Valiz folder Spring/Summer 2020

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It’s Saturday, 15 June 2019. Yesterday I had a very inspiring studio visit by researcher Lena von Geyso and we had an in-depth discussion of the politics of my I’ll Be Your Angel (2001) project, the facts surrounding my participation at the 49th Venice Biennale and its consequences. We both agreed that it is about time for a new reading of this work in the light of changed discourses in the past eighteen years, especially after the #MeToo movement. 6. Ibid. rich and complex. It allows me Strategies to blendofthe immaSuccess/Curator Series (2001–2003) was art projectwork, that focused on the relationships terial and intellectual in aa conceptual process-oriented a of power and gender within art system, analyzing how work that is not only “officially” sanctioned, butthealso gender operates within power structures and how economies “unofficially” snakes in and out of theand language of & private merge and of professional, professional the art system. interrelate. The work offered a pioneering institutional critique of artist-curator-art critic-institution relationships in the responsible context of “East West”, across the division of the eemann, who was the main person forand editing

e catalogue, claimed one year later that he still hadn’t had me to double-check why one third of my text was missing, hen I, Tanja Ostojić, “lesser than” Jugoslovenska, explicitly ked him in writing about it. In two earlier projects, staged unofficially at the enice Biennale during its opening days, I, as an uninvited uest, tried to address some very serious concepts in art’s ception, namely the dissolution of the self in contempory life, and the destruction of life in neighbourhoods—and sibly (almost forcibly, but with a “smile”) opened my ideas r communication, interaction and contact with the art orld public of the Biennale. And I wrote about my earlier oject for the Venice Biennale Unofficial Chronologies as ell in the second part of my text for the catalogue6 that had en shortened for unknown reason and by an unknown itor. 7 Would You Digitalize Your Soul/Death Is In My Sight Today was realized as a set of posters and flyers, e and unofficially exhibited on the streets on the occasion of the 47th Venice Biennale (1997), together with Sasa Gajin. This work attempts to stage the conflict of real-time communication and contemporary digital systems of understanding, which are focused largely on speed and little else. Two years later, following the NATO bombing campaigns of Yugoslavia and (by chance) the elections in Italy, I conceived my own campaign for the international crowd at the 48th Venice Biennale (1999): I Want You to Ask Your Government’s Responsibility for the Consequences of Bombing Yugoslavia. I again personally distributed posters and postcards (in four languages) during the opening days of the Biennale.


In their definitive text on the subject, Hartmann and Kester succinctly define plant propagation as “...multiplying plants and preserving their unique qualities.” Grafting is a method of propagating plants, asexually or in the absence of sexual reproduction, where two or more different plants are joined together to create an apparently singular plant with different characteristics. Grafting may be necessary for speeding 8 up time to fruiting, improving pest or disease resistance, changing size at maturity, or simply 40 as the only viable means of propagation within Hartmann, H. T., & a system. Kester, D. E. (1975). Some plants are relatively easy to clone Plant propagation: 80 via cuttings in order to maintain their unique principles and practices. Prentice-Hall. qualities, whereas many desirable cultivated varieties are not, and they require grafting in 82 order to produce viable clones. Propagation via sexual means results in offspring that Tanja Ostojić, Black Square on White, 2001, postcards, 49th Venice Biennale. Courtesy: Tanja Ostojić 25, 39, 56, 68, 78, 115,are134, 185different from parent material distinctly due to genetic recombination, or “shuffling” of the DNA resulting in different traits than In my written correspondence with Szeemann g the parents. preceding the exhibition I referred to Alexander Brener’s dollar sign7 intervention over a painting by Let’s walk through grafting of a ‘Red Malevich in the Stedelijk Museum in Amsterdam as gui Delicious’ apple as an example of this continuum that exists. First, shoots of a ‘Red Delicious’ apple are collected from a tree, maybe one 65 growing in an orchard already. Tanja Ostojic 31 These shoots, called scions, or the future top of the new composite plant, are select160 ed and placed in a cool place until the propagator is ready to use them. Next, the rootstock, 47, 81 or the future bottom part of the new composite plant, is prepared by removing the top part of the stem and creating a notched tongue that the h 115 scion will later fit into. The scion shoots (‘Red Delicious’) are 70 60, then165 cut down to just a few buds, usually 3 – 4 in such a way that they have the same notching as the roostock and the plant tissues can be prop68 erly aligned. image 2 info about image, info about image.


ecofeminism, fantasy, activism, and digital culture 57 eleven elven witches, a sexy, titillating dwarf, and a druid who smells of armpits, gasoline, and trash 121 endless flow of fragmentary images and symbols 138 enthusiasm and warmth 43 evolving into blobs of physicality emancipatory decolonial education emotional pressure 160 emotional spectrum 79 38 CONTINUE ethics 24, 42 education is never a neutral process 33 12 7


Feminist Art Activisms and Artivisms

7. Александр Бренер (Alexander Brener), one of the main figures of Moscow Actionism was jailed in 1997 for spraying a green dollar sign on Kazimir Malevich’s painting White Suprematist Cross (1920–1921).

annemarie Kok

designers are occupying rather fragile expanded design 105 PROPAGATION AS A CONTINUUM Herinnering aan de recHtsstaat Sean Halloran positions in society 30 F FEMINIST ART Sean Halloran is a Plant Propagator at The Arnold Arboretum of Harvard University and designers now find themselves the failure as a learning Activisms was invited to contribute because thetool analogy77 of plant propagation and grafting can offer valuable insights for a hybrid architecture combining structures of different functions champions and Artivismsof sustainable futures 136 feel, smell, see and truly listen 23 and ages for a hybrid architecture combining structures of different functions and ages. KATY DEEPWELL desire 49,(ed.)68, 115, 172, 174, 179 kunst feelings 40, 160 desire is messy 68 feminism 57, 106, 176 theorie DIY 57 fetish of collaboration 50 diversity of expressions 79 kritiek Fit, Liesbeth 75 dream 41, 174 fluid structures 138, 177


Lucio Fontana modifies a work by the onlooking Jef Verheyen, 1962. Grafting.

