A key part of the publication comprises films created in French and German as part of the research project Choix d’un passé, in collaboration with Moïse Merlin Mabouna. These films are accompanied by textual and visual sequences from the video works S. – Je suis, je lis à haute voix and Erase them! – The image as it is falling apart into looks. The e-book also includes a playable film-clip and elements from the film performance Der erste Blick #1, created in collaboration with Angela Melitopoulos and Vassilis S. Tsianos.

The post Territoires – Filmtranskripte appeared first on EECLECTIC.

The publication Black Studium documents the installation Black Lives Audio Triptych by Ina Wudtke. It uncovers traces of the history of Black people in Germany and is a multidirectional reminder of past and present anti-racist struggles.  

The work activates archive material, in particular songs, texts and photos relating to Fasia Jansen (1929 – 1997), Hilarius Gilges (1909 – 1933) and Joseph Ekwe Bilé (1892 – 1959) – all three were active in the context of the workers’ movement. 

The audio work consists of three staged audio self-portraits. The staging goes back to the techniques of the agit-prop play groups of the Weimar Republic. Local dialects were often used to reach workers; the actors were not supposed to merge with the roles as in bourgeois theater.  

The speakers, through their current social commitment, can be seen as continuing the protagonists’ political work: Jasmin Eding (speaker Fasia), for example, belongs to a group of Black women who organized with others ADEFRA (Black Women in Germany) in the 1980s for the rights and visibility of Black people in Germany. The Krump dancer Kofie Boachie (speaker Hilarius Gilges) was instrumental in organizing the Black Lives Matter demos in Düsseldorf. Jaenne-Ange Wagne (speaker Joseph Ekwe Bilé) deals with the colonial entanglements of cultural institutions. 

„We only started to deal with our Black history in the mid-1980s and now 37 years have passed and a lot has happened.“ – Jasmin Eding

The post Black Studium. A Tribute to Fasia Jansen, Hilarius Gilges & Joseph Ekwe Bilé appeared first on EECLECTIC.

Stuff holes, dig, save time, howl. From the first person is a personal exploration of cinematic autobiographies / autofiction: a rambling through spaces and lives, through which a self, in the broadest sense, speaks. The book pursues inwards glances, gazing out over expanses, retracing passages, thought movements, and physical experiences, feeling its way along the unpaved terrain of memories. Centering on filmic analogies to writing acts: diary films, journals, film-poems, travelogues, as well as reenactments.

From the first person includes contributions on Chantal Akerman, Frank Beauvais, Dominique Cabrera, Alain Cavalier, Vincent Dieutre, Su Friedrich, Maria Lang, Joanna Hogg and others. The texts arc from the direct narrative style of early self-documentaries to more recent autofictional forms.

The post Aus der ersten Person. Filmische Autobiografien / Autofiktion appeared first on EECLECTIC.

Cultural proximity is outlined as a constructive dissent of artistic and intellectual articulations transverse to national and cultural categorizations.

HyperCulturality as a family resemblance (Wittgenstein) offers seemingly foreign art and cultural practices an unconstrained exchange of artistic action and theoretical reflection. The volume Hyper Cultural Passengers asks how art and philosophy can contribute to generating spaces of dialogue that are not territorial and borne of national self-assertion.

The volume documents the project started in Hamburg in 2016 that outlines a broad spectrum of positions in hyper cultural art and cultural practices. The myth of the autonomous subject is problematized with different formats such as artist-in-residences, conferences, lecture series, workshops, or co-cookings. The figure of the hyper cultural passenger is proposed instead: these come from Japan, China, South Korea, India, Jordan, Finland, the Netherlands, France, Iceland, and the USA, among others.

The post Hyper Cultural Passengers. Sharing Aesthetics Across Co-Contemporary Collectives appeared first on EECLECTIC.

Publishing a selection of her radiophonic essays here for the first time, I Speak Radio reflects Bromley’s collaborative radio practice. The publication also provides insight into the corresponding exhibition formats of these projects, including cooperations with a large number of artists, activists, radio makers and theorists. An index of images and texts on Bromley’s other artistic works is inserted into the book.

I Speak Radio opens with Bromley’s eponymous multimedia essay on the feminist appropriation of early radio technology in the 1920s. A Voice Exists in Voicing, the series of radio essays and sonic portraits with which Bromley opened the Manifesta Radio in Prishtina in the summer of 2022, comprises the core of the book. The accompanying visual element to this section is a series of drawings by Michael Fesca. Contextualizing texts by Catherine Nichols and Hedwig Fijen provide an introduction to A Voice Exists in Voicing. Finally, Bromley talks to media activist Diana McCarty about the politics of persistent radio voices and considers critical perspectives on radio as a medium within art exhibitions.

