICT

Donatella

Beeld links: MANDALA. Boeddhistische monniken make Mandala’s, waarin gekleurd zand in concentrische cirkels afronding van de creatie, in een snelle handveeg ongedaa Het gaat hier om het vieren van creatie zonder product.

Self-help • Self-design • Identity/imago • Visual culture

Is de mens door social media meer van zichzelf gaan houden?

NEW — Design

E JOUW SOCIALE GEDRAG?

Beïnvloeden interface elementen jouw communicatiegedrag ‘s nachts?

O YES O NO

Is de smartphone jouw enige toegang tot je netwerk?

Help Je Zelf De Opkomst van Self-Design

Mieke Gerritzen

O YES O NO

Help Your Self Help Je Zelf October 2020

NED: Wie ben je, wie wil je zijn, en wat moet je doen om daar te komen? We staan voortdurend onder druk om het perfecte leven te leiden. De media spiegelen ons een beeld voor van er pas net. een bestaan waarin we rijk, mooi, gelukkig en geslaagd zijn.

CES GA JIJ TEGEMOET? Ooit werd onze identiteit bepaald door onze buurt, onze EREN RUIKEN familie en vrienden, maar tegenwoordig worden we geacht ons N eigen succesverhaal te schijven op sociale-mediaplatforms.

EREN STE We ontwerpen onze eigen identiteit, ons eigen imago, INEREN en we presenteren onszelf zoals we graag gezien willen ORN ORIGINALS worden. De diverse vindingrijke methodes en ideeën om een MANY OF US betere versie van onszelf te maken—lijnen om het perfecte OPIES. lijf te krijgen, je talenten omzetten in een geslaagd bedrijf, of gelukzaligheid vinden in een nieuwe liefde—worden beschouwd als nieuwe vormen van creativiteit, ofwel Self-Design.

COMES FROM Help Je Zelf is een inspiratieboek om je perfecte zelf te T OF IDEAS. ontwerpen en laat zien hoe je daarmee een begin kunt maken.

Tegelijkertijd is het een beschouwing over zelfhulpindustrie als betrekkelijk nieuw fenomeen.

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de it possible for anyone to resume or remix ne and recombine all you want, add your evolution and growth. Copying is perceived ative. There is only a network full of inspid into something new: creation apparently ection of an idea, because every idea is a

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en sinds jaar en dag complexe creaties in zandfiguren, s mathematische mozaïeken vormen. Alles om het, na an te maken, terug te brengen tot niets, gewoon zand.

MIEKE GERRITZEN is a designer, producer and director. Until 2017 she was the director of MOTI, Museum of the Image, in Breda (NL). In 2017 she founded the Image Society to initiate and organize discussions, exhibitions and events with designers, writers and artists, on visual culture, design and new media. www. imagesociety.nl MIEKE GERRITZEN is ontwerper, producent en bestuurder. Ze was tot 2017 directeur van MOTI in Breda, internationaal museum voor beeldcultuur. Daarna zette zij de Image Society op. Zij initieert en organiseert discussies, tentoonstellingen en events met ontwerpers, kunstenaars en auteurs over beeldcultuur, design en nieuwe media. www.imagesociety.nl SUPPORT Creative Industries Fund NL DESIGN Mieke Gerritzen, miekegerritzen.com INFO Pb, 24 x 17 cm (h x w), 240 pp., separate English and Dutch edition, October 2020, € 25,00 ISBN 978-94-92095-63-3 [Eng] ENG

ENG: Who are you, who do you want to be, and what do you need to do to get there? We are constantly pushed to lead the perfect life. The media present us with a picture of an existence in which we’re rich, beautiful, happy and successful. Our identities used to be shaped by our communities, families, and friends, but today, in the online era, we’re expected to write our own success stories on social media platforms.

We design our own identity, create our own image and present ourselves in the way we want to be seen. The various imaginative methods and ideas for upgrading oneself—by dieting to achieve the perfect body, transforming your talents into a successful business, or finding bliss by meeting a new love—are seen as new forms of creativity, or Self-Design.

