Podcast appearances and mentions of Hans Haacke

Mit Werken wie „Shapolsky et al.“ oder „Manet-Projekt '74“ legte Hans Haacke ab den frühen 1970er-Jahren einen Grundstein für die künstlerische Institutionskritik. Welche damals wie heute aktuellen Themen griff der Künstler in seiner Arbeit auf und wie äußerte sich seine Kritik?   Podcast-Host: Silke Hohmann Illustration: Stephanie Windt

Gampert, Christian www.deutschlandfunk.de, Kultur heute

Schmitz, Rudolf www.deutschlandfunkkultur.de, Fazit

Cet événement est organisé conjointement par l'École d'architecture Paris-Malaquais et les Beaux-arts de Paris, en lien avec l'enseignement « L'entour ». Il sera modéré par Yann Rocher et Alain Berland. L'enseignement de master "L'entour", consacré à l'histoire et à la technique de la scénographie d'exposition, est encadré par Thierry Leviez (Pavillon Bosio) et Yann Rocher (École d'architecture Paris-Malaquais). Il est commun à l'École d'architecture Paris-Malaquais, aux Beaux-Arts de Paris et au Pavillon Bosio – École supérieure d'arts plastiques de Monaco. Chris Dercon, Directeur Général de la Fondation Cartier pour l'Art Contemporain « Tout au long de ma carrière, j'ai toujours été intéressé par le « display », la monstration, et l'architecture des expositions – ces deux termes qui sont plus parlants que le simple mot « scénographie ». Qu'il s'agisse de commissaires tels qu'Alexander Dorner ou Reynold Arnould, de l'artiste Richard Hamilton ou des architectes Lina Bo Bardi, Carlo Scarpa ou Friedrich Kiesler, ces pionniers ont souvent parlé, ainsi que d'autres à la suite, du pouvoir de la monstration. J'ai eu le grand plaisir de travailler avec des praticiens innovants de ce milieu, comme Dan Graham, Rem Koolhaas, Wolfgang Tillmans ou Anselm Kiefer. Lors de cette conférence, je présenterai et commenterai 40 ans de scénographies expérimentales sur lesquelles j'ai travaillé de New York à Rotterdam, en passant par Munich, Londres ou encore Paris. S'ajoutant à ces noms et à ces collaborations, je montrerai également des projets expérimentaux auxquels j'ai participé avec Hubert Damisch, Hans Haacke, Paul McCarthy, Ai Weiwei ou Richard Tuttle ; et le dernier en date : l'exposition du photographe Juergen Teller et de l'architecte Tom Emerson. » Chris Dercon est historien de l'art, commissaire d'exposition et directeur de musée, d'origine belge, né à Lier en 1958. Il effectue ses études à la Rijksuniversiteit Leiden en Histoire de l'art, études théâtrales, et à la Vrije Universiteit à Amsterdam en études cinématographiques. Il a travaillé en tant qu'enseignant, critique et journaliste. Il dirige des institutions culturelles depuis 1988 : il commence en tant que directeur de la programmation du PS1 New York en 1988, à Rotterdam de 1990 à 1995 il dirige le Witte de With (Melly Kunstinstituut), puis le Boijmans Van Beuningen de 1996 à 2002. De 2003 à 2011 il dirige la Haus der Kunst à Munich. De 2011 à 2016, il dirige la Tate Modern de Londres. De 2017 à 2018, il dirige la Volksbühne Berlin. De 2019 à 2023, il est nommé président de la Réunion des Musées Nationaux et du Grand Palais où il dirige le projet de restauration du Grand Palais. Il est actuellement Directeur Général de la Fondation Cartier, et travaille sur le projet du nouveau bâtiment de la Fondation Cartier. Amphithéâtre des Loges Mercredi 10 janvier 2024 Crédit photo : Richard Tuttle, I Don't Know. The Weave of Textile Language, Tate Modern, Londres, 2015

Ready your note-taking typing fingers because this week's guest is none other than Paddy Johnson of VVrkshop.art and she's here to give us 10 best-practice tips for writing our artist statements, thank God! Paddy is the founder of Netvvrk, a supportive membership that helps artists level-up in their careers AND also an award-winning arts writer. She has edited a gazillion artists' statements in her program so she knows what's up. Come along with us as we deconstruct the ideal statement and dispel all whiffs of passive voice and artspeak. Don't forget that Paddy is giving a free *Live* Masterclass on May 9th at 7:30pm ET called "How To Get Seen in the Art World." Click here to find out more/rsvp for the free masterclass: https://vvrkshop.lpages.co/get-seen-in-the-art-world-live-masterclass/ Also, Pep Talk listeners that join Netvvrk during the upcoming registration period can receive a $20 discount by entering the code: PEPTALKS20. ---------------------------- Paddy's 10 Statement Writing Tips (in brief) 1) Create a Present/Past/Future hierarchy: Start with speaking about your present work, then past & then future 2) Describe the actual objects you make 3) Use plot to tell a story about your work's journey. Include "causality" and your "why": "The King died. Later, the queen died of grief" 4) Use the active voice and "I" statements 5) Unpack the metaphors in your work for the reader 6) Watch out for run-ons. No sentence should be longer than 2.5 lines in a Google Doc (Arial 11pt) 7) No more that 1 list per paragraph and no more than 3 items per list 8) Limit talk about your process to one sentence. Instead, focus on ideas 9) Length: People expect 2-3 paragraphs for a statement on your website. Don't forget to add a paragraph break after each 2 sentence block 10) Expect your statement to be ever-evolving (not static) **Bonus 11** Write so that a 5th grader could understand and avoid artspeak / jargon (i.e. hegemony, praxis, Anthropocene). Find Paddy online (Netvvrk) https://www.vvrkshop.art/ and on Instagram @vvrkshop.art Artists mentioned: Elisabeth Condon, Hans Haacke, Vincent Van Gogh (Wheatfield with Crows), Charles Burchfield, Al Held, John Berger (Ways of Seeing) Thank you, Paddy! Thank you, listeners! ---------------------------- Pep Talks on IG: ⁠⁠@peptalksforartists⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠https://tinyurl.com/7k82vd8s⁠⁠ Amy's Interview on Two Coats of Paint: ⁠⁠https://tinyurl.com/2v2ywnb3⁠⁠ Amy's website: ⁠⁠https://www.amytalluto.com/⁠⁠ Amy on IG: ⁠⁠@talluts⁠⁠ ⁠⁠BuyMeACoffee⁠⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Ben Luke talks to Alfredo Jaar about his influences—from writers to film-makers, musicians and, of course, other artists—and the cultural experiences that have shaped his life and work. Jaar, who was born in 1956, in Santiago, Chile and has been based in New York since the early 1980s, addresses social injustice, human suffering, state-sponsored violence, and imbalances in power between the global north and south. He also explores how these issues are framed in the international media. He has responded to some of the most troubling moments in recent human history, from the military coup in his native Chile in 1973 and its aftermath, to the Rwandan genocide in the 1990s, to wars and covert operations waged by Western powers over multiple decades, and the relentless displacement of refugees across the world. He has done so through uncompromising, searing, yet often deeply moving installations in multiple media. Among much else, he discusses the profound influence of John Cage, Hans Haacke and Marcel Duchamp, his fascination with Pier Paolo Pasolini, a transformative experience watching Simone Forti, and the poetry of Ben Okri. Plus, he gives insight into his studio life, and answers our usual questions, including the ultimate: “What is art for?”Alfredo Jaar: If It Concerns Us, It Concerns You, Goodman Gallery, London 18 April-24 May; Alfredo Jaar: 50 Years Later, Cecilia Brunson Projects, London, 19 April – 19 May 2023. One Million German Passports, Pinakothek del Moderne, Munich, 29 March-27 August; Alfredo exhibition for the 11th Hiroshima Art Prize at the Hiroshima City Museum of Contemporary Art, Japan, 22 July-15 October, and an exhibition at the Museo Nacional de Bellas Artes in Santiago, Chile, opens on 14 September. Hosted on Acast. See acast.com/privacy for more information.

