Onomatopee Knihy

On the physical and digital possibilities of public space in a world transformed by COVID-19 Featuring the works of nearly 40 artists, designers and writers, this publication surveys the formation of community and perceptions of the public amid COVID-19, exploring new communal digital spaces produced in response to physical isolation. Themes explored liminal public spaces as sites of community; body politics as markers of citizenship; dualisms of place and space; codes of community, care and intimacy in the digital and the spatial blending of public spaces in private arenas.Contributors include : Brogen Berwick, Cleo Broda, Roberta Cesani, Lenn Cox, Jolien De Nijs, Gilles Dedecker, Lewis Duckworth, Alexandra Fraser, Quentin Gaudry, Amy Gowen, Myriam Gras, Floriane Grosset, Claudia Hackett, Melle Hammer, Jess Henderson, Emily Herbert, Eva Jack, Jonathan Johnson, Tamas Kondor, Zoie Kasper, Ola Korbanska, Clara Amante Mendes, Anna Maria Michael, Gina Moen, Ronal Nijhof, Riitta Oittinen, Amy Pekal, Katerina Sidorova, Maaike Twisk, Iris Van Wijk, Nico Vassilakis, Jorne Visser, Anna Weberberger, Jodie Winter and Chiara Zilioli.

How people sit and are an anthropology of chair design The anatomy of our bodies invites sitting; but do we design seats in the same way? Has our means of sitting been colonized by modern design? And how is the culturally various act of sitting itself reflected in this functional commodity?Matteo Guarnaccia’s (born 1954) Cross Cultural Chairs is a research-based design project “about the cultural context of furniture, understanding how globalization is shaping design around the world,” he writes. “It’s an exploration that lies between social and technical aspects of chairs.” To execute this project, Guarnaccia visited eight different countries to conduct research and talk to local design studios, ultimately collaborating with them to portray each culture in the form of a chair. Cross Cultural Chairs plumbs the hidden depths of furniture design and the ways in which cultural norms assert themselves through functional commodities, opening up a conversation about identity, community and expression through chairs.

The politics of a pictogram: technology, gender, race and class in the history of the heart symbolThe ubiquitous, benign and seemingly innocuous heart symbol hides a much more complex story than its appearance suggests. The heart is often described as a universal symbol for love, yet its history suggests otherwise; it is closer to a corporate and political medium, embedded with all of the familiar imbalances of class, gender and race. The symbol developed in the 15th century and became popular in Europe during the 16th century. Until then, the heart shape was not associated with love or any of its current implications: in other words, this apparently eternal image has a history. In the Name of lays bare this fascinatingly fraught and complex history, revealing the intricacies and problems surrounding the heart symbol. In text and images, the book explores how technological, political and historical dominance has impacted the development of communication and our access to (online) information today.

Creative takes on domesticity and cooking from the constraints of lockdown As the coronavirus forced the world to close down, nearly everyone found themselves spending a lot more time at home than they had initially anticipated. With most 2020 plans foiled and travel restrictions on the rise, many artists turned to kitchen experiments as a new creative outlet. In Recipes for the Future, 16 culture-makers share the culinary concoctions they made in reaction to their newly disrupted lifestyles, revealing a vision for the future based around the ambition to change and to widen the limits of human imagination. The visions and recipes of these writers, academics, philosophers, singers, visual artists, theater-makers and designers working in the Netherlands and Germany paint a unique portrait of our current moment. Themes of sustainability, domesticity, utopian realities and the role of cultural institutions arise in between recipes for "corona ice cream" and "mushrooms at the end of the world."

Art is artificial; it is a fake version of reality. The imagery of art represents, illustrates suggests and provides stillness it sharpens our perspectives and deepens the experience of reality. Esther Tielemanss work aligns opposites, like the two and three-dimensional, the abstract and figurative, reality and artificiality. It forms an environment in which the experience of the new precedes the habitual of the familiar. The authors of this book, Maria Barnas and Hans den Hartog Jager, describe their findings in a personal, poetic and investigative manner; while being supported by art history references and other cultural phenomena. Their in-depth approach illustrates how this body of work lets our perpetual sense of reality slip as it invades our senses. Yet this extraordinary environment, that grounds the past in the present, is simultaneously undetermined as it feels close to our sense of particularity. Where we are is suddenly different from where we once were.

Critical science fiction, on its most basic level, is an opportunity to experiment with new ways of existing in the world; imaging different, economic, political and social structures. Within its pages, science fiction holds the space to test ambitious projects without the fear of failure. Reading and writing science fiction is, in all its imaginative and disruptive potential, something which I believe is valuable to anyone living under conditions which they wish to change.00?Reworlding? is the name given to a concerted effort to reimagine the places and spaces we inhabit, by generating a multiplicity of futures with which to affect the present positively. Reworlding takes the notion of worldbuilding beyond any ostensible purpose as art or entertainment and deploys aspects of it as a radical tool to instigate change in the world.00The stories compiled in this book were the outcome of a writing workshop series led by Callum Copley in a town called Birzeit, a few miles north of Ramallah, Palestine. From alien experiments, to fortune-tellers and telepathic conspiracies; the stories compiled here represent visions of the West Bank and beyond, reworlding both the local and the interplanetary. Although the contributions in the collection vary in form, length and style, all join a rapidly growing but comparatively small niche of Palestinian science fiction

Belgrade collective Škart has been operating within and around existing hierarchies of the art world and everyday life, working in collaboration with marginalized groups, NGOs, and anti-war movements. Škart's understanding of the artwork is fluid and relationship based. No matter the medium - poetry, embroidery, graphic design, choir, or radio broadcast - its artistic explorations are characterised by self-organisation, rooted in creating an open, accessible infrastructure for being together. This approach has been incorporated into a different scale of activities ranging from the street level to participation in the Venice Biennale of Architecture. Different social experiences create different forms of relativity. Through conversations with Škart's members, a collection of images, poems, drawings as well as newly commissioned texts by Zdenka Badovinac, Branislav Dimitrijevič and Milica Pekič, this book captures traces of Škarts̀ practice from the 1990s to present.

Celebrating 15 years of a unique artist-run gallery in Galway Using 126, an artist-run gallery in Galway, Ireland, as an exemplar of an artist-run democracy, this book celebrates 15 years of 126 and explores the grounds for its unique mode of organization.