uncopy

Ludwig Wittgenstein (On Certainty) (2008), by Scott King

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Sharpening Fantasy (2013), by Douglas Gordon

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You Are Still Alive (2010), by Steve Lambert

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The Road (2011), by Abigail Reynolds

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Image Pattern Gratification (2013), by Shannon Ebner

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Contra mundum (2010), by Daniel du Bern

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Recapturing a Contemporary Past (2011), by Michael Johansson

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Im Herzen der Hypothese haust die Behauptung (2012), by Nikolaus Gansterer

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The Boarders (2008), by Jessica Labatte

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Invisible Moving Wall (2001), by Jeppe Hein

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Prospect I (2012), by Miriam Böhm

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sans titre (2012), by Josephine Kaeppelin

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A reflexive form (with figurative material) (2012), by Egon van Herreweghe

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Einkaufsliste für Whitehorse / Shopping list for Whitehorse (2012), by Ingrid Wiener

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Pool (2011-2012), by Louis Doulas (ed.)

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Pool is was an online platform and publication dedicated to expanding and improving the discourse between online and offline realities and their cultural, societal and political impact on each other.

Issue One
Issue Two
Issue Three
Issue Four
Issue Five
Issue Six
Issue Seven
Issue Eight

Copyright (2012), by Fiona Banner

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Are you human? (2009), by Aram Bartholl

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Shutterstock (2012), by Jonas Lund

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On the Self-Reflexive Page (2010), by Louis Lüthi

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Photoshop CS: 40 by 30 inches, 300 DPI, RGB, square pixels, default gradient “Grey Value Stripes” (turn reverse on), mousedown y=11880 x=100, mouseup y=100 x=8860 (2011), by Cory Arcangel

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Selection as an Object (2013), by Jan Robert Leegte

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Square (2012), by Daniel Silvo

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Enduring Partnership (2008), by Gerald Grestenberger

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The Printed Internet (2013-), by Daniel Kolitz

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Augustova, Poland, June 2008 (2009), by Daniel Gustav Cramer

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Reena Spaulings (2005), by Bernadette Corporation

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If you look at a city, there’s no way to see it. One person can never see a city. You can miss it, hate it, or realize that it’s taken something from you, but you can’t go somewhere and look at it and just see it empirically. It has to be informed, imagined, by many people at a time. It’s an everyday group hallucination. This novel is modeled on that phenomenon. 150 writers, professional and amateur, have contributed to it, not using the mutually blind exquisite corpse method, and not using the “may I have this dance” method where writers take turns being the author, but using the old Hollywood screenwriting system whereby a studio boss had at his disposal a “stable” of writers working simultaneously to crank out a single blockbuster, each assigned specific functions within the overall scheme. The result is generic and perfect. And Reena herself benefits from it by being more of a material entity, a being, than a character – her thoughts and actions are not spanned by any author’s mind. Who pulls her strings?

Preface
Chapter One
Chapter Two
Chapter Three

filosof (1964, from the book: antikódy), by Václav Havel

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AN ENIGMA A MEANING (2012), by Trevor H. Smith

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The Big Mirror (2008), by Jan Mancuska

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Curating and the Educational Turn (2010), by Paul O’Neill and Mick Wilson (eds.)

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Contemporary curating is marked by a turn to education. Educational formats, methods, programmes, models, terms, processes and procedures have become pervasive in the praxes of both curating and the production of contemporary art and in their attendant critical frameworks. This is not simply to propose that curatorial projects have increasingly adopted education as a theme; it is, rather, to assert that curating increasingly operates as an expanded educational praxis. It is this proposition — that curating, and art production more broadly, have produced, undergone or otherwise manifested an educational turn — to which the authors gathered in this volume have been invited to respond.

A Brief History of Curating (2011), by Hans Ulrich Obrist

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This publication is dedicated to pioneering curators and presents a unique collection of interviews by Hans Ulrich Obrist: Anne d’Harnoncourt, Werner Hofmann, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hultén, and Harald Szeeman are gathered together in this volume. Their contributions map the evolution of the curatorial field, from early independent curating in the 1960s and 1970s and the experimental institutional programs that developed in Europe and America at this time, through Documenta and the expansion of biennales.