Faced with waning state support, declining revenue, and forced entrepreneurialism, museums have become a threatened public space. Simultaneously, they have assumed the role of institutional arbiter in issues of social justice and accountability. The canon of Institutional Critique has responded to the social embeddedness of art institutions by looking at the inner workings of such organisations and has found them wanting. In After Institutions, Karen Archey expands the definition of Institutional Critique to develop a broader understanding of contemporary art's sociopolitical entanglements, looking beyond what cultural institutions were to what they are and what they might become. Karen Archey speaks to Pierre d'Alancaisez about the histories and futures of Institutional Critique, the museum's neoliberal catch-22, and about an exhibition that didn't happen. Karen Archey is Curator of Contemporary Art at Stedelijk Museum Amsterdam. Formerly based in Berlin and New York, she worked earlier as an independent curator, editor, and art critic, writing for publications such as Artforum and frieze. Lawrence Weiner, A Square Removal from a Rug in Use, 1969 Mel Bochner, Working Drawings and Other Visible Things on Paper Not Necessarily Meant to be Viewed as Art, 1966 Seth Siegelaub, The Xerox Book, 1968 Hans Haacke, Condenstation Cube, 1963-68 Steyerl, Hito. ‘The Institution of Critique'. In Art and Contemporary Critical Practice: Reinventing Institutional Critique, edited by Gerald Raunig and Gene Ray, 13–20. London: MayFlyBooks, 2009 Mario García Torres, Preliminary Sketches for the Past and the Future (Stedelijk Museum), 2007 Isa Genzken, Ohr (Ear), 1980 Josh Kline Park McArthur, Ramps After Institutions Karen Archey Published by Floating Opera Press, 2022 ISBN 9783981910889

Installation artist, painter and photographer, Portia Munson, joined me on the podcast to talk about her work with cast-off objects, cultural waste, and girl kitsch. Tune in to hear our conversation about her work's feminist and ecological themes. We also spoke about how the objectification of women persists...in objects. And how endless inspiration can be found simply by roaming around an antiques mall or a swap-shop. Portia has a few shows happening this Summer (2022) if you'd like to catch her work in person: Find Portia Munson on Instagram: @portiamunson PPOW Gallery: "Bound Angel" July 8-Aug 19 in NYC Art Omi: June 25-Sept 25 in Ghent, NY Pamela Salisbury Gallery: June 11-July 10 in Hudson, NY Lyndhurst Mansion: "Women's Work" May 27-Sept 26 in Tarrytown, NY "The Garden" at 21C Museum Hotel in Louisville, KY ARCHIVE: Bad Girls exhibition at The New Museum: https://archive.newmuseum.org/exhibitions/235 Artist shoutouts: Jared Handelsman, Vito Acconci, Barbara Krueger, Martha Rosler, Hans Haacke, Jennifer Coates, Shari Mendelson, Kiki Smith and Valerie Hammond Thanks to Shima Star and Andrea Champlin for their great questions! Apply for Cape Cod Dune Shack residencies: Fine Arts Work Center | Provincetown Community Compact | Peaked Hill Trust Amy's fave thrifter Youtuber: Jeffrey of Real Nifty Vintage This talk was recorded live on the Clubhouse app April 12, 2022. The full, unedited audio is available on the Pep Talks for Artists club page on Clubhouse. Thanks so much for listening, rating, reviewing and supporting the Peps! Please find the podcast on Instagram @peptalksforartists to see images that go with this episode. Amy's website: amytalluto.com All licensed music is by Soundstripe --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Talk Art speaks to Mark Neville, the award winning British photographer. Since 2015, Neville (born 1966) has been documenting life in Ukraine, with subjects ranging from holidaymakers on the beaches of Odessa and the Roma communities on the Hungarian border to those internally displaced by the war in Eastern Ukraine. Through his community-based projects, Neville explores the social function of the medium, using still and moving images as well as photo books. His projects have consistently looked to subvert the traditional, passive role of social documentary practice to activate social debate and change beyond the boundaries of cultural institutions.Employing his activist strategy of a targeted book dissemination, Neville is committed to making a direct impact upon the war in Ukraine. He will distribute copies of this volume free to policy makers, opinion makers, members of parliament both in Ukraine and Russia, members of the international community and those involved directly in the Minsk Agreements. He means to reignite awareness about the war, galvanize the peace talks and attempt to halt the daily bombing and casualties in Eastern Ukraine which have been occurring for four years now. Neville's images are accompanied by writings from both Russian and Ukrainian novelists, as well as texts from policy makers and the international community, to suggest how to end the conflict.Shortlisted for Deutsche Börse Photography Foundation Prize 2020, Mark Neville works at the intersection of art and documentary, investigating the social function of photography. He makes lens-based works which have been realised and disseminated in a large array of contexts, as both still and moving image pieces, slideshows, films, and giveaway books. His work seeks to find new ways to empower the position of its subject over that of the author. Often working with closely knit communities, in a collaborative process intended to be of direct, practical benefit to the subject, his photographic projects to date have frequently made the towns he portrays the primary audience for the work. Points of reference for his practice might include the ideas of Henri Lefebvre, or the art works of Martha Rosler, John Berger, or Hans Haacke."What changes people's minds about a conflict is a poem, a song, or a photograph. It's people's feelings that need to be changed. To my mind, that's the role of the artist." Mark Neville speaking to The Guardian, February 2022.To contact Mark, follow @MarkNevilleStudio on Instagram and his official website is: http://www.markneville.com/If you are able, please help by supporting @SaveChildrenUK Emergency Fund today or text CRISIS to 70008 to donate £5. Your donation will allow their teams to help children in crisis.

