Printed Project

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Printed Project Issue 11

'Farewell to Post-Colonialism - Querying the Guangzhou Triennial 2008'
Printed Project 11 curated / edited by Sarat Maharaj is a series of reflections, extensions and musings emerging from and around the Guangzhou Triennial 2008. The critical thinking and lines of inquiry explored include the global shifts in political and economic focus; mapping post-western modernity; and how this relates art practice and theory in China and beyond.

Launch / Discussion Event in Venice
'Farewell to Post-Colonialism - Querying the Guangzhou Triennial 2008' was launched with a discussion event at the 2009 Venice Biennale. Sarat Maharaj, along with Chris Dercon, Charles Eshe, Daniel Birnbaum, Homi K Bhabha and Gao Shiming, explored issues arising from and relevant to this edition of Printed Project. The event took place on 5 June 2009 at Istituto Santa Maria della Pietá, Calle della Pietá, Castello Venice, and was supported by the Republic of Ireland & Northern Ireland exhibitions in Venice.

Curator / Editor
Sarat Maharaj is Professor of Art History and Theory at Goldsmiths College and Professor of Visual Art and Knowledge Systems, Lund University, Sweden. His specialist research covers Marcel Duchamp, James Joyce and Richard Hamilton. Current research includes ‘visual art as knowledge production and non-knowledge’ and the concept of ‘thinking through the visual’. Sarat Maharaj was a co-curator of the Third Guangzhou Triennial (together with Gao Shiming and Johnson Chang) 2008 and a co-curator for Documenta 11, 2002.

Co-Editor: Dorothee Albrecht. In collaboration with the GT-Curators: Johnson Chang Tsong-Zung and Gao Shiming; with the GT08 Research Curators: Sopawan Boonnimitra, Stina Edblom, Tamar Guimarães, Steven Lam, Khaled D. Ramadan.

Contributors
Avi Alpert, Maria Thereza Alves, Saleh Barakat, Ulrich Beck, Ecke Bonk, Conrad Botes, Zoe Butt, Lyn Carter, Amy Cheng, Amy Cheung, Chen Chieh-Jen, Joseph DeLappe, Johnson Chang Tsong-Zung, Paul Gladston, Khaled Hafez, Huang Xiaopeng , Du Keke, Michael Lee, Simon Leung, Trinh T. Minh-ha, Paul O'Kane, Annie Paul, Hans Hamid Rasmussen, Gertrud Sandqvist, Stuart Sim, Gilane Tawadros, Hu Xiang-cheng, ChenYun, Yi Zhou.

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Issue 10
'The Art of Living with Strangers'
Curator / Editor: Lolita Jablonskiene

Printed Project Issue 10 launch event:

This issue of Printed Project was launched at Temple Bar Gallery & Studios in Dublin on Friday 7 November 2009 at 6pm with a reception to celebrate the publication of the 10th Printed Project and also the European Council of Artists' Annual Conference on Artist's Mobility: Aspiration or Reality, hosted by Visual Artists Ireland and supported by the Irish Museum of Modern Art on 7 and 8 November 2008.


The Art of Living with Strangers
'The Art of Living with Strangers', curated / edited by Lolita Jablonskiene, is based around the experience of the immigrant within their adopted environment and is indebted to the sociologist Zygmunt Bauman's assertions that inhabitants of the contemporary city are - 'permanent strangers', and that co-habitation, according to Bauman, is 'an art which, like all arts, requires study and exercise'. Moreover, Lolita Jablonskiene describes her edition of Printed Project ' as a workshop - constructed in the spirit of Alexander Rodchenko's Workers' Club - offering socio-political enlightenment, a platform for debate, and a space for the renewal of our energy at the end of a long working day'.

Curator / Editor
Lolita Jablonskiene (PhD) is an art critic and curator based in Vilnius. In 2002 she was appointed chief curator of the National Gallery. Jablonskiene is currently writing a book on the development of contemporary art practices in Lithuania during the 1990s.

