New Arrivals

All are related to art, but the collection is defined by a special focus on both sculpture and art in public space. ART / 2460 I lurked under the table for some time, until my anxiety began to give way to remorse. Had I let go of once-in-a-lifetime opportunity? GD / 2459 It can be very disturbing when the timbre of a voice changes suddenly halfway through a phrase. Such a large difference in tone color only makes sense if it fits the musical and textual context. WT / 2458 He gets up and continues dancing, balancing on his toes, oblique angels, impossible hovering. FIC / 2448 All the events organised by the Provos, violent confrontations between police and participants grew fiercer. NON-FIC / 2447 It seemed like years between us then. I felt the light of days come in and out and all against me, though in passing sheens I looked the same. A day could not have passed, nor could even several hours, though suddenly I found myself at last no longer on the bus, still holding carrots but not as many, and my stomach full of hell. NON-FIC / 2438 Someday soon I shall return, and so my mind is fully preoccupied, and people observing me cross a street, or sipping some hot broth, or looking distracted as I buy a ream of paper, are convinced my mind must be on something else. My decision regarding my eventual return has made me buy a ream of paper I didn’t need, a paper I might add produced locally, and not made from long green cucumbers. NON-FIC / 2439 Among the artists, the productive koneksi is termed as colaborasi (collaboration), which is celebrated as a new method of production in the art scene. WT / 2432 Let us hone on what used to be called ‘the quality question.’ How does it look from within the three currents hypothesis? WT / 2431 A frame may or may not be required. A chair may become its own frame, or lend the fabric of its seat; the floor can also be turned into painting. ART / 2430 The contemporary media law of stardom reads: I rehabilitate, therefore I am. ART / 2427 You thought first footstep? Something new? I am very sorry. We are discovered. THEORY / 2426 The 17 visual and spoken reports bear witness to the fruitful consequences of collaboration. The making of the book rarely succeeds if editing, publishing, design and technical production do not work hand in hand; it is truly cooperative venue. GD / 2425 The ancient world believed that a man’s soul was contained in his reflection and that to dream of it was an omen of death. NON-FIC / 2424 An exhibition is, by definition, a temporal occasion—a day, a week, a month, it exists materially only for so long—at which point it folds back into itself and exists thereafter thought a series or representations—photographs, critical essays and catalogues. THEORY / 2423 Tacit knowledge: The things we know but we may not be aware of, or things we are aware we know but would find it hard to articulate. Compiled and highly intuitive knowledge (embodies, embrained or implicit) that represents internalised knowledge. THEORY / 2422 From the time of preparing the first manifesto I saw auto-destructive art is in the first place a form of public art. ART / 2421 The second thing you immerse yourself in are the light. Lights are everywhere. PHOTO / 2420 We live in mirror images but with distinct lines that indicate our own identity. Everything here looks the same and everything here is unique. ARCH / 2419 And the strangest thing about the nightmare street was that none of the millions of things for sale were not made there. They were only sold here. Where were the workshops, the factories, where were the farmers, the craftsmen, the miners, the weavers, the chemists, the acres, the dyers, the designers, the machinists, where were the hands, the people who made? Out of sight, somewhere else. FIC / 2418 Papers are organised into only three categories: needs attention, should be saved (contractual documents), and should be saved (others). NON-FIC / 2417 _____________   ______ ________ ________   ________ _____ ______________ ________     ______ ________       ________ _____ _______ __ NON-FIC / 2416 A typical highway interchange offers only a change of direction at constant speed. It is a switch in the network, but not a very smart switch. In traffic engineering, it was believed that statistical evidence of larger and larger populations of cars warranted more and more lanes of traffic. Yet increasing capacity only increased congestion, in part because of inadequate switches. ARCH / 2381 What cannot but strike the traveller is that both approaches culminate in some notion of Event: the Event of the disclosure of Being – of the horizon of meaning which determines how we perceive and relate to reality – in Heidegger’s thought; and, in the Big Bang (or broken symmetry), the primordial Event out of which our entire universe emerged, in the on tic approach, upheld by quantum cosmology. Our first tentative definition of event as an effect which exceeds its causes thus brings us back to an inconsistent multiplicity: is an event a change in the way reality appears to us, or is it a shattering transformation of reality itself? Does philosophy reduce the autonomy of an event, or can it account for this very autonomy? So again: is there a way to introduce some order into this conundrum? The obvious procedure would have been to classify events into species and sub-species – to distinguish between material and immaterial events, between artistic, scientific, political and intimate events, etc. However, such an approach ignores the basic feature of an event: the surprising emergence of something new which undermines every stable scheme. The only appropriate solution is thus to approach events in an essential way – to pass from one to another notion of event by way of bringing out the pervading deadlocks of each, so that our journey is one through the transformations of universality itself, coming close – so I hope – to what Hegel called ‘concrete universality’, a universality which is not just the empty container of its particular content, but which engenders this content through the deployment of its immanent antagonisms, deadlocks and inconsistencies. PHIL / 2393 Contrary to popular stereotype, this is a very friendly city we live in, often heartbreakingly so. Lack of friends is the least of our worries. I can’t be the only man who understands that it is just as easy to meet women on public transport as on the internet, particularly if one takes ecstasy before descending into the underground. This fiction that we live in an unfriendly city might have taught us to distrust unplanned encounters with strangers, but the romantic drift of our books and films show we yearn for these meetings too. MAG Perhaps unique when it comes to questions of authenticity in paining, however, were the marks on canvases that seemed entirely abstract at a glance, but which upon closer examination revealed their true form: emoticons, symbols whose usage denotes both intimacy (given their transmission and reception on handheld devices) and disembodiment, and which have come to represent a kind of default mode for personal expression. MAG The stories that make up history are always in conflict. Misinterpretation is sometimes deliberate and sometimes not, and it is usually impossible to distinguish one from another. Torture goes hand in hand with vulnerability. In fact, the experience of vulnerability lies at the root of all forms of human subjectivity. ART / 2385 So his life passed, calm and dull, until the day when, after a particularly boozy evening, Luke spotted a die, a boring old die for playing games, lying on the carpet and suddenly the idea came to him to roll it, and to do what it told him to. “If it lands on a number between two and six, I’ll do what I would have done anyway: take the dirty glasses to the kitchen, brush my teeth, take a double aspirin so I’m not too hungover in the morning, go to bed next to my sleeping wife and maybe knock one out, furtively, thinking of Arlene. On the other hand, if I throw a one, I’ll do what I really want to do: I’ll cross the hallway, knock on the door of Arlene’s apartment, behind which I know she’s home alone, and sleep with her.” MAG

C

U

R

A

T

I

N

G

 

T

H

E

 

L

I

B

R

A

R

Y


C

U

R

A

T

I

N

G

 

T

H

E

 

L

I

B

R

A

R

Y