Heeeyyyy all!MERRY CHRISTMAS!!! Wooohooo, boom guysYeah I just kinda rant about how much I love art school, I do Fine Art by the way, I am in my second year; it's litI mentioned this work by Hans Haacke:https://whitney.org/collection/works/29487Also check out Félix González-Torres sweets here:https://publicdelivery.org/felix-gonzalez-torres-untitled-portrait-of-ross-in-l-a-1991/British Art Show website:https://britishartshow9.co.uk/Wolverhampton Arts & Culture website (about the British Art Show):https://www.wolverhamptonart.org.uk/bas9/Socials:Instagram - @scarlettart18Website - scarlettford.co.uk - YOU CAN LISTEN TO THE POD FROM MY WEBSITE!!Linkedin - https://uk.linkedin.com/in/scarlett-ford-485795208Email - scarlettart18@gmail.comEdited on LumafusionMusic from Epidemic SoundsMic: Samson Q2UThanks for listening!MERRY CHRISTMAS YA FILTHY ANIMALS! Have a good new yearScarlett

After Dinner Mints - Episode 30 - 21.12.15Interview with Darien BritoArt Blocks home website: www.artblocks.ioJoin us on discord: discord.gg/artblocksSubscribe to our weekly newsletter: https://artblocksinc.eo.page/subscribeReferences=============================* Working conditions (unpublished statement) by Hans Haacke https://app.koofr.net/content/links/6...*What is Generative Art? Complexity Theory as a Context for Art Theory by Phillip Galanterhttps://www.philipgalanter.com/downlo...Early generative work=============================* An additive Streamhttps://vimeo.com/manage/videos/65210262* Generative Music Etude (2014)https://soundcloud.com/darien-brito/s...* Vsig~ (2014)https://vimeo.com/92750954Suggested books and resources=============================* Complexity: a Guided Tour by Melanie Mitchell* Chaos: Making a New Science by James Gleick* The Computational Beauty of Nature by Gary William Flake* Gödel, Escher, Bach: an Eternal Golden Braid by Douglas Hofstaedter* The Algorithmic Beauty of Plants by Przemyslaw Prusinkiewicz and Aristid LindenmayerMicrosound by Curtis Roads * The Evolutionary Dynamics of Complex Systems by Charles Dyke* What is Generative Art? Complexity Theory as Context for Art Theory by Phillip GalanterOn Growth and Form by D'Arcy Wentworth ThompsonThe Book of Shaders by Patricio Gonzales Vivo and Jen LowePretty much every single article by Inigo Quilez

Nel 1977, il critico Douglas Crimp organizza a New York “Pictures”, una mostra che darà voce ad artisti post-ideologici come Jack Goldstein, Sherrie Levine e Robert Longo. In breve tempo, nella scena dell'arte contemporanea americana, emergono altri artisti con ispirazioni simili: Louise Lawler, Sarah Charlesworth, Richard Prince e Cindy Sherman. Ad accomunarli c'è il loro interesse per l'immagine fotografica e pubblicitaria: tutti troppo giovani per aver vissuto l'attivismo degli anni '60, troppo disillusi per cadere nella seducente trappola del consumismo. Nel 2009, saranno consacrati al Metropolitan Museum di New York nella mostra “The Pictures generation”.In questa puntata si parla di Douglas Crimp, Troy Brauntuch, Jack Goldstein, Sherrie Levine, Robert Longo, Philip Smith, Barbara Krueger, Elizabeth Taylor, Montgomery Clift, Sherrie Levine, Walker Evans, Marcel Duchamp, Lilli Gruber, Elaine Sturtevant, Louise Lawler, Hans Haacke, Benjamin Buchloh, On Kawara, Cindy Sherman, David Robbins, Julian Schnabel, William Gibson, Justin Trudeau, Diana Ross, Angela Merkel, Emmet Miller, Nick Tosches, Bob Dylan, Van Halen, Pete Molinari, Maria Goretti, Giordano Bruno Guerri, Jack Goldstein, Sarah Charlesworth, John Baldessari, David Salle, Francis Picabia, Peter Arno, Mickey Rourke, Mary Boone, Leo Castelli, Richard Prince, Clint Eastwood, Brooke Shields, Garry Gross, Alfred Stieglitz, Stefan Edlis, Gloria Guida, Lilli Carati e Greta Thunberg.

“Bisogna sempre essere se stessi, a ogni costo. È la forma più alta di moralità.” Questa frase di Candy Darling, icona transgender della Factory di Andy Warhol, morta a soli 29 anni, è la chiave che ci aiuta a comprendere l'arte creata nel pieno dell'esplosione dell'Aids, anni eccezionali e tormentati, anni in cui essere omosessuale voleva dire essere considerato un untore. In questa puntata, Costantino e Francesco raccontano la vita e le opere di artisti che hanno rivendicato, a costo della propria vita, la libertà di essere se stessi. Da Jack Smith a Robert Mapplethorpe, da Derek Jarman a Félix González-Torres.In questa puntata si parla di Candy Darling, Jack Smith, Cindy Sherman, John Waters, David Lynch, Maria Montez, Jonas Mekas, Robert Mapplethorpe, Antonio Canova, Dracula, Patti Smith, Sam Wagstaff, Mick Jagger, Rainer Werner Fassbinder, Michel Foucault, Peter Hujar, Richard Avedon, Susan Sontag, William Burroughs, Sylvester, The Cockettes, David Wojnarowicz, Félix González-Torres, Ross Laycock, General Idea (Felix Partz, Jorge Zontal, AA Bronson), Tom Cruise, Robert Indiana, Caspar David Friedrich, Keith Haring, Elio Fiorucci, Salvatore Ala, Vincent van Gogh, Hans Haacke, Jean-Michel Basquiat, Andy Warhol, Paul Morrissey, Paul Thek, Rudi Fuchs, Pontus Hultén, Harald Szeemann, Derek Jarman, Ken Russell, Sex Pistol, Thorbbing Gristle, The Smiths, Jack Birkett (Orlando), Caravaggio, Tilda Swinton, Apichatpong Weerasethakul, Friedrich Nietzche, Diamanda Galás e Phillip-Dimitri Galás.

