Angel Vergara's (1958 - based in Brussels) work is a continued investigation into the power of the image. By means of performances, videos, installations, paintings and drawings, he tests the limits of art and reality. Each of his works is an attempt to break through the image and to make its impact on an aesthetic as well as a socio-cultural and political level. Thus, Vergara creates a new, suspended reality, grown from the artist's personal dialogue with reality and with the image by which it has already been transformed. Decontextualised images of reality are mediated by the artist and transformed into art, encouraging the viewer to question their way of perceiving the everyday as well as the way it is presented to them in images. Vergara's art disorients and disconcerts the viewer. It questions what is known and opens paths to new modes of signification. Accompanying the 2023 retrospective exhibition "In the Instant" that the MACS is dedicating to Angel Vergara, this important book reviews the career of the Belgian artist and highlights the close relationship between his painting and the cinematic medium.&nbsp; &nbsp; Distributed for Mercatorfonds&nbsp; Exhibition Schedule: 02.11.2022 - 02.06.2023 Outside installation. Musée de la batellerie - Conflans Sainte Honorine, France. &nbsp; 24.11.2022 > 19.03.2023 Photo Brut - Centrale for Contemporary Art, Brussels &nbsp; 23.04.2023 - 08.10.2023 Angel Vergara. In a Moment. Monographic exhibition. MAC's in Mons, Belgium. &nbsp;

Angel Vergara: In the Instant

Arts & Photography

BOURRIAUD, NICOLAS

Van Cauteren, Philippe

Andre, Jerome

Olivier, Michelon

History & Criticism

Mercatorfonds

During the 1990s a number of artists claimed the exhibition as their medium. Working independently or in various collaborative constellations, they eschewed the individual object in favor of the exhibition environment as a dynamic arena, ever expanding its physical and temporal parameters. For these artists an exhibition can comprise a film, a novel, a shared meal, a social space, a performance or a journey. Their work engages directly with the vicissitudes of everyday life, offering subtle moments of transformation. This catalogue, which accompanies a major exhibition at the Solomon R. Guggenheim Museum, New York, is the first in the U.S. to examine the dynamic interchange among a core group of these artists--Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno and Rirkrit Tiravanija--a many-sided conversation that helped shape the cultural landscape of the 1990s and beyond.

Theanyspacewhatever

FOSTER, HAL

Blom, Ina

Von Hantelmann, Dorothea

Bonami, Francesco

King, Emily

Gioni, Massimiliano

Hoffmann, Jens

Iles, Chrissie

Birnbaum, Daniel

Govan, Michael

Avgikos, Jan

Joseph, Branden

Boeri, Stefano

Falguières, Patricia

Douroux, Xavier

Föll, Heike

Lange, Christy

Archer, Michael

Guggenheim Museum Publications

In 1957 Yves Klein took out a patent on a certain blue, an intense brilliant ultramarine which he called International Klein Blue. His apparently identical monochrome paintings were made with sponges or rollers or in a series known as Antrhopometries, with what he called 'living brushes'--models soaked in blue paint who pressed themselves against sheets of paper.

Yves Klein : Long Live the Immaterial

KLEIN, Yves

Perlein, Gilbert

Corà, Bruno

Buisine, Alain

Delano Greenidge Editions

Postproduction. Culture as Screenplay: How Art Reprograms the World is the most recent essay by French writer and curator Nicolas Bourriaud. The author discusses how, since the early nineties, an ever increasing number of artworks have been created on the basis of preexisting works; more and more artists interpret, reproduce, re-exhibit, or use works made by others or available cultural products.
This art of postproduction seems to respond to the proliferating chaos of global culture in the information age, which is characterized by an increase in the supply of works and the art world's annexation of forms ignored or disdained until now.

Postproduction

Sternber Pr

Encouraged by the successes of their co-curated exhibitions Inexpressible (2009), After Hours/ Individual Stories (2010), and You First (2011), artists Dalibor Polívka and Rob Mintz (co-founders of UFORA, the Universal Festival of Relational Art) decided to create an art book depicting how “relational aesthetics” had rocked their world. In this handsomely designed volume, their essays compliment seminal texts by the influential French curator Nicolas Bourriaud (who coined the term “relational aesthetics”) and Mostyn gallery director Alfredo Cramerotti. Nicolas Bourriaud’s essay “Instable Connections” sets the record straight on the history of the term. Alfredo Cramerotti’s piece, “Three Ways of Curating,” presents new approaches to creative survival in an ever-shifting, curatorial culture. Delving into “exhibition as medium” and “institutional critique,” The Unreality of UFORA presents the work of a cadre of contemporary artists participating in an experimental exhibition. Full of incisive quotations from a variety of experts about the impact of “relational aesthetics,” its controversial acceptance, and its place in art history, The Unreality of UFORA should be on the radar of artists, collectors, curators, and art students seeking a high-octane jolt of insight into the relational turn.

