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Titre:
Taryn Simon : birds of the West Indies

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Résumé:
In 1936, an ornithologist called James Bond released the definitive taxonomy of birds found in the Caribbean, titled Birds of the West Indies. Ian Fleming, an active bird watcher living in Jamaica, subsequently appropriated the name for his novel’s lead character. This co-opting of names was the first in a series of substitutions that would become central to the construction of the James Bond narrative. In a meticulous and comprehensive dissection of the Bond films, artist Taryn Simon inventoried women, weapons and vehicles, constant elements in the films between 1962 and 2012. The contents of these categories function as essential accessories to the narrative’s myth of the seductive, powerful and invincible western male.

Titre:
Spacing philosophy: Lyotard and the idea of the exhibition

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Résumé:
The significance of Jean-François Lyotard's innovative 1985 exhibition Les Immatériaux and the “curatorial turn” in critical theory. In 1985, the philosopher Jean-François Lyotard curated Les Immatériaux at Centre Georges Pompidou. Though widely misunderstood at the time, the exhibition marked a “curatorial turn” in critical theory. Through its experimental layout and hybrid presentation of objects, technologies, and ideas, this pioneering exploration of virtuality reflected on the exhibition as a medium of communication and anticipated a deeper engagement with immersive and digital space in both art and theory. In Spacing Philosophy, Daniel Birnbaum and Sven-Olov Wallenstein analyze the significance and logic of Lyotard's exhibition while contextualizing it in the history of exhibition practices, the philosophical tradition, and Lyotard's own work on aesthetics and phenomenology. Les Immatériaux can thus be seen as a culmination and materialization of a life's work as well as a primer for the many thought-exhibitions produced in the following decades.

Titre:
Life on Sirius: the Situationist International and the exhibition after art

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How did art escape the deadlock of the Situationists' anti-art refusal? Did the relational artists, with their repetitions of Situationist slogans and techniques, outline a sustainable, micro-political alternative to Guy Debord's dream of surpassing art and realizing philosophy? Looking back at some of the Situationists' confrontations with the museum, this book traces a path beyond the tragedy of negativity and the litany of recuperation. At the center is the concept of play; originally adopted as the principle of reconciled life, it returns as the lever of instrumentalization. But in the extraterrestial wasteland of the present, spaces of ludic coexistence and experimentation may remain possible, provided that pessimism can be adequately organized.

Titre:
More than real: art in the digital age

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Résumé:
Designed by Irma Boom, this second volume in the Summit publication series gathers insights from the 2018 Verbier Art Summit in Switzerland, on the topic of art in the digital age, delivered by a wide range of curators, authors, artists and critics. The contributions—by Karen Archey, Ed Atkins, Lars Bang Larsen, Douglas Coupland, Olafur Eliasson, Pamela Rosenkranz, John Slyce, Dado Valentic, Paul F.M.J. Verschure, Jochen Volz and Anicka Yi—address such questions as the preservation of time-based media in museums; the concept of "biofiction"; "loss and the digital"; the body and technology; Amazon; the intersection of science and art; and virtual reality.

Titre:
As a weasel sucks eggs, an essay on melancholy and cannibalism

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Originally published in Swedish in 1992, this book examines the enigmatic relation of melancholia to an early kind of cannibalism, which psychoanalysis, in particular, stressed. It contains reading of, amongst others, Franz Kafka, Samuel Beckett, Thomas Bernhard, Sigmund Freud, G. W. F. Hegel, and the Swedish poet Gunnar Ekelöf. The authors also quote Goethe and Rabelais, for whom food is a cosmic principle, the soil of fertility, on which all creation is based. In a transferred sense, food also plays that same role for the melancholiac he who questions the normal order of things, who creates an other unknown food, with a variety of meanings. The authors trace the desire for this other food through the ages, and scrutinize its relationship to both primitive sacrificial rites as well as contemporary anthropology, philosophy, and linguistic theory.

Titre:
Under pressure : pictures, subjects, and the new spirit of capitalism

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Résumé:
Under Pressure gathers together the contributions to the same-titled conference held at the "Institut fuer Kunstkritik from 2006 to 2007". Can "exit" and "disobedience", as envisioned by Virno, be considered as options from an artistic point of view? And what would an insistence on "status" or long-term projects as invoked by Boltanski/Chiapello look like if artists were to take on this strategy? How much can one count on pictures alone, as Mitchell seems to do? And, can pictures really change the "ways of worldmaking"?