Contributors
Lolita Jablonskiene, Zygmunt Bauman, Flash Bar, Brendan Earley, Steven Flusty, Sam Ely & Sam Ely & Lynn Harris, Lukasz Piotr Galecki, Tessa Giblin, Daniel Jewesbury, Jesse Jones, Danius Kesminas, Eléonore de Montesquiou, Nikos Papastergiadis, Paulina Egle Pukyte, Simon Rees, Société Réaliste, Apolonija Sustersic, Sarah Tuck, What is to be done? / Chto delat?, Pavel Braila.

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Issue 9
'The Call of the Wild is now a Cry for Help'
Curator / Editors: Declan Clarke and Paul McDevitt

Printed Project issue 9 launch events:

DUBLIN: Thursday 17th April 2008
Followed by 'Kunstschlampen' (art table quiz) from 8:30pm
Upstairs at Toner’s, 139 Baggot Street Lower, Dublin 2

LONDON:Saturday 19th April, 2008
Stephen Friedman Gallery, 25 – 28 Old Burlington Street, London W1

BERLIN: Friday 25th April 2008
Bar in der Karl-Marx-Allee 36

The Call of the Wild is now a Cry for Help
Clarke & McDevitt have treated Printed Project issue 9, The Call of the Wild is now a Cry for Help, as an artist-led exhibition space – keeping the written content to a minimum in order to make the publication prominently visual. Moreover they write 'As artists ourselves, we want our issue of Printed Project to be considered as an artwork in its own right'.

The contributions include solo visual projects, hand written text works and collaborative pages – with some artists choosing to literally work on top of the work of other artists - while others opted for a call-and-response approach, whereby new works were made in response to works sent.

A thread running through 'The Call of the Wild is now a Cry for Help' is a concern with the ways in which artists consider different ways and means of engaging with histories be they in terms of ones personal life; or work; or of a wider cultural and / or political scope.

Contributors:
Jonathan Meese, Sophie von Hellermann, Goshka Macuga, Luke Dowd, Liz Craft /
Klaus Weber, Markus Selg / David Godbold, Matthias Dornfeld / Sara MacKillop, Mamma Andersson, Jockum Nordström, Jewyo Rhii, Tyler Vlahovich.

Curator / Editor
Declan Clarke is an artist based in London and Dublin. Recent solo exhibitions include 'Rebellion and Plots Ripen Like Fruit', Kiosko Gallery, Santa Cruz, Bolivia in 2007. 'Mine Are of Trouble', Art Now Lightbox, Tate Britain, London, "Trauma and Romance" Off-Site Project, Douglas Hyde Gallery, Dublin in 2006.

Paul McDevitt is an artist based in Berlin. Recent solo exhibitions include 'Guide Me' Berwick Gymnasium, Berwick-upon-Tweed, UK, 'Solitary Figure in Landscape' Stephen Friedman Gallery, London in 2007. He participated in 'Star Dust ou la Dernière Frontière' MAC/VAL Musée D'Art Contemporain Du Val-De-Marn Paris and Hayward touring show 'Cult Fiction' in 2007.

Clarke and McDevitt have been collaborating on curated projects since 2000. Past projects include 'Expect Nothing' Gallery for One, Dublin 2007, 'Matt Calderwood, Björn Dahlem, Sophie von Hellermann, Ian Kiaer, Cornelius Quabeck' Dublin City Gallery the Hugh Lane 2005. 'Play it as it Lays' The London Institute Gallery, London 2002.

A full archive of previous Clarke and McDevitt projects is available at
www.clarkeandmcdevitt.com

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Issue 8
Artistic Freedom – Anxiety and Aspiration
Editor/Curator: Munira Mirza

To mark the launch of Printed Project’s eighth edition, edited by cultural commentator Munira Mirza, Gasworks hosted a discussion event expanding upon the issue’s focus on ‘artistic freedom – anxiety and aspiration.

Does Autonomy Really Matter Anymore?
Panel Discussion And Printed Project Launch Event
Wednesday 5 December, 6- 8.00pm
Gasworks 155 Vauxhall Street,London, SE11 5RH.
www.gasworks.org.uk

Artistic Freedom – Anxiety and Aspiration
The dilemmas and tensions of artistic autonomy have been a constant throughout the past two centuries. With the age of Modernity, the shackles of tradition and the ancien regime may have loosened but new pressures have come to exert themselves – the demands of an ever-growing public audience, the taste of the established academy, the buying power of the mercantile classes, and the political machinations of the state. Against all these forces, the artist has always tried to push back by drawing on a sense of obligation to something beyond – to his practice, to Beauty, to Truth, or even to nihilistic, post-modern nonsense.

