Call for Papers | FAILING ON TIME, Kunstlicht vol. 44, no. 1.

Guest editor: Dunja Nešović
Deadline: 21 August 2022
Published: January 2023

Failure – the notorious F-word – is inevitable. The discrepancy between the expectation (or promise) and the ability (or willingness) that produces failure can equally result in catastrophe, resistance, or even mundane disappointment. The different manifestations and outcomes of failure correspond to anthropologist Arjun Appadurai and media scholar Neta Alexander’s proposal that failure is a judgment.[1] As a judgment, failure is defined by both the structures of its appearance and the agents producing and affected by it.

To table of contents

Algorhythms: Living in and out of Sync with Technology

Foreword
By Joyce Poot & Anna Sejbæk Torp-Pedersen

Introduction
By Evelyn Wan

TURNING TO THE BIRDS: WALKING WITH CLIMATE FICTION
By Natalia Sánchez Querubín & Sabine Niederer

CO-COMPOSING THE PERCEPTIBLE ACROSS AFFECTIVE, PAINTERLY, AND COMPUTATIONAL GENERATIVITIES
By Nicole De Brabandere

Artist Contribution
By Sander Breure & Witte van Hulzen

Extraction, Temporality, and the Digital: three layers of Simon Denny’s “Mine”
By Jaxon Waterhouse and Chantelle Mitchell

Healing the Internet: Exposing Colonial Histories, Caring for Alternative Futures in Tabita Rezaire’s Deep Down Tidal. 
By Rosa Wevers

Artist Contribution
By Jean Katambayi

Freedom of Sleep: A Practice of Rhythming Otherwise
By Anabelle Lacroix

Counter-Algorhythmics as Prefigurative Dances of CommOnism
By Shintaro Miyazaki

Abstracts

Colophon

 

Cover: Rafaël Rozendaal, Accumulation, 2022. RISO by RisoWiso, Arnhem.

Call for Papers | WHAT IS A LABOUR OF LOVE?, Kunstlicht vol. 43, no. 3-4.

Guest editor: the editorial team
Deadline: 18 April
Published: October 2022

In All About Love (1999), bell hooks remarks that values of money and work have replaced love and community. This reverberates to the present tense, when a crisis of compassion has become a hot topic in the healthcare industry. It goes without saying that hooks wishes to reverse this, and “return to love”. Love is a tender dissent to the disarming structures of capitalism. 

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POSTPONED TO FEB 26 4-6pm | KUNSTLICHT X VU ART SCIENCE GALLERY ISSUE LAUNCH

This event was originally planned on February 18, but due to bad weather the event has been postponed to February 26. Our apologies and we hope to see you there. 

Location: VU Art Science Gallery, De Boelelaan 1111, Amsterdam, The Netherlands
Date: 26 February, 2022, 4-6 pm
Time: TBD

Join us for an evening in the VU Art Science Gallery, amidst the exhibition that inspired it all. This launch is hosted by the guest editor of this issue, Maria Chiara Miccoli, and Kunstlicht’s editors-in-chief, Joyce Poot and Anna Sejbæk Torp-Pedersen.

Meanwhile, Bar Boele will serve drinks infused with sonic bubbles by DJ Zero and the illustrious OMFO.

ZERO Soirée is made possible through VU ART SCIENCE laboratory, and is part of Creative Europe’s Studiotopia programme.

In this issue of Kunstlicht, the reader is invited to investigate how zero has captured the imagination of scientists and philosophers alike. This issue of Kunstlicht compliments the exhibition 0 Starting from Zero, which features the artworks of Jennifer Tee, Jan Robert Leegte, Evelina Domnitch & Dmitry Gelfand and Nicky Assmann, who visualise various aspects of the number zero. The contributions in this issue philosophically expand on the concept of sūnya and zero even further, whilst simultaneously interpreting this concept as a void and /or a fullness.

JENNIFER TEE, ATOMS SERIES #2, 2016, HAHNEMÜHLE MUSEUM ETCHING PAPER, 350 GMS (FRAMED), 66,5 X 66,5 CM (EACH). EDITION OF 3. COURTESY GALERIE FONS WELTERS, AMSTERDAM. PHOTO GERT JAN VAN ROOIJ.
JENNIFER TEE, ATOMS SERIES #2, 2016, HAHNEMÜHLE MUSEUM ETCHING PAPER, 350 GMS (FRAMED), 66,5 X 66,5 CM (EACH). EDITION OF 3. COURTESY GALERIE FONS WELTERS, AMSTERDAM. PHOTO GERT JAN VAN ROOIJ.

 

VOL. 43 NO 1, 2022, SÜNYA: STARTING FROM ZERO

Table of Contents

4. Foreword – Joyce Poot and Anna Sejbæk Torp-Pedersen

5. Introduction Sūnya: Starting from Zero – Maria Chiara Miccoli

10. The Experience Takes Your Place: śūnyatā as key to the intimacy of visual perception – Nina Romijn

19. Inspiration and Expiration as a Confrontation with Nothingness – Irma Den Hertog

22. How to Cope with Being a Zero Amidst Ones: Existentialism, Nothingness & Binarisms – Maithri

27. Possible Drawings- Wouter Huis

36. The Black Holes of Perception – Evelina Domnitch and Dmitry Gelfand

41. 0 Starting from Zero at VU Art Science Gallery

54. Ecological Intermezzo – Nina Romijn

55. Symbiosis: Future, Nature & Technology: Epilogue – Sem I. Bannenberg

CANCELLED | Kunstlicht x VU Art Science Gallery: Launch “Sünya: Starting from 0”

Unfortunately, this launch is cancelled due to the covid-19 restrictions. We plan to re-schedule this in February. Please check this page for updates.


