Call for papers for the Transitory network public forum

The TRANSITORY NETWORK PUBLIC FORUM (Belgrade, 22- 24 July), is now accepting research papers. Social Scientists, Cultural Researchers, Art Managers, Curators, Artists and anyone interested in the topic is encouraged to apply. We specially welcome creative research and performative presentations.
Transitory Art is a concept that responds to the necessity to map out a specific landscape of creative and research practices that responds to the contexts and challenges proposed by Globalization. This umbrella/concept tries to define the variety of artistic productions and research that are becoming increasingly representative of our multicultural and trans local era. It is a concept that develops in the time of new media ubiquitous use as a tool to represent the reapropiation of alternative discourses found within consumption and production. The definition of Transitory Art does not rely only though in the use of new media as a subversive strategy of interaction and experimentation but also in the retooling of the useabilities of traditional media as a means to broaden the scope of art’s multiple new functionalities. Transitory Art then tries to reveal itself in the everyday, within the strategies of place and space creation, use and occupation.

The Transitory Network is proposed as an open platform that aims to link different institutions with a similar mindset, that is: the dissemination of Transitory Art through the organization of Transitory AIR Program and the research, creation, presentation and distribution of Transitory Art. In order to discuss and present the Transitory Network, the Transitory Network Public Forum (TNPF) has been organized. The TNPF will be a platform, a knowledge sharing and a networking event that will take place in Belgrade during the 22nd and the 24th July 2011. The three days Forum will be hosted by the cultural organization Treci Beograd and the Museum of Contemporary Art of Belgrade (Serbia) and will be organized by MoTa - Museum of Transitory Art (Slovenia) in collaboration with Kitchen Budapest (Hungary) and CENATUS CIC London (UK). The TNPF will be also joined by WRO Arts Center in Wroclaw (Poland) and Ciant Prague (Czech Republic) partners and founding members of the future Transitory Network. The Forum will comprehend presentations, debates, info platforms and public interventions.

Deadline for submissions: 31st May 2011
The TRANSITORY NETWORK PUBLIC FORUM is now accepting research papers reflecting upon the following topics:
a) ‘Why is art relevant today? Meaningful interactions, New Medias and the public space’.
b) ‘Transitoriness vs. permanence: creative practices in the era of hyper-mobility’.
c)‘East Europe as fictional space: Socio-political contexts, contemporary art initiatives and creative networks’.

Social Scientists, Cultural Researchers, Art Managers, Curators, Artists and anyone
interested in the topic is encouraged to apply. We specially welcome creative research and performative presentations.
Selected researchers will be invited to take part in the TRANSITORY NETWORK PUBLIC FORUM through presentations and participation in the debates and will have travel and accommodation expenses covered. Furthermore the selected research papers will be part of the TRANSITORY NETWORK PUBLIC FORUM catalogue.
To apply please download the application form attached below and send it to no later than 31st May 2011.
Date: 03.03.2011 - 31.05.2011
The TRANSITORY NETWORK PUBLIC FORUM (Belgrade, 22- 24 July), is now accepting research papers. Social Scientists, Cultural Researchers, Art Managers, Curators, Artists and anyone interested in the topic is encouraged to apply. We specially welcome creative research and performative presentations.

Transitory Network Forum
21 July - 22 July 2011
Salon of Museum of Contemporary Art, Belgrade, Serbia

Transitory Network Forum

Iniciative: MoTA – Museum of Transitory Art, Ljubljana.
With support of: Treći Beograd & Salon of Museum of Contemporary Art, Beograd.
Partners: CIANT (Prague), WRO (Wroclaw), Kitchen Budapest (Budapest), Cenatus CIC (London), BIS (Istanbul), Protok (Banja Luka) i Artos (Ciper).

Transitory Network
Transitory network is an initiative to connect media-labs and artist-in-residency spaces in East Europe and the Balkans. It functions as a collaborative curatorial body with an open call that will result in a shared residency program focused on artistic research and production of new site specific works of selected artists.In most of the cities the partners managed to establish pioneering residency programs. The network encourages exchange between these places as well as production and touring of international transitory artworks. All believe in building the infrastructure for artistic research, production and representation in order to be able to construct a dynamic and open system with the purpose to revitalize the either closed or just unfamiliar artistic scenes of the so called East.

Why Transitory Network?
Transitory Network is first attempt to establish a shared residency platform by artistic intitiatives and medialabs of the so called East, that could join indenpendent organisations, host creators and researchers from the region, establish new connections as well as open to influx from other regions.