Dai tempi del Vietnam, la guerra ha abbandonato le trincee e si è riversata in tv. Ma se tra eserciti e media non c'è più distinzione, come possiamo fidarci dell'informazione? Costantino e Francesco ci spiegano che sul filo spinato che divide realtà e finzione vivono alcune delle voci più interessanti dell'arte contemporanea, ma anche il personaggio più amato da chi di arte non ne capisce assolutamente nulla: Banksy.In questa puntata si parla di Buffy Sainte-Marie, Francisco Goya, Ernest Meissonier, Régis Debray, Martha Rosler, Harun Farocki, Robert Capa, Phil Collins, Marina Abramović, Hans Haacke, Hito Steyerl, Marco Travaglio, Trevor Paglen, Walid Raad, Akram Zaatari, Bernard Khoury, David Mamet, Bernard Stiegler, Banksy, Ezio Greggio, Tracey Rose, Fernando Botero, Igor Mitoraj, Lucio Fontana, Pablo Picasso e Tony Shafrazi

Der Konzeptkünstler Hans Haacke hat eigentlich sein Leben darauf hingearbeitet, die eigene Kunst überflüssig zu machen. Der mittlerweile 83jährige arbeitet sich in seinem Schaffen konsequent an gesellschaftlichen Missständen ab. Dass viele seiner Werke auch über die Jahrzehnte hinweg an nichts Aktualität eingebüßt haben, verschafft Ihnen Relevanz; es bedeutet aber eben auch, dass keine Veränderung zum besseren eingetreten ist, die sie überflüssig machen würde. Also arbeitet Haacke weiter, auch mit Mitte 80 noch. Einen Einblick in sein Schaffen, vor allem auch in sein Frühwerk, vermittelt nun eine neue Ausstellung im Museum Abteiberg in Mönchengladbach. Und außerdem in unserer kulturWelt: Nachruf auf den Hollywood-Regisseur Joel Schumacher, die taz, die Polizei und die freie Meinung: ein Mod.-Gespr. mit der Journalistin und Buchautorin Alexandra Borchardt über die "Haltung" in den Medien und die Ausstellung "Mapping the Collection" im Kölner Museum Ludwig.

Für den Künstler Hans Haacke hängt alles mit allem zusammen. Eine Ausstellung im Museum Abteiberg in Mönchengladbach zeigt, wie die Systeme miteinander verwoben sind. Berit Hempel hat sie gesehen.

Hans Haacke 83 urteko artista kontzeptualaren atzera begiratua ikustera joan naiz New Museum-era. 33 urte zen Estatu Batuetan erakusketarik egiten ez zuela. Ikusmin handia piztu du artista aleman newyorktarraren bildumak. Museoko solairu guztiak hartzen zituen.