Neoism, Plagiarism & Praxis (1995), by Stewart Home

admin — Mon, 22 Apr 2013 04:59:31 +0000

We call on all cultural workers to put down their tools and cease to make, distribute, sell, exhibit, or discuss their work from Janury 1st 1990 to January 1st 1993. We call for all galleries, museums, agencies, ‘alternative’ spaces, periodicals, theatres, art schools &c., to cease all operations for the same period.
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In Praise of Copying (2010), by Marcus Boon

admin — Mon, 22 Apr 2013 04:56:42 +0000

Brooklyn, New York, April 2008. A row of street stalls in front of graffiti-covered iron gates. Tables full of merchandise: Louis Vuitton handbags and wallets, with their familiar “LV” monograms; brown and beige; white with multicolor fruit-like designs. You can find them for sale on Canal Street in New York, in the night markets of Hong Kong and Singapore or the covered market in Mexico City, and in many other places around the world where the urban poor go to shop—”LV” articles piled up alongside the Patek Philippe watches, Chanel perfume, North Face jackets, and Adidas shoes. Copies, fakes, counterfeits; cheap, poorly made reproductions . . . or are they?
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What is an Apparatus? and Other Essays (2006), by Girogio Agamben

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The hypothesis that I wish to propose is that the word dispositif, or “apparatus” in English, is a decisive technical term in the strategy of Foucault’s thought. He uses it quite often, especially from the mid 1970s, when he begins to concern himselfwith what he calls “governmentality” or the “government ofmen.”
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Remix Theory. The Aesthetics of Sampling (2012), by Eduardo Navas

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Remix, at the beginning of the twenty-first century, informs the development of material reality dependent on the constant recyclability of material with the implementation of mechanical reproduction.
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Copying Machines (2000), by Catherine Liu

admin — Mon, 22 Apr 2013 04:49:57 +0000

This work is a sustained examination of the automaton as early modern machine, and curious ancestor of the twentieth-century robot, who slaves away at the assembly line of being, sustaining the most precious fantasies of our humanity, while entertaining us with nightmares of the treachery of others.
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I’m too sad to tell you (1971), by Bas Jan Ader

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Video-Landschaft (1974), by Ernst Caramelle

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All The Screens In My House (2012), by Remty Elenga

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Nazi Milk (1979), by General Idea

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The Presentation of Self in Everyday Life (1959), by Erving Goffman

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When an individual enters the presence of others, they commonly seek to acquire information about him or to bring into play information about him already possessed. They will be interested in his general socio-economic status, his conception of self, his attitude toward them, his competence, his trust worthiness, etc. Although some of this information seems to be sought almost as an end in itself, there are usually quite prac tical reasons for acquiring it. Information about the individual helps to define the situation, enabling others to know in ad vance what he will expect of them and what they may expect of him. Informed in these ways, the others will know how best to act in order to call forth a desired response from him.
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More Michael Paintings (2011), by Reena Spaulings

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Exquisite Corpse: The Complete Paintings of Manet, 208 of 556, Partie de Croquet (The Croquet Game), 1873 (1988-), by Stephen Prina

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#26 (from the series: The Necessity of Incinsistent Fantasies) (2009), by Jutta Koether

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Volumes – inncompleteset (detail) (2012), by Paul Chan

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Goldrosa – Upward (Structure in Red) (ca. 1926), by Josef Albers

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The Global Brain as a New Utopia (2002), by Francis Heylighen

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Utopias seem to be out of fashion these days. The old ideologies, such as communism, have shown their inadequacies, and the “laissez-faire” liberalism that has replaced them is coming under more and more criticism. Instead, the intellectual climate has turned to either gloom and doom, or an “anything goes” postmodernist relativism. This general pessimism and apathy is fed by an increasing amount of bad news about wars, terrorism, ecological catastrophes, global warming, rising xenophobia and inequalities.
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Painting Beside Itself (2009), by David Joselit

admin — Fri, 05 Apr 2013 13:53:03 +0000

With a characteristic flourish of perversity linking painting to pasta, Martin Kippenberger identified the most important problem to be addressed on canvas since Warhol in an interview of 1990–91: “Simply to hang a painting on the wall and say that it’s art is dreadful. The whole network is important! Even spaghettini . . . . When you say art, then everything possible belongs to it. In a gallery that is also the floor, the architecture, the color of the walls.” If we take Kippenberger at his word, a significant question arises: How does painting belong to a network?
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The Life and Opinions of Tristram Shandy, Gentleman (1759-1767), by Laurence Sterne

