onomatopee nl (208 results)

Paperback. Condition: New. In her research, Pinaka uses the term porno-graphing to group together and examine lens-based artworks where artists use material sexual situations or sets of sexual dynamics present in their lives and independent of their practices, to make art. Pinaka considers how artists act upon these sexual situations, the art-results they produce, and their means of sharing them with an audience. These situations and dynamics share commonalities as they can be regarded as 'taboo' or 'transgressive'; also, in that artists use them to underline the 'dirtiness' or 'wrongness' of their sexual and artistic subjectivities. For example, Kathy Acker with Alan Sondheim, after recognising the sexual dynamic between them as work-material, they act upon it to make art (instead of treating it as private enjoyment) and to do so they self-objectify into certain roles. In the Blue Tape, discussions of art, romantic love and phenomenology are talked-through video sequences of sexual stimulation and negation as a way of deliberating and reorganizing meaning and value.Pinaka argues that in porno-graphing, artists negotiate how subjectivity, and its value, is produced by self-submitting into the 'dirtiness' of sexual and artistic positions. To approach the 'dirtiness' of these works as well as their processes, Pinaka uses, amongst other theories and strategies, the notion of 'queer negativity'.AnnaMaria Pinaka was educated as a video artist, and developed her thesis in the department of Theatre, Drama and Performance at Roehampton University. Her research is practice-based; it involves creative work in performance and image-making alongside theoretical reflection derived from gender studies, queer theory and visual studies. Broadly speaking, Pinaka's focus is sexualised representation, and the development of a visual language that borrows in part from the rhetorics of pornography, but which also relates to the visual arts that focus on the intimacy of private life, the lived ordinary, the ecstasies of the everyday, lack of spectacularisation and the aesthetics of banality.

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Paperback. Condition: New. - An essay by Hannah Ellis -It starts with a question, perhaps a passing interest. Design takes over a city, with clutters of exhibitions in galleries and disused spaces working loosely in response. New biennials and festivals and weeks emerge every year. Old events happen again simply because they happened before. What is it that these events and their predictable patterns actually achieve, though?For almost 200 years, continuing a line of thought first started by events like the Great Exhibition, 'design events' have become more and more popular across Europe, tangling around local, national, and international politics and economics. But can design be important or meaningful at this kind of scale? And how do these events act on people and places - as well as on the discipline itself? With the pause that the pandemic offers, is this the moment to examine who and what they exclude, taking the time to imagine what they could be instead?---Hannah Ellis is a designer, writer and educator based in London (UK).

Paperback. Condition: New. Modes of Criticism is a design criticism journal published annually. It examines what is meant by 'criticality' in design, and works towards the politicisation of its discourse and practice through a variety of disciplinary intersections.

Paperback. Condition: New. Locked down at home during the first wave of Covid-19, David Weber-Krebs kept on thinking about the day when theatres would open their doors again. At that point, it was somehow difficult to even picture that moment. On the 8th of April, 2020, in the middle of the lockdown, David sent an e-mail to his peers: artists, scholars, curators, and spectators belonging to different art communities. In this e-mail, there was a simple question: What will happen on your first theatre visit after the lockdown? It was an invitation to imagine the future of theatre from this very specific moment when theatres were all closed and when it was not clear how and when and if they would open again. Paula Almiron, Kristof van Baarle, Sven Age Birkeland, Antonia Baehr, Caroline Barneaud, Nicole Beutler, Maaike Bleeker, Julien Bruneau, Pieter De Buysser, Alondra Castellanos, Chloé Chignell, Amélie Coster, Jasper Delbecke, Zoë Demoustier, Wouter De Raeve, Charlotte De Somviele, Katja Dreyer, Jeroen Fabius, Silvia Fanti, Far, Nicolas Galeazzi, Emilie Gallier, Nada Gambier, Melih Gencboyaci, Konstantina Georgelou, Kristof van Gestel, Matthieu Goeury, Maximilian Haas, Ant Hampton, David Helbich, Marijke Hoogenboom, Rita Hofwijk, Breg Horemans, Asa Horvitz, Dolores Hulan, Mette Ingvartsen, Myriam Van Imschoot and Marcus Bergner (MM), Stefan Kaegi, Edyta Kozak, Bojana Kunst, Rudi Laermans, Sarah van Lamsweerde, Heike Langsdorf, Mylène Lauzon, André Lepecki, Kopano Maroga, Ivana Müller, Phoebe Osborne, Leonie Persyn, Julie Pfleiderer, Antoine Pickels, Amanda Piña, Jan-Philipp Possmann, Fransien van der Putt, Irena Radmanovic, Anna Rispoli, Martina Ruhsam, Jonas Rutgeerts, Nienke Scholts, Ula Sickle, Michael Simon, Karoline Skuseth, Lara Staal, Christel Stalpaert, Danae Theodoridou, Pankaj Tiwari, Vera Tussing, Marie Urban, Michiel Vandevelde, Hidde Aans Verkade, Mathilde Villeneuve, Georg Weinand, Stefanie Wenner, Siegmar Zacharias, Andros Zins-Browne.

