Rereading Appropriation reconsiders the artistic strategy of appropriation through later elaborated theories of affect, to explore how an understanding of ‘reciprocal investment’ reconfigures appropriation as an act that is based in connecting, acknowledging and being porous to material. Rereading Appropriation compiles texts read in the sister reading groups of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution during its Edition V – Appropriation and Dedication (2013–2014).
Reading / Feeling centers around the notion of affect, a term that delineates a field where the personal and the political meet through sensory movements between bodies. Affect, as a pre-emotional experience, constitutes the social and economic relationships that make up the fabric of society. Reading / Feeling considers the meaning of affect in theory and artistic practice, with a selection of texts by theoreticians, artists and curators that were read in If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution’s reading groups in Amsterdam, Toronto and Sheffield for the past two years, as part of the programme Edition IV—Affect (2010–2012). It also includes three new essays, short statements by reading group members, and artist pages.
(Mis)reading Masquerades comprises a selection of theoretical texts drawn from different fields of knowledge that address questions such as transgression, gender identity and subversion, gesture, the carnivalesque, the construction of subjectivity, authorship, mimesis, and alterity. The publication features introductions to each text by the participants of our monthly reading group, newly commissioned essays by writers and curators from the field of contemporary art and contributions by artists from the Dutch Art Institute (Enschede) and Piet Zwart Institute (Rotterdam).
Published on the occasion of Klapheck’s 1993 exhibtion at Galerie Lelong, Zurich. Includes the essay by Konrad Klapheck Die Supermutter.
Klapheck, who was just 10 when World War II ended, saw in the destroyed cities and ruined buildings all around him a certain beauty or spectacle. After becoming a student at the Düsseldorf Art Academy, Klapheck turned to a different kind of subject matter, creating the first of his many “machine pictures”: the 1955 painting Typewriter. He went on to expand his repertoire to include sewing machines, faucets, telephones, irons, and even a hay-turning machine.
Klapheck, who was just 10 when World War II ended, saw in the destroyed cities and ruined buildings all around him a certain beauty or spectacle. After becoming a student at the Düsseldorf Art Academy, Klapheck turned to a different kind of subject matter, creating the first of his many “machine pictures”: the 1955 painting Typewriter. He went on to expand his repertoire to include sewing machines, faucets, telephones, irons, and even a hay-turning machine.