Why Belgrade?
Belgrade has always been a hotspot of the region, both historically, politically as well as being a cultural centre of the Balcan region and with rich diverse cultural scene it remains one of the most vivid cities. This is why we decided to bring the first TransitoryNetworkForum here.

Why these organizations?
All involved organizations are specific in their local context, doing first steps whether in building residency programs or establishing research-production platforms for experimental, digital and exploratory arts.

Transitory Network Forum
The Transitory Network Forum (TNF) is the first public presentation of the Transitory Network. It is designed to present and promote the Network and to initiate a public discussion and interaction with local and international public.

More information:​RESIDENCY/network


Četvrtak, 21 Jul 2011
Salon Muzeja Savremene Umetnosti, Beograd

Uvod u Forum
Martin Bricelj Baraga: Prezentacija Tranzitorne mreže
Neja Tomšič: Prezentacija MoTA – Muzej tranzitorne umetnosti
Selman Trtovac: Treći Beograd, Beograd
Agnieszka Kubicka-Dzieduszycka : WRO art center, Wroclaw
Pavel Sedlak: CIANT, Prague
Ekmel Ertan: BIS -Body Process Arts Association, Istanbul
Andi Studer: Cenatus CIC, London
OPEN CITIES by David Gunn (UK)
Audiovizualni performans

Petak, 22 Jul 2011
Salon Savremenih Umjetnosti, Beograd
Kurator i moderator: Pau Cata Marles, Španija
POZOR! Sve prezentacije će biti na engleskom.

Leandro Pisano “Istraživanje ruralne teritorije kao novi medij”
Pau Cata " Nomadizam i komodifikacija: novi izazovi i predlozi za alternativnu koncepciju mreže umetničkih rezidencija.”
Lisa Stansbie "Apropriacija i Hack. Novi oblici produkcije.”
Laura P. Gracia “Estetika prostora. Istraživanje u umetnosti i prostoru "
Agnieszka Kubicka-Dzieduszycka: Kontrolisano okolje vs slobodno izražavanje. Media Art projekati za javni prostor ukustoske prakse u WRO Art Center .
Zaključak Foruma

Party: Klub 20/44:


PART I : SPATIAL AESTHETICS. An investigation into the art and space.

The essay states about territorial policies and is influenced by Paolo Virno and Walter Benjamin. Spatial Aesthetics is a concept that encompasses psychogeography, defined by Guy Debord as the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals. Another author involved in this field is Ian Sinclair, one of the contemporary critical theorists of psychogeography from London. His projects have analyzed the new landscape of the Olympic zone, resulting one of the most critic works for the period about territorial policies. To research through cartography, mapping and geopolitics defines how is required to develop a specific aesthetic. In that sense, is urgent to build, construct and spread a way of thinking art according the contemporary necessities for the society. Responding this, Spatial Aesthetics is part of the critical thinking stating the situation of our contemporary society. One that supports it is Walter Benjamin work “Passages”, clarifying how each place is characterized by a specific actor (citizens, tourist, walkers…) or by a non-actor. The category non-actor is defined by Joana Erbel, in “Critical Cities, Ideas, Knowledge and Agitation, Emerging Urbanist”, as the factors in public space that are not human but determine the structure of the place. Spatial Aesthetics also defines the place as a resource for materials. Taking as a reference Saskia Sassen, the powerful capitalism is such a potential earth buyer defining how each place holds and actor, and also a material. 

Spatial Aesthetics develops a critical thinking about contemporary society. It is provided by references from art theory, humanities, media communications and sociology. It is also concerned about the notion of public space and the evolution of the definition of classic sculpture and monuments. So, it underlines how the smart city, geopolitics and new technologies have developed an urgently need to think art in the public sphere after the vanguard movements, abstract art, performance art, and also the cinema. The urgent need to build a society under the influence of machinery, electricity and the evolution of systems of communication and computation is also analyzed under Spatial Aesthetics. Finally, Spatial Aesthetics takes influences from Psychogeography, a movement of critical urbanism, but also representing the origins of political culture.

PART I : SPATIAL AESTHETICS. The ideology inside the city. Landscape vs public space.   
Cityscape, public space or social sphere are concepts that define contemporary artistic practices concerned with the development of the public image of the city. As well as the sculpture in the last century, nowadays new technologies in the public space are influencing the ideology and the education of the citizens. The necessity to transmit, broadcast and disseminate knowledge and information generates practices of appropriation in public space. At this point, public art programmes allow social and artistic practices to recover the local memory working with buildings and monuments that have a historical value. Those practices are involving strategies of communication, live broadcasting, screen façades, mappings or interactive responsive installations, among others.