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Paperback. Condition: New. Alongside the literal form of ornament a contemporary form has emerged, which shares the ascribed characteristics of the literal ornament, but has an even more pervasive effect. This ornament, that takes the shape of (commercially) constructed values and relates to branding, storytelling and the experience economy, plays a key role in the understanding of fashion today. Interwoven in design practices this value-ornament has gained a dominant position in today's consumer society. By considering the layered character, the evolution of ornament and reflections on this from various sources and contexts ranging from Adolf Loos to Michel de Certeau, this text focuses on the impact of the contemporary value-ornament on today's makers and users revealing potential for future alternatives.

Paperback. Condition: New. "Bestiary of Corona Animals" is an essay that illuminates the causal relations between the human tendency to objectify the world, the continuous expansion of extractive activity, the trace effects of the current climate regime, and the outbreak of the current coronavirus pandemic. These seemingly distinct phenomena, often analyzed and discussed separately, in fact share the same roots. The text introduces a cast of different animals, both fictional and tangibly real, whose personal opinions and experiences- informed by animal rights and ethics, biopower, geopolitics, and necropolitics-give credence to the hypothesis that the human colonization of the natural territory of the virus enabled the pandemic to spread in the first place. These animal voices seek for a type of worlding that provides an equal footing for humans and non-humans, starting by exchanging self-interest for empathic non-understanding and selfless reciprocity: from the isolation of thinking and acting in a vacuum, to a world continuum.

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Paperback. Condition: New. Floppy Disk Fever explores the curious afterlives of the floppy disk in the twenty-first century by interviewing those involved with the medium today. The book reflects on notions of obsolescence, media preservation and nostalgia, and challenges these by showing the endurance and versatility of this familiar piece of technology. From floppy filmmakers to floppy painters and beyond; what drives people to continue working with the medium that is typically deemed obsolete? What challenges and affordances does it provide? And what does the future hold in store for the familiar black square? By looking at the current presence of past technology we can assess our present-day situation and speculate on the future developments of our media minded landscape. After all, the technology of the past is also part of our future!Includes a preface by Lori Emerson (Media Archeology Lab) and interviews with Jason Scott (archive. org), Tom Persky (floppydisk. com), Florian Cramer, Jason Curtis (Museum of Obsolete Media), Adam Frankiewicz (Pionierska Records), Foone Turing, Clint Basinger (Lazy Game Reviews), Nick Gentry, Joerg Droege and AJ Heller (Scene World) and Bart van den Akker (HelmondComputerMuseum). EditorsNiek Hilkmann (NL) is a Rotterdam based artist, musician, and researcher with a background in Art History, Media Design and Visual Culture. He has a particular interest in the abstruse technological condition we are currently living in and the insufficient intellectual methodologies that seek to justify, or explain it. Besides being resposible for various floppy-centered events under the moniker of Floppy Totaal, he is also a member of Varia, the center of everyday technology. Thomas Walskaar (NO) is a graphic designer and researcher. He has a Masters in Media Design and Communication from The PietZwart Institute in Rotterdam and a BA (Hons) in Graphic Design from Ravensbourne in London. His personal interests revolve around frailty of storage technology and the importance of the individual to store with caution. One of his better known projects is "My Hard-Drive Died Along With My Heart". Contributors Lori Emerson (CA/US) is an Associate Professor in the Department of English and the Intermedia Arts, Writing and Performance Program at the University of Colorado, Boulder. She is also the Founding Director of the Media Archaeology Lab. Emerson writes about media poetics and the history of computing, media archaeology, media theory, and digital humanities. Jason Scott (US) is a free-spirited archivist, filmmaker, performer, and historian of technology. He is known under the online pseudonyms Sketch, SketchCow, and the Slipped Disk, and has been called a 'figurehead of the digital archiving world'. He works for Internet Archive and has given numerous presentations at technology related conferences on the topics of digital history, software, and website preservation. Tom Persky (US) is the 'last man standing in the floppy disk business'. He is the.

