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One of the most prominent artists of her generation Berlin-based Alicja Kwade (*1979, Katowice, Poland) has garnered international attention during the last decade, securing herself a leading position on the international contemporary art scene. In Aporie is the first monograph on Kwade covering a wide range of her intriguing works. Being 'In Aporie' is to be in a state where an insoluble theoretical problem allows for the paradoxical knowledge of one's own ignorance. From early on in her career, Kwade was never afraid to ponder complicated scientific and mathematical questions in her objects, sculptures, and installations, such as probability calculation, astronomical wormholes, the endless universe, and parallel realities. And these complex ideas and theories continue to fuel her artistic practice and drive. Besides many images of her work, the monograph features articles by Danish experts on her work.
Deeply fascinated with the freedom and playfulness expressed by Maja Malou Lyse, the photographer Petra Kleis (b.1983) has been documenting the artist, ten years her junior. Shot casually and sporadically over the course of three years, the series portrays the female model ? artist Maja Malou Lyse ? as a desired object and a desiring subject: dressing up, dressing down, or overtly reproducing classic motifs and archetypes of contemporary Western sexuality. Lyse is currently on view at the exhibition 'Art & Porn' at Kunsthal Charlottenborg. Entrance to the exhibition is free on the evening. 00"This dynamic duo cleverly comments on today?s porn culture0in knowing, non-judgmental ways.0Subtly hilarious, hence subversive.0Only loving, generous, wise women could make us feel this way.0Girlification is a masterful work of post-porn modernism.0Positively femmetastic!"0? Annie Sprinkle.
Is an in-depth introduction to the artistic practice of Lea Porsager, published on the occasion of her solo exhibition 'STRIPPED' at Moderna Museet, Stockholm. This comprehensive monograph documents Porsager?s many types of making, whether experiments, sculptures, 3D animations, or texts. Porsager?s practice persistently preserves space for instability. Through fluctuating material agency, her work meditates on excited and exhausted states?in particles as well as bodies. New and republished essays delve into Porsager?s proclivity for experimentation, speculations, and manifestations that collide different concepts of energy, knowledge, and spirituality.00Exhibition: Moderna Museet, Stockholm, Sweden (21.11.2020-14.02.2021).
A critique of capital through the lens of war, and a critique of war through the lens of the revolution of 1968. “We are at war,” declared the President of the French Republic on the evening of November 13, 2015. But what is this war, exactly? In Wars and Capital, Éric Alliez and Maurizio Lazzarato propose a counter-history of capitalism to recover the reality of the wars that are inflicted on us and denied to us. We experience not the ideal war of philosophers, but wars of class, race, sex, and gender; wars of civilization and the environment; wars of subjectivity that are raging within populations and that constitute the secret motor of liberal governmentality. By naming the enemy (refugees, migrants, Muslims), the new fascisms establish their hegemony on the processes of political subjectivation by reducing them to racist, sexist, and xenophobic slogans, fanning the flames of war among the poor and maintaining the total war philosophy of neoliberalism. Because war and fascism are the repressed elements of post-'68 thought, Alliez and Lazzarato not only read the history of capital through war but also read war itself through the strange revolution of '68, which made possible the passage from war in the singular to a plurality of wars—and from wars to the construction of new war machines against contemporary financialization. It is a question of pushing “'68 thought” beyond its own limits and redirecting it towards a new pragmatics of struggle linked to the continuous war of capital. It is especially important for us to prepare ourselves for the battles we will have to fight if we do not want to be always defeated.
Alastair Philip Wiper's precisionist-style color photographs of technology and industry, from CERN to Adidas factories Copenhagen-based British photographer Alastair Philip Wiper (born 1980)--known for his journalistic photography in Wired, The Guardian, Scientific American, Wallpaper and Vice--explores the technological and digital revolution in his color photographs of factories, labs, shipyards and industrial sites in this new monograph.
This work is the ideal introduction to the work of one of Europe's most radical thinkers.