ART

Fiction as Method
Sternberg Press 2017 ISBN 9783956793646 Acqn 28109
Pb 13x20cm 368pp 13ills £19.25

Texts by Justin Barton, Delphi Carstens & Mer Roberts, Tim Etchells, Matthew Fuller, David
Garcia, Dora García, M. John Harrison, Simon O’Sullivan, Erica Scourti, Jon K Shaw and Theo
Reeves-Evison

See the world through the eyes of a search engine, if only for a millisecond; throw the workings of
power into sharper relief by any media necessary; reveal access points to other worlds within our
own. In the anthology Fiction as Method, a mixture of new and established names in the fields of
contemporary art, media theory, philosophy, and speculative fiction explore the diverse ways
fiction manifests, and provide insights into subjects ranging from the hive mind of the art collective
0rphan Drift to the protocols of online self-presentation. With an extended introduction by the
editors, the book invites reflection on how fictions proliferate, take on flesh, and are carried by a
wide variety of mediums—including, but not limited to, the written word. In each case, fiction is
bound up with the production and modulation of desire, the enfolding of matter and meaning, and
the blending of practices that cast the existing world in a new light with those that participate in
the creation of new openings of the possible.

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Diedrich Diedrichsen - (Over)production And Value

Sternberg Press 2017 ISBN 9783956793554 Acqn 28127
Pb 12x18cm 64pp £7.95

The "economization of art" began to take shape in the wake of the crisis of capital in 2009. The
shifts that occurred in the art field during this time were accompanied by explicit critique and
academic analysis that aimed to make the genesis of these transformations comprehensible. In
this book, first delivered as a lecture at Kunsthalle Bern in April 2016, Diedrich Diederichsen
follows Marx's labour theory of value and counters the symbolic economies dominating the art
field, as well as economic exceptionalism or calculation, with systems of recording and reading
out.

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Lori Waxman - Keep Walking Intently

Sternberg Press 2017 ISBN 9783956792793 Acqn 28195
Pb 14x21cm 292pp 40ills 18col £19.25

Walking, that most basic of human actions, was transformed in the twentieth century by
Surrealism, the Situationist International, and Fluxus into a tactic for revolutionizing everyday life.
Each group chose locations in the urban landscape as sites—from the flea markets and bars of
Paris to the sidewalks of New York—and ambulation as the essential gesture. Keep Walking
Intently traces the meandering and peculiar footsteps of these avant-garde artists as they moved
through the city, encountering the marvellous, studying the environment, and re-enchanting the
banal. Art historian Lori Waxman reveals the radical potential that walking holds for us all.

Lori Waxman lives in Chicago, where she is the art critic for the Chicago Tribune and a senior
lecturer at the School of the Art Institute. She performs occasionally as the “60 wrd/min art critic.”

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 ART

Design Thinking in the Digital Age

Sternberg Press 2018 ISBN 9783956793776 Acqn 28213
Pb 14x21cm 104pp 24ills £10.50

In 1987, Peter G. Rowe published his pioneering book Design Thinking. In it, he interrogated
conceptual approaches to design in terms of both process and form. Thirty years later, in a
lecture at the Harvard University Graduate School of Design, Rowe offered a reappraisal of his
earlier work, describing ways in which the capacities of the digital age have changed the way we
perceive and understand creative problem-solving in architectural design. In this new account of
"design thinking" based on that memorable talk, Rowe charges that ideas about the "precision"
and "incompleteness" of information have become exaggerated and made more manifest. He
dives into the crucial role of schema theory and the heuristics that flow from it, but concedes that
the "ineffable characteristics of design problems and of design thinking also appear to have
remained."

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 ART

Cevdet Erek - SSS How To Imitate The Sound Of The Shore Using Two Hands And A
Carpet.
Sternberg Press 2017 ISBN 9783956793677 Acqn 28071
Pb 10x15cm 72pp 34ills 1col £5.25

SS: How to imitate the sound of the shore using two hands and a carpet is, at first glance, exactly
what it claims to be: an in-depth manual for staging a private (or public) performance, in which
one uses both hands and a carpet to imitate the sounds of water making contact with land.
Istanbul-based artist Cevdet Erek’s book includes diagrams and photographs, which illustrate
possible methods for producing this effect, while also addressing theoretical and methodological
issues related to the representation of nature.