Paperback. Condition: New. Floppy Disk Fever explores the curious afterlives of the floppy disk in the twenty-first century by interviewing those involved with the medium today. The book reflects on notions of obsolescence, media preservation and nostalgia, and challenges these by showing the endurance and versatility of this familiar piece of technology. From floppy filmmakers to floppy painters and beyond; what drives people to continue working with the medium that is typically deemed obsolete? What challenges and affordances does it provide? And what does the future hold in store for the familiar black square? By looking at the current presence of past technology we can assess our present-day situation and speculate on the future developments of our media minded landscape. After all, the technology of the past is also part of our future!Includes a preface by Lori Emerson (Media Archeology Lab) and interviews with Jason Scott (archive. org), Tom Persky (floppydisk. com), Florian Cramer, Jason Curtis (Museum of Obsolete Media), Adam Frankiewicz (Pionierska Records), Foone Turing, Clint Basinger (Lazy Game Reviews), Nick Gentry, Joerg Droege and AJ Heller (Scene World) and Bart van den Akker (HelmondComputerMuseum). EditorsNiek Hilkmann (NL) is a Rotterdam based artist, musician, and researcher with a background in Art History, Media Design and Visual Culture. He has a particular interest in the abstruse technological condition we are currently living in and the insufficient intellectual methodologies that seek to justify, or explain it. Besides being resposible for various floppy-centered events under the moniker of Floppy Totaal, he is also a member of Varia, the center of everyday technology. Thomas Walskaar (NO) is a graphic designer and researcher. He has a Masters in Media Design and Communication from The PietZwart Institute in Rotterdam and a BA (Hons) in Graphic Design from Ravensbourne in London. His personal interests revolve around frailty of storage technology and the importance of the individual to store with caution. One of his better known projects is "My Hard-Drive Died Along With My Heart". Contributors Lori Emerson (CA/US) is an Associate Professor in the Department of English and the Intermedia Arts, Writing and Performance Program at the University of Colorado, Boulder. She is also the Founding Director of the Media Archaeology Lab. Emerson writes about media poetics and the history of computing, media archaeology, media theory, and digital humanities. Jason Scott (US) is a free-spirited archivist, filmmaker, performer, and historian of technology. He is known under the online pseudonyms Sketch, SketchCow, and the Slipped Disk, and has been called a 'figurehead of the digital archiving world'. He works for Internet Archive and has given numerous presentations at technology related conferences on the topics of digital history, software, and website preservation. Tom Persky (US) is the 'last man standing in the floppy disk business'. He is the.

