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Jill Magid, Failed States , installation detail photo at AMOA-Arthouse, spanish edition of Goethe's Faust and letter to Fausto. 2011. Photo by Erica Nix. Courtesy of the artist and AMOA-Arthouse. Jill Magid, Failed States , installation photo at AMOA-Arthouse. Wall text, The Capitol Shooter : Breaking News, digital video, 9’16’’, 2011. Photo by Erica Nix. Courtesy of the artist and AMOA-Arthouse. [124] [125]
[126] David Maljković Out of Projection David Maljković’s new installation expands on his continuing exploration of memories as futurist propositions, while making reference to disparate film genres such as science fiction and documentary. Out of Projection was filmed at the carefully guarded test track of the Peugeot headuarters in Sochaux, France. The primary screen shows the protagonists, elderly couples who build ideas for future projects. They are actual retired company workers who act as a medium between past and future, moving slowly around the test track alongside the car prototypes. The second, smaller projection is of close-up interviews with individual workers in silent recollection, eerily blurring the past and the future. The use of Peugeot prototypes as props follows the artist’s use of futuristic automobile prototypes in Croatian Modernist architectural settings, such as in his past video works These Days and Lost Memories from These Days. David Maljković, Out of Projection, 2 channel HD video installation, 18’ 41’’. Courtesy of Sprüth Magers Berlin London [127]
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PAVILION journal for politics and c
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In memoriam Ioana Nemeș (1979 - 20
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Biennale focuses on such practices
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Around [10] Fordism. Post-Fordism a
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tion, i.e. and elitization of cultu
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Politics as Art of the Impossible:
Page 13 and 14: the Tea Party over the next few yea
Page 15 and 16: Because it is a patent impossibilit
Page 17 and 18: front of our eyes, ready to be embr
Page 19 and 20: The Internalisation of the Discours
Page 21 and 22: Contemporary Art Centers and their
Page 23 and 24: TACTiCs for The here And now Eikono
Page 25 and 26: Radicalizing this Marxian analysis,
Page 27 and 28: for Adorno art is critical insofar
Page 29 and 30: Art in the Knowledge-based Polis [5
Page 31 and 32: Though this emphatic plea for “re
Page 33 and 34: seminar-cum-workshop-cum-symposium-
Page 35 and 36: Notes [1] R0370126@student.akbild.a
Page 37 and 38: about politics as a rich aesthetic
Page 39 and 40: professionalization, from an impres
Page 41 and 42: ing the latter. In contemporary art
Page 43 and 44: dents could also take charge themse
Page 45 and 46: analyses that account for practices
Page 47 and 48: and there is no possibility of avoi
Page 49 and 50: equesting them to take action to ba
Page 51 and 52: [98] exTenT PArTiCiPAnTs And Venues
Page 53 and 54: [102] Iman Issa Triptychs This proj
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Page 57 and 58: [110] Alexandre Singh The Pledge Th
Page 59 and 60: [114] Rinus van de Velde untitled (
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Page 63: [122] Jill Magid Failed States Jill
Page 67 and 68: [130] Marina Naprushkina The Office
Page 69 and 70: [134] Vesna Pavlović Search for La
Page 71 and 72: THE INSTITUTE FOR POLITICAL RESEARC
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Page 75 and 76: [146] Ciprian Homorodean, Take the
Page 77 and 78: [150] Janice Kerbel, Remark able: F
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Page 81 and 82: [158] Haris Epaminonda Polaroid Har
Page 83 and 84: MAKE A POINT Str. Morarilor nr. 1 [
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Page 89 and 90: Mounira al Solh and Bassam Ramlawi,
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Page 93 and 94: CINEMA UNION Str. Ion Câmpineanu n
Page 95 and 96: VICE radical lifestyle magazine TAB
Page 97 and 98: [190] Curator Anne Barlow Anne Barl
Page 99 and 100: [194] Participants Abbas Akhavan Ab
Page 101 and 102: Vesna Pavlović Vesna Pavlović (Se
Page 103 and 104: "Melting" brings up the recent past
Page 105 and 106: Media Partners: Production Partner:
Page 107: THIS IS A SPECIAL ISSUE DEDICATED T
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