Help Your Self is an inspiration book to design your perfect self and shows you how to get started. At the same time, it reflects on the self-help industry as a relatively new phenomenon.

O YES O NO

ISBN 978-94-92095-95-4 [Ned] NED

Ben jij door sociale media meer van jezelf gaan houden?

Self-help • Self-design • Identity/imago • Visual culture

Help Your Self The Rise of Self-Design Hoe geweldig vindt jij jezelf?

No School Manifesto opens up possibilities to start experimenting. It is not an exhaustive analysis of the approach, as No School is constantly evolving. Key concepts, values and attitudes such as ‘Curiosity’, ‘Magnetism’ and ‘Zigzag’ are explored through an A-Z Lexicon, and are complemented by illuminating examples of students’ work. An explanation of the urgency of No School, and an essay on the fundamental value of creativity provide introductory context to the book.

The overarching Manifesto summarizes what the No School movement and the book stand for.

No School Manifesto is a book that serves as a key reference and inspiration for people working in (creative) education, ranging from teachers and school leaders at informal, secondary and vocational education and academies to museum educators, artists (in the broadest sense of the word), policy makers, and everyone who supports education and has an interest in developing new perspectives through creativity.

A Movement of Creative Education

No School is a movement that wants to open up the meaning of learning and fundamentally questions traditional education, through creativity. Curiosity, experimentation, unrestricted thinking, making and developing are basic elements of all forms of learning and living together. In the current educational system these values are regularly overshadowed by rules, legislation, bureaucracy, a unitary approach, and little attention to the intrinsic inquisitiveness of both the student and the teacher.

No School is a growing movement that together with the creative field wants to provide space for experiment, flexibility, cooperation, ‘wild’ thinking, looking ahead; experimenting off the beaten track with different forms of learning, in which creativity is the key concept.

No School Manifesto

No School Manifesto A Movement of Creative Education

Ilse Ouwens, Fabiola Camuti, Betje Stevens (eds.)

Ilse Ouwens, Fabiola Camuti, Betje Stevens (eds.)

Education • Creativity • Change • Future

NEW — Art and Education

Valiz

CONTRIBUTORS Matthijs Andriessen, Martijn Aslander, Erik op ten Berg, Danae Bodewes, Heidie van den Brink, Fabiola Camuti, Matthijs van Cruijsen, Steven Dorrestijn, Berty Feijen, Jan Erik Fokke, Ron van Hal, Richard Hassink, Simone Heij, Danny Jeroense, Selma Jonkers, Jeanny Kaethoven, Cor de Koning, Kim van Laanen, Jeroen Lutters, Saskia van den Muijsenberg, Josine Neyman, Laura Nieuwenhuis, Ben Oligschlager, Ilse Ouwens, Olga Potters, Bart Schouten, Betje Stevens and many others PARTNERS Cibap, Zwolle www.cibap.nl; SintLucas, Boxtel/Eindhoven www.sintlucas.nl; ArtEZ, Arnhem– Zwolle–Enschede www.artez.nl; No School Foundation noschool.nl DESIGN Marius Schwarz mariusschwarz.com INFO pb, 22 x 15 cm (h x w), 228 pp., English, September 2020, ISBN 978-94-92095-85-5, € 19,90

NEW — Art and Education Editors Ilse Ouwens Fabiola Camuti Betje Stevens

No

Contributors Matthijs Andriessen Martijn Aslander Erik op ten Berg Danae Bodewes Heidie van den Brink Fabiola Camuti Matthijs van Cruijsen Steven Dorrestijn Berty Feijen Jan Erik Fokke Ron van Hal Richard Hassink Simone Heij Danny Jeroense Selma Jonkers Jeanny Kaethoven Cor de Koning Kim van Laanen Jeroen Lutters Saskia van den Muijsenberg Josine Neyman Laura Nieuwenhuis Ben Oligschlager Ilse Ouwens Olga Potters Bart Schouten Betje Stevens

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with ArtEZ, Arnh Cibap, Zwo SintLucas,

Lexicon

Tijs Rooijakkers – Supertoll!