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fog, noise, and space filmmaking freedom future

design stadscultuur

art theory critique design Hervás Gómez, Miquel urban culture housing, climate, and borders gendered bodies Ghavami, Rana Goliath Groten, Anja


human identity 148 CONTINUE humans are messy 153 spring/ humour 178 13


summer 2020 in D e x

New Series – PLURAL

The new 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; 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 artists, social researchers, theorists, arts professionals and activists.

SUPPORT Prins Bernhard Cultuurfonds Middlesex University London DESIGN Lotte Schröder, INFO pb with flap, 24 x 17 cm, c. 448 pp, English, 8 March 2020, ISBN 978-94-92095-72-5, € 27,50

ISBN 978-94-92095-72-5

9 789492 095725

NEW–Art and Activism Intersectionality Art and activism Diversity

Feminist Art Activisms and Artivisms Katy Deepwell (ed.)

FEMINIST ART Activisms and Artivisms KATY DEEPWELL (ed.)

provisional cover

CONTRIBUTORS Teresa Albor, Linda Aloysius, Sreyashi Tinni Bhattacharyya, Marissa Begonia, Marisa Carnesky, Paula Chambers, Amy Charlesworth, Emma Curd, Tal Dekel, Emma Dick, Lior Elefant, Christine Eyene, Abbe Leigh Fletcher, GraceGraceGrace, Alana Jelenik, Sonja van Kerkhoff, Alexandra Kokoli, Elke Krasny, Loraine Leeson, Laura Malacart, Rosy Martin, Alice Maude-Roxby, Kathleen Mullaniff, Louise O’Hare, Tanja Ostojić, Martina Pachmanova, Gill Park, Pune Parsafar, Roxane Permar, Anne Robinson, Stephanie Seibold, Pam Skelton, Mare Tralla, Christina Vasileiou, Camille Waring, Michelle Williams Gamaker, Virginia Yiqing Yang


Artivism today seems to have become a catchword for any woman’s empowerment through the arts. This volume wants to critically dissect this catchword, unveiling the diversity of practices and realities that it comprises. Representing a range of critical insights, perspectives and practices from artists, activists and academics, this book explores and reflects on the role of feminist interventions in the field of contemporary art, the public sphere and politics. It demonstrates the enormous variety of ways in which art and activism can intervene in social processes, and vice versa. Doing so, Feminist Art Activisms and Artivisms touches upon broader questions of cultural difference, history, class, economic position, ecological questions, sexual orientation, and the ways in which these intersect.




Feminist Art Activisms and Artivisms

Global South and Global North. It included the following performances, conceptual body artworks, photos, collages, videos, etc.: Black Square on White (1995/2001), I’ll Be Your Angel and Be My Guest (2001), and in 2003, the following four works: Sofa for Curator, Politics of Queer Curatorial Positions: After Rosa von Praunheim, Fassbinder and Bridge Markland (with Marina Gržinić), Strategies of Success installation and Vacation with Curator. The last one was produced for but ultimately censored in large portion by the Tirana Biennale in Albania.1 In 2017, I tried to extend this project by exploring the artist-collector’s gender & power relationships, attempting two times to produce Vacation with Collector, with one of the most influential art collectors in Southeast Europe—once on my own, and the second time with an informal collective of my name-sisters—but, on both occasions, the project remained unrealized or was censored. After Lena’s visit, I wonder if it would be somehow possible to revisit the project now after eighteen years, especially given the extremely hierarchical setting of academic workshops in which I’ve been invited to speak recently, where I found the relation to certain international theoretical male stars has produced new power and gender dynamics between academic institutions, theoreticians and artists. The constant recuperation of the same models, the inappropriate language and attitudes they tend to use, seem to actually belong to the same matrix of power they attempt to criticize. How can one act in these contexts to change things? I had been invited by Harald Szeemann to take part in his ‘Plateau of Mankind’ exhibition at the 49th Venice Biennale (2001) via e-mail and he asked me what I would like to propose to him for this exhibition. Well, first of all, I proposed renaming the exhibition ‘Plateau of Humankind’ as a step towards gender equality, but I did not ask to be credited for this. Powerful men simply gather and use knowledge of anonymous women, and this can be found multiple times throughout art’s history and in humankind. The use of terms and the changes in language that feminism has tried hard to bring about is an important part of our struggle. Szeemann changed the title of the show as I advised, and this was a term by which I would prefer to be represented, but I got the impression that he accepted my proposals for an artistic intervention without giving it too much thought.