Another aspects of the current artistic discourse based in public space involving new technologies are practices of psychogeography, cartography and anti-monument. Strategic actions, models of urbanism or utopian constructions make turn landscape to an obsolete model for the development and improvement of the actual society. According this, Spatial Aesthetics operates and encourages practices that display an ethical use of the new technologies in public space. Moreover, Spatial Aesthetics uses the principle of preservation laws regarding heritage and memory. Finally, the essay states how the social and urban landscape is built as a fictitious imitation of nature through architecture and actually through screens and electronic surfaces. Spatial Aesthetic studies this new image of the post-city.

Post-city is built facing citizens to a daily confusion, as Jean Baudrillard defended. The support and surface of the buildings are inserted in a daily life experience of existence where the subject, inside the landscape, internalizes or deconstructs the images of the media or the advertisements displayed in the urban environment. So, the landscape, the urban space or the public sphere acquire the power to signify the ideology, as Theodor Adorno estated. This is how the ideology of the masses is built: reshaping popular culture into a unique experience. In that way, to participate in the construction of the collective imagination is a task for artists and other social agents. All must agree that the representation of the collective imagination is deeply influenced by the consumer society, mediated through the strategy of seduction. This simulacrum of reality consists on an appropriation of techniques of advertising and tourism. T. Adorno described the process of constructing the psychology of the masses as identification with the product mediated by the desire. The product in capitalist production is a symbol or an image of the power constructed through propaganda and reproduction techniques. This is defined by J. Baudrillard as a simulacrum. Simulacrum is facing problems with icon culture and popular ideology. It also, refers to the objectual culture of capitalism. New relics are consumed in the industry serialization where repetition and senses stimuli produce a specific ideology. 

Here, the proposal is to treat art as a document of reality, not a simulacrum, a palliative for certain social practices. The concept of art as a document of reality focuses on the memory and information of the site, to create environments where the documentary falsification and speculation are excluded. Last century, the public space has been invaded by security systems (CCTV) that are used as devices acting as a coercive effect of power. And as Michel Foucault stated in “Monitor and punish”, this represents the monumental form of the hegemonic discourse of power in history. In addition, advertising panels, security cameras and devices of control build an urban landscape dominated by surveillance, where the subject is denied to question and define the nature of society. This is clearly explained in “War machines” by Gilles Deleuze and Felix Guattari. In that order, Spatial Aesthetics and movements of critical urbanism challenge the traditional and historical monuments to redefine the concept of public sphere. The triumphal arch, the public sculpture or the use of new technologies in open zones are ideological illustration for the social participation in the construction of the city.

Following Saskia Sassen, the place as a resource for material has become a paradigm to read inside the city. The most valuable material is what Toni Negri described as immaterial work (data and information producing a new digital order). Outside post-cities, outside borders of capitalism, material resources and mines are re-discovered by financial giants. Following, Spatial Aesthetics considers the work of art as something that belongs to the city, to the post-city or to any other specific place, but moreover something that develops a cultural policy, a methodology of work that defends the communal interest of the public voices of society. Then, art results an ethical principle of production stating processes and materials.

In addition, the public agora, where the res-cogitas of the common citizens, the civil society, is expressed thorough newspaper and media communications, is now conquered by branding and advertising campaigns. Contrary, artists are pushing against this simplification of commodity benefits and consumerism habits. In this sense, the res-cogitans is understood as a material thought, a neuronal network, and following the science-fiction writer Stanislav Lem in “Solaris”:  this genetic matter is a plasma that all knows, that all remembers. Moreover, Roy Ascott and Peter Weibel, defend the idea of how citizens, artists and public institution must participate in the construction of this social network, a noosphera, based in media communications, satellites and neuroscience devices, to protect, preserve and imply the energy of thoughts. Using satellites cameras, big screen, data projection and public networks, the public space will be soon invaded by de-constructed electronic surfaces expressing the global embodiment.

ROY ASCOTT. The image of the future city. LPDT (Le Plasir du Text). Second Life installation.

Translocal Europa. Borders in the community.