The Unreality of UFORA / Nerealnost' UFORY: Notes on Contemporary Art

Cramerotti, Alfredo

Mintz, Rob

Polivka, Dalibor

Other Media

CreateSpace Independent Publishing Platform

Author of the influential Relational Aesthetics examines the dynamics of ideology Leading theorist and art curator Nicolas Bourriaud tackles the excluded, the disposable and the nature of waste by looking to the future of art—the exform. He argues that the great theoretical battles to come will be fought in the realms of ideology, psychoanalysis and art. A “realist” theory and practice must begin by uncovering the mechanisms that create the distinctions between the productive and unproductive, product and waste, and the included and excluded. To do this we must go back to the towering theorist of ideology Louis Althusser and examine how ideology conditions political discourse in ways that normalize cultural, racial and economic practices of exclusion.

The Exform (Futures)

Verso

Author of the influential Relational Aesthetics examines the dynamics of ideology Leading theorist and art curator Nicolas Bourriaud tackles the excluded, the disposable and the nature of waste by looking to the future of art—the exform. He argues that the great theoretical battles to come will be fought in the realms of ideology, psychoanalysis and art. A “realist” theory and practice must begin by uncovering the mechanisms that create the distinctions between the productive and unproductive, product and waste, and the included and excluded. To do this we must go back to the towering theorist of ideology Louis Althusser and examine how ideology conditions political discourse in ways that normalize cultural, racial and economic practices of exclusion.

Verso Books

“In ordinary language, 'modernizing' has come to mean reducing cultural and social reality to Western formats. And today, modernism amounts to a form of complicity with colonialism and Eurocentrism. Let us bet on a modernity which, far from absurdly duplicating that of the last century, would be specific to our epoch and would echo its own problematics: an altermodernity whose issues and features this book seeks to sketch out.”
In his most recent essay, Nicolas Bourriaud claims that the time is ripe to reconstruct the modern for the specific context in which we are living. If modernism was a return to the origin of art or of society, to their purification with the aim of rediscovering their essence, then our own century's modernity will be invented, precisely, in opposition to all radicalism, dismissing both the bad solution of re-enrooting in identities as well as the standardization of imaginations decreed by economic globalization. 
To be radicant: it means setting one's roots in motion, staging them in heterogeneous contexts and formats, denying them any value as origins, translating ideas, transcoding images, transplanting behaviors, exchanging rather than imposing. The author extends radicant thought to modes of cultural production, consumption and use. Looking at the world through the prism of art, he sketches a “world art criticism” in which works are in dialogue with the context in which they are produced.
“And if twenty-first-century culture was invented with those works that set themselves the task of effacing their origin in favor of a multitude of simultaneous or successive enrootings? This process of obliteration is part of the condition of the wanderer, a central figure of our precarious era, who insistently is emerging at the heart of contemporary artistic creation. This figure is accompanied by a domain of forms and by an ethical mode: translation, whose modalities and cardinal role in contemporary culture this book seeks to enumerate.”

The Radicant

Sternberg Press

Skin Fruit: Selections from the Dakis Joannou Collection accompanies the first exhibition in the United States of the Athens-based Dakis Joannou Collection, renowned as one of the leading collections of contemporary art in the world. This is also the first exhibition curated by artist Jeff Koons, whose work inspired Joannou to start his collection in 1985. Koons has selected sculptures, works on paper, paintings, installations and videos by a group of artists that includes Janine Antoni, Matthew Barney, Maurizio Cattelan, Nathalie Djurberg, Robert Gober, Mike Kelley, Terence Koh, Mark Manders, Paul McCarthy, Tim Noble and Sue Webster, Kiki Smith, Christiana Soulou, Jannis Varelas, Kara Walker and Andro Wekua, among others. This catalogue contains more than 100 full-color illustrations of works from Joannou's collection, and features Koons in conversation with Lisa Phillips; an essay by Massimiliano Gioni; full spreads from such classic (and rare) publications as Post Human; and an anthology of previously commissioned essays for Joannou's DESTE Foundation publications by Nicolas Bourriaud, Jeffrey Deitch, Peter Halley, Nancy Spector and Lynne Tillman.

Skin Fruit: Selections from the Dakis Joannou Collection Curated by Jeff Koons

Phillips, LIsa

Koons, Jeff

New Museum

Inclusions: Esthétique du capitalocène

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