Pontus Kyander läser Johan Gottschalk Wallerius "Hydrologia eller Watturiket" från 1748 och reflekterar vetenskapens och konstens sätt att sortera verkligheten. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna Vatten som vatten, tänker du: salt havsvatten, sött sjövatten, svalkande regn, kylande snö, vältrande dimma. Överallt är det samma vatten. Vetenskapen lär oss att det är molekylen H2O som i evig kretsgång förändras och blandar sig med än det ena, än det andra: det faller, förångas, stiger, kondenseras, faller igen. Om den saken hade Johan Gottschalk Wallerius en annan mening. Wallerius (17091785) hörde till den gustavianska epokens vetenskapliga elit, på ett område som var det ekonomiskt mest betydelsefulla: mineralogin. Han försökte bringa vetenskaplig ordning i den praktiska kunskap och erfarenhet som samlats. Han var Wolffian, anhängare av en förnuftsbaserad akademisk filosofi som vilade på Leibniz idéer, bland annat att världen är den bästa tänkbara. Wolffianerna gjorde anspråk på att rationellt kunna bevisa Guds existens, en position som kom att dela teologin i två läger. Carl von Linné var ingen wolffian, men det var i Linnés anda som Wallerius ställde samman Mineralogia eller mineralriket (1747) som var den första omfattande systematiken av bergarterna. I den ordnar han mineralerna i flockarne jordarter, stenarter, malmarter och stenhårdingar. Det blev en användbar bok och en internationell framgång. Den var enkel att använda och förlitade sig på mineralernas yttre egenskaper snarare än den ännu ganska outvecklade kemin. Styrkt av framgången tog Wallerius itu med vattnen efter ungefär samma principer i Hydrologia eller Watturiket (1748). Vattnen skulle ordnas i flockar, ordningar, arter och när så behövdes underarter. Att andra före honom berört tanken på en vattnets systematik men avvisat den avskräckte honom inte. Tvärtom gick han hårt åt den urgamla tanken att vatten skulle vara ett av de fyra elementen. Det är kanske enklast att förstå logiken bakom Hydrologia om man tänker sig att den skrivits för en mineralog på fältet, fast en som inte artbestämmer berg- och jordarter, utan olika slags vatten. Grundsatsen är att Vatten är en sammanblandad kropp, som ständigt förminskas. Det hänger samman med hans bakgrund i alkemiskt tänkande. För honom är mineralerna växande kroppar (vi skulle idag kalla det oxidering) medan vattnet förminskas (genom avdunstning). Som naturforskare var han naturligtvis inte obekant med att vatten avdunstar, men han fann det betydligt mer intressant att vattnet kunde omvandlas. Hydrologia är en fantastisk uppsättning föreställningar och förklaringar som bäst beskrivs som förvetenskapliga. Vattnen delas i Allmänna (söta) vatten och Mineralvatten. De senare kan vara varme respektive kalla, en för oss förbryllande omständighet då vi vet att kallt vatten ganska snart svalnar, och då förvandlas till en annan ordning. Samma övergångar gäller ordningen Luftvatten, som uppdelas i flytande och frusna. Till Flytande Luftvatten räknas Dagg och Regn, bland de frusna återfinner vi Rimfrost, Hagel och Snö och dessa har otaliga underavdelningar. De flesta vatten som vi annars får syn på i naturen räknar Wallerius in bland Jordvatten. Källvatten kan vara Jämnt eller Ojämnt rinnande, Skovtals rinnande, Vårkällor, Stundtals rinnande vårkällor, Hungerbrunnar, Vädersjukt källvatten, Pussvatten, Kärrvatten och Sjövatten för att nämna några. I alkemin är det självklart att det ena ämnet kan övergå i det andra, och med Wallerius synsätt är det uteslutet att se vatten som ett oföränderligt element. Han stod stadigt förankrad i en gången epok, och hans avgångstal i Vetenskapsakademien formade sig till en uppgörelse med den nya kemins företrädare som Priestley, Lavoisier och Scheele. Hans Hydrologia kom redan i sin samtid att uppfattas som stollig, men om man tar in verket i andra sammanhang kan det återfå betydelse och rimlighet. Samtidskonsten är mycket intresserad av vatten. En som excellerar i att systematiskt närma sig i synnerhet vattendrag är danske Olafur Eliasson. Han har i fotografiska serier dokumenterat floder, heta källor, vattenfall, jöklar, smältvatten och till synes en direkt referens till Wallerius vårliga vattenpölar. Det mänskliga draget att samla och systematisera som ibland gett vetenskapen ett dåligt namn när avgörande synteser och slutsatser uteblivit, det kan i konsten bre ut sig i egen rätt, och utan krav på slutsatser och argument. I pionjärverket Every Building on the Sunset Strip (1966) avbildar amerikanen Ed Ruscha varje hus längs hela Sunset Boulevard i Los Angeles som ett långt och oavbrutet bildcollage. Och i Shapolsky et al. Manhattan Real Estate Holdings []  (1971), dokumenterar Hans Haacke en hänsynslös hyreshajs alla fastigheter i New York. Den ackumulerande systematiken som vi känner från Wallerius får här en annan roll, den pekar i Ruschas Every Building ut verkligheten som möjlig eller värdig att vara konst eller tvärtom: att konsten kan och får vara verklig. Haackes pekar på verkligheten, inte för att den i sig skulle vara konst, men han ger med upprepningen konsten rätten att vara politisk på ett direkt och utpekande sätt. Även i den samtida poesin har det systematiska registrerandet och katalogiserandet en framskjuten plats. Få poeter tar det formelartade uppräknandet så långt som finlandssvenske Ralf Andtbacka (f. 1963). Han arbetar med en ordnande systematik det kan vara lexikaliska definitioner, förskjutningar av bokstäver och ord, och undersökningar av ordkategorier. Men upprepningen får även hos honom en politisk udd. Så här låter det i diktsamlingen Fält från 2013: Sår ute på ett fält: Det öppna såret: Såret som gick upp: Såret som inte ville läka: Skärsåret: Stocksåret: Krossåret: Brännsåret: Borrtortyrsåret: Sågtortyrsåret: Såret med maskar krälande: Banesåret: Vanesåret: Välfärdssåret: Klassåret: Minoritetssåret: Marginalsåret: Språksåret: Här hittar jag en plats i samtiden för Wallerius, jag vänder tillbaka till Hydrologia och läser den som ett slags poesi, vaggande, upprepande, fantasifull - en lovsång till världen i alla de nyanser som bara ett vaksamt öga kan upptäcka: Stående jordvatten, pussvatten, gropvatten, myrvatten, träskvatten, kärrvatten, dyvatten, rent sjövatten, vädersjukt sjövatten, skovtals rinnande sjövatten, skovtals tjockt och grumligt sjövatten, skovtals tjutande och underliga figurer visande sjövatten, vädersjukt källvatten, kokande och bullrande källvatten, vårkällor, hungerbrunnar. Pontus Kyander, kritiker och utställningskurator Litteratur: Ralf Andtbacka: Fält. Schildts & Söderströms , 2013.

Can contemporary art - and the production thereof - be optimized and automated? In 2013, the artist Jonas Lund made a solo exhibition based on this simple yet critical and challenging question. The Fear Of Missing Out, held at MAMA, Rotterdam, would become a landmark exhibition in which the algorithm played a leading role, a show that was of great influence on his later work. The works produced for The Fear Of Missing Out were not the direct result of Lund’s labour and ideas, but made by a computer algorithm written by him. By analysing and categorising a wide range of artworks by the most successful contemporary artists, instructions were generated that gave step by step explanations on how to make the most successful works of art. Lund then made the work following these instructions. This critical approach is reminiscent of Institutional Critique, with artists such as Hans Haacke as its leading figures. Lund’s play with the optimisation of the art market also echoes the approach of artists by the likes of Andy Warhol and Damien Hirst. The first edition of Cultural Matter 2019-20, will revisit the exhibition The Fear Of Missing Out. Lund will create a site specific presentation of several pieces from this exhibition. Cramer Florian (Pt.I) and Gijs van Oenen (Pt.II) will shed their light on the work and its cultural and material implications. ABOUT THE ARTIST Jonas Lund (1984) creates works that critically reflect on contemporary networked systems and power structures of control within the art world. His artistic practice involves creating systems and setting up parameters that oftentimes require engagement from the viewer. This results in game-like artworks where tasks are executed according to algorithms or a set of rules. Through his works, Lund investigates the latest issues generated by the increasing digitalisation of contemporary society like authorship, participation and authority. At the same time, he questions the mechanisms of the art world; he challenges the production process, authoritative power and art market practices. Lund earned a MA at Piet Zwart Institute, Rotterdam (2013) and a BFA at Gerrit Rietveld Academie, Amsterdam (2009). ABOUT THE SPEAKER Philospher Gijs van Oenen is associate professor in practical philosophy at Erasmus School of Philosophy. Van Oenen studied Political Science at the University of Amsterdam and received his PhD from the University of Amsterdam with a dissertation on legal philosophy. His research focuses on political theory, rule of law, 'gedogen' (forebearance), multiculturalism, architecture, art and public space and interpassivity. In 2018 van Oenen wrote the influential article about algorithm as the salvation of our democracy for NRC Handelsblad, which is also part of his book ‘Overspannen democratie: Hoge verwachtingen, paradoxale gevolgen’. ABOUT CULTURAL MATTER Cultural Matter is a series of exhibitions and events that provide a platform for the international discussion of digital art and aims to develop new strategies for the presentation and preservation of these artworks. Participating artists: Jodi, Jonas Lund, Martine Neddam, Thomson & Graighead, Amalia Ulman Curated by: Sanneke Huisman and Jan Robert Leegte EXHIBITION September 18 - October 30, 2019 Every day from 12 - 23 LIMA (in the basement of LAB111) Entrance is free