The rapid urban transformation in Square Mile London is an example of how it is turning into the Silicon Valley II. The new centre of the city is turning into a digital city, characterized by the digital generation. For Slavoy Zizek, this belongs to the idea of the end of capitalism. The Post-city is establishing a new order centred at the financial district. But as T,Adorno and Horkheimer criticised the trouble remains. The homogenised landscape of capitalism does not let other voices be heard. Now, the digital post-city is finishing with capitalism but the same features still remain. The homogenization under unique ideological code is common. The digital city, the post-city is finishing with the capitalism and starting the new digital economic order. Another problem is that many critics have been directed to the new architecture as a non-sustainable environment. Even more, massive buildings have been detected as precarious for the basic needs that they require. 

ASYMPTOTE. Example of 3d environment. Able to visualized, updated and share data in the net. A large capacity real-time virtual model of the New York Stock Exchange trading environment. The 3DTF allows multiple users to view, monitor and analyze information pertaining to the Stock Exchanges daily trading activity.

Following, from later in the sixties and until the beginning of 21st century, capitalism has represented the homogenization of liberalism and neo-liberalism, but, there have also been a counter-resistance alternative. Marcuse and Saskia Sassen or Pierre Bourdieu represents the politics of the sign, the emancipation of the linguistics in order to avoid capitalism as a system of production of goods. As Karl Marx stated, it is needed a practice that will not be included in the mass production. It has to be critical and improve the tendencies in production. Actually, one of the main goals in the post-city is the use of new media electronics. As capitalism encounters a resistance, actually there is a common movement based in the ideology of the D.I.Y. (Do It Yourself). According this, an great number of artist are adapting social practices from engineering, design, architecture or media communications in order to develop new structures that facilitate ecological practices and resources. Also, turning into creative workers, usually develop workshop facilities at art centres as V2 in Rotterdam, Medialab Madrid, FACT Liverpool, Constant in Bruxelles, etc… where they are able to distribute and produce tools and devices for the development of social requirements in order to improve communications, environment, data collection, urbanism, climate change, etc. Artist concerned with new media and electronic art are mainly disappointed with the massive production, Microsoft, capitalism. The social criticism is implicit in its artworks as they develop and participate in the idea of free culture. Developing a shape of identity where education in the ideology of community, sharing and open source is the main goal. Most part of these artists are involved in practices, mappings, software, robotics, sound, etc.

TELENOIKA. Telenoika Audiovisual Mapping @ Macau Arts Festival - (China)

What S.Zizek declared the end of capitalism, started 20 years ago with the disintegration of communism in the year 1989. Then the eastern bloc had a financial boom, and also United Kingdom, when started the implosion of the Digital technologies. French sociologist Lefevre connected the expansion of urbanism with capitalism. Also the psichogeographer, Guy Debord, declared that the shape of the state come over life, building their form. The Eastern European post-communist countries suffered a spatial and social reconfiguration. The liberalism started the privatization of public space in the 90s and the neo-liberal economy of the 21st century found a new heterogeneous urban actor that started to act against him. In that sense, artists and public art commissions developed practices in urban space with the implementation and use of the new technologies. Old communist landscape made of large scale buildings representing intellectuals politicians were considered interesting by private companies and local authorities. Other buildings were destructed avoiding concepts as memory and amnesia. 


PART III. ARTIST. Ballettikka Internettikka by Igor Stromajer & Brane Zorman
An example of Transitory Art in Europe

Igor Stromajer started a series of tactical art projects which began in 2001 with the exploration of Internet ballet. It explores wireless Internet ballet performances combined with guerrilla tactics and mobile live Internet broadcasting strategies. The 10-years project ended in 2011. It is a serial of interventions in public spaces: right now it is intensively being prepared for the final Ballettikka Internettikka action in Antarctica, November 2011. The relation between the project itself and the public space is multilateral. These actions are invasions, mostly illegal guerrilla actions (but not all of them), where artist enters at specific public space and does an artistic action there, a ballet (at the beginning with its own body, and later with robots). So, the project has illegally invaded various public institutions and public places like the Bolshoi in Moscow (BI Ballet Net), La Scala in Milan (BI Illegallikka Robottikka), Ljubljana Beltway - Motorway Ring (BI Autto Mobillikka), National Theatre in Belgrade (BI BEO Guerrillikka), Volksbühne toilet in Berlin (BI VolksNetBallet), City Hall toilet for disabled people (BI RenminNetBallet), the Lippo Centre twin-towers (BI Stattikka) in Hong Kong, a factory in Slovenia (and broadcasted live to Plaza del Rey in Madrid: BI Hydraullikka), and construction site of the new shopping mall in Seoul, where a robot was buried (BI Intermenttikka). Others have been abandoned in places such Svalbard, Arctic ocean in BI Norddikka or Japanese island Minami Torishima in Pacific Ocean in BI Nipponnikka. This year it is going to end the 10-years project by abandoning the last robot as far south as possible: this time on Antarctica (BI Antarcttikka). It has also done one BI action in a relation to the ceremony of igniting the Olympic torch in Greece (BI Olymppikka), and in the Port of Hamburg (with two insect robots; BI Insecttikka). Beside that, it has been also done some smaller BI actions which are not so public-space related. But, the basic starting point was if they don't let us go somewhere in a legal way, we go illegally, guerrilla style. Later, this guerrilla style changed into more intimate form (abandoning the robots, leaving them in several extreme places forever).