2. Does the work re-configure the content and approach of the test? ◊ True ◊ False 3. Is The Little Book of Answers political in that it addresses the social sphere? ◊ True ◊ False 4. Does it work as a collective enunciation at the expense of an authorial voice? ◊ True ◊ False 5. Does The Little Book of Answers reconfigure the content of citizenship praxis? ◊ True ◊ False 6. Is the knowing subject affected? ◊ True ◊ False 7. Is the knowing subject a collective or singular body? ◊ Singular ◊ Collective ◊ Both ◊ Neither 8. Does a collective body emerge via the participants engaged in kinetic memorisation? ◊ True ◊ False


9. Does a collective body emerge via the stuttering of the pronunciation class learning to say ‘True’ and ‘False’ in received pronunciation? ◊ True ◊ False 10. Does a collective body emerge via the hip hop dance of the Answers in Brixton market? ◊ True ◊ False 11. Does The Little Book of Answers help foreground the ideological motivation of the test? ◊ True ◊ False 12. Which of its iterations was able to apply a feminist critique to the test? (You may select more than one option) ◊ n.paradoxa ◊ The Oval Cricket Ground ◊ Brixton Market ◊ Manchester Library 12. Which iteration was able to re-address the multi-lingual, transnational, postcolonial make up of British society? (You may select more than one option) ◊ n.paradoxa ◊ The Oval Cricket Ground ◊ Brixton Market ◊ Manchester Library ◊ Mostyn Open Turner Contemporary ◊ Turbine Hall, Tate Modern ◊ Woodland in Basilicata

2. Jugoslovenska = Yugoslav woman (in Serbo-Croatian language).

Laura Malacart and Andrej Bako, The Little Book of Answers (Drone Britannia), participatory installation view at Art Night, Kia Oval Cricket Ground, London, 2018

Laura Malacart and Andrej Bako, The Little Book of Answers (Drone Britannia), participatory installation view at Art Night, Kia Oval Cricket Ground, London, 2018

Laura Malacart and Andrej Bako, The Little Book of Answers (Drone Britannia), participatory installation view at Art Night, Kia Oval Cricket Ground, London, 2018

We should not forget the stakes here: on the one side, we have a male “genius” curator who was working on his third and last Venice Biennale… and on the other side, myself, as Jasmina Tumbas brilliantly termed a Jugoslovenka2! — uninvited guest, in her 2019 article in Art Monthly: Ostojić provocatively made visible what so many women already know — and since [the] #MeToo movement has become poignantly evident — that a career in arts often lies in the hands of men whose gatekeeping powers are habitually sexually charged. Choosing to act as the obnoxious, over-friendly and

Tanja Ostojić, I’ll Be Your Angel, 2001, four days performance with Harald Szeemann, Plateau of Humankind, 49th Venice Biennale. Photo: Borut Krajnc. Courtesy: Tanja Ostojić

Feminist Art Activisms and Artivisms

The playful layout of the above section hints at the seriousness of the format of the multiple choice test when it comes to naturalization, just as dancing the Answers of The Little Book hints at a different kind of dance when it comes to the praxis of citizenship. The multiple choice test is typical of a neoliberal administrative mode in that that it performs a speedy, mechanized, efficient and apparently fair and objective evaluation task. Yet this user-friendly format conceals a number of problematic aspects such as the notion of citizen or subject that it creates and the finite and closed nature of learning where the boundaries of expression are pre-defined and potential dissent pre-empted. In the humanities, a second generation of “studies” areas are evolving in a trans-disciplinary post-anthropocentric manner re-organizing dualisms of mind-body and human-nature-technology relations as well as previous disciplinary boundaries. In the face of this, the notion of the posthuman, in a nomadic or critical posthumanities, is often an attempt to react, debunk or de-territorialize dominant features of this logic (often by introducing the problem of “dis-identification” with Man/Anthropos). Rosi Braidotti notes that while posthuman critique often presents its own emergent subjects and subjectivities, these seem to occur at the same accelerationist speed as the advanced capitalism they are trying to contain or resist; what actually distinguishes their politics is evident only in their affirmative ethics and ‘a collective counter-affirmation of the virtual’. Instead, she suggests, it is necessary that:

THE LITTLE BOOK OF ANSWERS IN THE UK 1. Does the piece de-territorialise the official narrative of the UK represented by the citizenship test form within? ◊ True ◊ False

1. The first phase of the Vacation with Curator project in May 2003 included the successful production of a series of quasi-paparazzi photographs with the Biennale’s curator Edi Muka and me captured at various locations on the Albanian coast. I produced two photo collages from this and they were supposed to have been shown at the Biennale exhibition when it opened a few months later. In the framework of my project, the organisers also produced a small quasi-paparazzi webpage with some of those images, which was linked to the official Biennale website. The webpage was not visible either in the exhibition or on the Biennale homepage. The important part of this project was, however, banned, as I was told, because it could have directly ruined the re-election campaign of Edi Rama who was, at the time, city Mayor of Tirana and the director of the Tirana Biennale (Mayor of Tirana 2000–2011, then Prime Minister of Albania 2013–present). There were already some rumours present in Albanian press at the time that accused Rama, who had served earlier as Minister of Culture, Youth and Sport, of laundering money through art. As the success of the Tirana Biennale was supposed to work in support of his re-election campaign, I was told all of a sudden that it was not suitable or acceptable to have topless and beach photos of Edi Muka and myself in the Albanian press at the time. An integral part of my initial artistic concept was to provide Albanian press with photos of this work and to see what happens. The resultant press clippings would then become an integral part of the work. However, as a result of the ban, not one of the photos was ever allowed to be part of the press images of the Biennale or given to the press. Additionally, as a participating artist I was not invited to attend the Biennale opening, but Harald Szeemann apparently was there.