This spatial installation forms a bridge between the museum and the city, between art and urban culture, and between residents and their environment. In the words of the artist: ‘The top symbolizes humankind’s will, power, and passion.

Once a top is spinning, it transcends gravity.’

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p. 60–61 Lisa Dooijenburg – More Than Meets the Eye ‘Daring to do. Daring to take that step, and expose yourself to others. With this project I challenged myself to do so. I’ve made myself vulnerable by sharing a personal story about sleep paralysis. It was a difficult, but also beautiful process. This experience, the response I got, and the discussions I had with visitors of the exhibition are things I will never forget. I am proud of myself for having had the courage to do this.’

Alpha Blank Space Curiosity Dare Expedition Fun Gap Hands On Industry Jam Kapital Lifelong Learning Magnetism

Reference —Beuving, J., and J. van Eijk (2019), ‘Wat is jouw toevalligste ontdekking?’, Trouw, 1 June.

Retrieved from trouw.nl/nieuws/wat-is-jouwtoevalligste-ontdekking~b05c4083/

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Education • Creativity • Change • Future

NEW — Arts, Creativity and Education

‘An intriguing prompt can lead to a terrible learning experience.’

Nina Paim

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test our in signs mistake in each c maybe 1 to go ou being in But afte discussi photojou photogr ‘mistake painted found in the adeq register our conv tackled within s

Interview by Sanne Kersten

What relation do arts assignments have to your design practice?

Who are your ar ‘heroes’ or sour

I really strive to elicit critical thinking, and to bring social, political, and environmental discussions into the realm of design and the classroom.

Therefore, my assignments usually revolve around problematizing the role of design and its entanglements with larger power structures, and systems of oppression. In my experience, design education in Europe, and especially in Switzerland, tends to happen as if design existed in a vacuum, dangerously disconnected from the world at large.

In my teaching practice, I try to counter to this.

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Which arts assignments have made an impression on you?

The example that immediately comes to my mind is an assignment back from primary school— third or fourth grade in Brazil. It was a language assignment. After learning the basic grammar rules, we were asked to go out in the streets and Wicked Arts Assignments

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Oliver Klimpel, Speed-Teaching, session at the Academy of Visual Arts Leipzig, 2008, photo: Anna-Lena von Helldorf, 2009

Wicked Arts Assignments

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Go Public

Phone Sculptures Make a phone sculpture with your class.

Breaki Bounda

Jen Delos Reyes Chicago, IL, USA

In 2016 I began to institute a new activity at the start of my classes to address the increasing use of cell phones by students. I found a creative, fun, and participatory solution to this problem: the phone sculpture. At the beginning of each class I would share a Fluxus inspired ‘score’ that we would create together by using our cell phones. The sculpture would remain until the end of the class. A selection of these instructions: #5 Exquisite Corpse: Each person is assigned a part of the body so that the total number of people equals the necessary parts to construct a figure. Each person searches an image for their assigned part, and the phones are arranged to make an exquisite corpse. #6 After Mondrian: Class selects a Mondrian painting to recreate. Each person is assigned either primary red, blue, yellow, or white, and fills their screen with that colour. Phones are placed together to recreate the painting. #8 After F�lix Gonz�lez-Torres: Introduce the class to the work of F�lix Gonz�lez-Torres. Search images of his candy spills and enlarge a detail on each phone. Stack phones in corner to create a spill. #9 Sculpture Garden: Each person searches an image of their favourite example of public sculpture. Class goes outside and arranges the phones as a mini outdoor sculpture garden.

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Students of ART 101 class at the University of Illinois, Chicago, Phone Sculpture #6 After Mondrian, 2018, and Phone Sculpture #8 After F�lix Gonz�lez-Torres, 2018, photos: Jen Delos Reyes

Wicked Arts Assignments

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Challenging creativity • Arts education • Artist’s position

Wicked Arts Assig

NEW — Arts, Creativity and Education

Emiel Heijnen, Melissa Bremmer (eds.)