Location: VU Art Science Gallery, Amsterdam

In this issue of Kunstlicht, the reader is invited to investigate how zero has captured the imagination of scientists and philosophers alike. This issue of Kunstlicht compliments the exhibition 0 Starting from Zero, which features the artworks of Jennifer Tee, Jan Robert Leegte, Evelina Domnitch & Dmitry Gelfand and Nicky Assmann, who visualise various aspects of the number zero. The contributions in this issue philosophically expand on the concept of sūnya and zero even further, whilst simultaneously interpreting this concept as a void and /or a fullness.

The contributors to this issue delve into the complexity of zero from several perspectives, enquiring about social structures, digital constructs, systems of perceptions, and the fields of contemplation and observation. The reader is thus encouraged to approach the concept of zero as a liminal space that overcomes the boundaries between art, philosophy, and science, opening to interdisciplinary analysis.

Please join us for an afternoon in the VU Art Science Gallery, amidst the exhibition that inspired it all. This launch is hosted by the guest editor of this issue, Maria Chiara Miccoli, and Kunstlicht’s editors-in-chief, Joyce Poot and Anna Sejbæk Torp-Pedersen.

JENNIFER TEE, ATOMS SERIES #2, 2016, HAHNEMÜHLE MUSEUM ETCHING PAPER, 350 GMS (FRAMED), 66,5 X 66,5 CM (EACH). EDITION OF 3. COURTESY GALERIE FONS WELTERS, AMSTERDAM. PHOTO GERT JAN VAN ROOIJ.
JENNIFER TEE, ATOMS SERIES #2, 2016, HAHNEMÜHLE MUSEUM ETCHING PAPER, 350 GMS (FRAMED), 66,5 X 66,5 CM (EACH). EDITION OF 3. COURTESY GALERIE FONS WELTERS, AMSTERDAM. PHOTO GERT JAN VAN ROOIJ. RISO RENDER FOR KUNSTLICHT COVER BY RISOWISO.

Kunstlicht x Framer Framed: Launch “The Worldliness of Oil”

We’re happy to announce the launch of the new issue of Kunstlicht at Framer Framed on October 16th at 19:30. The issue is titled The Worldliness of Oil: Recognition and Relations, and delves into how oil continues to shape individual experiences and national identities, propelling conflict and creating disparate economic opportunities.

Date: Saturday October 16th
Time: 19.30h
Register here for free

In this double issue of Kunstlicht, the reader is invited to investigate the (parallel or displaced in time) relations between, and experiences of, oil nations, or petrostates, if you will. These are countries that are marinating in resources, but also deeply entrenched and engaged in resource conflicts and wars. Those who live on and support themselves off the lands and oceans are directly impacted by this industry, and consequently its economy and politics. The contributors to this issue delve into these complex cultural fields from a wide range of perspectives relating to the past, present and future.

During this launch Kunstlicht will present a reading from Clementine Edwards, and speak with artist Tanja Engelberts and writer Niloufar Nematollahi, all introduced by the guest editors and curators Anne Szefer Karlsen and Helga Nyman. Please join us for an evening in the name of the experiences of oil hosted by Kunstlicht’s editors-in-chief, Joyce Poot and Anna Sejbæk Torp-Pedersen.

Installation view of Spiral Jetty at KFC by Clementine Edwards, 2014, TCB Art Inc, Naarm/Melbourne. Photo © Christo Crocker.
Installation view of Spiral Jetty at KFC by Clementine Edwards, 2014, TCB Art Inc, Naarm/Melbourne. Photo © Christo Crocker.

About:

Clementine Edwards is a Rotterdam- and Naarm/Melbourne-based artist who works across sculpture, film, performance, writing and jewellery. Her ongoing research line is material kinship, which she locates in the context of climate colonialism. Soon Clementine publishes The Material Kinship Reader, co-edited by Kris Dittel. clementineedwards.com.

Tanja Engelberts is currently a resident at the Rijksakademie voor beeldende kunsten in Amsterdam. She graduated from a master fine art at Chelsea College of Art & Design after studying sculpture and monumental arts in both the Netherlands and Japan. Her works are included in the collections (a.o.) of Clifford Chance (UK), Nationale Nederlanden (NL) and the Ucross Foundation (USA).

Helga Nyman is an art historian and curator at Stavanger Art Museum, Norway.

Niloufar Nematollahi is a Rotterdam-based artist and researcher currently studying Middle Eastern studies and international relations. Intrigued by the intersections between culture and politics, Nematollahi studies artifacts such as stories and propaganda in order to construct a truthful representation of people’s entanglements with political dynamics of all sorts. Currently, Nematollahi’s research focuses on the links between the Iranian oil industry, labor movements, and resistance literature in the south of Iran.

Anne Szefer Karlsen is a curator, writer, editor and Professor of Curatorial Practice, currently programme director for MA Curatorial Practice at the Faculty of Fine Art, Music and Design, University of Bergen, Norway.

Ruby de Vos is a PhD candidate at the University of Groningen, where she is finishing her PhD “Living with Toxicity: Toxic Temporalities in Contemporary Art and Literature”. She writes about art for various platforms, and has curated, among others, Mngrv by Susanne Kriemann at Galerie Block C in 2020, and After Hiroshima: Cultural Responses to the Atomic Bomb, a cultural week about nuclear weapons at various locations in Groningen in 2019.