How can art, science and institutional practices counteract the negative consequences of climate and ecological breakdown? How can these practices and ideas advance systemic change? Worlding Ecologies serves as an anthology of examples and wayward navigational tool, assembling eighteen authors exploring this question from their diverse backgrounds––as scientists, artists, philosophers, activists, theorists and curators––to rigorously approach urgent ecological challenges, including cl...

The everyday connotations of the original, the real, sincere, valid, historical or deep are well-known, and the opposite of the authentic may then be the superficial, false, not-what-it-seems, or just new. Nonetheless 'the real thing' is still a fruitful starting point to analyze changes in the post-digital society. Digital technology is embedded in almost every personal relationship, in labour conditions, and in aesthetic practices. What does this mean for the 'authentic'? To unfold the nuan...

Marjan Teeuwen (*1953, NL) creëert grootschalige architectonische installaties in gebouwen die na haar interventie worden ontmanteld. Ze sloopt en stript, grijpt in op de constructie en structuur en bouwt met het sloopmateriaal een nieuw artistiek beeld op. Op basis van deze installaties ontstaan autonome fotowerken. In haar werk gaat de constructieve kracht van bouwen hand in hand met de kracht van verwoesting en verval. Vloeren zijn scheef gezet of vallen loodrecht naar beneden; wanden zij...

Graphic Design Is (…) Not Innocent questions ingrained approaches, values and assumptions of graphic design in globalized societies. The publication aims to initiate a dialogue between designers, scholars, critics and commissioners, who investigate responsibilities, potentials, politics, limits and risks of designing visual communication. How innocent is graphic design? Whom is it addressing, whom is it in/excluding? What does it bring about? When defining the role and impact of visual comm...

The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. Making Matters spells out various roles that visual artists and designers play facing these issues. Collective action is necessary and inevitable.

Collective action often changes the artist’s identity and working habits: from individuality and autonomy to collectivity and collaboration, both locally and globally. These developments have given rise to ...

Over the last few decades the term ‘bootlegging’—a practice once relegated to smugglers and copyright infringers—has become understood as a creative act. Debates about homage, appropriation, and theft that are common in the art world, are now being held in the spheres of corporate branding, social media, and the creative industry as a whole. Today, bootlegging has become fetishized as an aesthetic in and of itself, influencing everything from underground record labels to DIY T-shirts,...

Curating exhibitions and ‘art writing’ are closely related: both activities construct a meaningful narrative about artefacts and artists, both interact with a public, viewers/readers; both make space for the experience of art objects. For their work, curators and art writers tap the primary source: the living artist, their work and world. Both cherish a proximity to the maker, for it allows them to delve into artistic processes, consider things in a state of becoming. An essential tool fo...

Imaginative Bodies contains a series of in-depth conversations with dancers and choreographers, composers, visual artists, Hip Hop artists, dramaturgs, a lighting designer and a puppeteer. The overall theme is defined by the body, both in relation to the place it takes in the artist's work, and in relation to wider debates on the body in philosophy, science, medicine, anthropology, and the arts. Depending on the affinities of the artist, a more specific theme has been defined for each dialogu...

Capitalism could not exist without the coins, banknotes, documents, information graphics, interfaces, branding, and advertisements made by graphic designers. Even anti-consumerist strategies such as social design and speculative design are appropriated to serve economic growth. It seems design is locked in a cycle of exploitation and extraction, furthering inequality and environmental collapse. CAPS LOCK uses clear language and visual examples to show how graphic design and capitalism are ine...

Geert Lovink is een Nederlandse mediatheoreticus, internetcriticus en auteur van Uncanny Networks (2002), Dark Fiber (2002), My First Recession (2003), Zero Comments (2007), Networks Without a Cause (2012), Social Media Abyss (2016), Organization after Social Media (met Ned Rossiter, 2018) en Sad by Design (2019). In 2004 richtte hij het Institute of Network Cultures op aan de Hogeschool van Amsterdam (HvA). Dit centrum organiseert conferenties, publicaties en onderzoeksnetwerken zoals Video ...