...and many more, currently under construction, please excuse the incompleteness. Thank you very much!
RED COLUMN is an analog newspaper of art, philosophy, anthropology and aesthetics, that is distributed hand to hand to those who are interested. Basically, it is a noncomercial "fanzine" made by friends and artists that we have the privilege to know in different places like Cali, Bogota, Madrid, Buenos Aires, Berlin, Nottingham, London, Mexico City, Vienna, Michigan, Praque etc. . It is an exchange of views, thoughts translations, texts of art, philosophy and literature, published sporadically and with all the delays. Anachronistic in its conception. The approach of Red Column is basically to promote the writing of art, critic and philosophy, as somwething that transforms society, therefore people and even if you like, the brain, the genome, the planet, the cosmos, etc. It contains translations and texts that explore different topics of aesthetics, but includes wild thinking, literature, quantum physics, mathematics, computing, marxist economics, functional sematics, grammar, literature- and philosophical materialism. Vol. 3 was presented as an art work in Museo Casa del Lago, Mexico City, 2016.
Shelter-books is an open ended edition of books that function as shelters. Vol. 2 off-grid: Protects the constant receiving and sending of data. If you whish, you can just close the book around your head and enjoy reading! Shelter book Vol. 2 (off-grid) Vol. 1 & Vol.3 (LE PLI), was exhibited as an art work in the exhibtion 'Shelter', HfbK Dresden, 2018.
6. Assuming you had all the possibilities in the world what would you do to make something dif-ferent/new that you really care about and call it art? Title: 6 Questions Before The Beginning Of Something Else © 2020 Ed.: Mirjam Kroker Publisher: Handkrit Questions 1-5: Kim Engelen Question 6: Mirjam Kroker Proofreading: Ava Longeran Cover: Juan Toro Design: Mirjam Kroker Images: Mirjam Kroker First edition supported by Anita Kaegi Printed and bound by: reprogress, Dresden Font: Butler, Royal Acidbath, Minion Pro, Bodoni Ornaments
Fieldtrips Vol. 3 BEYOND VENICE Art World Questions: When will you stop the old game of new nationalism? This unlimited edition of artist book is based on a reflection of national representation within the art world system. Taking into account the historical genesis of biennials as a place of representation of nation-states. A collection of all states in alphabetical order that are not represented at the 58th Venice Biennale 2019. Beyond Venice, 2019, was exhibitesd as part of the spatial workingenvironment 'FREESEARCH: From IM_possibilities to in_possibilities', Bundeskunsthalle, 2020
What Comes After The Edge Of Knowledge History and life magazine Monthly magazine edited by Gaceta Ilustrada, S.A Barcelona-Madrid 148 pages approx. each 20 units of different years between 1972 and 1975. (A detailed list of the number of journals that compose it is available) --- This particular volume resulted as part of an experimental research project on Situated Knowledge, which I carried out in the Usura district, Madrid. Period between 2016 and 2017. In the Infinite PRINTED MATTER series, I pursue an interest in print media as a raw material to record and document the story(s). Therefore, I work with a specific form of book circulation and circulation-transfer. I assume the circulation that results from the removal, release and dissolution of printed material (frequent possible causes could be, for example, the material has become insignificant from the point of view of a specific person, the survival of the material in relation to a human life). As a situated practice, related to a nomadic way of working and living, the material in the series varies from geographic reference points and has no linguistic restrictions. I process material in a collection-oriented way and assign file titles that tell more stories about their history and content. (2017) What comes After The Edge of Knowledge (2017) was exhibitesd as part of the spatial workingenvironment 'FREESEARCH: From IM_possibilities to in_possibilities', Bundeskunsthalle, 2020, amongst other exhibtions in Alicante/Spain, Galeria AURAL more info: https://showrooms.itgalleryapp.com/es_ES/1370790574623c67b04f3ac
without title (A T L A S) 2020 By questioning the apparent simplicity of what an ATLAS is, that in its compacity and organised appearance effectively seems to hide or ignores the involution and complexity convoluted and entangled in whatever territory, such work addresses the discontinuity of spaciality and its inherently unstable matter constituted of aesthetic political gestures etc. The gesture of the work proposes a different reading of altered territorial approaches yet to be figured out, aiming to trigger a critical pondering on an old problem of the complex entanglement between the conceptualization of geographies and territories within military neoliberalims, remains also - in what is now called the Anthropocene - mostly quite unresolved: the breaking down problematic conceptualisations of the ... implication of the division of the earth that stratifies proto ideas of inner/outer, us/other, here/there, calculative/experienced. Distances, topologies, coordinates and relations are put into question proposing, with this gesture, that they are of different modes of perception and more importantly, pointing to the problematic and unsolved asymmetrical issue that they keep on remaining discriminatory on one hand and privileging on the other, in respect to anthropogenic and non-anthropogenic agents. Etymologically