Complementing the print version, audio excerpts from I Speak Radio and A Voice Exists in Voicing can be heard in the e-book. The e-book includes two additional texts: a conversation between Bromley, Brandon LaBelle and Bonaventure Soh Bejeng Ndikung, and a condensed text form of Red Forest’s “Radiogram #3: The Enchanted Technologies of Transmission”, in which, alongside Anna Bromley, Diana McCarty, Tetsuo Kogawa, Alla Mitrofanova and JD Zazie are featured as important companions and inspirations.

The post I Speak Radio appeared first on EECLECTIC.

This e-book is a digital record, documenting the gathering of materials and the process of creating the project The Scream of the Strawbear. In his photographs, videos, installations and performances, visual artist Matthew Cowan surveys European customs and traditions and their continuing social function today. This interest originally stemmed from learning English ritual dances in New Zealand and has sparked an ongoing exploration of folklore and its contemporary connotations in a wider European context. A sequence of rituals, materials, costumes, plants, and museum artefacts form the central staging point of his artistic research.

In The Scream of the Strawbear, the New Zealand-born artist documents selected traditions from the German city of Giessen and the surrounding countryside, placing them in the context of contemporary art. The publication includes texts that reveal the process of artistic research involved in the work. It covers diverse yet connected themes of folklore originating from traditions in Hesse as well as historical links that cross the world from New Zealand to Europe and the United Kingdom.

Matthew Cowan collaborated with communities whose annual traditional ritual customs, such as the Strawbear and Maimann, take place close to Giessen. These community rituals provide a focus for the aesthetic material of the project. Straw, eggs, leaves, tobacco, cameras, and sound recording devices all feature as artistic motifs in the resulting exhibition at Kunsthalle Giessen.

The e-book contains extensive photographs and documents from the research and exhibition and five performance videos produced over the course of the project.

The Scream of the Strawbear was exhibited at Kunsthalle Giessen and the Oberhessisches Museum from September 7 to November 17, 2019.

The post The Scream of the Strawbear Edition T-shirt appeared first on EECLECTIC.

This e-book is a digital record, documenting the gathering of materials and the process of creating the project The Scream of the Strawbear. In his photographs, videos, installations and performances, visual artist Matthew Cowan surveys European customs and traditions and their continuing social function today. This interest originally stemmed from learning English ritual dances in New Zealand and has sparked an ongoing exploration of folklore and its contemporary connotations in a wider European context. A sequence of rituals, materials, costumes, plants, and museum artefacts form the central staging point of his artistic research.

In The Scream of the Strawbear, the New Zealand-born artist documents selected traditions from the German city of Giessen and the surrounding countryside, placing them in the context of contemporary art. The publication includes texts that reveal the process of artistic research involved in the work. It covers diverse yet connected themes of folklore originating from traditions in Hesse as well as historical links that cross the world from New Zealand to Europe and the United Kingdom.

Matthew Cowan collaborated with communities whose annual traditional ritual customs, such as the Strawbear and Maimann, take place close to Giessen. These community rituals provide a focus for the aesthetic material of the project. Straw, eggs, leaves, tobacco, cameras, and sound recording devices all feature as artistic motifs in the resulting exhibition at Kunsthalle Giessen.

The e-book contains extensive photographs and documents from the research and exhibition and five performance videos produced over the course of the project.

The Scream of the Strawbear was exhibited at Kunsthalle Giessen and the Oberhessisches Museum from September 7 to November 17, 2019.

The post The Scream of the Strawbear Edition Tote Bag appeared first on EECLECTIC.

In The Scream of the Strawbear, the New Zealand-born artist documents selected traditions from the German city of Giessen and the surrounding countryside, placing them in the context of contemporary art. The publication includes texts that reveal the process of artistic research involved in the work. It covers diverse yet connected themes of folklore originating from traditions in Hesse as well as historical links that cross the world from New Zealand to Europe and the United Kingdom.

Matthew Cowan collaborated with communities whose annual traditional ritual customs, such as the Strawbear and Maimann, take place close to Giessen. These community rituals provide a focus for the aesthetic material of the project. Straw, eggs, leaves, tobacco, cameras, and sound recording devices all feature as artistic motifs in the resulting exhibition at Kunsthalle Giessen.

The e-book contains extensive photographs and documents from the research and exhibition and five performance videos produced over the course of the project.

The Scream of the Strawbear was exhibited at Kunsthalle Giessen and the Oberhessisches Museum from September 7 to November 17, 2019.

The post The Scream of the Strawbear appeared first on EECLECTIC.

Since 2012 the artist Anke Becker draws the visual poems economic words: With a black marker, words and whole sentences are crossed out from newspaper clippings of the business newspaper Financial Times. Only isolated words remain visible. Previously hidden meaning emerges beyond stock exchange quotations and international money flows.

economic words are laconic notations of a subjective character, filtered out of journalistic texts that analyze general economic events. In the book, a new, extensive text body of words and lines is created from a selection of full-size economic words: Visually minimalist but contentwise baroquely sprawling and meandering.

