Maisa in Webland

In a world propelled by swift technological progress and perpetual obsolescence, women frequently find themselves adapting and altering their daily experiences in order to remain functional. In the 21st century, as technology purports to comprehensively assess and address women’s conditions and physical discomfort, Cycles, the Sacred and the Doomed delves deeply into the realm of female health technologies, revealing a space where science, holistic methods, and mythology converge. This book challenges the idea of combining ancient wisdom with modern innovation and takes readers on a multidisciplinary journey to explore the intricacies of female’s health.

A survey of and reflection on artists using/ hijacking institutional formats. 

Self-Institution/Terminology Audit is a collection of profiles and lexicons documenting artistic practices that operate as self-declared institutions. It examines the act of self-institution as both a conceptual and operational approach, focusing on how these practices structure themselves and engage with their contexts.

Initiated by the Office for Joint Administrative Intelligence (O.J.A.I.), this publication investigates artist offices, bureaus, departments, ministries, societies, centres, and other explicitly institutional invocations. The Terminology Audit reveals language and jargon unique to each practice. The case studies, currently active in the field, represent a broad range of approaches, including research-based, performance-driven, pragmatic, materially motivated, counter-institutional, esoteric, and absurd facsimiles of institutionhood.

The publication was conceptualized and introduced by Chris Dreier and Gary Farrelly (O.J.A.I.), featuring an essay by Gary Farrelly, due diligence text by Andrea Knezović, and a responsorial note by Alicja Melzacka. Included self-instituted entities are: The Bureau of Melodramatic Research (BMR), The Office for Joint Administrative Intelligence (O.J.A.I.), Self Luminous Society, Gesellschaft zur Emanzipation des Samples G.E.S, Department of Ultimology, Minister of Cosmic People, Tac.ka Association, KOLXOZ, Pls, I’m Trying to Think Institute (PITTI), This Institute, Aurora-Rhoman Institute of Archaeology and Cultural Relics, AARS (Antwerp Artist Run School), The Letter Space Department (TLSD), Temporary Information Center (T.I.C.).

Moving beyond the usual genres of form in graphic design’s canonical history, ‘Designing History’ proposes a model centred on bureaucratic instruments of identity, ownership, value, and permission: money, passports, certificates, property deeds, etc. It considers the implications of a design history of the document, where the designer shifts from being a practitioner of conventional design histories to become subject and agency of bureaucratic authority. The book is a revised edition of ‘Immutable: Designing History’ (2022) and includes an extended essay that contextualizes the project as a remapping of graphic design’s historical, pedagogical, and practical assumptions.

This book frequently uses the word ‘we’. We, as in the general public, engaged citizens, humans of planet Earth… And we, Mouna Andraos and Melissa Mongiat, together with our team at Daily tous les jours, as we seek new models for living together. Welcome to our journal. 

We crave living in environments that support us, nourish us and inspire us. We dream of places to go through our lives together, inclusively and tolerantly. Can we re-enchant the raw material of our collective daily experiences? We have been creating interactive art and narrative experiences in public spaces around the world for fifteen years. Using music, dance, art, and other mediums to emphasize the joyful, whimsical, and unexpected, we create moments of connection and care between strangers. 

Through this book, we share our experience in building an emergent practice combining technology, storytelling, performance, and design, while asking fundamental questions to create meaningful work in a world in crisis. Meet us outside the urban masterplan, where we experiment with infrastructure for the human spirit.

Design Fiction is a method to vividly render tangible futures by creating material artifacts that represent the implications of change. Design Fiction is as much a mindset as it is a methodology whereby foresight, research, expectations, strategic direction, and planning can be cohered into representational ‘artifacts from possible futures.’from possible futures. Design fiction opens up new conversations and considerations whilst augmenting existing, well-trodden research and foresight practices.

Over fifteen years in the making, this book explores the origins of design fiction, and details the practical approach to assessing the consequences of decision making by creating tangible artifacts from possible futures. Design fiction opens up new conversations and considerations whilst augmenting existing, well-trodden research and foresight practices. The writers of this book have used design fiction approaches with clients such as Apple, Warner Bros, IKEA, Edelman, Dubai Museum of the Future, Google and Facebook, and they aim to bring these techniques to a wider audience through the publication of this book.

Written by Julian Bleecker, Nick Foster, Fabien Girardin and Nicolas Nova in collaboration with Patrick Pittman and Chris Frey of No Media Co. Designed by Chris Lange

A reader documenting the exhibition and symposium on eight schools, educational organisations and independent, self-organised educational programmes which see themselves as alternatives to traditional art academies and currently occupy central positions in the field of contemporary art.

The Educational Web: Reader brought together eight schools, educational organisations and independent, self-organised educational programmes at the Kunstverein in Hamburg. Often with a strong theoretical orientation, each of the programmes can be understood as a space for learning, a network and a community that does not rely on traditional curricula, but is organised around a form of immediacy and the relationship between artistic practice and local context. The programmes were invited to exhibit their own pedagogical approaches, resulting in an exploration of the interface between pedagogy, artistic practice and curatorial work.

Artists, researchers, and educators came together for the symposium on 1 and 2 July 2023 to articulate and reflect on recent developments in artist-initiated pedagogy and institutional practice. The symposium continued the questions raised by the exhibition and was expanded by a series of contributions, which are now collected for the first time in revised form in this volume, The Educational Web: Reader.

Texts by Luis Camnitzer, Feza Kayungu Ramazani, Maria Lind, Ghislaine Leung, Christian Nyampeta, Sofía Olascoaga, Emily Pethick, Laurence Rassel, Anja Steidinger, Nora Sternfeld, Prodige Kevin Tumba Makonga, Marina Vishmidt, Mi You.

High Shine is boek zes van de groeiende collectie van De Nieuwe Dansbibliotheek en boek nul van de Notebooks die opgezet zijn door de fellows van THIRD, het derde cyclus onderzoeksprogramma van DAS Graduate School, ondersteund door DAS Publishing (lectoraat van de Academie voor Theater en Dans) en gefinancierd door de Quality Funds.

Als co-publicatie van DAS Publishing en De Nieuwe Dansbibliotheek, luidt High Shine een nieuw partnerschap in tussen nieuwe platforms en oude vrienden.

The books included in the series ‘Choreography as Conditioning’ are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?

‘… Through Practices’ is written by artist researchers who have been involved in a three-day public symposium with the same title, explo­ring ecologies of attention, awareness, senses of participation, and agen­cies of practice. It presents resonances and sedimentations of indi­vidual, shared, and collective practices, mirroring different forms of participating and responding—diverse in/capacities, im/possi­bilities, and dis/interests as they appear in and through experience.