ᐧArtists’ rights and laws expert and PhD Candidate Lauren van Haaften-Schick talks about:  Her first big experience with the secondary market via the runaway auction sale of a work by an artist showing at Nicole Klagsbrun – where Lauren was working at the time – and how it set her on a course re-considering artists’ contracts, resale royalties and activism for artists’ rights; how many of the resale royalties going to artists in the U.K., where they actually have a law supporting artists this way, have been on the small side, supporting the premise that resale royalties don’t only benefit big-name artists in big auctions; the Scull Auction of 1973, which marked the first time that contemporary American art was sold in such a brazenly speculative way, and led to a famous encounter between Robert Scull and Robert Rauschenberg; how activism works in artists’ rights in terms of potential redistribution, and ‘smart’ contracts; how big-name artists in the past (Robert Mangold, Jenny Holzer, Hans Haacke) showed up at congressional hearings for artist’s royalties, whereas recent generations of big-name artists have been relatively absent; and the ‘Artist’s Reserved Rights Transfer and Sale Agreement, Seth Siegelaub’s 1971 contract which has had a long-lasting effect in this realm of the art world, despite the lack of awareness of its existence.

Robert & Russell meet music icon Michael Stipe, best known as lead singer of R.E.M. We discuss his lifelong love of taking photographs (more than 37,000 so far), his childhood Nikon camera (a gift from his father), self-portraits, making sculptures, his friendship with Patti Smith, meeting members of the Beat Generation such as Allen Ginsberg & William Burroughs and why he dislikes his own handwriting. We explore his recent collaboration with Sam Taylor-Johnson on the video for his new solo single ‘Your Capricious Soul’ (which is also raising funds for charity Extinction Rebellion), his admiration for artist/poet John Giorno, British poet Edith Sitwell, photographers Robert Mapplethorpe and Wolfgang Tillmans, sculptors Bernini and Brancusi, meeting Andy Warhol (and buying one of Warhol’s Polaroid cameras), a moving story related to the play Angels in America, why German artist Hans Haacke is one of his greatest heroes and the last impact of his early Athens relationship with artist Jeremy Ayres.Michael’s new book of photography ‘Our Interference Times: A Visual Record’ is available now. We also recommend his earlier book ‘Volume 1’ (both published by Damiani, 2019 & 2018). His first solo single ‘Your Capricious Soul’ can be downloaded as a bundle with video and artwork exclusively from MichaelStipe.com and you can follow his former band (and the 25th anniversary of their album Monster) on Instagram @rem See acast.com/privacy for privacy and opt-out information.

Can contemporary art - and the production thereof - be optimized and automated? In 2013, the artist Jonas Lund made a solo exhibition based on this simple yet critical and challenging question. The Fear Of Missing Out, held at MAMA, Rotterdam, would become a landmark exhibition in which the algorithm played a leading role, a show that was of great influence on his later work. The works produced for The Fear Of Missing Out were not the direct result of Lund’s labour and ideas, but made by a computer algorithm written by him. By analysing and categorising a wide range of artworks by the most successful contemporary artists, instructions were generated that gave step by step explanations on how to make the most successful works of art. Lund then made the work following these instructions. This critical approach is reminiscent of Institutional Critique, with artists such as Hans Haacke as its leading figures. Lund’s play with the optimisation of the art market also echoes the approach of artists by the likes of Andy Warhol and Damien Hirst. The first edition of Cultural Matter 2019-20, revisits the exhibition The Fear Of Missing Out. Lund created a site specific presentation at LIMA of several pieces from this exhibition. During the opening event Florian Cramer and Jonas Lund went into conversation about his exhibition, post internet art, algorithms, the art world and his work. ABOUT JONAS LUND Jonas Lund (1984) creates works that critically reflect on contemporary networked systems and power structures of control within the art world. His artistic practice involves creating systems and setting up parameters that oftentimes require engagement from the viewer. This results in game-like artworks where tasks are executed according to algorithms or a set of rules. Through his works, Lund investigates the latest issues generated by the increasing digitalisation of contemporary society like authorship, participation and authority. At the same time, he questions the mechanisms of the art world; he challenges the production process, authoritative power and art market practices. Lund earned a MA at Piet Zwart Institute, Rotterdam (2013) and a BFA at Gerrit Rietveld Academie, Amsterdam (2009). ABOUT FLORIAN CRAMER Florian Cramer is a lecturer, researcher, writer and theorist. He works as a practice-oriented research professor in 21st century visual culture at Willem de Kooning Academy and Piet Zwart Institute in Rotterdam. Cramer is specialized in autonomous practices, focusing on DIY artist-run initiatives and self-organisation as contemporary art. Florian Cramer studied literature and art history at FU Berlin, Universität Konstanz and University of Massachusetts at Amherst. He received an MA in comparative literature, art history and modern German philology from Freie Universität Berlin and holds a PhD in comparative literature. ABOUT CULTURAL MATTER Cultural Matter is a series of exhibitions and events that provide a platform for the international discussion of digital art and aims to develop new strategies for the presentation and preservation of these artworks. Participating artists: Jodi, Jonas Lund, Martine Neddam, Thomson & Graighead, Amalia Ulman Curated by: Sanneke Huisman and Jan Robert Leegte EXHIBITION September 18 - October 30, 2019 Every day from 12 - 23 LIMA (in the basement of LAB111) Entrance is free Graphic design by Bin Koh & Andrea Belosi This programme is supported by the Amsterdams Fonds voor de Kunst and Stichting Niemeijer Fonds

In part 2 with Max Haiven, author of Art After Money, Money After Art, we dig into his book in earnest, including readings of and discussions about: his studies of social movements; how philosophers/theoreticians (mainly French) came to enter the discourse around contemporary art; Joseph Beuys’ work with bank notes (ie money); the radical imagination, which he derives from the philosopher Cornelius Castoriadis, but applies to the contemporary and in particular to financialization, but at its core is about taking a skeptical view of all the constructed institutions in our society that we are co-constructing all the time…including art; Hans Haacke, including his epis piece of institutional critique at the Museum of Modern Art (which led to the curator of the show he was in’s firing), and which leads Max to questions around what the ruling class wants from their art, and the contradictions therein; Lee Lozano, the pioneering conceptual artist and painter who did pieces including offering a jar of money to visitors to her studio, boycotting women, and eventually “Dropout Piece” which entailed her leaving the art world for the rest of her life, and martyred her, something Max suggests she would have railed against; the type of art world insider Max was able to speak with, and what his takeaways are from talking with them; Zach Gough’s participatory art experience/demonstration involving giving out an invented currency at levels respective to the hierarchies at conferences, and process of how those social hierarchies play out in real life (more or less); the incredible cognitive dissonance Max has experienced at art fairs, and his observation of multiple worlds co-existing simultaneously, and the act of their often ignoring each other (including him, since he was only a researcher); and finally, Abbie Hoffman and the Yippies’ 1967 intervention at the New York Stock Exchange, how contemporary iterations of that piece have been implemented, and how the spirit of the Yippies – both the best of it (community building, suffusing art into life), and the worst of it (contemporary art’s surface-y bombast and machinations) – very much exists in a lot of contemporary art, and why.