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Un coup de dés jamais n’abolira le hasard (1969), by Marcel Broothaers

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Your Skin Under Mine (2013), by Natt Rozanska

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A tree. A sunset. (2012), by Joe Clark

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I’m Google (2011-), by Dina Kelberman

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Future Growth Approximations I-III (2012), by Katja Novitskova

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Redistribution (2007-), by Seth Price

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The Death Of The URL (2013), by Constant Dullaart

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Untitled (screen (trial)…) (2011), by Kevin Appel

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Outsides (Helsinki) (2011), by Clemens Behr

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Templet (2011), by Kees Goudzwaard

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Swing (2013), by Stéphane Dafflon

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Into Time #1 (2013), by Rafaël Rozendaal

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Diffraction (2013), by Mitch Payne

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lightflow_colourfield, Venice / Piazzale Roma (2002), by Anton Kehrer

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Palabra Destruida (2010-2012), by Santiago Sierra

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Some work (2012), by Trevor H. Smith

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Rahmen für einen Raum II (2009), by Franz Riedl

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Why work? (2010), by Liam Gillick

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Art is a history of doing nothing and a long tail of useful action. It is always a fetishisation of decision and indecision – with each mark, structure and engagement.
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The Function of the Studio (1971), by Daniel Buren

admin — Sat, 23 Mar 2013 07:26:31 +0000

Of all the frames, envelopes, and limits-usually not perceived and certainly never questioned-which enclose and constitute the work of art (picture frame, niche, pedestal, palace, church, gallery, museum, art history, economics, power, etc.), there is one rarely even mentioned today that remains of primary importance: the artist’s studio.
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The Studio Reader. On the Space of Artists (2010), by Mary Jane Jacob and Michelle Grabner (eds.)

admin — Sat, 23 Mar 2013 07:24:37 +0000

As the art world careens this way and that, and its many institutions, markets, and audiences adapt and adjust, supporting it all is the generative activity of studio practice. The studio is a space and a condition wherein creative play and progressive thinking yield propositions for reflecting on who we are—individually and collectively—and where we might go next.
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Nuance (2012), by Jakob Neulinger

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HAY HAY HAY HAY HAY HAY (…) (2012), by Daif King

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Fragile Images That Keep Producing Death While Attempting To Preserve Life: Flowers found in crimes scenes_003 (2011), by Alejandro Cesarco

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Doritaenopsis Aung San Suu Kyi (2011), by Oliver Laric

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On the Duty of Civil Disobsedience (2008), by Michel Vosz

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DIE REALE ABSTRAKTION (2011), by Stefania Strouza

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Contemporary Art, Daily (2011), by Michael Sanchez

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The significane for art of the year 2008 is not limited to the market crash in October, but includes the founding of the blog Contemporary Art Daily in November, and the concurrent mushrooming of social media. Although the first and the last development have been much discussed (albeit rarely in tandem), all three have produced effects which are deeply interrelated.
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Peer Pressure (2011), by Brad Troemel

admin — Wed, 20 Mar 2013 10:48:26 +0000

I used to really hate art object and the buildings that housed them. This was because I thought they werde unnecessarily exclusive, that only certain people could interact with them in certain places at certain times. To a degree, I still belive this.
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Teen Image (2009), by Seth Price

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People keep trying to get a handle on what’s happening. There’s a fear that others are hastening to make startling connections among the raw material, tracing lines between points we didn’t even know existed. Exacerbating this anxiety is the fact that despite its supposed insistence on the consolidation of knowledge and the worth of information, the Internet produces ritualized unknowing. You could say, however, that this is a good thing, for it provokes a desire to remystify the frenzy of technological change through ritual, through a personal and allegorical rehearsal of what is perceived to be a manic and distorting increase in density, a compression exponentially telescoping in reach and magnitude.
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A Life More Photographic. Mapping the Networked Image (2008), by Daniel Rubinstein and Katrina Sluis

