Steirischer Herbst 21

A critical reader on the festival's 2021 edition Steirischer Herbst is an annual interdisciplinar art festival held in the Austrian city of Graz since 1968. Functioning as a reader to the festival catalog, this volume features text contributions from panelists, writers and artists.

This book offers a unique and much-needed interrogation of the broader questions surrounding international performance research which are pertinent to the present and the future of Theatre and Performance studies. Marking the completion of eight years of the Erasmus Mundus MA Programme in International Performance Research (MAIPR) - a programme run jointly by the universities of Warwick (UK), Amsterdam (Netherlands), Helsinki/Tampere (Finland), Arts in Belgrade (Serbia), and Trinity College Dublin (Ireland) - the essays in this volume take stock of the achievements, insights and challenges of what international performance research is or ought to be about. By reflecting on the discipline of Performance Studies using the MAIPR programme as a case study in point, the volume addresses the broader question of the critical link between the discipline of Performance Studies and humanities education in general, examining their interactions in the contemporary university in the context of globalisation.

Taschen's inventive layout is effective in presenting the provocative works, words, and biographies of the nearly 100 women artists gathered here. Grosenick, a freelance art historian in Germany, has selected women artists working in Germany, the US, South Africa, Japan, Poland, France, Scandinavia, and Spain, among other countries. The entry for each artist is six pages, with much of the space devoted to good- quality color photos of her work. c. Book News Inc.

This is a book about how the worlds of design and activism (could) inspire each other. As Design and its conceptual, functional, aesthetic, speculative and interventional concepts inevitably affect our lives, it often actively interferes in common defi nitions, understandings and opinion making, which offers opportunities for ideological engagement (in a good or in a bad sense). The book focuses on theories and practices related to the role of Design in terms of addressing, provoking and creating political discourse. Starting from traditional forms of protest, visual languages of resistance, to new forms of digital participation, this will help us to better understand the rituals, structures and meanings of design activism in history and the present, clarifying that design is intrinsically social and supremely political. And it shall help us to derive arguments and examples for the transformative potential of future design (and) activism.

This book documents the “CrossSections” project (2017–2019), an interdisciplinary platform for artistic research, artistic dialogue, and artistic production curated by Başak Şenova. In collaboration with 19 artists and nine institutions, Şenova developed and tested new strategies of artistic research and new ways of exhibiting, through artist-in-residence programs, exhibitions, performances, and presentations in Vienna, Helsinki, and Stockholm. In 56 contributions, the book documents all aspects of the “CrossSections” project, tracking and presenting different forms and methods of artistic practice and collaboration developed under constantly changing conditions and circumstances.

Architecture in Dialogue with an Activated Ground sets out to validate the role of the unreasonable in the design process. Using case study projects, architect Urs Bette gives an insight into the epistemological processes of his creative practice, and unveils the strategies he deploys in order to facilitate the poetic aspects of architecture within a discourse whose evaluation parameters predominantly involve reason. Themes discussed include the emergence of space from the staged opposition between the architectural object and the site, and the relationship between emotive cognition and analytic synthesis in the design act. In both cases, there is a necessary engagement with forms of ‘unreasonable’ thought, action or behaviours. By arguing for the usefulness and validity of the unreasonable in architecture, and by investigating the performative relationship between object and ground, Bette contributes to the discourse on extensions, growth and urban densification that tap into local histories and voices, including those of the seemingly inanimate – the architecture itself and the ground it sits upon – to inform the site-related production of architectural character and space. In doing so, he raises debates about the values pursued in design approval processes, and the ways in which site-relatedness is both produced and judged.

Overnight somewhere in April 2020, the 54th edition of the steirischer herbst festival in Graz, Austria, turned into a semi-fictitious media company, a broadcaster called Paranoia TV. Newly commissioned works by artists included feature films, binge-worthy serial formats, and online discussions galore. Assuming the role of a broadcaster did not just involve moving to the virtual, however. Presence, as well as absence, are always inscribed in media; television is both a celebration of reality as well as that reality?s complete absence. It is perhaps the next platform contemporary art can fully critically embrace.00Exhibition: steirischer herbst ?20?Paranoia TV, Graz, Austria (2020).