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Born out of her fascination for shop displays, Lisa Sudhibhasilp imagined an exhibition in a hardware store. Improvising a series of sculptural interventions in situ, the artist played with existing display structures, proposing the hardware store as a place where the display of materiality can be contemplated like works of art in exhibition spaces. Photographer Johannes Schwartz documented the artist?s ephemeral installations and the existing fixtures and fittings, creating a portrait of the store. Accompanying the visual journey, a series of texts written by Sudhibhasilp, illustrated by Rudy Guedj, provides insight into her research through anecdotal stories and other miscellaneous facts on materials and exhibition design. Shifting between the form of the artist book and the exhibition catalogue ?No thanks, I?m just looking? stands as the sole remaining document of the event.00Exhibition San Serriffe, Amsterdam, The Netherlands (24.09.-04.10.2020).
This catalog documents the Dutch Pavilion at the 2018 Venice Architecture Biennale, which gathers contributions from architects, designers, historians and theorists exploring the emerging technologies of automation. Contributors include Amal Alhaag, Beatriz Colomina, Marten Kuijpers, Victor Muñoz Sanz, Simone C. Niquelle and Mark Wigley.
Founded by Bik van der Pol, the Dutch collaborative art duo of Liesbeth Bik (b. 1959) and Jos van der Pol (b. 1961), the School of Missing Studies started in 2003 as a collective made-up of artists and architects who recognized the missing as a matter of urgency in public space and how cultural education was so close yet so far removed from cultural production. They investigated what cultures laid the foundations for the loss that we are experiencing from modernization, and how we can learn from this loss. Their project was recreated for programming at the Sandberg Institute, Amsterdam. It also became the subject of the Sandberg Institutes first publication in this new cultural series. The School of Missing Studies is calling for a space to turn existing knowledge against itself to affect our capacity to see things otherwise, to trust that seeing, and to set our own pedagogical terms. essays by Liz Allan, Bik van der Pol, Charles esche, e. C. feiss, Laymert Garcia dos Santos, Sarah Pierce, eloise Sweetman, Paulo Tavares, and nato Thompson.
'In Two Minds' documents Gwenneth Boelens practice of the past ten years, comprising photography and sculpture, as well as performative and filmic works. An extensive chapter of notes, written by her partner and editor Nickel van Duijvenboden, illuminate
When a wizard discovered that each color he invented for the colorless world had a different emotional effect on people, he luckily had an accident which resulted in red apples, green leaves, and yellow bananas.
Dutch writer and artist Martijn in ‘t Veld seeks to give greater meaning to everyday reality in his work, scrutinising the poetic dimension of an image or experience and in turn bestowing a philosophical or literary significance on the embodiment of his themes and subjects. The Name of the Sun is Yellow is a collection of especially concise fictions that reflect the meditative process behind Martijn’s body of work. With simple clarity and liberal dashes of whimsical humour, his minimal narratives encourage the reader to think differently about all sorts of things, from shadows, clouds, and wind, to coffee, love, paint rollers, horoscopes, and special occasions.
I can resist everything", wrote Oscar Wilde, "except temptation". What is it that makes a painting so attractive, so irresistible? In this collection of essays, Dominic van den Boogerd writes with passion about the exhibitions he has seen, the painters he has spoken with, and the talks by artists that he has organised as the director of De Ateliers in Amsterdam. About the pleasures and pitfalls of painting, forbidden favourites and the flirtation between the art of painting and other muses.
IN/Search RE/Search' offers a unique insight into the wide range of appearances of the intersection between art, design and research. The book is organized into twelve substantive chapters: The Anthropocene Epoch; The Climate Crisis; The Coexerced Existence, The Limitations of Language; Facts and Fictions; The Fragile Human; The Instrumentalised Identity; Gender and Violence; The Question of Race; Politics of Public Space; Naked Capitalism; The Morality of a Cyborg. These themes are analysed through art and design projects. The projects are further contextualised by journalistic explorations and academic reflections on similar matters, grappled by varied research outlooks. 00By bringing together various practices (arts, design and writing practices and academic research), 'IN/Search RE/Search' shows how artistic research processes are designed and performed. The kaleidoscopic convergence of the featured approaches promises an exciting shift in thinking about how knowledge within the arts comes about, and how this knowledge nurtures daily practice, and vice versa. In this way, this publication discloses methods of thinking and working through which a new generation of artists/designers/researchers is shaping scenarios for the near future.00The core of this publication is formed by various art and design projects by students of the Rietveld Academie and the Sandberg Instituut. Many of these projects confuse, blur and confront what is traditionally relevant in research practices. These young artists demonstrate what happens when ideas and practices that seem to be miles apart within the traditional domain of research, are suddenly allowed touch upon and influence each other.
Written through both the first and second person singular, "Passionate Being" takes its author and its reader on a journey that has them thinking of their experience of and belonging to language and the possibility of an instance of the world taking-place without prejudice and exclusion. At its beginning, it brings to its author the question 'What can you say?' The responses that ensue turn our attention toward presupposition and about how 'singularity' can be said. The book also brings into play, among others, the work of Giorgio Agamben. It asks us to view both language and the world taking-place without presupposition, revealing both the political implications, and those for living, that this vision holds. It is a work to be read twice with pleasure, and then again.