Wicked Arts Assignments are bold, unusual, contrary, funny, poetical, inspiring, socially committed, or otherwise challenging. Everyone who teaches the arts knows them: the assignment that is seemingly simple but which challenges participants, students and pupils to the max. Many artists and arts teachers have that singular, personal, often-used assignment in which everything comes together: their artistic vision, their pedagogical approach and their love for certain techniques or methods.

The almost hundred arts assignments collected here connect to the visual arts, performance, theatre, music and design, but more importantly: they encourage cross-disciplinarity. They reflect themes and ways of working in contemporary arts, offering opportunities to learn about ourselves, the arts and the world. The assignments can be carried out in various contexts: from primary schools to higher education, from home to the (online) community, and from Bogotá to Istanbul. They are meant to spark the imagination of both teachers and students, contributing to new, topical educational and artistic practices. Complemented by a theoretical framework and interviews with experts in contemporary arts and education.

CO-EDITOR Sanne Kersten CONTRIBUTORS Melissa Bremmer, Emiel Heijnen, Pavèl van Houten, Sanne Kersten, Jorge Lucero, Nina Paim, Erik Schrooten, Stephanie Springgay, and many many others PARTNER Amsterdam University of the Arts ahk.nl/en DESIGN Laura Pappa, laurapappa.biz INFO Pb. with flaps, 22 x 15 cm (h x w), 304 pp., English, September 2020, ISBN 978-94-92095-75-6, € 19,90

Challenging creativity • Arts education • Artist’s position

Wicked Arts Assignments Practising Creativity in Contemporary Arts Education

The Aesthetics of Ambiguity Understanding and Addressing Monoculture Pascal Gielen & Nav Haq (eds.)

CONTRIBUTORS Paolo Favero, Pascal Gielen, Christine Greiner, Max Haiven, Nav Haq, Hedwig Houben, Iman Issa, You Mi, Bojana Piškur, Public Movement, Jonas Staal, Tirdad Zolghadr PARTNER M HKA, Antwerp, ARIA (University of Antwerp), L'Internationale Exhibition ‘Monoculture’ at M HKA, 25 Sept 2020–24 January 2021, part of ‘Our Many Europes’, L’Internationale/EU-funded Culture Programme INFO c. 320 pp, October 2020, ISBN 978-94-92095-76-3, € 22,50

Multiculturalism is defined in relation to monoculturalism.

Multiculturalism and pluralism presuppose a shared culture with shared values and convictions about, for example, openness, democracy, equality, and so on. Multiculturalism assumes a monoculture of views and attitudes.

Being able to deal with ambiguities, differences and incertitudes is the outcome of a learning process and thus of cultivation. And for this cultivation of deviations and paradoxes art has played a pivotal role since modernity. In this book, we want to give stage to artists, thinkers and institutional practices that are navigating this border, who dare to play with the rules of a broader society and thus generate ambiguity ‘at large’.

Just released € 22,50 ISBN 978-94-92095-71-8

Breaking conventions • Paradoxes • Differences

ALREADY ANNOUNCED — Antennae-Arts in Society SERIES

Antennae SERIES

Antennae-Arts in Society Series

This series maps the interaction between changes in society and cultural practices. It looks upon the arts as ‘antennae’, feelers for the cultural interpretation and articulation of topical political, economic, social, technological or environmental issues. It is a peer-reviewed book series that validates artistic, critical, speculative and essayistic writing as an academic publishing method.

Publications in the Antennae series contain essays, theoretical explanations, socio-cultural explorations, activist calls, practice-based research, and artist's contributions.

DESIGN Metahaven, metahaven.net SIZE 21 x 13,5 cm FORMAT Paperback LANGUAGE English PRICE € 19,50–€ 22,50

Arts and politics • Change • Topicality • Globalization • Ecologies

vis-à-vis SERIES

vis-à-vis

Just released € 25,00 ISBN 978-94-92095-74-9

The vis-à-vis series provides a platform to stimulating and relevant subjects in recent and emerging visual arts, architecture and design.