Paperback. Condition: New. Edited by A. R. practice (Ann Richter and Agnieszka Roguski), Introduction by A. R. practice (Ann Richter and Agnieszka Roguski), Texts by Melanie Bühler, Erika Landström, Agnieszka RoguskiWhen the exhibition enters the digital realm, as it is increasingly happening now when the display of art and culture can be enjoyed individually behind screens, then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity? Echoing Exhibition Views. Subjectivity in Post-Digital Times explores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. It takes the digitized exhibition view as starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. Focusing on the transformative potential of the exhibition as circulating view, this publication asks how it transfers again into a subjective mode of perspective through the artistic lens. So what is at stake when an exhibition circulates as a digital view? And how does its digital presence in turn affect and transform the subjective experience of seeing a physical exhibition?With images from João Enxuto and Erica Love, Calla Henkel and Max Pitegoff, New Noveta/Yair Oelbaum, SANY, Hanna Stiegeler, Jasmin Werner, and Jonas Paul Wilisch, as well as texts by Melanie Bühler, Erika Landström, and Agnieszka Roguski, this publication gathers artists, curators, and writers who frame these questions through a variety of practices and media. It thus addresses a self-reflexive and critical approach on medium and format-understanding the exhibition as a fluid and diverse view. How is our view on exhibitions influenced by their digital re-/presentation on the internet? How can art affect the normalized, circulating installation views in a creative way--and articulate a subjective view in this way? And how, above all, do seemingly objective standards and subjectivity affect each other?The publication Echoing Exhibition Views. Subjectivity in Post-Digital Times focuses on the subjectivity of the supposedly objective exhibition documentation. It is about how artists realize a kind of subjective view when they are presenting an exhibition--in terms of performative, spatial, visual or technological aspects--and how that view can broaden, reflect or criticize the standardized claim of exhibition views. For Echoing Exhibition Views. Subjectivity in Post-Digital Times, a total of seven international artistic positions articulate their personal interpretation of the 'installation view'. Most important is their disciplinary versatility, which provides a multifaceted and complex approach to the topic. Artistic photography, illustration, conceptual art and performance art together respond to the apparent objectivity emanating from exhibition documentation and the photographic installation view. The medium of disp.

Paperback. Condition: New. - An essay by Hannah Ellis -It starts with a question, perhaps a passing interest. Design takes over a city, with clutters of exhibitions in galleries and disused spaces working loosely in response. New biennials and festivals and weeks emerge every year. Old events happen again simply because they happened before. What is it that these events and their predictable patterns actually achieve, though?For almost 200 years, continuing a line of thought first started by events like the Great Exhibition, 'design events' have become more and more popular across Europe, tangling around local, national, and international politics and economics. But can design be important or meaningful at this kind of scale? And how do these events act on people and places - as well as on the discipline itself? With the pause that the pandemic offers, is this the moment to examine who and what they exclude, taking the time to imagine what they could be instead?---Hannah Ellis is a designer, writer and educator based in London (UK).