Today, the artist luxuriates in a freedom unimagined by his predecessors. Yet, there are new responsibilities. Artists are accused of not being socially useful. Arts organisations are told they must cater to more disadvantaged groups. The commercial market is also overwhelming, fixing the channels through which artists practice and speak to the public.

Should we be concerned about the state of autonomy today or was it ever thus?

This issue of Printed Project brings together a range of contributors to think about artistic autonomy. They bring their past and present experiences to bear on the question of why we – not just artists, but society as a whole – need such freedom.


Contributors:
JJ Charlesworth, Pauline Hadaway, Paul O’Neill, Andrew Calcutt, Sonya Dyer,
Padraic Moore, Cecilia Wee, Dolan Cummings, Emma Ridgway, Becky Shaw, Andrew
Brighton, Josie Appleton.

Curator / Editor
Munira Mirza is a writer and researcher on issues relating to cultural policy, race and identity. She presented the BBC Radio 4 series, The Business of Race (2005) and Fighting Chance (2007) and edited a collection of essays called Culture Vultures: Is UK arts policy damaging the arts? (2006). She is currently researching her PhD at the University of Kent on the politics of local cultural policies.


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Issue 7
Unconditional Love'
Curator / Editor Kim Levin

Printed Project Issue 7 was presented at the Irish Visual Art Periodicals launch (Circa, Printed Project, Source) at the Venice Biennale on Saturday 9 June 2007. See Printed Project Events for more info


Kim Levin’s edition of Printed Project, entitled ‘Unconditional Love’ features works by artists internationally known for their extreme projects and interventions – sometimes possessing elements of possible danger or destruction, illegality or un-lovability. The 12 projects presented in the publication run the gamut from fantasy to reality, with some interesting connections arising between them.


Contributors:
Writers - Kim Levin, Ekaterina Degot; Artists – Maurizio Cattelan, Marina Abramovic, Tania Bruguera, Christoph Buchel Luca Buvoli, Andrea Fraser Kendell Geers, Oleg Kulik, Maurice O’Connell, Santiago Sierra, Nedko Solakov, Tavares Strachen.

Curator / Editor
Kim Levin is an independent art critic and curator. Until 2006, she was a regular contributor to The Village Voice. From 1996 to 2002, she was International President of the International Association of Art Critics (AICA) based in Paris. She is the author of Beyond Modernism: essays on Art from the ‘70s and ‘80s (Harper Collins 1988; Tokyo Shoseki 1991); and editor of Beyond Walls and Wars: Art, Politics and Multiculturalism (Midmarch Press 1992). She conceived and co-edited Art Planet: A Global View of Criticism (The AICA Press, Volume 1 1999) and is co-author of Transplant: Living Vegetation in Contemporary Art (Hatje Cantz, Germany, 2000).

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Issue 6
I Can’t Work Like This'
Curator / Editors: Anton Vidokle & Tirdad Zolghadr

Entitled ‘I Cant Work Like This’ and co-edited by Anton Vidokle & Tirdad Zolghadr, Printed Project Issue 6 includes varied contributions that take as their starting point the notion of failure – in particular how to reassess failure in a context of ‘cutting defeatism’ among artists, writers and curators.


This issue of Printed Project was launched in Dublin, Madrid and Berlin:
Dublin:15 February 2007 at Project, Essex Street.
Madrid :18 February at ARCO 5th International Contemporary Art Experts Forum
Berlin: 24 February at the unitednationsplaza.

“The decision to invite Anton Vidokle to edit of Issue 6 of Printed Project arose out of events that took place in June 2006, when the city of Nicosia cancelled Manifesta 6 and terminated the curators' contracts, a move that is virtually unheard of on this level. In July, during a heat wave in Dublin, in the casual banter that precedes this type of meeting, Printed Project's editorial panel shared our disbelief, relaying to one another various sources of speculation. The idea arose to use the next issue of Printed Project to document this controversy, in hopes that this would allow some public entry into the decision. However, this approach would contradict our editorial mission: to support guest editors through an open platform in the form of a printed publication with no prescribed theme. We decided that an appropriate response to Manifesta's cancellation would be to invite one of the curators to do anything they wanted. In effect, to offer a platform where one had been stripped away.