Wildtrax, Real Woman, 1985, video still 1, U-Matic, 3'40 112





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,

Jeroen Lutters is an art and culture analyst and educational designer. His critical educational theory concentrates on the central role of the arts and humanities in the contemporary curriculum, the need for artist educators as wandering teachers, the theory and practice of art-based learning, and the development of twenty-first century educational landscapes.

Creative Theories of (Just-About) Everything A Journey into Origins and Imaginations Jeroen Lutters

PARTNER ArtEZ University of the Arts

Creativity has been hailed as the driving force and most important skill of the 21st century—a power to be taught, understood and deployed on all levels of society. The discussion concerning the origins and potential of creativity is mostly held within the realms of the natural and social sciences, with insights ranging from neurology to theoretical physics to psychology and educational sciences. Truly understanding creativity, and using it an urgent driving force is hardly present (anymore) in the humanities. Departing from the perspective of the arts and humanities, allows to deepen our understanding of the concept of creativity. Using insights from these fields, creativity should be explicitly enforced in education and society, to open up new perspectives and imaginations. Delves into ideas of Parmenides, Spinoza, Goethe, Emerson, Wittgenstein, Benjamin, Barthes, Deleuze, Baudrillard, Kripke, Bollas, Spivak, Bal, and many others.

INFO Pb, c. 240 pp, 23.4 x 16.5 cm (h x w), English, June 2020, ISBN 978-94-92095-74-9, € 25,00

ISBN 978-94-92095-74-9

9 789492 095749

NEW—vis-à-vis series art history non-conventional thinking creative writing

June 2020

Design Dedication Adaptive Mentalities in Design Education Annelys de Vet (ed.) a


a broader vision of the end of the world 138 a case against the belief in the individual protagonist 69 a curse and a blessing 92 abstract task with a pragmatic mindset 166 abstract thinking 79 aesthetics 24, 32, 127, 137, 179 aligned my senses 105 analytical 79, 92 amazing energy 82 austerity 105, 135 b

being confronted 26 (be)longing 153 Bernard, Hannes 27, 125 beyond individual gain 70 bias 173 blurring of definitions 135 bridge the artificial chasm created between the philosopher, the scientist, the poet, and the engineer 121 Brörmann, Nikki 116 building, breaking and rebuilding 61 10

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into a persisting collective of rotating student groups. PU B members study at different departments but share an interest in engaging with, and challenging modes of ‘making public’. While being embedded within the institutional environment of the Sandberg Instituut, PUB has insisted on remaining independent to a certain degree and negotiated the necessary space to do so. The students decide what projects and activities they want to get involved with. PUB sets clear boundaries with regard to how much they want to be involved in the regular curric-

clash of cultures 89 Champagne, Michèle 101 charity pornography 137 collaborative space 61 collectivity 27, 57, 171 collective consciousness 92 conditions 24, 56, 67, 103, 157 context 78 cope 43, 106 creativity and criticality have so little room to manoeuvre 105 critical with love 92 D

daily conditions 68 Demirdag, Pinar 87 design education 23, 50, 79, 109, 134, 160 design as a tool to deal with reality 31 design as a ‘problem solving’ activity 109 design that primarily engages politics through aesthetics suggests a certain degree of navel-gazing on the part of the designer 127 design practices 25, 56, 105, 171 11

in D e x

the PUB journal, PUB radio broadcasts, PUB printing services and the constantly changing PUB website. PUB does not rely on an agreed upon understanding of publishing and is therefore able to continuously iterate on itself, and its position inside an institutional context.

th e po litics o F in Fo r Malit y The exchanges with the students who engage with PUB have been of great importance to my own classes, in which I aim to engage the students in discussion about the various modes of collaboration. Drawing on Derrida’s Politics of Friendship, the notion of a ‘designer host’ became quite relevant. Initiatives such as PUB but also Quicksand,6 a student organized lecture series, show that students take the liberty to create self-organized spaces for encounters and exchange amongst peers—in and outside of the classroom. These hosting initiatives bring about important challenges in thinking about design practice. For instance: if I organize, coordinate, write emails, handle budgets, am I still designing? Although organizing and hosting an event may not immediately meet our expectation of what design practice looks like I see the development of such activities as important moments for developing distinct understandings of the inter-social dimensions of design practice. How do you, as a designer, citizen, and student host relations? How do you receive and treat guests? How do you engage them in dialogues? How do you draw commonalities and differences? Oftentimes when students invite a guest, there is a general attempt to approach this shared moment informally— yet with special attention and care. Hosting a self-organized event is an opportunity for students to create their own terms, to talk directly and honestly, to ask questions they may not want to ask in the formal setting of a classroom. The rejection of formality is not to be mistaken as a lack of commitment. Informality here is a proposal and a conscious break with the conventions that come with host-guest relations. After all, taking on the role of host means that you make the other a guest.7 A hosting situation can be approached as an experiment, a live test in positioning, in re-shuffling hierarchies, challenging habits and expectations about who is responsible for the encounter. The rejection of form here could be