Paperback. Condition: New. Process Music refers to print media and the intentions behind design activity. It is interested in visual culture, providing deeper readings and close viewings of graphic design artifacts and activity, frequently examined through the lens of music. Employing a range of narrative voices, the works combine academic rigor with the accessibility of popular forms like music journalism. FitzGerald regards himself as a critical enthusiast: knowledgeable, appreciative and irreverent. Process Music: songs, stories, and studies of graphic culture is the second book collection of writings by Kenneth FitzGerald. The new book gathers over 40 pieces primarily from the past decade, with reprinted works first appearing in forums like Emigre, Eye, Print, Idea, Modes of Criticism, Design Observer, Speak Up, and Voice: AIGA Journal of Graphic Design. Others are texts of lectures and presentations, have appeared on my blog or elsewhere online, or are original to this collection. Many are unavailable or hard (and expensive) to find. The book will also feature a prelude composed by AIGA Design Medalist and Design Matters host Debbie Millman. The book is organized in four sections and a coda: "Blues in CMYK" contains short essays that focus on concepts and topics in graphic design, such as the practice, limits, and potential of design criticism; different aspects of design education; the importance of metaphor and cross-disciplinary inspiration; inclusivity and responsibility in design; the proper context of digital technology; authenticity; the influence of religious faith on design activity, and more. "Interlude with Designers" presents appreciations of famed and upstart individuals in the discipline, including Barney Bubbles, Paul Rand, William Addison Dwiggins, Jacqueline Casey, Paula Scher, Vaughan Oliver, Martin Venezky, illustrator Mark Andresen, and design activist Andrew Breitenberg. "Omnigraphy" has expanded reviews and studies on graphic design and music works, performers and practitioners. Figures covered include Josef-Müller Brockmann, Rudy VanderLans and Zuzana Licko/Emigre, Elliott Earls, Stefan Sagmeister, Hipgnosis, Fuel, and the musicians Van Dyke Parks, and British band Cornershop. Artifacts examined include books, interactive projects, typefaces, independent and mass market magazines, posters, and record albums. "My Back Pages" offers short memoirs and stories that take a personal perspective on creativity, visual culture and communication. Lastly, "(extended play)" offers a short fiction.

Paperback. Condition: New. When artefacts become pieces of evidence and artists are transfigured into fictional characters animated by their worship of Western art, culture shrinks into the narrow border of the state nation:" would state Tweetu, the weird curator and main suspect of the plot. Detective Elchmanyahu's auto-da-fe follows the bound to fail investigation on the fire that burned a public art collection in southern Tel Aviv. The dodgy officer in charge uses all imaginable tricks and trades of whodunit novels to unfold a police investigation that casts a gloomy yet lucid look over the Israeli culture and its visual art scene. Framed in between fact and fiction by the tendentious writing of Jonathan Touitou, this book is a layered investigation of the art world and its deeds. Against the backdrop of the second Intifada and today's recurrent undermining of Palestinian rights, this controversial book will provide its readers with a perspective of an infiltrated outsider on the Israeli society, possibly supply the welding torch for the cynical ones, a bonfire for the freaks and fireworks for the wholehearted.

Paperback. Condition: New. Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the Porto Design Biennale, this volume proposes a variety of perspectives - social, cultural, political - to challenge this deeply engrained tradition. Contents:1. Graphic Design Systems, and the Systems of Graphic DesignFrancisco Laranjo2. Design Systems, Porto Design Biennale Research ResidenciesLuiza Prado and Pedro Oliveira, ACED, Ruben Pater, Demystification Committee3. One Size Fits AllRuben Pater 4. Fluttering Code: A Cultural and Aesthetic History of the Split-flap DisplayShannon Mattern5. Anything with a Shape Cannot Be BrokenIan Lynam6. Co-Creating Empowering Economic Systems - Strategies for Action Brave New Alps7. Lining OutGeorgina Voss.

Paperback. Condition: New. On ecological and social metabolisms, cohabitation, engineering and economy in urbanised shallow water territories. This magazine explores two extreme cases of urbanized shallow water territories - Markermeer/IJsselmeer in the heart of the Netherlands and the Venetian Lagoon. One is probably the most technologically controlled water on Earth, while the other negotiates a balance of natural water cycles, extreme weather, and a robust tourist economy. Providing points of reflection for similar territories where prospective sea level rise in the near future poses urgent questions about human and more-than human cohabitation, engineering, economy, and both ecological and social metabolisms. BIOBureau LADA (Landscape, Architecture, Design, Action) is a cross-disciplinary Amsterdam based studio with a focus on architecture. Currently active between Amsterdam, Venice and Cairo, the practice specialises in design strategy, social ecology, and the future of education. Established in 2010 by Croatian-Dutch architect and urbanist Lada Hrsak, the studio collaborates with practitioners from the fields of ecology, science, art, heritage, and sociology. The studio's research initiative Shallow Waters was selected for the Parallel Program of the Dutch pavilion at the 2021 Venice Architecture Biennial. The bureau's team members engaged in the Shallow Waters project are Ludovica Beltrami, Juliette Gilson, Lada Hrsak, Zoe Panayi, Simone Spiga, and Zhao Zhou.

