After all is pleased to present issue 51, Mediations. Today, rethinking the medium in art means approaching it as a form of mediation through its technical and material dimensions and recognizing and questioning the latter in their capacities to shape experience, perception as well as to lay down the conditions of possibilities for the production, circulation and archiving of visual culture. What is more, with technological changes and the expansion of contemporary artistic practices on a planetary scale, global art occupies a prominent place when it comes to questioning the way in which the regimes of the sensitive are shaped. in technical and material conditions, in their local and cultural specificities. . Today, we have to wonder about locally specific and differentiated apprehensions of the technical nature of mediation regimes. After allS longstanding interest in examining and diagnosing “minor” artistic positions, whether from a geographical or historical setting, is reinforced by the attention paid to a plurality of artistic languages, not only to their regional or cultural conditions, but to their technical specificities. -the material conditions too.
This issue opens with a focus on the Singaporean artist Ho Tzu Nyen, whose research-based practice examining Southeast Asia as historical and cultural constructs unfolds through single-channel moving image works, installations and intermedia environments. Curator and critic David Teh discusses the artist’s investigations into Singapore and Southeast Asia in works including his opera Ten thousand tigers (2014) or his Critical Dictionary of Southeast Asia (2012-ongoing), while researcher in cinema Jaimie Baron enrolled Ho’s The name and The nameless (2015) as part of the experimental cinematographic strategies of the found footage film and the supercut. The issue continues its investigation into Southeast Asia with an insert from the Yogyakarta-based collective Life patch, reflecting their work at the intersections of community-driven art, science and technology. The collective’s collage is put into dialogue with an essay by anthropologist and filmmaker Rosalia Namsai Engchuan, which examines the DIWO (Do It With Others) philosophy of Lifepatch and the Indonesian notion of gotong royong. Kathleen ditzig look at him MoMA International Program in South East Asia and how seminal Modernist exhibitions have been appropriated by local actors in Southeast Asia to present regional understandings of modernity.
Current conversations around culturally specific forms of mediation and conceptions of technology that go beyond the Eurocentrism of Greek technical owes a lot to the work of Yuk hui. In his essay for After all, the Hong Kong philosopher articulates an alternative path to the dead ends of postmodern thought and exposes his critique of other attempts such as the different proposals to discover alternative national or regional modernities.
Two feature films by artists focus on the aesthetic modulations produced by formal and conceptual experiments with, on the one hand, the medium of the film in Rosalind Nashashibithe work of, and the (in) auditory objects in Christina kubisch, the other. conservative and After all editor Nav Haq provides a panoramic account of the early practice of Nashashibi and how the artist portrays individuals and their behavior, and interactions with other people or with objects, through the notion of “proxemics”. Conservative Mike Sperlinger examines how the various formal strategies used by Nashashibi produce “frames” (in the sense of sociologist Erving Goffman) that complicate the boundaries between the natural flow of daily life and repeated or staged behavior and performativity. Art historian Anne Zeitz and musician, composer and writer Seth Ayyaz look at Christina Kubisch’s long-standing commitment to sound and audible thresholds. Examining the trajectory of the artist and composer from the 1970s onwards, Zeitz carefully traces the development of his experiments on the limits of aurality, while Ayyaz’s essay questions Kubisch’s work for its potential to denaturalize the ear and the practice of listening.
Three contributions that address, echo and create new associations with the theme conclude the issue. Conservative Edwin nasr analyzes a Palestinian artist Manna Jumanathe video of Wild parents (2018), which traces a transnational geography of extractivist dynamics between Syria and Norway. Art historian Isobel HarbisonInvestigation into the works of the Northern Irish filmmaker Pat murphy and films produced by the Derry Film and Video Workshop (DFVW) set against the backdrop of mainstream British television programs and films that orientalize and alter Northern Irish culture. Finally, curator Remco from Blaaij provides an overview of recent Aotearoa practices. A look back at the work of the performative research and action group founded by visual artist Rosanna Raymond K’lub SAVage, the projects of the Samoa House Library as well as pieces of bark cloth from Nikau Hindin, de Blaaij shows how these projects, often isolated, are constantly in mediation with the outside to build local identity.
After all Issue 51 will be launched online and various events will be announced through our newsletter and website.
The latest titles from Afterall Books in the an artwork the series are Pierre Huyghe: Human mask by Mark Lewis and Beverly Buchanan: Swamp Ruins by Amelia Groom. The latest titles from Afterall’s Exhibition stories the series are Art and its worlds: exhibitions, institutions and art made public and Non-cooperative contemporaries: art exhibitions in Shanghai around 2000.
After all journal is published by Central Saint Martins, London, in editorial partnership with M HKA, Antwerp; the John H. Daniels Faculty of Architecture, Landscape and Design, University of Toronto, and in association with University of Chicago Press.
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