The authors relate to history and art history, to other authors, to recent topics and to the reader. Most are academic researchers. What binds them is a visual way of thinking, an undaunted treatment of the subject matter and a skilful, creative style of writing.

Series design by Sam de Groot, www.samdegroot.nl.

Art history • Creative writing

NEW — Architecture / vis-à-vis SERIES

shley Paine, Susan Holden, A John Macarthur (eds.)

Valuing Architecture December 2020

↑ Demolition of the Robin Hood Gardens housing estate, by Alison and Peter Smithson (completed 1972), London, © Amy Frearson

Architecture has always been found in a space between its economic and cultural values. As distinct from the intrinsic values attributed to the visual and performing arts, literature and music, architecture's values are often seen to be compromised by, or contingent upon, forces outside of the discipline—on property prices, real estate markets and the vicissitudes of local and global economies. Such intersections of cultural and economic values are especially conspicuous in architectural heritage where conflicts between values are most publicly and passionately contested.

Valuing Architecture is not concerned with arguments for or against the cultural value of architecture and heritage per se but, rather, with the different sites and occasions where such values are bestowed, exchanged and come into conflict.

It brings together a collection of essays that tackle concrete cases, both historical and contemporary, to explore how the values of architecture intersect, and what is at stake for architecture in the economics of culture.

CONTRIBUTORS Daniel M. Abramson, Tom Brigden, Alex Brown, Amy Clarke, Wouter Davidts, Bart Decroos, Susan Holden, Jordan Kauffman, Hamish Lonergan, John Macarthur, Joanna Merwood-Salisbury, Ashley Paine, Anton Pereira, Andrea Phillips, Lara Schrijver, Ari Seligmann, Kirsty Volz, Rosemary Willink PARTNERS University of Queensland, Australian Research Council, Ghent University PROJECT'S FINANCIAL SUPPORT Australian Research Council Discovery Grant (DP160101569); ATCH Research Centre, School of Architecture, The University of Queensland DESIGN Sam de Groot, samdegroot.nl INFO Pb, c. 240 pp, 23,4 x 16,5 cm (h x w), English, December 2020, ISBN 978-94-92095-93-0, € 25,00

Cultural values • History and present • Studies in Art and Architecure

Valuing Architecture Heritage and the Economics of Culture

Rewriting Architecture 10+1 Actions: Tabula Scripta loris Alkemade, Michiel van Iersel, F Jarrik Ouburg & Mark Minkjan (eds.)

provisional cover

Context in architecture • Innovative and engaged design • Urban interventions • Interdisciplinary design

ALREADY ANNOUNCED — Urban and social fabric

Rewriting Architecture explores the potential of place, and considers the creativity of inhabitants and users, the power of the existing social and urban fabric — the Tabula Scripta condition— to respond to needs and urgent topics. It poses questions that deal with the multi-layered facets of our time: How can the existing context be reinterpreted, understood, appreciated and further developed? What does architecture mean in times of scarcity? How can architecture anticipate new developments based on the existing situation, from the ageing population and social segregation to climate change?

It also challenges the role of the contemporary architect in a field of players and powers, who is faced by urgent existing issues as a starting point in design research.

The 11 Actions show compelling examples from various places and design practices worldwide (from Asia to Africa, to Europe and the US). The editors relate these challenges to a wide array of makers and thinkers: architects, other design professionals, and specialists working in art, biology, fashion, ecology, pop culture and philosophy.

10 + 1 Actions refer to the book chapters and actions: Reimagine; Eliminate; Obscure; Overlay; Restart; Copy; Continue; Reconfigure; Repurpose; Densify; Abstain Richly illustrated with many images in colour and b/w.