Ballettikka Internettikka, Igor Stromajer & Brane Zorman

KEY WORDS:  Architecture. urban design interventions. heterotopy. No-place. border. Memory. power. Common spaces. Political spaces. Heritage. Museum. Public space. Public sphere. Monument. Landscape. Extraterritoriality. Dec-territorialization. Decentralization. Mapping and cartography. Dystopia. Scene. Mise - en - escene. Theatre. Trip. Derive. Walk. Drift. Global. local. Glocal. Churches and palaces. Terrain vague. Geopolitics. Homogenization of urban space. The cavern. 

Archivo universal : la condición del documento y la utopía fotográfica moderna; texto: Jorge Ribalta
Mal d'archive : une impression freudienne / Jacques Derrida
Bunker archéologie / texte et photos Paul Virilio
L'Écran du désert : chroniques de guerre / Paul Virilio
BAUDRILLARD, J. et al. 1991. Citoyenneté et urbanité. París, Editions Esprit.
The Arcades project / Walter Benjamin
Paris, capitale du XIXe siècle : le livre des passages ; Walter Benjamin ;
traduit de l'allemand par Jean Lacoste d'après l'édition original établie par Rolf Tiedemann
Temporary discomfort ; chapter I-V : Davos, Genoa, New York, Evian, Geneva
Cartografía : Gerardo Suter : XXIII Bienal Internacional de São Paulo, Brasil : octubre-diciembre, 1996
Cartografías esquizoanalíticas / Félix Guattari
Esercizi di esodo : linguaggio e azione politica / Paolo Virno : une cartographie numérique du monde
Feliz Guattari : throught, friendship, and visionary cartography
/ Franco Berardy ; translated and edited by Giuseppina Mecchia and Charles J. Stivale
City of refuge : a 9/11 memorial : Krzystof Wodiczco
If you lived here : the city in art, theory, and social activism : a project by Martha Rosler ; edited by Brian Wallis
The City amplified : Justin Bennett : BMB Con #11
The City Project : Matt Mullican
Ciudades : del globo al satélite : febrero-mayo, 1994 ;
una idea de Albert Garcia Espuche ; [textos: Josep Ramoneda, Albert Garcia espuche,
André Corboz, Bogdan Bogdanovich, Ignasi de Solà-Morales]
La Ciudad radiante / Achille Bonito Oliva
Constant, konstrukitionen und modelle : 9. Januar bis 9. Februar 1960 ; [text: G. E. Debord]
Occupying space, wasting time ; [by Alice Creischer, Andreas Siekmann]
Leyenda / [Alice Creischer]
Correspondence : the foundation of the Situationist International (June 1957-August 1960)
/ Guy Debord ; introduction by McKenzie Wark ; translated by Stuart Kendall and John McHale
Potlatch : Internacional Letrista (1954-1959) : más, Introducción a una crítica de la geografía urbana ;
Modo de uso del desvío. Informe sobre la construcción de situaciones y sobre las condiciones de
la organización y la acción de la tendencia situacionista internacional
Préface à la quatrième édition italienne de "La Société du Spectacle" / Guy Debord
Parages / Jacques Derrida
Jan Dibbets : llum interior : obres sobre arquitectura, 1969-1990 ; Rudi Fuchs, Glòria Moure
Jan Dibbets : Stedelijk Museum Amsterdam
Martha Rosler : Sur/ sous le pavé
Krzysztof Wodiczko : Art public, art critique : Textes, propos et documents /
textes et documents réunis par Marie-Anne Sichère ; traduit de l'anglais par Michelle Herpe-Voslinky et du polonais par W. Kolecki
[Northern Visions : The Solomon R. Guggenheim Museum, New York
Öyvind Fahlström : another space for painting ; [Texts: Immanuel Wallerstein, Octavi Rofes, Suely Rolnik]
Öyvind Fahlström : the complete graphics, multiples and sound works :
BAWAG Foundation, 7.12.2001 - 3.3.2002 ; [Texten: Sharon Avery-Fahlström, Wolfgang Astelbauer]
Öyvind Fahlström : IVAM Centre Julio González : 10 junio / 23 agosto 1992
