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Open Systems

READER: Tomorrow is not Promised!

Edited by Gülsen Bal

Guest editors: Aslı Çetinkaya and Merve Ünsal; Saša Nabergoj; Andrei Siclodi; Gülsen Bal and Dieter Hammer; Vladan Jeremić and Rena Rädle; Berin Gölönü

Contributions by Gülsen Bal; Costanza Meli; Elke Krasny; Rebecca Gordon Nesbitt; Therese Kaufmann; Barış Acar; Ursula Probst; Burak Delier; Elmas Deniz; Sezgin Boynik; İlhan Ozan; Özge Ersoy; Nora Sternfeld and Luisa Ziaja; Sarat Maharaj; Paul O’Neill; Andrzej Szczerski; Suzana Milevska; Marina Vishmidt; Lisa Mazza and Laura Windhager; J.K. Bergstrand-Dooley; Veda Popovic; Julia Prager; Borut Vogelnik; Kooperacija - Gjorgje Jovanovik, Filip Jovanovski, Igor Toshevski and Nikola Uzunovski; Miroslav Karić; Zoran Pantelić; Lana Zdravković; Barbara Borčić; Goran Pavlić; David Riff; Danilo Prnjat; Vesna Vuković; Corina L. Apostol; Duygu Demir; Burak Arıkan; Pelin Başaran; Betty Yu; Zeynep Tüfekçi; Süreyyya Evren

The READER: Tomorrow is not Promised! explores the impact of historical account of the emergence of new curatorial discourses as well as the current discussions on what comes after critique in outlining the curatorial strategies from “exhibition making” to the new models of curatorial positions in which criticality becomes crucial.

The essays contributed by prominent writers and theorists not only guide readers through the arising consciousness based on specific countries at the edge of political instability, but also deal with their gradual impact on their contemporary art world in extending our geographic and political approach.

Details of the book: Open Systems
READER: Tomorrow is not Promised!

Language: English

ISBN: 978-3-330-05296-3

Publishing House: Lambert Academic Publishing


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Extract from the review by Richard Appignanesi: 

A book review is normally a matter of critically appreciative reception or not. To my mind, this book invites other response than the promise of a ‘reader’ qualified by that name might otherwise receive. Certainly, it is a reader in the compendious sense, offering an apparent miscellany of pointedly brief contributions, several pages each, of essays, dialogues, interviews, conference papers and workshops; but the whole, arranged in seven composite sections, is curatorially orchestrated into something more ambitiously far reaching than its parts. Each of the seven sections enjoys its own autonomously appointed guest editors who have assigned an assembly of contributing writers to their specified areas of investigation.

The book outspans its specifications. I would rightly name it a textual mode of exhibition, an initiative which in aftermath calls on its visitors for the furtherance of controversy, and thereby opening the portal to the dissemination of creative criticism. I anticipate one of the book’s authors who speaks of ‘turning the art of criticism into an artform in itself’, a nod acknowledging T.W. Adorno’s paratactical method.

Something about this book urges me to conclude that the time has come for a reckoning of the contemporary guising of art. A complete acceptable picture can never be expected but will remain, as Marcel Duchamp declared his interminable Large Glass, ‘definitely unfinished’, until the damn thing broke. Contemporary art is at once presentable as definitely unfinished and broken. The double bind is all too well-known. Is art blocked and failing to respond to repair either because inherently at its terminus – it has come in short to its end – or because obstructed by social conditions in which art is simply no longer viable. There are three categorical implications therein, aesthetical, historical and ethical, though whichever way, apocalypse has become art’s familiar. And those wearied by its familiarity, while being nevertheless advocates of art’s persevering endurance, will argue remedially for the ‘potency of critique within art’ – quoting the reader’s presenting editor Gülsen Bal in her opening words [11] – which sustains hope in its advancement from the mire.

8 September 2017, London

Richard Appignanesi has a doctorate in Classical Art History; and is a writer, curator, and lecturer. He is former executive editor of Third Text and former reviews editor of the Futures policy studies journal. Also, he was a co-founder and editorial director of Writers & Readers Publishing Co-operative and Icon Books.

Open Systems

grafisches Element