CONTRIBUTORS Floris Alkemade, Atelier Bow-Wow, Iwan Baan, René Boer, Amy Chester, Amie Dicke, Xaveer De Geyter, Sean Halloran, Michiel van Iersel, Sam Jacob, Momoya Kajima, Anne Lacaton, Arna Mačkić, Keiichi Matsuda, Mark Minkjan, Mona El Mousfy, Jim van Os, Jarrik Ouburg, Freek Persyn, Karin Riley, Tamar Shafrir, Tom Simonite, Hito Steyerl, Sharmeen Syed, Jo Taillieu, Lionel de Vlieger, Marga Weimans, ZUS PARTNER Amsterdam University of the Arts, School of Architecture, Tabula Scripta research group www.bouwkunst.ahk.nl/en/ research-groups/architecture/ tabula-scripta-2014-2019/ DESIGN Haller Brun, hallerbrun.eu INFO Pb, 24 x 17 cm (h x w), c. 440 pp., English, October 2020, ISBN 978-94-92095-70-1, € 29,50

ALREADY ANNOUNCED — Urban and social fabric

REWRITING ARCHITECTURE 10+1 ACTIONS: TABULA SCRIPTA Floris Alkemade, Michiel van Iersel, Mark Minkjan, Jarrik Ouburg (eds.)

Academy of Architecture, Amsterdam Valiz, Amsterdam

With contributions by: Floris Alkemade Iwan Baan René Boer Elma van Boxel Lionel Devlieger Amie Dicke Mona El Mousfy Xaveer De Geyter Sean Halloran Michiel van Iersel Sharmeen Azam Inayat Sam Jacob Momoyo Kajima Kristian Koreman Anne Lacaton Madeleine Maaskant Arna Mačkićć Keiichi Matsuda Mark Minkjan Jim van Os Jarrik Ouburg Freek Persyn Karin Riley Tamar Shafrir Tom Simonite Hito Steyerl Jo Taillieu Marga Weimans

Iwan Baan, Baku, Azerbaijan, 2011

Context in architecture • Innovative and engaged design • Urban interventions • Interdisciplinary design

Art and activism • Diversity • Indigenous discourses

ALREADY ANNOUNCED — Art and Activism

Let The River Flow An Eco-Indigenous Uprising and its Legacies in Art and Politics unvor Guttorm, Harald Gaski, G Katya García-Antón, Liv Brissach (eds.)

Let The River Flow October 2020

↑ Synnøve Persen, Jorunn Eikjokk and others on hunger strike in front of the Norwegian parliament, October 1979. Photo: NTB/Scanpix

The People’s Action against the Nordic Áltá-Guovdageaidnu Waterway (c. 1978–82, Sapmi, Norway) radically shook the course of history in the region. Let the River Flow takes this eco-Indigenous rebellion as its starting point reflecting upon events at the time and their correlations with international artists’ eco actions today. It is conceived as a source book, addressing the most important political, cultural and artistic reverberations at the time, including innovations in political organizing, new influences of Indigenous thinking on contemporary politics, and the centrality of artists within the constellation of these activities.

EDITORS Gunvor Guttorm, Harald Gaski, Katya García-Antón, Liv Brissach (eds.) Many indigenous contributors PARTNER In collaboration with OCA, Office for Contemporary Art Norway, oca.no DESIGN Hans Gremmen, hansgremmen.nl INFO Pb, c. 24 x 17 cm, c. 240 pp, English, October 2020, ISBN 978-94-92095-79-4, € 22,50

ALREADY ANNOUNCED—trancityxvaliz

2 Cases

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FLOOR SPACE INDEX

AREA

200 hectares

HOMES

16,000

40,000

POPULATION

2012–2040

CONSTRUCTION TIME

Docklands

PREVIOUS USE

Regent Park Toronto, Canada

A Plea for a Social and Ecological Urbanism

provisional cover

aarten Hajer, Peter Pelzer, M Martijn van den Hurk, Chris ten Dam & Edwin Buitelaar (eds.)

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Vauban Freiburg, Germany

birthday celebrations, movie nights, collective computer gaming, language courses for refugees, choir practice, yoga classes, card game tournaments, wine tastings, or joint lunches during days of shared garden work.

“What makes living in Vauban so special for me, is not only the great location and the nice public spaces, which are perfectly designed for meeting, greeting and chatting away, just where and whenever you run into somebody; more importantly, it is the DIY (Do-It-Yourself) attitude of so many neighbours here, who organize for themselves what they want to see happening, like small flea markets and other activities. Yes, and perhaps the chickens that sometimes wander around their neighbourhood.”