Caption here lorem ipsum dolor sit amet

ulum. Although the initial group who started PUB has since graduated and the collective has undergone multiple transitions, the initiative continues. Due to the openness of the structure, PUB transforms into various shapes. PUB safeguards and respects the effort and work that previous members have put into it, while leaving open possibilities to question its very structure at all times. There is not one mission statement, manifesto or code of conduct. There are PUB workshops,


January 2020

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Q uicksand is a series of student-run lectures and dinners. With ‘critical design practice’ being either too self-centred to inf lue nce o r t oo p e r ip he ral to ca re, Q uicksa n d explo res p ossible strategies for politicality within art & design. quicksand-presents-pharmacolonial-connectives. Thomas Locher and B eatrice von Bismarck, ‘Ar t, Exhibition and H ospit alit y’, in B ea t r ice von B isma rck a nd B e n ja min M eye rKrahmer, eds., Cultures of the Curatorial 3: Hospitality: Hosting Relations in Exhibitions (Berlin: Sternberg Press, 2016), p. 73.


towa r Ds a c r i t ica l c o l l a b o r at i v e p r act ic e

Design Dedication makes a plea for adaptive mentalities in design pedagogy, with a non-normative approach to design practices. It explores an attitude in and towards design education that is socially engaged, politically aware, generous in approach, lyrical in tone, experimental in form, and collaborative in practice. How can we talk about and bring out the political aspect inherent in the work that design students are doing? How to work on specific urgencies that are rooted in experience and narration? What are the underlying values of such a pedagogy? What kind of practices are developed in this context? How can an institute support and safeguard this? Design Dedication explores these approaches through statements from within and reaches out to design students, designers, artists, and teachers who are open to questioning their own practices and reformulating values in design education for a yet unpredictable, but surely dedicated tomorrow.

CONTRIBUTORS Hannes Bernard, Michèle Champagne, Pinar Demirdag, Liesbeth Fit, Rana Ghavami, Anja Groten, Agata Jaworska, Anastasia Kubrak, Sherida Kuffour, Chris Lee, Guy Machiavelli, Katja Novitskova, Derk Over, Rob Schröder, Daniel van der Velden, Annelys de Vet, Karina Zavidova, and many others PARTNER Sandberg Instituut, Design Department, Amsterdam DESIGN Tessa Meeus & Alex Walker INFO Pb, 192 pp, English, January 2020, ISBN 978-94-92095-73-2 978-94-92095-73-2, € 19,90

9 789492 095732

NEW—Design and Education Design practice Collaboration Social/political engagement Critical/lyrical

CONTRIBUTORS Floris Alkemade, Atelier Bow-Wow, René Boer, Amy Chester, Amie Dicke, Xaveer De Geyter, Sean Halloran, Michiel van Iersel, Sam Jacob, Momoya Kajima, Anne Lacaton, Madeleine Maaskant, 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 Lectorate Tabula Scripta, Academy of Architecture, Amsterdam SUPPORT Creative Industries Fund NL DESIGN Haller Brun, INFO pb, 24 x 17 cm, c. 440 pp, English, June 2020, ISBN 978-94-92095-70-1 ISBN 978-94-92095-70-1, € 29,50

9 789492 095701

NEW—Urban and social affairs Context in architecture Innovative and engaged design Urban interventions Interdisciplinary design

provisional cover

Rewriting Architecture 10+1 Actions for an Adaptive Architecture Tabula Scripta Floris Alkemade, Michiel van Iersel, Mark Minkjan, Jarrik Ouburg (eds.)

Rewriting Architecture explores the potential of place, and considers the creativity of inhabitants and users, the power of the social and urban fabric to respond to needs and urgent topics. It poses questions that deal with the ‘tabula scripta’ condition, the actual 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

De nieuwe stad Een gebruiksaanwijzing Arnold Reijndorp

Only in Dutch! Arnold Reijndorp (tien jaar lang bijzonder hoogleraar sociaaleconomische en ruimtelijke ontwikkelingen van nieuwe stedelijke gebieden) heeft zich samen met medewerkers en studenten intensief beziggehouden met de Nieuwe Stad. Met anderen publiceerde hij eerder onder meer Buitenwijk: Stedelijkheid op afstand, De alledaagse en de geplande stad, Op zoek naar nieuw publiek domein, Atlas Nieuwe Steden en Nieuw-West: Parkstad of stadswijk.

In de tweede helft van de vorige eeuw kwamen overal in Europa nieuwe steden tot ontwikkeling, ook in Nederland, op het oude land en in de nieuwe polders. Voorbeelden zijn Zoetermeer, Lelystad, Nieuwegein, Spijkenisse, Almere en Houten. In vijftig jaar groeiden ze uit tot middelgrote steden. Ze vormen nog steeds een nieuw en vrijwel ongekend fenomeen. Zijn het eigenlijk wel steden? Of een verzameling buurten en dorpen? Met welke problemen gaat de groei gepaard? Wat willen ze worden? En wie wil dat, de inwoners, de gemeente, ontwikkelaars? Voor deze nieuwe steden bestond wel een plan, maar een ‘gebruiksaanwijzing’ ontbrak. Dit essay is een poging om daarin te voorzien. Door het verdiepen en verbinden van sociale en ruimtelijke ontwikkelingen is deze gebruiksaanwijzing niet alleen relevant voor de bestuurders en bewoners van de Nieuwe Stad, maar voor iedereen die zich bezighoudt met vormgeven aan het stedelijk leven, vanuit elk denkbaar perspectief.