Paperback. Condition: New. Ground, foundation, land, landscape, territory, earth, soil, dirt, dust. Script for a Synthetic Play stems from a staged conversation between a historian, an anthropologist, three artists, an earth eater and an architecture theorist: they enter unknown grounds, it is dark, and a disembodied alien voice encourages them to move across uneven terrain. A temporary community of strangers is formed. A sense of agency and belonging emerges, but also of marginality and dispossession. Hybrid voices start to circulate and be heard, borders of disciplines are blurred and grounds for certainty are collectively explored anew. Each step leaves sources for a unique script. Script for a Synthetic Play delves into new world-making technologies, the need for refuge and infrastructures of care, human and land exhaustion and cultural and ecological challenges of today. Expertise meets experience in informal and approachable discussions that, stylized for dramatic effect, create a conversation piece in the form of a play activated by the generative power of fiction.

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Paperback. Condition: New. "What has left since we left" articulates the fictional end of Europe with the language of love and separation. Likening the political bonds that tie together European countries to the fluctuations of romance and desire, the book unpacks the complexities of the European relationship by touching on ideas of identity, collapse, migration, conflict and hope. The book features contributions by Ay?e Zarakol, Marwan Moujaes, Federico Lodoli, Marina Lalovic and Erica Petrillo. Together, these texts complement and expand on the script for the film "What has left since we left" - directed by Giulio Squillacciotti and written with Daan Milius and Huib Haye van der Werf - which fictionalises the current European dystopia by re-enacting and problematizing the rituals of kinship and relational struggles. Backstage images and film stills from this production, along with a European timeline from World War II up until Brexit compiled by Enrico De Gasperis, provide a specific overview to the entire project.

Paperback. Condition: New. Process Music refers to print media and the intentions behind design activity. It is interested in visual culture, providing deeper readings and close viewings of graphic design artifacts and activity, frequently examined through the lens of music. Employing a range of narrative voices, the works combine academic rigor with the accessibility of popular forms like music journalism. FitzGerald regards himself as a critical enthusiast: knowledgeable, appreciative and irreverent. Process Music: songs, stories, and studies of graphic culture is the second book collection of writings by Kenneth FitzGerald. The new book gathers over 40 pieces primarily from the past decade, with reprinted works first appearing in forums like Emigre, Eye, Print, Idea, Modes of Criticism, Design Observer, Speak Up, and Voice: AIGA Journal of Graphic Design. Others are texts of lectures and presentations, have appeared on my blog or elsewhere online, or are original to this collection. Many are unavailable or hard (and expensive) to find. The book will also feature a prelude composed by AIGA Design Medalist and Design Matters host Debbie Millman. The book is organized in four sections and a coda: "Blues in CMYK" contains short essays that focus on concepts and topics in graphic design, such as the practice, limits, and potential of design criticism; different aspects of design education; the importance of metaphor and cross-disciplinary inspiration; inclusivity and responsibility in design; the proper context of digital technology; authenticity; the influence of religious faith on design activity, and more. "Interlude with Designers" presents appreciations of famed and upstart individuals in the discipline, including Barney Bubbles, Paul Rand, William Addison Dwiggins, Jacqueline Casey, Paula Scher, Vaughan Oliver, Martin Venezky, illustrator Mark Andresen, and design activist Andrew Breitenberg. "Omnigraphy" has expanded reviews and studies on graphic design and music works, performers and practitioners. Figures covered include Josef-Müller Brockmann, Rudy VanderLans and Zuzana Licko/Emigre, Elliott Earls, Stefan Sagmeister, Hipgnosis, Fuel, and the musicians Van Dyke Parks, and British band Cornershop. Artifacts examined include books, interactive projects, typefaces, independent and mass market magazines, posters, and record albums. "My Back Pages" offers short memoirs and stories that take a personal perspective on creativity, visual culture and communication. Lastly, "(extended play)" offers a short fiction.

