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Géoesthétique - Ouvrage sous la direction de Kantuta Quirós & Aliocha Imhoff

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Géoesthétique (Livre, B42, 2014) – le peuple qui manque

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Géoesthétique est un livre manifeste constitué d’écrits de géographes, d’historiens et théoriciens de l’art, d’artistes et de commissaires d’exposition. L’ouvrage revient sur un tournant spatial dans l’art contemporain, autant, au sein des pratiques de l’art aujourd’hui qu’au sein du récit de l’art et de son histoire.
Alors que la cartographie, en tant que discipline, a été profondément imbriquée dans la production des récits de la modernité, de la rationalité et du positivisme, mais aussi de l’histoire du colonialisme et des récits nationaux, elle est devenue aujourd’hui le lieu privilégié de l’invention de contre-pratiques et de contre-cartographies d’artistes. Nourri de courants théoriques tels que les pensées post-coloniales et décoloniales autant que la géographie radicale et critique, l’ouvrage constitue un état des lieux des pensées géographiques telles qu’elles innervent le champ de l’art, tout en s’intéressant également à une nouvelle géographie de l’art qui a émergé depuis la fin des années 1980.
Constitué de contributions originales autant que de traductions de textes importants produits ces vingt dernières années, l’ouvrage fait se conjoindre nouvelles méthodologies de recherche et renouveau des cadres interprétatifs pour penser l’histoire de l’art à partir du décentrement et de l’émergence d’une nouvelle géographie culturelle mondiale (pensées de la mondialisation, histoire spatiale des arts, géohistoire ou géocritique des œuvres). Il y adjoint simultanément une étude de pratiques artistiques envisagées comme ressources et techniques d’écriture déconstruisant les hiérarchies géoépistémiques et géopolitiques. Les articles proposent ainsi d’envisager ces lignes de fuite qui subvertissent la géographie en tant que discipline de savoir disciplinant l’espace (pensées de l’hospitalité ; pensées frontières ; cartographies narratives ; autotopographies ; les Sud, l’Equateur ou la Méditerranée comme lieux imaginés pour des cartographies paradoxales).

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Haus Otto - Concept Office

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Montag ou la bibliothèque à venir | Fonds Régional d’Art Contemporain - FRAC Franche-Comté

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Donald Judd Furniture

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Donald Judd Furniture

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JUDD Foundation

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Naden Arkitektur Snicker - Wall Mounted

Magazine Holder. Cherry.

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Mariana Lanari – Catching Up in the Archive - Archive - de Appel Amsterdam

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Opening
10 April 2022 at 16:00

Exhibition
7 April - 29 May 2022
Wednesday - Sunday 12:00 - 18:00

Catching Up in the Archive is a major exhibition showcasing the evolving infrastructure of de Appel Archive.1 Displaying more than 16 000 objects in de Appel's Aula and launching an interactive online environment, Catching Up in the Archive stages unprecedented activations, public gatherings, ear-opening encounters, and 'moving' situations with special guests and curious passers-by.

Opening of Catching Up in the Archive with Table Guest DJ Loma Doom. Photos by Nicola Barrato

In a daring move, artist Mariana Lanari relocates the extensive Archive to the Aula, rearranging all its objects, along with the work-stations of the Archive's team. Lanari's deliberate spatial intervention goes in tandem with the implementation of customised digital technologies developed by Archival Consciousness: mobile archive units (a.k.a Silverfish) that can identify archival objects, scan materials, and instantly display them on bibliograph, the exhibition's online environment. Through a hands-on approach, these novel applications are put to work by visitors and accidental passers-by, who are invited to browse, read, scan, and annotate items of their own choosing. By doing so, visitors acquire the know-how of the Archive's infrastructure and participate in shaping de Appel's dynamic and growing digitised collections. And above all: they can create their own, personal archives.