9 789492 095824

NIEUW—trancityxvaliz publiek debat polemiek longreads

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

Stadsessays — trancityxvaliz
















stadsessays trancityxvaliz

Stedenbouw en de economisering van de ruimte


stadsessays trancityxvaliz





Annemarie Kok

De stad en het geheim van aangenaam samenleven


stadsessays trancityxvaliz, over de stad, stedelijke ontwikkeling en het publiek domein





Pleidooi voor serieus openbaar bestuur

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

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

stadsessays trancityxvaliz


isBn 978­94­92095­65­7



sss ttt AAA Herinnering aan de recHtsstaat

annemarie Kok

Annemarie Kok



annemarie Kok




Simon Franke / Wouter Veldhuis


annemarie Kok studeerde filosofie en journalistiek aan de rijksuniversiteit groningen, werkte zes jaar bij dagblad Trouw en was negen jaar hoofdredacteur van tijdschrift Noorderbreedte. in 2017 verscheen bij trancityxvaliz haar essay Binding genoeg. De stad en het geheim van aangenaam samenleven. Hierin ontvouwde ze een alternatieve kijk op ‘sociale cohesie’. sindsdien publiceert ze geregeld over de keerzijden van toe­ nemende burgerparticipatie in politiek en maatschap­ pij. daarnaast is ze docent ‘publieksgericht schrijven’ aan de Faculteit der Wijsbegeerte van de rUg. www.annemarie­

Herinnering aan de recHtsstaat



Stadsessays zijn compacte, vaak uitdagende, polemische teksten die bijdragen aan het publiek debat over ruimtelijke en sociaaleconomische thema’s. Er is volop discussie over stad en regio. Woningmarkt, gentrification, segregatie, sociale cohesie, tweedeling, wijkontwikkeling, stadmaken, publiek domein, zorgvoorzieningen, circulariteit, energietransitie; onderwerpen genoeg. En allemaal hebben ze ruimtelijke gevolgen of worden ze juist door verdeling en inrichting van de ruimte opgeroepen. 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.

Burgerkracht en burgermacht zijn tegenwoordig leidende principes binnen het doen en vooral laten van gemeenten. Of het nu gaat om openbaar bestuur, ruimtelijke ordening, publieke dienst­ verlening of sociale zorg: ‘de samenleving’ is aan zet. U dus, en uw medeburgers. dat klinkt misschien mooi, maar achter deze door heel politiek den Haag bejubelde trend schuilen zware bezuinigingen, sentimentele concepten, uitgeklede rechten, miskenning van ons parle­ mentaire stelsel en een overheid die zich steeds kleiner maakt. Volgens annemarie Kok wijst de populariteit van VERKENNING VAN bestuurlijke termen als ‘meervoudige democratie’ en ‘lokaal maatwerk’ erop dat politici, bestuurders DE RECHTVAARDIGE STAD en ambtenaren de weg kwijt zijn. Zij roept daarom de rechtsstaat in herinnering als ideëel en formeel houvast en bepleit een institutioneel reveil.


INFO Pb, c. 136 pp, 21 x 13,5 cm (h x b), ISBN 978-94-92095-82-4 Nederlands, Januari 2020, ISBN 978-94-92095-82-4, € 17,50 (of gratis PDF/e-pub)


DESIGN Meeus Ontwerpt, ,

Kiosk in de stad Jacques Beljaars & Thomas Rouw

Pink Point, Gay and Lesbian Info Kiosk, Westermarkt, Amsterdam. Foto: Thomas Rouw

April 2020

Iedereen kent ze en je komt ze overal tegen: kiosken. Oorspronkelijk waren dit kleine, open paviljoens stad, dorp of tuin om een glas thee te drinken of een ijsje te eten. Inmiddels kennen we de krantenkiosk, de snackkiosk (én de foodtruck), 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. Hun tekst is chronologisch opgebouwd, aan de hand van boeiende maatschappelijke, sociologische en stedelijke ontwikkelingen. Het boek laat zien hoe er gedurende de afgelopen anderhalve eeuw werd gedacht over handel op straat. Soms waren kiosken een vanzelfsprekendheid, maar in de jaren 1980 werden ze synoniem met de verpaupering van de binnensteden. Dat leidde vaak tot verwijdering van de kiosk uit het straatbeeld. De laatste decennia ontstaat opnieuw meer waardering voor kiosken in de grote steden. Dit verhaal wordt afgewisseld met elf autonome ‘kioskportretten’, over uitbaters en klanten, over plek en functie, gelardeerd met prachtig beeldmateriaal, die steeds een specifiek, representatief thema belichten.

