Sternberg Press - February 2024

What to Let Go?
Sternberg Press 2024 ISBN 9783956796425 Acqn 34188

Pb 21x29cm 363oo col ills £23.50
This book contributes to discussions about what counts as heritage now, who gets to do the
counting, and broader related issues around the subject of cultural sovereignty. It unpacks
historical narratives and political memories linked with objects, sites, and ceremonies that have
been lost, looted, restituted, repatriated, revived, or reinvented. Through its diverse line-up of
discourse, poetry, and original artistic contributions, it weaves together subjects and geographies
that are not usually part of the same conversation -from plundered cultural belongings held in
colonial collections, to processes of renaming or removing symbols of past eras- and considers
how they relate in the context of recent social upheavals and political processes across
continents. In our era of dangerous revisionism, when history has become a battlefield for both
the left and the right, we are asking: How can art reconfigure our collective foundational myths?
And of what should we let go on the journey towards figuring it out?
[email protected]
www.artdata.co.uk
what looks good today may not look good tomorrow - The Legacy of Michel Majerus
Pb 12x18cm 152pp col ills £15.50
In the span of a short yet exceptionally prolific career, Luxembourgish artist Michel Majerus
(1967-2002) transgressed the well-worn rules of painting to capture the influence of digital media
and pop culture during the 1990s and early 2000s.
Majerus's large-scale paintings and installations-characterized by the artist's 'sampling' and

collaging of an eclectic repertoire of imagery and text borrowed from art history, video games,
commercials, and electronic music-resonate with the rapid expansion of globalized consumer
culture and digital technology.
This book collects and preserves the talks and lecture-performances held during a symposium on
Majerus at Mudam, the contemporary art museum in Luxembourg. The convening considered the
relevance of Majerus's reflections today and discussed the dimensions of his legacy___-
investigating his influence on the practices of the digitally native artists, curators, and researchers
who came after him.
Contributions by Cory Arcangel, Karen Archey, Motoko Ishibashi, Ingrid Luquet-Gad, Clementine
Proby, Fabian Schoneich, Stephanie Seidel, Bettina Steinbrugge, Sarah Johanna Theurer.
[email protected]
www.artdata.co.uk
Raven Chacon - A Worm's Eye View From a Bird's Beak
Pb 21x26cm 220pp col ills £26
A career-spanning catalogue featuring excerpts from Raven Chacon's scores, musical prompts,
and drawings interspersed with full-color documentation and descriptive texts of installations,
sculptures, and performances.
Raven Chacon is a composer and artist creating musical experiences that explore relationships
among land, space, and people. In an experimental practice that cuts across the boundaries of
visual art, performance, and music, Chacon breaks open musical traditions and activates spaces
of performance where the histories of the lands the United States has encroached upon can be
contemplated, questioned, and reimagined. In 2022, Raven Chacon became the first Native
American to win the Pulitzer Prize for Music and was awarded a prestigious MacArthur "genius"
fellowship in 2023.
The publication features newly commissioned texts including three long-form essays by Aruna
D'Souza, Anthony Huberman, and Dylan Robinson/Patrick Nickleson; experimental short-form
writing by Raven Chacon, Lou Cornum, Ingir Bal Nango, Marja Bal Nango, Eric-Paul Riege, Ande
Somby, and Sigbjorn Skaden; an introduction by Katya Garcia-Anton and Stefanie Hessler; and a
conclusion by Candice Hopkins.
Texts by Raven Chacon, Lou Cornum, Aruna D'Souza, Candice Hopkins, Anthony Huberman,
Ingir Bal Nango, Marja Bal Nango, Dylan Robinson/Patrick Nickleson, Eric-Paul Riege, Sigbjorn
Skaden, Ande Somby. Foreword by Katya Garcia-Anton, Stefanie Hessler.
[email protected]
www.artdata.co.uk
Visual Cultures as World-Forming
Pb 15x20cm 104pp ills £11
How does the world form itself? How does it create itself as a world? And how do we understand
the role of the visual in this regard? Most responses to these questions within cultural theory and
visual culture refer to the rise of globalization, thus highlighting the acceleration of exchanges, the
proliferation of information and communication devices, and the multiplication of globally
circulated goods and images that characterize the world we live in. Visual Cultures as World-
Forming takes a different approach by focusing on the taking place of the world, a creative act
that knows no economic return.
This taking place does not lead to more proliferation of goods, additional financial exchanges,
further communications, or an increase in the distribution of visual material, but leads to the
continued "worlding" of the world. This approach is predominantly, but not exclusively, inspired by
the work of Jean-Luc Nancy. Through a reading of his work and of some of his contemporaries
both inside and outside of the Western canon, Adnan Madani and Jean-Paul Martinon attempt to
expose how the world-and the world of visual culture in particular-creates itself and the ways in
which each one of us is embodying this creation without economy.
[email protected]
www.artdata.co.uk

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What to Let Go?

Sternberg Press 2024 ISBN 9783956796425 Acqn 34188

Majerus's large-scale paintings and installations-characterized by the artist's 'sampling' and

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