Dr. Theodore Feder and Janet Hicks of the Artists Rights Society, Maxwell Graham, Hans Haacke, Lauren van Haaften-Schick, R. H. Quaytman, and Justice Barbara Jaffe Presentations & Discussion Wednesday, July 22, 2015, 7pm Artists Space Books & Talks 55 Walker Street $5 Entrance Donation Members Free, Guaranteed Entry In light of recent action at the congressional level concerning artists’ resale rights, this event will provide a public forum for discussion around the proposed legislation of secondary market art sales in the US, and will locate these developments in relation to historical and international precedents and alternative models. In 2014 and 2015 Congressman Jerrold Nadler (Democrat, 10th District of New York) introduced into congress the American Royalties Too Act, or ART Act, which would grant visual artists a resale right enabling them to collect a percentage of any works re-sold for a profit at public auctions over a value of $5000. While there have been many previous unsuccessful attempts to pass such legislation in the US, this current bill brings with it indications of a potentially different outcome: the Copyright Office recommended in a 2013 report that a federal resale royalty for visual artists should be adopted, this past May the U.S. Court of Appeals for the Ninth Circuit upheld portions of the California Resale Royalty Act concerning in-state sales of visual artworks, and this month the World Intellectual Property Organization's Standing Committee on Copyright and Related Rights (SCCR) announced that they will discuss visual artists’ resale rights in December 2015. In order to stimulate discussion, and to ask what artists and the broader art community might want—or not want—from such legislation, this event brings together speakers from backgrounds in art, art history, and law for a series of presentations and discussions. Dr. Theodore Feder and Janet Hicks of the Artists Rights Society will outline the ART Act and the work they have done lobbying for the bill, followed by curator and art historian Lauren van Haaften-Schick, who will provide a historical perspective concerning artists' contracts and the legal history of art in the US. These presentations will be followed by a discussion between art dealer Maxwell Graham, artists Hans Haacke and R. H. Quaytman, and Justice Barbara Jaffe, New York Supreme Court, New York County, moderated by van Haaften-Schick. The evening will conclude with an open floor debate, at which all present are welcome to share thoughts and experiences. Even if the 2015 congressional session does not vote on the bill, or if it fails to pass, the recurrent interest in the issue of resale rights for artists merits greater involvement and consideration of the issue from those who stand to be impacted most—artists. This event is the first in a series organized by the recently formed W.A.G.E. Artists' Resale Rights Working Group: Richard Birkett April Britski Maxwell Graham Leah Pires Cameron Rowland Lise Soskolne Lauren van Haaften-Schick http://artistsspace.org/programs/the-artists-resale-right

Une œuvre commentée : Blaues Sege de Hans Haacke

Continuing down the music path for now, this one pulses. This mix is made in honor of the Fine Artist, Hans Haacke.

A rare opportunity to hear Hans Haacke, Do Ho Suh, Sheela Gowda, Camille Henrot and Roman Ondák talk about the relevance and personal importance of biennials for their work, sharing a connection as past or future participants of the Gwangju Biennale

With John Wilson. Wilko Johnson and Roger Daltrey of The Who have teamed up for a new project. Since he was diagnosed with terminal cancer last year, Wilko has been collaborating with Daltrey on an album, Going Back Home. They talk about their shared musical interests and Roger explains why Wilko reminds him of a young Pete Townsend. John talks to first time actor and former limo driver Barkhad Abdi, whose extraordinary performance as a Somali pirate in the film Captain Phillips opposite Tom Hanks has earned him Oscar, Golden Globe and Bafta nominations. Salamander is the latest Euro-thriller to arrive on British TV - this time from Belgium, and in Flemish. Disguised as builders, a gang rob a top Belgian bank - but the burglars only target a small handful of the vaults, the ones belonging to the country's industrial, financial, judicial and political elite. These stolen safe-deposit boxes contain secrets that could bring down the nation. Crime writer Dreda Say Mitchell reviews. Hans Haacke and David Shrigley will be the next two artists to display their work on Trafalgar Square's fourth plinth. Haacke's sculpture of a horse's skeleton will go up in 2015, followed by Shrigley's giant thumbs up in 2016. Both artists discuss developing an idea for one of London's busiest civic spaces and explain why humour is important in public art. Producer: Olivia Skinner.