As Lanari highlights:

" My aspiration with Catching Up in the Archive is to enable visitors to discover de Appel's rich archive, demystify present technologies, and make their transformative potential at the disposal of cultural institutions, like de Appel, who do not tire from finding ways to maintain the conditions of existence of a lively, and accessible cultural archive. "

The temporary relocation of de Appel Archive to the Aula evokes the memories of de Appel's various rehousing. These rehousing were formative junctures to the Archive's workers, informing their conception of the Archive as a shared construction site, one that requires ongoing spatial, conceptual, and discursive explorations. In the same vein, Catching Up in the Archive catches up with visitors who, with every action they take, intervene on what the archive may become. This also results in a catching up with digital technologies and their unexplored potential. Catching Up in the Archive is a pivotal step towards realising de Appel Archive's greater vision: Spaces-Run-Archive, which aims at transforming the Archive into a nomadic, mobile archive that can travel the world to meet other archives.

The complementary ways of navigation in the Archive -online and offline- are mediated by the physical presence of Lanari's intricate semantic model. Online, the model manifests itself in its structuring of the Archive's new digital interface and the dynamic connections among its digitised materials. Physically, the model materialises in a schema covering the Aula's floor, and serves as a framework for the circulation of books and visitors in the space. By removing books from shelves, stacking them on the floor, and applying semantic technologies, Lanari unleashes the Archive from standardised topologies of display, rigid categorical classifications and opens it up to unpredictable discoveries. As Lanari elaborates on her intervention:

" Cultural archives are hidden behind search boxes or behind real boxes, almost as if they are prisoners of the physical and digital space, and as a result they remain invisible and hard to access. By physically displaying de Appel Archive and using this opportunity to design a semantic layer for the existing de Appel database along a new digital interface, we can spatialize the dynamic nature of the collection and enhance its public discoverability, both in the physical and digital space. This will liberate the possibilities for fascinating interpretations and will facilitate future connections among various local and international sister archives. "

The exhibition is accompanied by a curated bookshop by and so on books (Moosje M. Goosen) and (Matt Hickley).

Mariana Lanari is an artist, co-founder of Archival Consciousness, and Ph.D. candidate at the Amsterdam School of Heritage, Memory, and Material Cultures, University of Amsterdam. Lanari's practice is invested in studying and intervening in processes of physical and digital mediation in cultural libraries through community-oriented semantic technologies.

Catching Up in the Archive is the outcome of Lanari's long-term collaboration with De Appel and her research into the design of customised applications of semantic and graph technologies that are sensitive to the institution's history and the Archive's existing relational database. The exhibition builds on her ongoing research projects, previously presented at Casa do Povo, São Paolo, in 2019 and the Stedelijk Museum in 2015-2016.

Lanari's visionary and socially committed practice has been recognised both in the Netherlands and internationally. In 2019 she co-founded Archival Consciousness in collaboration with graphic designer Remco van Bladel to investigate new publishing methods for cultural libraries and archives. Lanari and Bladel have been awarded the MediaFutures grant in the framework of EU Horizon 2020, the Route Kunst support from the NWA/NWO, Stimuleringsfonds Creatieve Industrie, among others.

Archival Consciousness
Archival Consciousness was initiated by artist Mariana Lanari and graphic designer Remco van Bladel to develop collaborative publishing applications taking the database as a starting point. They are interested in the long term preservation and dissemination of cultural libraries and archives.

Archiving is a work-in-progress
de Appel respects the work of artists and other makers, and tries her best to properly credit them. Any perceived mistake crediting any individual or organisation is completely unintentional. Please contact info [​at​] deappel.nl for remarks, additions and questions

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Mariana Lanari – Catching Up in the Archive - Archive - de Appel Amsterdam

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FRAMA

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Lucas Maassen & Sons

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Carol Bove

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Carol Bove, Vague Pure Affection, 2012.