admin — Wed, 20 Mar 2013 10:41:57 +0000

Twenty-two years since the arrival of the first consumer digital camera, Western culture is now characterized by ubiquitous photography. The disappearance of the camera inside the mobile phone has ensured that even the most banal moments of the day can become a point of photographic reverie, potentially shared instantly. Supported by the increased affordability of computers, digital storage and access to broadband, consumers are provided with new opportunities for the capture and transmission of images, particularly online where snapshot photography is being transformed from an individual to a communal activity. As the digital image proliferates online and becomes increasingly delivered via networks, numerous practices emerge surrounding the image’s transmission, encoding, ordering and reception. Informing these practices is a growing cultural shift towards a conception of the Internet as a platform for sharing and collaboration, supported by a mosaic of technologies termed Web 2.0. In this article we attempt to delineate the field of snapshot photography as this practice shifts from primarily being a print-oriented to a transmission-oriented, screen-based experience. We observe how the alignment of the snapshot with the Internet results in the emergence of new photographies in which the photographic image interacts with established and experimental media forms – raising questions about the ways in which digital photography is framed institutionally and theoretically.
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1991 (2010), by Karthik Pandian and Mathias Poledna

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Fade Out (2002), by Alejandro Cesarco

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The Most Infamous Girl in the History of the Internet / Attractive Student / Parked Domain Girl (2010-2013), by Parker Ito

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Sickhair & Sickhands (2011), by Petra Cortright

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DOPPELGAENGER / Var180 Var181 (2012), by Peter Jellitsch

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Untitled (After Gombrich’s Art and Illusion) (2009), by Ane Mette Hol

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Limitation (Salzburger Kunstverein) (2012), by Ulrich Nausner

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poem-roulette (1962), by Robert Filliou

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konkrete poesie (1972), by Eugen Gomringer

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Au contraire. All Poetry is Poems (2013), by Flaunt Magazine #125

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zaroum (2001), by Cia Rinne

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Fieldwork Notebooks (2012), by Michael Taussig

admin — Sat, 16 Mar 2013 08:43:19 +0000

Roland Barthes despaired of keeping a diary. Too boring. Too frustrating. The diary disease, he called it. But there was one point of interest, and that had to do with re-reading an entry several months or years later. This could provide pleasure due to the awakening of a memory not in what was written but in “the interstices of notation.” For instance, on re-reading the entry relating his having to wait for a bus one disappointing evening on the rue de Rivoli in Paris, he recalls the grayness—”but no use trying to describe it now, anyway, or I’ll lose it again instead of some other sensation, and so on, as if resurrection always occurred alongside the thing expressed: role of the Phantom, of the Shadow.” This is certainly intriguing, yet what is this Phantom, and what might it tell us about fieldwork notebooks?
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Words without pictures (2007-2009), by Charlotte Cotton and Alex Klein (eds.)

admin — Sat, 16 Mar 2013 08:40:43 +0000

With medium specificity a passé historical concern confined chiefly to the pages of art history, it may seem prosaic and anachronistic to question the position and relative validity of a single medium—photography— within the world of contemporary art.
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Writer/Storyteller (2012), by Assaf Shaham

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#5 Standard Lexikon Farbig / Herder 1958 (from the series: Aa–Zy) (2010), by Sophie Dvorak

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A .jpeg of the Word ‘.jpeg’ Saved as a Low Quality .jpeg (one of a kind) (2013), by The Jogging

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Image Transfers (2012), by Anne de Vries

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Folklore U.S. (2012), by Seth Price

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Art Car (2013), by Rafaël Rozendaal

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An Essay on the New Aesthetic (2012), by Bruce Sterling

admin — Sat, 09 Mar 2013 10:58:33 +0000

The “New Aesthetic” is a native product of modern network culture. It’s from London, but it was born digital, on the Internet. The New Aesthetic is a “theory object” and a “shareable concept.”
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Manifesto for a Theory of the “New Asthetic” (2012), by Curt Cloninger

admin — Sat, 09 Mar 2013 10:56:17 +0000

If, according to Debord, “the spectacle is capital accumulated to such a degree that it becomes an image”, then the New Aesthetic is technology accumulated to such a degree that it becomes an image.
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