A photograph depicting Lawrence Weiner leaning casually against the wall next to his work was uploaded to a website to point out in which letter the work was typeset. The website ascribes Weiner to the alphabet’s sixth letter (that letter that starts the word we use when we describe moving through the air with wings). Edition 25 (+5 A.P.)

A photograph depicting Lawrence Weiner leaning casually against the wall next to his work was uploaded to a website to point out in which letter the work was typeset. The website ascribes Weiner to the alphabet’s sixth letter (that letter that starts the word we use when we describe moving through the air with wings). Edition 25 (+5 A.P.)

The artistic practice of Mladen Stilinović, one of the founders and the liveliest protagonists of conceptual art in Croatia and the region, may be presented by using the key words, i.e. words that introduce the core problem and the procedures that the artist uses: language, ideology, manipulation, appropriation, correction, irony, installation, de-contextualization, exploitation, repetition, tautology. In Stilinović’s well-known Dictionary–Pain (2000–2003) have been crossed out white and changed into one and the same word of unique meaning—pain—in a potential “imperatival dictionary” some words could easily change places and the structure without the change of meaning.

Rosalind Nashashibi’s solo exhibition in Bergen Kunsthall was the largest presentation in Scandinavia so far of Nashashibi’s work and covered her most important films from recent years, as well as photographic works. Nashashibi’s films are poetic observations of everyday events. The camera dwells on the social interaction that arises in human relations where the actors seem to hesitate between simply ‘being themselves’ and playing various socially defined roles. The artist makes effective use of the cinematic qualities of 16 mm film, and consciously uses the film medium’s quality to create a fundamentally time-based experience. Despite documentary restraint, Nashashibi’s films are not documentary films. They are as much poetic film collages, coloured by a subjective camera eye where the artist’s presence is always palpable.

Guy Mees’s (1935–2003) photographs, videos, and above all his fragile works on paper are characterised by a formal rigour combined with sensitivity and delicacy. The uniqueness of his oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied art.

“Vogliamo tutto: We want everything—all the wealth, all the power, and no work.”

Torino, 1969. Fiat’s giant Mirafiori plant is a magnet for thousands of young southern workers, who go north to escape oppression, poverty and underdevelopment and find only exploitation and abuse on the assembly lines.

Nanni Balestrini draws on interviews, flyers and the movement’s bulletins to document workers’ experiences on the factory floor, in the meetings and demonstrations and, finally, at the barricades, creating a poetic remix of a novel, a searching documentary and a call to arms for a just society.

Translated from the Italian by Matt Holden. Designed by Warren Taylor.