Philipp Späth (long-time resident and professor of Urban Environmental Governance at Freiburg University)

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Neighbourhoods for the Future is based on the conviction that the current ecological crisis will change the face of the city. The neighbourhood is situated at the scale between the home and the city. It has the potential to turn our cities into more humane environments and add to their resilience and social capacity. This book provides a new perspective on the relationship between participants, resources and systems so that urbanites and policymakers are inspired and empowered to change their own communities into neighbourhoods of and for the future.

PARTNER Urban Futures Studio, Utrecht University www.uu.nl/en/research/ urban-futures-studio DESIGN Catalogtree, catalogtree.net INFO Pb, c. 320 pp, 24 x 17 cm (h x w), English, October 2020, ISBN 978-94-92095-78-7, € 27,50

Climate Change • Urbanism • Neighbourhood • Sustainability

Neighbourhoods for the Future A Plea for a Social and Ecological Urbanism

NIEUW – trancityxvaliz – Stadsessays Rechtvaardige stad • Stedelijke ontwikkeling en beleid • Longread • Publiek debat

Maximaal, gelijk, voldoende, vrij Vier perspectieven op de rechtvaardige stad Edwin Buitelaar Van wie is de stad? Van iedereen, zou het antwoord idealiter luiden. Maar wát is het waar iedereen aanspraak op zou kunnen of mogen maken? En vooral ook, wáár dan? Wat is rechtvaardig bij de bepaling van wie wat krijgt in de stad en waar?

‘De rechtvaardige stad’ wordt ten onrechte vaak gezien als een concept dat voor slechts één uitleg vatbaar is.

Voortdurend worden verschillende perspectieven nagestreefd die strijdig met elkaar zijn. Vier van die perspectieven – de welvarende stad, de egale stad, de voorzienende stad en de vrije stad – worden in dit essay uitgewerkt en doorgeredeneerd op hun toepassing in stedelijk beleid.

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DESIGN Meeus Ontwerpt, meeusontwerpt.nl INFO — ONLY IN DUTCH pb, 21 x 13,5 cm, c. 60 pp, Nederlands, September 2020, ISBN 978-94-92095-91-6, € 14,50

ISBN 978-94-92095-82-4 € 17,50 (of gratis PDF/e-pub)

ISBN 978-94-92095-65-7 € 14,50 (of gratis PDF/e-pub)

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T T VA A R D I G Stedenbouw en de economisering van de ruimte

PARTNER Planbureau voor de Leefomgeving (PBL)

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VERKENNING VAN DE RECHTVAARDIGE STAD

EDWIN BUITELAAR is onderzoeker stedelijke ontwikkeling bij het Planbureau voor de Leefomgeving (PBL) en bijzonder hoogleraar binnen het Departement Sociale Geografie en Planologie van de Universiteit Utrecht.

ISBN 978-94-92095-59-6 € 14,50 (of gratis PDF/epub)

ISBN 978-94-92095-34-3 € 14,50 (of gratis PDF/e-pub)

Stadsessays geven een podium aan analyse, verdieping en reflectie, maar ook aan stellingname en discussie over de stad. Ze zijn beknopt, goed te lezen in een enkele avond of treinreis, in druk of digitaal. Via onze websites kunt u kiezen: gratis een pdf om zelf te printen of de e-pub om digitaal te lezen. De liefhebber van papier kan tegen betaling een gedrukt exemplaar via onze webwinkel bestellen.

Stadsessays — trancityxvaliz

EERDER AANGEKONDIGD — trancityxvaliz

Jacques Beljaars, Thomas Rouw

↓ Automatiek FEBO, Amsteldijk, Amsterdam, 1968, photo: onbekend, ©FEBO

↑ Brussels frietkot, ontwerp Studio MOTO, photo: Studio MOTO

Kiosk in de stad Oktober 2020

Iedereen kent ze en je komt ze overal tegen: kiosken.