Öyvind Fahlström : The Solomon R. Guggenheim Museum, New York, 1982
Imprint : writings / Harun Farocki ; edited by Susanne Gaensheimer, Nicolaus Schafhausen ;
english translation by Laurent Faasch-Ibrahim ; assistant editor Volker Pantenburg = Nachdruck :
Texte / Harun Farocki ; herausgeggeben von Susanne Gaensheimer, Nicolaus Schafhausen ;
übersetz ins Americanische von Laurent Faasch-Ibrahim ; bearbeitet von Volker Pantenburg
Speaking about Godard ; Kaja Silverman and Harun Farocki ; with a foreword by Constance Penley
Harun Farocki : working on the sightlines ; edited by Thomas Elsaesser
Harun Farocki : against what?, against whom? ; edited by Antje Ehmann and Kodwo Eshun ; Nora Alter... [et al.]
Border theory : the limits of cultural politics ; Scott Michaelsen and David E. Johnson, editors
La Estetica geopolítica : cine y espacio en el sistema mundial / Fredric Jameson
Dan Graham's Kammerspiel / Jeff Wall
Dan Graham interviews ; editor Hans Dieter Huber
Land, art : a cultural ecology handbook ; edited by Max Andrews
The Third exile : explorations in the borderland of architecture, visual art and philosophy of science
= Verkenningen in het grensgebied van architectur, beeldende kunst en wetenschapsfilosofie ;
redactie J.A.G.M. Rutten, Joseph Semah
A Spot on the wall ; [texts: Rosalind Krauss, Claudia Jolles, Helmut Draxler]
La Imagen de la ciudad / Kevin Lynch
Mapa : airmail paintings = pinturas aeropostales / Eugenio Dittborn
Mapping / Robert Storr
Mapping cyberspace / Martin Dodge and Rob Kitchin
Dennis Oppenheim ; texts by Germano Celant, Dennis Oppenheim
Dennis Oppenheim : Explorations / Germano Celant
Dennis Oppenheim : 1989
Dennis Oppenheim : Stedelijk Museum, Amsterdam, 18 januari t/m 2 maart 1974
Paysages lieux et non-lieux : le paysage dans la photographie européenne contemporain
about landscape and other places : landscape in contemporary european photography ;
[textes: Paul Difelice, Gabriel Bauret, Christian Gattinoni, Cristina Zelich, Frits Gierstberg ... et al.]
Micropolítica : cartografías del deseo ; Félix Guattari, Suely Rolnik
Cities in a world economy / Saskia Sassen
The Global city : New York, London, Tokyo / Saskia Sassen
Globalization and its discontents / Saskia Sassen
The Most radical gesture : the Situationist International in a postmodern age / Sadie Plant
Enragés and Situationists in the occupation movement, France, May'68 / René Viénet
The Situationist city / Simon Sadler
Situationist International anthology ; edited and translated by Ken Knabb
Archives situationnistes
The Revolution of everyday life / Raoul Vaneigem ; translated by Donald Nicholson-Smith
Earth art : Jan Dibbets, Hans Haacke, Neil Jenney, Richard Long, David Medalla, Robert Morris,
Fennis Oppenheim, Robert Smithson, Günther Uecker
Minimal Art : Andre... [et al.] : 17. Januar bis 23. Februar 1969, Städische Kunsthalle und
Kunstverein für die Rheinlande und Westfalen
Robert Smithson : selección de escritos
Utopia post Utopia : configurations of nature and culture in recent sculpture and photography :
January 29-March 27, 1988 ; [texts by Fredric Jameson, Eric Michaud, Elisabeth Sussman ... et al.]
Spaces of hope / David Harvey
Atlas mnemosyne / Amy Warbung
Buckminster Fuller / Martin Pawley ; with photographs from de Buckminster Fuller Institute
Utopia or oblivion : the prospects for humanity / R. Buckminster Fuller
Buckminster Fuller : starting with the universe ; edited by K. Michael Hays, Dana Miller ;
with essays by Antoine Picon, Elizabeth A.T. Smith, Calvin Tomkins