To date, over 2,000 of the small-format text drawings exist on newspaper clippings. All economic words have been archived on a blog since 2012 in the order in which they were created: www.economicwords.com.

With this publication, two new versions of the project are available at once: as a printed book with 231 images and a volume of 480 pages and an e-book with texts by Robin Detje and Beate Tröger, 299 images and audio files of the spoken poems.

The post economic words appeared first on EECLECTIC.

This is about the search for the sculptural conditions of what reality provides and the historically invisible. About how we can react to urban space in a situational-spatial and performative-materialised way. What does it mean artistically (but also for urban planning) to be active in public space, if you are interested in being socially effective?

All these approaches, temporary developments and implementations are done with different partners on site and with various authors.

Starting in Rome, where Erik Göngrich was residing from September 2018 to July 2019.

The post Atlas of Sculptural Situations I–V (Buch) appeared first on EECLECTIC.

This is about the search for the sculptural conditions of what reality provides and the historically invisible. About how we can react to urban space in a situational-spatial and performative-materialised way. What does it mean artistically (but also for urban planning) to be active in public space, if you are interested in being socially effective?

All these approaches, temporary developments and implementations are done with different partners on site and with various authors.

Starting in Rome, where Erik Göngrich was residing from September 2018 to July 2019.

The post Atlas of Sculptural Situations (Special Edition) appeared first on EECLECTIC.

“Exit represents a development in the theme of disappearing acts prevalent in Rebecca Milling’s work. This series of photographs captures animals exiting the scene, and is distinct in its graphic and formal use of tone… The animals, cut in half and leaving the frame, give oblique but pointed reference to the mass endangerment of species in our present environmental crisis […].”
Cordelia Underhill

The post Exit appeared first on EECLECTIC.

Birds was inspired by Jim Goldberg’s “Rich and Poor”, a collection of photographs of rich and poor Americans, each with a handwritten statement by the subject, thereby creating a heart gripping portrait of the USA.

It was a logical step to have an ornithologist (a fictional ornithologist) portrait birds in a similar way, for they have just as much to say about the human condition. If people would only listen.

I have no idea what people think of me,
I don’t think much of them, that’s for sure.
Life is a bitch for everyone and I’m
struggling, just like everyone else.
Compassion is a mistake and the seed
for sloth and weakness.
And nobody ever offered to help me
out in any way, so why should I?
Egon, buzzard

The post Birds appeared first on EECLECTIC.

This is about the search for the sculptural conditions of what reality provides and the historically invisible. About how we can react to urban space in a situational-spatial and performative-materialised way. What does it mean artistically (but also for urban planning) to be active in public space, if you are interested in being socially effective?

All these approaches, temporary developments and implementations are done with different partners on site and with various authors.

Starting in Rome, where Erik Göngrich was residing from September 2018 to July 2019.

The post Atlas of Sculptural Situations, Part V: Oversocialised – The Operating and the Informing Artist appeared first on EECLECTIC.

This is about the search for the sculptural conditions of what reality provides and the historically invisible. About how we can react to urban space in a situational-spatial and performative-materialised way. What does it mean artistically (but also for urban planning) to be active in public space, if you are interested in being socially effective?

All these approaches, temporary developments and implementations are done with different partners on site and with various authors.

Starting in Rome, where Erik Göngrich was residing from September 2018 to July 2019.

The post Atlas of Sculptural Situations, Part IV: Everything is Original / Nothing is Original appeared first on EECLECTIC.

This is about the search for the sculptural conditions of what reality provides and the historically invisible. About how we can react to urban space in a situational-spatial and performative-materialised way. What does it mean artistically (but also for urban planning) to be active in public space, if you are interested in being socially effective?

All these approaches, temporary developments and implementations are done with different partners on site and with various authors.

Starting in Rome, where Erik Göngrich was residing from September 2018 to July 2019.

The post Atlas of Sculptural Situations, Part III: Who is the Owner of Meaning? appeared first on EECLECTIC.

This is about the search for the sculptural conditions of what reality provides and the historically invisible. About how we can react to urban space in a situational-spatial and performative-materialised way. What does it mean artistically (but also for urban planning) to be active in public space, if you are interested in being socially effective?

All these approaches, temporary developments and implementations are done with different partners on site and with various authors.

Starting in Rome, where Erik Göngrich was residing from September 2018 to July 2019.

The post Atlas of Sculptural Situations, Part II: Disko-Diskurs-Objekt appeared first on EECLECTIC.

This is about the search for the sculptural conditions of what reality provides and the historically invisible. About how we can react to urban space in a situational-spatial and performative-materialised way. What does it mean artistically (but also for urban planning) to be active in public space, if you are interested in being socially effective?

All these approaches, temporary developments and implementations are done with different partners on site and with various authors.

Starting in Rome, where Erik Göngrich was residing from September 2018 to July 2019.

The post Atlas of Sculptural Situations, Part I: Dov’è Roma appeared first on EECLECTIC.