EditorsRicardo Basbaum Will Holder Emily Pethick
Size33 cm × 23 cm × 3 cm
“This book is the first comprehensive study of Ricardo Basbaum’s diagrams, cataloguing a body of work that has been integral to his artistic practice. In turn, the book offers an invaluable resource for anyone engaging with non-linear thinking and compositional work”, writes Binna Choi and Emily Pethick in the Foreword. Produced as a result of the artist’s exhibition at the Centro Galego de Arte Contemporáneo (2013), Diagrams, 1994 – ongoing brings a survey of the diagrams created and exhibited by Ricardo Basbaum in recent years, both as autonomous pieces or part of installations and other forms of action. In his own words, Basbaum takes the diagram as a “tool for intervention (…) a sort of drawing (or visual poem) that mediates the dynamic flow between words and images – discursive and non-discursive spaces – or literary and plastic spaces, etc”. Three essays by the artist are included here, followed by extensive documentation of the GCAC exhibition, and a large selection of his diagrams. Contributors include Guy Brett, Cuauhtémoc Medina, Emily Pethick, Cecília Cotrim, Monika Szewczyk, Renata Marquez, Luiz Cláudio da Costa, Santiago Garcia Navarro, Bojana Piskur, Dieter Roelstraete, Francisco Ali-Brouchoud, Brandon LaBelle and Daniela Mattos, whose texts were assembled in the shape of a collective-conversation, where topics around diagram, alterity, group practice, temporality and affect are discussed in direct relation to the work of Ricardo Basbaum.
Ricardo Basbaum (São Paulo, Brazil 1961), lives and works in Rio de Janeiro. He is an artist and writer, investigating art as an intermediating device and platform for the articulation between sensorial experience, sociability and language. Since the late 1980s, he has been nurturing a vocabulary specific to his work, applying it in a particular way to each new project. Recent solo-projects include the production of the artist as a collective conversation (Audain Gallery, Vancouver), nbp-etc: escolher linhas de repetição (Galeria Laura Alvim, Rio de Janeiro), Diagramas (Centro Galego de Arte Contemporánea, Santiago de Compostela, 2013) and re-projecting (london)(The Showroom, London, 2013). Exhibited at documenta 12 (2007). His work was recently included at the 20th Sydney Biennial (2016) and at The School of Kyiv – Kyiv Biennial 2015 (The House of Clothes, Kyiv). Artist in residency at the Audain Gallery (Vancouver) in October 2014. He is the author of Manual do artista-etc (Azougue, 2013), Ouvido de corpo, ouvido de grupo (Universidade Nacional de Córdoba, 2010) and Além da pureza visual (Zouk, 2007). Professor at the Instituto de Artes, Universidade do Estado do Rio de Janeiro and Visiting Professor at the University of Chicago (2013). Recently appointed as Professor at Universidade Federal Fluminense (2016).
The above text is taken from Errant Bodies.
ContributorsStudents of the Gerrit Rietveld Academie, supervised by Julia Born
EditorsFiona Parry Emily Pethick
DesignerMerel van den Berg
Size230 in × 160 in × 0 in
Annette Krauss’ project Hidden Curriculum looks at the unrecognized and unintended knowledge, values and beliefs that are part of the learning process in schools. Produced in collaboration with two groups of 15-17 year old students, it focuses on actions that go beyond existing norms and show creative and productive ways of navigating through everyday life in high school.
The Hidden Curriculum Files is a collaboration between Casco and graphic design students from the Gerrit Rietveld Academie, Amsterdam. Twelve students have each designed and produced a booklet that documents the project Hidden Curriculum and expands upon it through further research.
AuthorWendelien van Oldenborgh
ContributorsBinna Choi, Wendelien van Oldenborgh, Lizzy van Leeuwen, Nuraini Juliastuti, Soewardi Soeryaningrat/Ki Hajar Dewantara
PublisherSternberg Press in collaboration with Casco
Size300 mm × 210 mm × 10 mm
The publication unfolds and draws an open-ended connection between individual and collective struggles and (emotional) conflicts intertwined with the colonial and decolonizing histories of Indonesia and the Netherlands by taking two film works by artist Wendelien van Oldenborgh, No False Echoes (2008) and Instruction (2009), as points of departure. Both films take up rarely spoken fragments of the Dutch colonial past, particularly related to Indonesia, that are dormant but still affective in contemporary Dutch society. With the participation of different historical and contemporary stakeholders set against specific built environments, these two films are presented in the form of photo-novels. The film No False Echoes introduces one of the major historical sources cited in full in the publication, that is, a 1913 essay on national freedom by Soewardi Soeryaningrat, an Indonesian nationalist—or “revolutionary”—whose radical position manifested in the essay is widely known in Indonesia. The reprint of this essay is accompanied by two contemporary responses by Lizzy van Leeuwen and Nuraini Juliastuti, which in turn open another text written in 1935 by Soeryaningrat under a different name, Ki Hajar Dewantara, concerning national education in Indonesia. The latter text indicates the shift in political strategies, which, instead of fearless resistance, moves forward toward gradual building of counter-institutions of “upbringing” of new independent subjects.
140 pages, 25 b/w ill., English/Dutch/Indonesian Bahasa