Oorspronkelijk waren dit kleine, open paviljoens in stad, dorp of tuin om een glas thee te drinken of een ijsje te eten.

Inmiddels kennen we de krantenkiosk, de snackkiosk, de bloemenkiosk, informatiekiosk, en zien we de kiosk steeds vaker een buurtfunctie vervullen in de publieke ruimte. In Kiosk in de stad vertellen de auteurs over de ontstaansgeschiedenis, architectuur en verscheidenheid en wat de kiosk voor de stedelijke en sociale samenhang betekent. Dit verhaal wordt afgewisseld met ‘kioskportretten’, over uitbaters en klanten, over plek en functie, gelardeerd met prachtig beeldmateriaal.

SUPPORT Stimuleringsfonds Creatieve Industrie DESIGN COMA, coma.design INFO — ONLY IN DUTCH pb, 23 x 17 cm, c. 352 pp, Nederland, Oktober 2020, ISBN 978-94-92095-77-0, € 26,50

Publieke ruimte • Stadssociologie • Ruimtelijk ontwerp

Kiosk in de stad

Sharing • trans-local • networks

ALREADY ANNOUNCED • Casco, Working for the Commons

Practising Art Internationally Friendship, Solidarity, and Ethics Binna Choi, Lisa Rosendahl, Grant Watson & Andrea Phillips (eds.)

CONTRIBUTORS Sara Ahmed, Rustom Bharucha, Binna Choi, Alice Creischer and Andreas Siekmann with Matthijs de Bruijne, Kodwo Eshun and Anjalika Sagar (The Otolith Group), Leela Gandhi, Johanna Gustavsson, Christian Nyampeta, Park Chan-kyong, Andrea Phillips, Lisa Rosendahl, Grant Watson PARTNERS Casco Art Institute: Working for the Commons, Utrecht, www.casco. art; Iaspis – the Swedish Arts Grants Committee’s International Programme for Visual and Applied Artists, Stockholm, www.konstnarsnamnden.se; Institute of International Visual Art (Iniva), London, www.iniva.org DESIGN David Bennewith, colophon.info

Visual art is conceived as a practice, able to generate encounters, ways of life, and historical narratives. This book seeks to trace a genealogy of trans-local practices, with histories and methods that link to networks of friendship and solidarity, and of the visual arts as participating in a longer history of contact between individuals motivated by shared interests and struggles.

INFO Pb, c. 192 pp, c. 27 x 21 cm (h x w), Eng, October 2020, ISBN 978-94-92095-61-9, € 25,00

VALIZ TEAM Till Hormann Pia Pol Astrid Vorstermans Simone Wegman www.valiz.nl

• Germany and Austria: Stephan Schempp & Michael Klein, stefan.schempp@mnet-mail.de • Japan and Asia: Julie Onishi, voice@sings.jp • Scandinavia: Anna Eriksson, anna.eriksson26@gmail.com • Southern Europe: Bookport Associates, bookport@bookport.it

TRANCITYXVALIZ Simon Franke, Pia Pol www.trancity.nl BOOKMARKS NL Dinnis van Dijken, Isa Grienberger, Nicole Jessé, Demi Mol, Erik Peters

This folder has been printed on FSC-certified paper by an FSCcertified printer. The FSC, Forest Stewardship Council promotes environmentally appropriate, socially beneficial, and economically viable management of the world’s forests. fsc.org

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Design folder: Zuzana Kostelanská, Amsterdam, zuzana.xyz Typeface: Mercator Paper: white offset, 60 grs Printing: Veldhuis, Raalte © Valiz, Amsterdam / Trancity, Haarlem, artists, authors, designers, 2020 All rights reserved.

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VALIZ Het Sieraad, Studio K34-K36 Postjesweg 1 NL–1057 DT Amsterdam Till Hormann Pia Pol Astrid Vorstermans Simone Wegman TRANCITYXVALIZ Simon Franke Pia Pol www.trancity.nl BOOKMARKS NL Dinnis van Dijken Isa Grienberger Nicole Jessé Demi Mol Erik Peters

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