Anton invited Tirdad Zolghadr to co-edit the issue. It is important to mention that many of the contributions here are based on the opening conference called ‘Histories of Productive Failures: From French Revolution to Manifesta 6’, which took place at the unitednationsplaza, Berlin in October of 2006.”

(From Our failure to Disagree by Sarah Pierce, in ‘I Can’t Work Like This’ Printed Project : Issue 6)

Contents:
Natascha Sadr Haghighian: Front and Back Cover Design

Sarah Pierce, Our Failure to Disagree
Tirdad Zolghadr & Anton Vidokle, A Disagreement
Anselm Franke, The Grudge
Maria Lind, When Water is Gushing In
Adrienne Goehler, United Nations Plaza: The Toast
Martha Rosler, Transition and Digressions - an on-going series of photographs
Liam Gillick, The Winter School – A Fiction Towards Documenta X
Liam Gillick, Selected Transcription from Talk at UN Plaza, Berlin, 2006
Diedrich Diederichsen, The New Ugliness of the Oppressed as Ornament
Ingrid Serven, Oh God, She Said,Talking to a Tree
Fia Backström, Herd Instincts 360°
Joseph Cohen, Berliner Vortrag
Hans Ulrich Obrist, The Agency of Unrealised Projects
Tirdad Zolghadr, Epilogue. But You Promised
Tom Holert, Surviving Surveillance? Failure as Technology
UNP Staff, I Can’t Work Like This: A Written Assessment
Contrbutors: Biographies

Curator / Editors

Anton Vidokle
Anton Vidokle was born in Moscow and is currently based in Berlin. His work has been exhibited in shows such as the Venice Biennale, Dakar Biennale and at Tate Modern, London; Moderna Galerija, Ljubljana; Musee d'art Modern de la Ville de Paris; Museo Carrillo Gil, Mexico City; UCLA Hammer, LA; ICA, Boston; Haus Der Kunst, Munich; P.S.1, New York; amongst others. With Julieta Aranda, he put together e-flux video rental. As founding director of e-flux, he has produced projects such as Next Documenta Should Be Curated By An Artist, Do it, Utopia Station poster project, and organised An Image Bank for Everyday Revolutionary Life and Martha Rosler Library. Anton Vidokle was a co-curator of Manifesta 6.

Tirdad Zolghadr
Tirdad Zolghadr works as a freelance curator, writes for Frieze magazine and has also contributed to Parkett, Bidoun, Cabinet, afterall, Neue Zürcher Zeitung, Straits Times Singapore and other publications. After his MA in Comparative Literature he began work in the field of journalism and documentary film, being a co-founder of the Tehran-based online publication Bad Jens in 1999, and co-director of Tehran 1380 (with Solmaz Shahbazi), a documentary on Tehran mass housing in 2002. His recent "Tropical Modernism" explores the history of Iranian socialism and was premiered at the Oberhausen Short Film Festival 2006. Since 2004, Zolghadr has curated events at Cubitt London, IASPIS Stockholm, Kunsthalle Geneva, various Tehran artspaces and other venues. He was co-curator of the International Sharjah Biennial 2005, and is currently preparing a long-term exhibition and research project addressing social class in the art world that shall take place at Gasworks London, Platform Istanbul and Tensta Konsthall. Zolghadr is also a founding member of the SHAHRZAD art & design collective and will shortly publish his novel Softcore with Telegram Books, London.

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Issue 5
'another monumental metaphor' Curator / Editor: Alan Phelan

'another monumental metaphor' – Special Venice Issue

Alan Phelan, an artist, curator and art writer from Dublin, is the editor for the fifth edition of Printed Project which formed part of the exhibition at the Irish Pavilion at this year's Venice Biennale. Printed Project was specially invited to participate in Ireland's representation at the Venice Biennale by curator Sarah Glennie. Stemming from this context, the themes from various world biennials serve as the starting point for over 20 contributions from writers, curators and artists from Ireland and around Europe. The journal examines various participatory, collaborative and discursive practices. Historical examples are surveyed alongside recent and upcoming projects, through essays, conversations and artist pages.