the word ATLAS (greek) means something like to bear/ endure. Here the atlas is literary divided into lighter and smaller parts. Does it somehow make what it wears more bearable? Where can the process of imagining other geographies as an artistic gesture carry out about how we connect/relate to the multiple territories we are connected to, implying that circumstances, things, situations etc. could be different. On the front cover of the Atlas cut into pieces we see slices of an image that transports the idea of the earth as a blue marble. A metaphor that became very popular and can be considered significant in shaping a collective idea of the earth as a blue marble for the last decades. It placed the idea of the earth into a position where it is dominated and controlled from the perspective of humans. Now as we are in the middle of learning differently, already naming this shift of perception, the time we are inhabiting, the Anthropocene, putting exactly this collective idea of the blue marble into question and it is more obvious than ever that the right to survive for all is very much related to an idea of coexisting and shifting how we see the earth, and to figure out other ways of measuring closeness and distance. While proto-ideas with the Anthropocene seem so preoccupied with conveying perspectives that are down to earth and dealing with these earth issues, to keep the extraterrestrial perspective in mind and address the unresolved absurdities of frontier geographies affecting primarily humans concern not to lose sight of. As even though there is now a name for the new epoch we are about to learn - the Anthropocene - it has not catapulted us out of the military neoliberalism based in nation state building, that is still screwing things up. It can give birth to many other possible questions like what would an atlas for the new geological age look like that make accessible the fact that the earth is breaking into human thinking? On extractivism, mining, drug trafficking, identity discourses, tourism, violating economies, migration, sediments of neo-capitalism, political power, nation-state ideologies, military border surveillance etc. Alicante, 2020 without title (A T L A S), was exhibtited as an artork in exhibtions such as "i" is for thinking, galery Ursula Walter Dresden (2021), and 'encuentros fragiles', AURAL galery (2021).
Concept Nr. 05: Music as organisatori al Principle (belongs to a series of drawings of indefinite length since 2015) The fusion between drawing, living, thinking and being is quite inextricable because it implies for me basically two things simultaneously — art as idea and art as action. The material condition and visual instance are as important as the idea that the drawing conveys for the possibility of its (personal and impersonal) consequences. It leads to the agency of the work itself where conceptual ideas may lead to personal moves and vice versa.The notion of drawing lies for me in its exteriorizing nature and through this becomes a manifestation of an approach to the planetary condition, with the entire cosmos as my library. Synchronising the verbal and the visual. I understand drawing not only as a gestural disclosure but also as a certain kind of non-representational, anti-authoritarian documentation of thoughts, processes and ideas which thus becomes an implicit part of visual culture and point of reference. The density of the image lies in its potentiality. Idea is information (lat. informare -in the sense of to give form to the mind) and as such can be very powerful — apart from its fragile material condition and antimonumental appearance. Concept Nr. 05: Music As Organisatori al principle uses two a priorisystems of notation, the alphabet and tonal writing, without a specific interest to be read accordingly. Indeed it doesn’t exactly represent a score (lat. Partitura). Music and language are both traditionally based in systems of notation, mainly alphabetical and tonal. This doesn’t apply equally to drawing and the creation of images as such, though it can also refer to a repertoire of signs in a priorisystems which are, in principle, codified. This codified nature of images becomes obvious when it comes to digital images, pixels and algorithms in machine language, but it also applies to the manual notation of drawing as a metaphor for the construction of ideas through images. The notion in this drawing, Concept Nr. 05, lies in the density of its information and thus unsettles the image from a totalizing understanding of a pure image. The question remains how to listen to a drawing in order to decodify its principle, by reading as looking or looking as reading? Madrid, 2017 Published in: DOCUMNT 1 Spring 2017 www.documnt.net DOCUMNT 1 can be bought as printed matter or downloaded for free on their page
The freedom to agree to disagree & to cut world history into 36 pieces, or what was I thinking? Editorial Work 2021 (without title) And others say: You can't separate peace from freedom because no one can be at peace unless he has his freedom. Malcolm X & I think therefore I choose: and disagree with others who adore Descartes for his "I think therefore I am" dictum. I think it's insufficient, what is it to think without choosing? I think therefore I choose to dream, to love, to create, to rethink, to delve into unconsciousness, to live, to disagree, to agree to disagree to care, to share and to combine, to collaborate, to change, to transform, to interrupt to remain to resist to forget to imagin realised for the exhibition "I is for thinking" at Galerie Ursula Walter, Dresden