Only in Dutch! SUPPORT Stimuleringsfonds Creatieve Industrie DESIGN COMA, INFO Pb, c. 352 pp, 23 x 17 cm (h x b), Nederlands, April 2020, ISBN 978-94-92095-77-0, € 26,50

ISBN 978-94-92095-77-0

9 789492 095770

NIEUW—trancityxvaliz Publieke ruimte Stadssociologie Ruimtelijk ontwerp Architectuurgeschiedenis

June 2020

Beddington Zero Energy Development (BedZED) is an environmentallyfriendly neighbourhood in London. It was designed to be carbon neutral. Photo: Tom Chance

Neighbourhoods for the Future A Plea for a Social and Ecological Urbanism Maarten Hajer, Peter Pelzer, Martijn van den Hurk, Chris ten Dam & Edwin Buitelaar

PARTNER Urban Futures Studio, Utrecht University DESIGN Catalogtree, INFO Pb, c. 320 pp, 24 x 17 cm (h x w), English, June 2020, ISBN 978-94-92095-78-7 ISBN 978-94-92095-78-7, â‚Ź 27,50

9 789492 095787

NEW—trancityxvaliz Climate Change Urbanism Neighbourhood Sustainability

The pressure is on: people move to cities in ever growing numbers. So we build new neighbourhoods, we transform old industrial areas and renew the existing city. Right now, the focus lies on energy-neutral neighbourhoods. But in order for these new neighbourhoods to really work, residents need to be engaged and the tactics need to be embedded within a larger social policy. Only then do thriving cities arise. Neighbourhoods for the Future revisits the neighbourhood as the designated scale and arena to build our urban futures. The neighbourhood is small enough to be tangible, yet big enough to make an actual difference. Introducing the concepts of neighbourhood arrangements and ecologies, this book provides a new perspective on the relation between participants, resources and rules to spark change and prepare urbanites and policymakers for realizing their own sustainable neighbourhoods for the future.

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

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

The People’s Action against the Nordic Áltá-Guovdageaidnu Waterway (c.1978–82) radically shook the course of history in the region. Its call to ‘let the river live’ clamoured against the construction of a large dam across the Alltáeatnu river in Sápmi/Norway. The Action grew to an unexpectedly broad movement of solidarity across civil society—Sámi, Norwegian as well as Indigenous and non-Indigenous peoples internationally—in which Sámi artists played a pivotal role. Let the River Flow takes this eco-Indigenous rebellion, the first in Europe and inspirational worldwide, as its starting point reflecting upon events at the time and their correlations with international artists’ eco actions today. It is conceived as a reader, addressing the most important political, cultural and artistic reverberations, including innovations in political organizing, new influences of Indigenous thinking on contemporary politics, and the centrality of artists within the constellation of these activities. This reader will also consider other Indigenous artists’ protests that happened in parallel to the actions mentioned.

June 2020

CONTRIBUTORS Guvnor Guttorm (Sámi Professor); Harald Gaski (Sámi Professor); Ivar Bjørklund (Professor of Cultural Science); Katya García-Antón (Director OCA); Beaska Niillas (Sámi politician/fisherman/actor); Synnøve Persen (Sámi artist/poet); Matti Aikio (Sámi artist); Katarina Pirak Sikku (Sámi artist/author); Aslak Holmberg/Moratorium (Sámi politician/writer/artist/activist group); Eva Marie Fjellheim, TBC (Sámi scholar); Rauna Kuokkonen, TBC (Sámi scholar/anthropologist); Wanda Nanibush (Anishinaabe curator/artist/educator); Mari Boine (Sámi yoiker/musician); Ella Marie Hætta Isaksen (Sámi yoiker/ musician); Sofia Jannok (Sámi yoiker/musician); Magne Ove Varsi, (Sámi journalist/writer); Crystal McKinnon, TBC (Yamaji Amangu/ Aboriginal scholar); HolyElk Lafferty, TBC (Lakoma activist); Sara Marielle Gaup Beaska, TBC (Sámi yoiker/activist). PARTNER Office for Contemporary Art, Norway, DESIGN Hans Gremmen, INFO c. 240 pp, pb, English, June 2020, ISBN 978-94-92095-79-4 ISBN 978-94-92095-79-4, € 22,50

9 789492 095794

NEW—Art and Activism Eco-activism Indigenous art Art and politics

CONTRIBUTORS (TBC) Rosi Braidotti, Bassam El Baroni, Pascal Gielen, Max Haiven, Nav Haq, Srecko Horvat, Hedwig Houben, NSK (Neue Slowenische Kunst), Paul B. Preciado, Dan Webb, Haegue Yang, Iris Marion Young, and others PARTNER M HKA, Antwerp, ARIA (University of Antwerp), L’Internationale

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

May 2020

NEW—Antennae-Arts in Society breaking conventions paradoxes differences

Multiculturalism is defined in relation to monoculturalism. Multiculturalism and pluralism presuppose a shared culture with shared values and convictions about, for example, openness, democracy and equality. Multiculturalism assumes a monoculture of views and attitudes. Being able to deal with ambiguities, differences and paradoxes is the outcome of a learning process and thus of cultivation. For this cultivation art has played a pivotal role since modernity. The contemporary artist is a bricoleur, shaman and charlatan who prepares peculiar blends and shakes indigestible cocktails. She or he has to play with cultural conventions if he is to be called an ‘artist’ anyway. The Aesthetics ofAmbiguity gives stage to art and artists who dare to play with the rules of a broader society and adopt ambiguity and paradoxes, and explores their successes and failures.

CONTRIBUTORS Pascal Gielen, Andrea Gorki, Charlotte Lybeer, Sigrid Merx, Patrícia Portela, Jonas Rutgeerts, Nienke Scholts, Katharina Smets, Elly Van Eeghem, Peter Van Goethem, Stefan Vanthuyne, Ludovik Vermeersch, Nele Wynants

When Fact Is Fiction Documentary Art in the Post-Truth Era Nele Wynants (ed.)