Paperback. Condition: New. On the physical and digital possibilities of public space in a world transformed by COVID-19Featuring the works of nearly 40 artists, designers and writers, this publication surveys the formation of community and perceptions of the public amid COVID-19, exploring new communal digital spaces produced in response to physical isolation. Themes explored include: liminal public spaces as sites of community; body politics as markers of citizenship; dualisms of place and space; codes of community, care and intimacy in the digital sphere: and the spatial blending of public spaces in private arenas. Contributors include: Brogen Berwick, Cleo Broda, Roberta Cesani, Lenn Cox, Jolien De Nijs, Gilles Dedecker, Lewis Duckworth, Alexandra Fraser, Quentin Gaudry, Amy Gowen, Myriam Gras, Floriane Grosset, Claudia Hackett, Melle Hammer, Jess Henderson, Emily Herbert, Eva Jack, Jonathan Johnson, Tamas Kondor, Zoie Kasper, Ola Korbanska, Clara Amante Mendes, Anna Maria Michael, Gina Moen, Ronal Nijhof, Riitta Oittinen, Amy Pekal, Katerina Sidorova, Maaike Twisk, Iris Van Wijk, Nico Vassilakis, Jorne Visser, Anna Weberberger, Jodie Winter and Chiara Zilioli.

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Paperback. Condition: New. What does it mean to acknowledge one's closeness to, enmeshment in or even kinship with the material world? And what does it mean to question family structures - the way they organise, coerce and make deviant certain lifeforms - and dwell in other possibilities of kin-making?Not just a jolly rethinking of objects or a polyamorous romp through relationships, The Material Kinship Reader reckons with the extractavist histories of materials and the social relations that frame much of contemporary life. Spanning fiction and theory, the collection of texts expand the idea of an artist's book by bringing words into conversation with an aesthetic proposition. Clementine Edwards' artwork is the visual weft to the book's written net. From colonial conquest to climate collapse, The Material Kinship Reader tells toxic and tender stories of interdependence among all things sentient and insentient. Including contributions by Sara Ahmed, Hana Pera Aoake, Roland Barthes, Joannie Baumgärtner, Heather Davis, Kris Dittel, Clementine Edwards, Ama Josephine B. Johnstone, Robin Wall Kimmerer, Ursula K. Le Guin, Sophie Lewis, Steven Millhauser, Jena Myung, Aileen Moreton-Robinson, Michelle Murphy, Ada M. Patterson, Kim TallBear and Michelle Tea 'The Material Kinship Reader is a beguiling orrery of ways of thinking, making and relating far from the shores of alienation. As varied as it is visionary, it tugs at and thinks kinship beyond "recognition", a humming spectrum of becoming all kinds. 'Marina Vishmidt 'A wonderful addition to the conversation about materialism and how we might live on after capitalism. Bringing together a sharp selection of core texts that have made key offerings to this dialogue with brilliant new theoretical and artistic interventions, the book is stitched together with Clementine Edwards' searching material work and reflections. A generous and generative project. 'Alexis Shotwell'This book is a constellation of crumbs, treasure together in a vibrating field. It's about what it means to locate family in provisional formats, textures and arrangements, and the focused and felt reciprocity with the small stuffs that touch us, tumbling through around and before us, forming our very being. An errant riff, The Material Kinship Reader thoughtfully darns a loose and loved garment, pulling strands together to reconfigure ideas of family, care, property and memory. 'Geo 'Gbutt1984' WyethAbout the artist/editor:Clementine Edwards is a Rotterdam-based artist from Naarm/Melbourne working across sculpture, film, performance, writing and jewellery. Her practice is guided by the ongoing research line material kinship, which thinks material beyond extraction and kinship beyond the nuclear family.

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