SSS is the second book in the Kayfa ta series, a publishing initiative of Maha Maamoun and Ala
Younis. Each book in the series is a monographic essay commissioned in the style of how-to
manuals that situation themselves in the space between the technical and the reflective, the
everyday and the speculative, the instructional and the intuitive, and the factual and the fictional.

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 ART

Oraib Toukan - Sundry Modernism. Materials For The Study Palestinian Modernism
Sternberg Press 2018 ISBN 9783956793745 Acqn 28212
Pb 12x17cm 248pp 100ills 70col £13.25

With Sundry Modernism, Oraib Toukan presents an informal register of modernist Palestinian
architecture—an assemblage of images and stories collected from 2013 to 2015 in the cities of
Nablus, Ramallah, Jerusalem, Bethlehem, and Jericho. Using her photographs as conversation
prompts with various residents, historians, and architects, Toukan places the anecdotes collected
thereby into political and historical context, weaving together narrative and critique. Sundry
Modernism sets out to be a gesture, a nod, a salutation to, and a critique of, the lines and angles
of Palestinian modernism. It is a provocation on the act of looking, and, in particular, it is a
proposal for reading apolitical forms in politicized contexts.

Oraib Toukan is an artist and Clarendon Scholar at the Ruskin School of Art, University of Oxford.
This bilingual English and Arabic publication follows Toukan’s participation in the 5th Riwaq
Biennale (2014–16), and has been produced with support from Mophradat.

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Is the Living Body the Last Thing Left Alive? - The New Performance Turn, Its Histories,
and Its Institutions
Sternberg Press 2018 ISBN 9783956791185 Acqn 28226
Hb 22x28cm 240pp col ills £34

Contributions by Belkis Ayon, Claire Bishop, Boris Buden, Amy Cheng, Bojana Cvejic, Adrienne
Edwards, Patrick D. Flores, Gauri Gill, Simryn Gill, Inti Guerrero, Tetsuya Ishida, Eisa Jocson,
Firenze Lai, Andre Lepecki, Xavier Le Roy, Miguel A. Lopez, Carol Yinghua Lu, Rabih Mroue,
Ruth Noack, Fernanda Nogueira, Manuel Pelmus, Goran Sergej Pristas, Nelly Richard, David
Riff, Emily Roysdon, Simon Soon, Marten Spangberg, Catherine Wood, Yangjiang Group,
Anthony Yung.

The choreographic turn in the visual arts from 1958 to 1965 can be identified by the sudden
emergence of works created by very different visual artists in very different places—artists such
as Allan Kaprow, Robert Morris, Carolee Schneeman, and Robert Rauschenberg in the United
States; Lygia Pape and Hélio Oiticica in Brazil; the Gutai group in Japan; and Yves Klein in
France. Each explicitly or implicitly used dance or choreographic procedures to reinvent,
reimagine, and reimage how the visual arts produced and conceived its images and objects—and
therefore conceived itself both as practice and as discourse. Dedicated to the renewed encounter
between dance and performance and the institutions of global contemporary art, Is the Living
Body the Last Thing Left Alive? proposes that a “new performance turn” has emerged in the
second decade of the century, and looks at its correlations with other shifts in practices,
discourses, and broader society.

The new performance turn is closely related to, on one hand, the increasing tendency to bring
contemporary dance into the museum, with more artists working in and around dance, and more
museums, art centres, and biennials striving to deepen their commitment to performance in order
to develop new aesthetic forms and new modes of production; on the other hand, this “turn” is
also related to specific developments in dance and choreography that took place in the mid-
1990s. This publication tries to think about performance as more than a medium, beyond its
liveness and ephemerality, and rather as a series of questions and reflections about how art
mediates social relations among people.

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