INFO Pb, c. 300 pp, 21,5 x 13 cm (h x w), English, May 2020, ISBN 978-94-92095-76-3, € 22,50

ISBN 978-94-92095-76-3

9 789492 095763

PARTNERS Artesis Plantijn University College, Antwerp Antwerp Research Institute for the Arts (ARIA), Antwerp INFO Pb, 224 pp, English, January 2020, ISBN 978-94-92095-71-8, € 22,50

ISBN 978-94-92095-71-8

9 789492 095718

NEW—Antennae-Arts in Society fiction and reality documentary imaginary

What is the value of fiction at a time when fake news, alternative facts, and infotainment undermine the integrity of politics and media? This question is the common thread of When Fact is Fiction. It brings together contributions by and about artists who probe the boundaries between fact and fiction. The ambiguous relationship between the documentary and the imaginary has been investigated and questioned within the arts for decades. The artists discussed in this volume deliberately blur the boundaries between what is generally known as ‘fiction’ and as ‘reality’. They share a fascination with the same problem: the impossible challenge of representing reality. Their artistic re-interpretation of oral and archival sources often has an explicit critical potential to rewrite history, rethink our present time or imagine possible futures.

Antennae–Arts in Society Series

The Antennae-Arts in Society 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, INFO Pb, 21.5 x 13 cm (h x w), English, € 19,90–€ 22,50

highlights—looking back, looking ahead

ISBN 978-94-92095-12-1, € 27,50

ISBN 978-94-92095-42-8, € 27,50

ISBN 978-94-92095-49-7, € 27,50

ISBN 978-94-92095-40-4, € 19,90

ISBN 978-94-92095-51-0, € 19,90

ISBN 978-94-92095-17-6, € 35,00

ISBN 978-94-92095-00-8, € 27,50

ISBN 978-94-92095-68-8, € 19,90

ISBN 978-94-92095-19-0, € 22,50

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 Chankyong, Andrea Phillips, Lisa Rosendahl, Grant Watson PARTNERS Casco Art Institute: Working for the Commons, Utrecht,; Iaspis – the Swedish Arts Grants Committee’s International Programme for Visual and Applied Artists, Stockholm,; Institute of International Visual Art (Iniva), London, DESIGN David Bennewith, INFO Pb, c. 192 pp, c. 27 x 21 cm (h x w), Eng, May 2020, ISBN 978-94-92095-61-9, € 25,00

ISBN 978-94-92095-61-9 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. VALIZ TEAM Till Hormann, Bart Lut, Pia Pol, Astrid Vorstermans, Simone Wegman TRANCITYXVALIZ Simon Franke, Pia Pol BOOKMARKS NL Dinnis van Dijken, Isa Grienberger, Nicole Jessé, Demi Mol, Erik Peters, Fenna Wenselaar

This folder is printed on FSC-certified paper by an FSC-certified printer. The FSC, Forest Stewardship Council checks that paper comes from certified forests that meet the FSC environmental and social standards.

DISTRIBUTION AND REPRESENTATION • NL/BE/LU Centraal Boekhuis, & BookMarks, Bart Lut • GB/IE Anagram Books, Adeline Mannarini, Oliver Griffin, Yaiza Camps • USA/CA/Latin America D.A.P., • Europe/Asia/Australia Idea Books, Representatives or distribution partners Idea Books • Australia and New Zealand: Perimeter Distribution, Justine Ellis & Dan Rule, • China and Hong Kong: consult Idea Books • France, Switzerland and Walloon Belgium: Sébastien Richard,

9 789492 095619

NEW—already announced

• Germany and Austria: consult Idea Books • Japan and Asia: Julie Onishi, • Scandinavia: Anna Eriksson, • Southern Europe: Bookport Associates, Individual orders, Design folder: Zuzana Kostelanská, Amsterdam, Typeface: Mercator Paper: white offset, 90 grs Printing: Bariet Ten Brink/Wilco, Meppel/Amersfoort © Valiz, Amsterdam / Trancity, Haarlem, artists, authors, designers, 2020 All rights reserved. All contents and prices can be subject to change!

VALIZ Het Sieraad, Studio K34-K36 Postjesweg 1 NL–1057 DT Amsterdam





R R KATY DEEPWELL (ed.) E RRR E E E E E C C C E C H CCC H Transforming an open structure Originally designed as an H H office building for 1000 people, consisting of sixty tower-like H H T cubes T connected on each floor by overpasses. The building abandoned in 2013 and taken over by a private developer. T H was T was asked to make plans for the conversion of the T THertzberger building into a mix of functions, including housing units T office for students and for the elderly and communal spaces for social activities. The transformation had been anticipated in the original VA A R D I Gdesign. The architect “differentiates between a structure with a long life cycle and infills with shorter life cycles.” R

stadsessays trancityxvaliz

BOOKMARKS NL Dinnis van Dijken Isa Grienberger Nicole Jessé Demi Mol Erik Peters Fenna Wenselaar


Simon Franke / Wouter Veldhuis

Till Hormann Bart Lut Pia Pol Astrid Vorstermans Simone Wegman

FEMINIST ART Activisms and Artivisms

Stedenbouw en de economisering The redesign van de ruimte

aims to keep interventions reversible and leave key characteristics of the spatial idea intact, always keeping visible what is original and what is newly added.

valiz 23


Centraal Beheer Offices, Apeldoorn, The Netherlands. Herman Hertzberger, 1968–1972; 2013–