Contributors

Texts: Niamh O’Malley; Georgina Jackson; Steven Duval and René Zechlin; Anna Colin; Tim Davies, John Langan, Ann Mulrooney and Deirdre O’Mahony; Gavin Delahunty and Nevan Lahart; Gavin Murphy; Tim Stott; Ciarán Bennett; Jason E Bowman, Sarah Glennie, Caoimhín Mac Giolla Léith, Karen MacKinnon and Hugh Mulholland.

Artworks: Alice Maher; Mark O’Kelly; Susan MacWilliam; Shane Cullen; Vanessa O’Reilly; Niamh McCann; Katie Holten.

Curator/Editor

Alan Phelan is an artist who lives and works in Dublin. His practice combines gallery exhibition, public art projects, critical writing and curating. He studied at DCU, Dublin and RIT, New York. He has exhibited widely in Ireland and also in the UK, USA, Germany, Denmark and Slovenia. Recent exhibitions include the Whitney Museum of American Art, New York; Golden Thread Gallery, Belfast; Galway Arts Centre; and the Kilkenny Arts Festival, 2004. Recent commissions include a web project for DCMNR Broadband www.broadbandart.ie. Curated projects include 'Felons', RHA, 2005; 'No Respect’ 2004 and 'Stand Fast Dick and Jane', 2001. He has also written for Circa, Contexts, The SSI Newsletter, The Visual Artists' News Sheet and Printed Project.

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Issue 4
‘The New PhD in Studio Art’ Curator / Editor: James Elkins

‘The New PhD in Studio Art’
If you are a young artist and you are wondering about how to land a secure teaching job, there is an interesting - I should really say frightening, new possibility. It appears that before too long, employers will be looking for artists with PhDs rather than master's or college degrees. For the best jobs, it will no longer be enough to have an MA or an MFA (the standard 'terminal' degree in the United States). This edition of Printed Project provides materials to think about the new degree. It contains essays on the philosophic forms of the degree, on current debates about it in Ireland and the UK, and on the history of the degree. It also has a half-dozen short excerpts from PhD theses, to show the kind of work artists have done when they mix scholarship and art.

Contributors
Part One: Essays
1: The Three Configurations Practice-Based PhDs, by James Elkins
2: A Method of Search For Reality, by Timothy Emlyn Jones
3: On Beyond Research and New Knowledge, by James Elkins

Part Two: Examples
4: Jo-Anne Duggan (University of Technology, Sydney)
5: Sue Lovegrove (School of Art, Australian National University, Canberra)
6: Frank Thirion (School of Art, Australian National University, Canberra)
7: Ruth Waller (School of Art, Australian National University, Canberra)
8: Christl Berg (School of Art, University of Tasmania, Hobart)
9: Maria Mencia (Chelsea College of Art and Design / University of the Arts, London)
10: Uriel Orlow (London Institute / Central St Martin's)
11: Phoebe von Held (University College London / Slade School of Art)

Curator / Editor
James Elkins teaches at the School of the Art Institute of Chicago. He is currently E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism. He also teaches in the Department of Visual and Critical Studies, and is Head of History of Art at the University College Cork, Ireland.

His writing focuses on the history and theory of images in art, science, and nature. Some of his books are exclusively on fine art (What Painting Is, Why Are Our Pictures Puzzles?). Others include scientific and non-art images and archaeology (The Domain of Images, On Pictures and the Words That Fail Them), and some include natural history as well (How to Use Your Eyes).

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Issue 3
‘The Self Express’ Editor / Curator: Les Levine

‘The Self Express’
For The Self Express Les Levine has employed a recurrent technique in his practice of bringing together a diverse range of individuals to focus upon a particular subject - in this case the subject of 'the self'. In 2003 Levine made a DVD work also titled The Self Express in which he invited a range of participants to address this same issue. For Printed Project Levine has extended this work, inviting those who were the subjects of this work to instead interview him. What emerges from the 15 interviews conducted for Printed Project is a multifaceted portrait of the artist that is equally telling about the interviewers notions about selfhood and the business of living in contemporary culture. As Levine puts it, "One could think of the Self Express interviews as mental portraits of the interviewers... this project should be experienced as a mental journey".