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Clegg & Guttman - Sha'at'nez oder die verschobene Bibliothek, re-contextualized - A Social Sculpture, 2004/2005

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Félix Gonzalez-Torres

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Anna Plesset - The Limitation of Fact: Stack 2 - 2013

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at Palasport “Giobatta Gianquinto” (Palasport Arsenale), Venice

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Donald Judd

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Donald Judd - Furniture

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Pascual Sisto - Un pour la route - 2014

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Springs, New York, home of Pietro Nivola (son of Costantino Nivola)

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Donald Judd - Furniture

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Donald Judd - Furniture

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Donald Judd Furniture - Bookshelf 34(1983)

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Tetome House

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Emily Dickinson - The Gorgeous Nothings

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Emily Dickinson - The Gorgeous Nothings

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Asemic Languages 
Created by So KANNO and Takahiro YAMAGUCHI 
Machine Learning Programming by Hironori SAKAMOTO 

Shown in Aichi Triennale 2016
 Supported by Nihon Unisys, Ltd., HAPS 

Cinematography by Kenichi HAGIHARA

Handwritings given by 
Valsan KOORMA KOLLERI 
LAI Chih-Sheng 
Gulnara KASMALIEVA & Muratbek DJUMALIEV 
Kio GRIFFITH 
Ali CHERRI
 Taloi HAVINI 
SONG Sanghee
 Shreyas KARLE
 Kawayan DE GUIA
 UuDam Tran NGUYEN



Characters are a means of visual communication and recording a language. Civilizations throughout the world have created various characters, which convey their culture and history. This project focuses purely on the form of the characters rather than their meaning. The characters have been learned by artificial intelligence (AI) not for their meaning but for their shape and patterns. AI has created and drawn lines that look like characters but do not have any meaning.
This work was publicized at the international art festival “Aichi Triennale 2016”. It was implemented by collecting handwritten artist statement or description of work of an extremely international group of 10 participating artists.
By learning handwriting with one writer in each language, artificial intelligence collected information on the shapes of each character system, as well the idiosyncrasies of each writer, of a AI, to possess a plotter.
The generated lines are written as if they meant something important, also look like trying to deceive.

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Nick Cave, Tupelo video notes, Notes for the 'Tupelo' video, 1985.

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Heike-Karin Foell

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Anna Hepler, Bloom, 2010, color woodcut, 21 ½”x18”

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Hessie, Grillage « Tubino 4834 », (‘Grid form: Tubino 4834’), 1975/1976

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Angels Ribé - 3 punts 1, 1970

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Lee Sisan - Proportions of stone - 2019

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Eames House

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Cet événement s’inscrit dans le cadre du 
Cycle de conférences et de conversations 
L’art contemporain entre le temps et l’histoire, 
du 16 janvier au 23 mai 2012.
http://www.macm.org/activites/heterochronies/

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Atlas Céleste de Flamsteed

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Rober Racine - Pages miroirs (1980-1995)

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Musée national des beaux-arts du Québec (MNBAQ)

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Sol LeWitt, All Ifs Ands or Buts Connected by Green Lines (1973)

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Mjölk architekti - Garden library

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Joseph Beuys, Intuition, 1968, wood, graphite, nails; unlimited edition, 11 ⅞ x 8 5/16 x 2 ¼ (30.2 x 21.1 x 5.8 cm).

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4+1 Shelf by Studio Mark Braun

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Notebook known as “The Weather Diaries”. Circa 2000-01: No More Shall We Part Era-

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works by jana schroeder.

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Drawing by Kimberly Denson.

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Black painting, abstract art – Ink on paper
Olivier Umecker

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jekyll & hyde, (from) «Un Sedicesimo» 43, Corraini Edizioni, Mantova, 2017

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Forthcoming: Care is a Cognate to Grief by Sofia Lo Bianco and Fayen d'Evie 16 1 : 1 : INFINITY 15 Per-cuss-uation by Tommy Carroll 14 Rhythmic Tomes by Lucreccia Quintanilla 13 19 Desires and One Belief by Angela Brennan 12 Re-print #3: I Have No Time (1983 [1979]) by Mladen Stilinovic 11 HEROES by 3-ply x Centre for Style x Monica's Gallery with Jessie Kiely 10 124,908 by Tara McDowell (2nd Tbilisi Triennial) 09 Habits and Customs by Lu Huanzhi, Ho Tzy Nyen, Irena Haiduk, Li Liao, Siniša Ilić, Eva Barto 08 A Material Turn by Rebecca Coates et.