Une œuvre commentée : Blaues Sege de Hans Haacke

This week: San Francisco checks in with dance legend Anna Halprin!!! Anna Halprin (b. 1920) is a pioneering dancer and choreographer of the post-modern dance movement. She founded the San Francisco Dancer's Workshop in 1955 as a center for movement training, artistic experimentation, and public participatory events open to the local community. Halprin has created 150 full-length dance theater works and is the recipient of numerous awards including the 1997 Samuel H. Scripps Award for Lifetime Achievement in Modern Dance from the American Dance Festival. Her students include Meredith Monk, Trisha Brown, Yvonne Rainer, Simone Forti, Ruth Emmerson, Sally Gross, and many others. Printed Matter Live Benefit Auction Event: March 9, 6-8:30 pm Robert Rauschenberg Project Space 455 West 19th St, New York www.paddle8.com/auctions/printedmatter Printed Matter, Inc, the New York-based non-profit organization committed to the dissemination and appreciation of publications made by artists, will host a Benefit Auction and Selling Exhibition at the Rauschenberg Foundation Project Space to help mitigate damage caused by Hurricane Sandy. As a result of the storm, Printed Matter experienced six feet of flooding to its basement storage and lost upwards of 9,000 books, hundreds of artworks and equipment. Printed Matter's Archive, which has been collected since the organization's founding in 1976 and serves as an important record of its history and the field of artists books as a whole, was also severely damaged. Moreover, the damage sustained by Sandy has made it clear that Printed Matter needs to undertake an urgent capacity-building effort to establish a durable foundation for its mission and services into the future. This is the first fundraising initiative of this scale to be undertaken by the organization in many years, and will feature more than 120 works generously donated from artists and supporters of Printed Matter. The Sandy Relief Benefit for Printed Matter will be held at the Rauschenberg Project Space in Chelsea and will run from February 28 through March 9th. The Benefit has two components: a selling exhibition of rare historical publications and other donated works and an Auction of donated artworks. A special preview and reception will be held February 28th, 6-8 pm, to mark the unveiling of all 120 works and to thank the participating artists and donors. The opening will feature a solo performance by cellist Julia Kent (Antony and the Johnsons), followed by a shared DJ set from Lizzi Bougatsos (Gang Gang Dance) & Kyp Malone (TV on the Radio). The event is free and open to the public. All works will then be available for viewing at the Rauschenberg Project Space March 1 – March 9, gallery hours. All Selling Exhibition works may be purchased during this period and Auction works will be available for bidding online. Bids can be made at www.paddle8.com/auctions/printedmatter. A live Benefit Auction Event will take place March 9, 6-8:30 pm with approximately 20 selected works to be auctioned in a live format. Bidding on these works will commence at 7pm sharp, while silent bids can be made on all other Auction works. Note, highest online bids will be transferred to the room. For absentee bidding of works, please contact Keith Gray (Printed Matter) at 212 925 0325 or keith@printedmatter.org. The evening will feature a performance by Alex Waterman on solo cello with electronics. Admission is $150 and tickets may be pre-purchased here. There will be only limited capacity. Highlighted auction works include an oversize ektacolor photograph from Richard Prince, a woven canvas piece from Tauba Auerbach, an acrylic and newsprint work from Rirkrit Tiravanija, a large-scale Canopy painting from Fredrik Værslev, a rare dye transfer print from Zoe Leonard, a light box by Alfredo Jaar, a book painting by Paul Chan, a carbon on paper work from Frances Stark, a seven-panel plexi-work with spraypainted newsprint from Kerstin Brätsch, a C-print from Hans Haacke, a firefly drawing from Philippe Parreno, a mixed-media NASA wall-piece from Tom Sachs, a unique print from Rachel Harrison, a vintage xerox poem from Carl Andre, an encyclopedia set of hand-made books from Josh Smith, a photograph from Klara Liden, a table-top sculpture from Carol Bove, Ed Ruscha’s Rooftops Portfolio, as well as original works on canvas and linen by Cecily Brown, Cheyney Thompson, Dan Colen, Adam McEwen, RH Quaytman, and many others. These Auction works can be previewed at: www.paddle8.com/auctions/printedmatter In addition to auction works, a vitrine-based exhibition of rare books, artworks and ephemera are available for viewing and purchase. This material includes some truly remarkable items from the personal collection of Robert Rauschenberg, donated by the Robert Rauschenberg Foundation in memory of the late Printed Matter Board Member, bookseller and publisher, John McWhinnie. Among the works available are books and artworks from Marcel Duchamp, Willem de Kooning, Alfred Steiglitz, Joseph Beuys, Brigid Berlin (Polk), as well as a Claes Oldenburg sculpture, a rare William Burroughs manuscript, and the Anthology Film Archive Portfolio (1982). Additional artists’ books have been generously donated by the Sol LeWitt Estate. Works include pristine copies of Autobiography (1980), Four Basic Kinds of Straight Lines (1969), Incomplete Open Cubes (1974), and others. Three Star Books have kindly donated a deluxe set of their Maurizio Cattelan book edition. These works can be viewed and purchased at the space. For inquiries about available works please contact Printed Matter’s Associate Director Max Schumann at 212 925 0325 or mschumann@printedmatter.org. Co-chairs Ethan Wagner & Thea Westreich Wagner and Phil Aarons & Shelley Fox Aarons have guided the event, and Thea Westreich Art Advisory Services has generously lent its expertise and assisted in the production of the auction. In anticipation of the event Printed Matter Executive Director James Jenkin said: “Not only are we hopeful that this event will help us to put Sandy firmly behind us, it is incredibly special for us. To have so many artists and friends associated with our organization over its 36 years come forward and support us in this effort has been truly humbling.“ Auction includes work by: Michele Abeles, Ricci Albenda, Carl Andre, Cory Arcangel, Assume Vivid Astro Focus, Tauba Auerbach, Trisha Baga, John Baldessari, Sebastian Black, Mark Borthwick, Carol Bove, Kerstin Brätsch, Sascha Braunig, Olaf Breuning, Cecily Brown, Sophie Calle, Robin Cameron, Sean Joseph Patrick Carney, Nathan Carter, Paul Chan, Dan Colen, David Kennedy Cutler, Liz Deschenes, Mark Dion, Shannon Ebner, Edie Fake, Matias Faldbakken, Dan Graham, Robert Greene, Hans Haacke, Marc Handelman, Rachel Harrison, Jesse Hlebo, Carsten Höller, David Horvitz, Marc Hundley, Alfredo Jaar, Chris Johanson, Terence Koh, Joseph Kosuth, Louise Lawler, Pierre Le Hors, Leigh Ledare, Zoe Leonard, Sam Lewitt, Klara Liden, Peter Liversidge, Charles Long, Mary Lum, Noah Lyon, McDermott & McGough, Adam McEwen, Ryan McNamara, Christian Marclay, Ari Marcopoulos, Gordon Matta-Clark, Wes Mills, Jonathan Monk, Rick Myers, Laurel Nakadate, Olaf Nicolai, Adam O'Reilly, Philippe Parreno, Jack Pierson, Richard Prince, RH Quaytman, Eileen Quinlan, Sara Greenberger Rafferty, Ed Ruscha, Tom Sachs, David Sandlin, Paul Mpagi Sepuya, Cindy Sherman, Josh Smith, Keith Smith, Buzz Spector, Frances Stark, Emily Sundblad, Andrew Sutherland, Peter Sutherland, Sarah Sze, Panayiotis Terzis, Cheyney Thompson, Rirkrit Tiravanija, Nicola Tyson, Penelope Umbrico, Fredrik Værslev, Visitor, Danh Vo, Dan Walsh and Ofer Wolberger.

December 9, 2009 Hans Haacke is known for exposing the links between money, politics, and art. His MoMA Poll (1970) and Germania (1993) remain leading examples of institutional critique and political consciousness.

Talking Art, a series of interviews with artists, is an exciting new collaboration between Tate Modern and Art Monthly. Hans Haacke's incisive, unflinchingly political works expose systems of power and influence and often court controversy.