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.

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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 All economic words have been archived on a blog since 2012 in the order in which they were created: www.economicwords.com.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.

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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.

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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.

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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

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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.

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In Anna Selander’s project Between You and Me, portraiture becomes a relational exercise. Whereas in most cases there is a clear separation of artist and subject, here the balance of power is equal. Who portraits whom and what do the images reveal?

Each drawing is juxtaposed with the photograph of the artist, taken by the portrayed subject herself. This project reveals surprising insights on relationships, authorship and projection.

With a text by Lena Johansson

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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.

Das Bilderbuch VAAL erzählt von einem kleinen Jungen, der herausfinden will, welches Geheimnis sich im Betonmischer seines Vaters verbirgt. Die Geschichte untersucht das moderne Phänomen des urbanen Schamanismus und das traditionelle Problem der Neugier. (Der Name VAAL geht zurück auf eine untergeordnete Gottheit aus einer Star Treck Episode.)

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On 4 April 2016, around forty people gathered to commemorate the 30th anniversary of the founding of the Marx-Engels-Forum in Berlin Mitte. Most of them had attended the site’s dedication in 1986—the lived history of a place whose meaning has consistently been denied.

In the 1950s and 60s the site was earmarked for a high-rise tower for the East German government yet this never materialized. Then in 1973 plans were laid—and ultimately realized—for a forum in the form of a public park. After 1989 the park remained unchanged or possibly was even forgotten.

Today, there are two opposing camps: on the one hand those who advocate an exact reconstruction of the city’s ground plan as it looked here in medieval times—almost as if the historicism driving the reconstruction of the palace on the far bank of the Spree has proved contagious; and on the other, the ‘modernists,’ who are committed to preserving and further developing the last vestiges of East German Modernist architecture and urban planning.

Located as it is between the television tower and the future Humboldt Forum, the Marx-Engels-Forum is a place of commemoration par excellence. It has been closed to the public since 2010 owing to work to extend the subway line U5, but is set to enjoy a new lease of life as an urban recreation zone by 2019. This publication illustrates and puts up for debate both the history of the site and the recurrent negotiations regarding its use, including those of 2015 in which the public was invited to participate. How might an open space—since, YES, that’s what is all about—be preserved at a prime downtown location and configured such as to accommodate continually changing uses?

If freedom is to be a feature of the appropriation of the forum then freedom must be inscribed in the very design of this urban public space, from its inception. And what better solution therefore, than to base its development on the physical presence of various sculptural ensembles? After all, the sculptures were there first—and not only those of Marx and Engels!

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Leseprobe (pdf):

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„Eighty years later, Inken Reinert delved into the tables of the mechanical recordings of words we can no longer hear. When she eventually began drawing on the charts, the voices of the Italian men and women seem to resonate with her. The artist becomes a medium that records and transforms the sounds of those words spoken many years ago.“

Ania Corcilius

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