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Brendan Fernandes Call and Response

Typographic installation at Museum of Contemporary Art, Chicago

Foldable poster/booklet to accompany installation at Des Moines Art Center

Book design with screen print cover and five-color risograph throughout

Description Two-color poster for School of the Art Institute of Chicago MFA

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Brendan Fernandes Call and Response Typographic installation at Museum of Contemporary Art, Chicago Foldable poster/booklet to accompany installation at Des Moines Art Center Book design with screen print cover and five-color risograph throughout Description Two-color poster for School of the Art Institute of Chicago MFA

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Károly Keserü, Untitled (1203041) (KK/P 10), 2012,  Martin Kudlek Gallery, Cologne

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Mark Handforth

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Pierre Bourdieu, (1979), (from) La distinzione, il Mulino, Bologna, (1983-)2001, p. 278

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Sharon Ya'ari

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Gosia Wlodarczak drawing directly onto a window in the AGNSW, overlooking the landscape of Woolloomooloo.

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Ignacio Uriarte

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John Cage, Prelude, Lecture on the Weather, 1975, Score Without Parts [(40 Drawings by Thoreau): Twelve Haiku], 1978

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Veronika Spierenburg

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Joseph Grigely

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John Zabawa pattern studies for a new textile project

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David Turnley, A young woman prepares a sign for the mass protests at Beijing’s Tiananmen Square, 1989.

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Damien Hoar de Galvan

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Sasha Pichushkin - Untitled, 2017

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Karma is a gallery located in the East Village, New York. The gallery represents Gertrude Abercrombie, Dike Blair, Will Boone, Mathew Cerletty, Jean Conner, Ann Craven, Woody De Othello, Paul Mogensen, Nicolas Party, Walter Price and Matthew Wong.

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Clegg & Guttmann, Die sieben Brücken von Königsberg – (Die Offene Bibliothek)

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Christian Lapointe - Tout Artaud

Conférence de presse :
https://theatre-contemporain.net/embed/9cUgw1kG

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stephane salvi, équation à plusieurs inconnues  2017

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FUNDACIÓN CASA WABI - Designed by Tadao Ando

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Aaron Marcus, Search For Meaning, 1972

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Esther Kempf, Der Held erscheint am Horizont und reitet der Kamera entgegen, 2011

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Jorinde Voigt

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Claude Péloquin - Regard des mages

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LAAT & Microclimat Architecture - Microbibliothèques nomades - 2016

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AKB, Atelier Kastelic Buffey - Story Pod

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Keith A. Smith, Construct book number one hundred six, Visual Studies Workshop Press,  Rochester, NY, 1985

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Emilio Villa, Sibylla, Etching on zinc board

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“Atlas of Movement Series” made with ballpoint pen on paper by Christoph Fink

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Irma Blank, Eigenschriften, 1968

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Sam Durant - Mirror travels in neoliberalism

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Stanley Kubrick’s personal copy of Stephen King’s novel The Shining

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Madison Killough

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Hanne Darboven at Deichtorhallen, Hamburg, 2017

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Lettre de Claude Gauvreau à André Breton

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Claude Gauvreau

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Dieter Roth, bok 3c, 1961, artist’s book of makeready sheets

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Simone Forti, Handbook in Motion

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Gianni Colombo, Intermutabili 1959/1974, Studio Marconi, Milano, 1975

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The largest sunspot of the 20th century, drawn by Koyama on April 5, 1947.

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Opening for Refus global at Librairie Tranquille, 1951. From left to right: Claude Gauvreau, René Hamelin, Jean-Paul Mousseau, Dyne Mousseau.

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Why circles? They are deceptively simple. An elemental shape that defines that which is within and without. Carl Jung called them "the geometric archetype of the psyche." They have no corners. The First Circles (series) Woodblocks on 19th...