Contributors
John Boone, Soke Dinkla, Jenny Dixon, Catherine Galasso, Ted Greenwald, Noritoshi Hirakawa, Yu Yeon Kim, Vivian Kurz Thomas McEvilley, Declan McGonagle, Lars Movin, John Perreault, Steven Rand, Walter Robinson, Katrin Roos

Curator / Editor
The curator / editor for Printed Project issue 3 is Les Levine. Levine calls himself a 'media sculptor' having first used the term in 1969. He is one of the first artists in the world to make video art. He has had over 300 one-man shows and numerous mass-media campaigns in major capitals throughout the world. He is responsible for the terminology 'software art', 'disposable art' and 'camera art'. Amongst his major exhibitions are 'Public Mind: Les Levine Media Sculpture and Mass Ad Campaigns', Everson Museum, NY, 1990, and 'Art Can See', Galerie der Stadt, Stuttgart, 1997. He has been in several Documentas and Biennales. He has authored many articles and books. Amongst them is 'Media: the Bio-Tech Rehearsal for Leaving the Body', Alberta College of Art, 1979. He was born in Dublin in 1935 and lives in New York.


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Issue 2
‘Letters from Five Continents’ Curator / Editor: Saskia Bos

‘Letters from Five Continents’
For Printed Project issue 2 Saskia Bos invited the former students of De Appel's curatorial programme, now working across the globe from Auckland to Ljubljana, to write a letter about art, living conditions and other issues relevant to their locales. For Bos "The beauty of the idea is to have so many different letters from all over the globe from people who have moved from their country of origin, who travel all the time and/or who speak to many artists, musicians, writers".

Contributors
Tobias Berger (Auckland), Annie Fletcher (Amsterdam), Basak Senova (Istanbul), Machiko Harada (Akiyoshi dai), Francesco Bernardelli (Torino), Natasa Petresin (Ljubljana), Clive Kellner (Cape Town), Nina Folkersma (Amsterdam), Paula Toppila (Espoo), Raimundas Malasauskas (Vilnius), Ilina Koralova (Leipzig), Nuno Sacramento (Dundee), Edit Molnar (Budapest), Nikola Dietrich (Berlin), Luca Cerizza (Berlin), Montse Badia (Madrid), Dominique Fontaine (Montreal), Sophie O'Brien (Sydney), Sjoukje van der Meulen (New York), Yukie Kamiya (New York), Florence Derieux (Paris), Lorenzo Benedetti (Rome), Anja Dorn (Cologne), Rob Tufnell (London), Phillip van den Bossche (Eindhoven),

Curator / Editor
Saskia Bos has been the director since 1984 of the De Appel Foundation in Amsterdam. Bos was the curator for the 2000 Berlin Biennale and has worked on the advisory committee of the Yokohama Triennale, the 43rd Venice Biennale in 1988 and Documenta VII in 1981.



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Issue 1
‘there once was a west’ Curator / Editor: Sarah Pierce

‘ there once was a west ’
Printed Project's first issue, curated and edited by Sarah Pierce considered the processes translation, movement, migration and cultural shift. Fittingly, the issues title 'There once was a West' was a reference to the 'correct' translation of the name of Sergio Leone's famous Western C'era una Volta il West', which was known in the English speaking world 'Once Upon a Time in the West'.

Contributors
Issa Samb: Mediums of Transformations Bettina Funcke: Robert Whitman's Telecommunication Projects Rachel Price: Translation, Terror, Terrorism Aleksandra Mir: No Picassos Not A Local Bird Pip Day: 0-19, 20 days / 1-100, 99 years Wendy Judge: Two Post Cards Two Drawings Gerard Byrne: Views from a Sequence of Images Simon Sheikh: Counter-public works: Re-mapping public space Caoimhín Mac Giolla Léith: June Travelogue Grant Watson: Bombay/Mumbai Peter Fend: Superflex at the Johannesburg Biennial , Asier Pérez: Tortilla De Patatas Para 4 Personas Alan Phelan: Blind Lip Sync

Curator / Editor
Sarah Pierce is an artist and the organiser of the Metropolitan Complex, an
independent project based in Dublin. www.themetropolitancomplex.com