'Art writing is being pushed to the margins and alienated from the central and critical position that it should have in our societies, as well as the immediate contact it should have with readers. This is a global crisis and the challenges vary in different geographical locations. In some parts of the world there are fewer spaces in which to publish critical and experimental writings about art, there is less and less financing, and increasing constraints on time; in other places, whilst platforms for writing may be on the rise, their value and impact has declined.
The Critical Writing Ensembles attempt to find new ways, within a global framework, to share rich local writing histories, to experiment together and to produce new critical impulses regarding art writing.
This publication celebrates the launch of The Critical Writing Ensembles through expanded essays and contributions presented at the Dhaka Art Summit 2016, which brought together peers from the South Asia region and across the globe.' - from the back cover
Includes programme, reading list, and contributors' biographies.
Onsite
English
2016
285
9788867492701
1
anthology
Introduction
Foreword: Words Caught in My Eyes
- Katya GARCIA-ANTON
Session I: Al Fresco - Writing Within and Against the Art School
Towards 2019: working notes on the futurity of a site
- Anshuman DASGUPTA
The School Text Manifesto
- Chus MARTINEZ
Dislocating Authority in a Colonial Art School: critical interventions of a 'native' insider
- Shukla SAWANT
Borrowing Your Eyes, Her Words, My Prose - the Memories of a Memory Impaired
- Filipa RAMOS
Bagyi Aung Soe (1923-1990): attempts at a tenable (hi)story of a twentieth-century artist straddling nations, traditions and disciplines
- Yin Ker
Session II: Staging Words and Flowing Letters
Notes on Process: writing a life
- Belinder DHANOA
Best Book Don't Care or, Poor Form from Fringe Areas
A Letter Without a Subject from the Flow of Letters Between the Critic and the Reader or, The Futile Bliss of the Tutor Text
- Quinn LATIMER
Mining the Archive: the prison letters of Faiz Ahmed Faiz and Alys Faiz
- Salima HASHMI
Lotus Notes
- Nida GHOUSE
The Art Critic
- Rosalyn D'MELLO
Session III: The Political Unconsciousness of Art Writing
Forms of Address: personal testimony and public discourse
- Geeta KAPUR
Shahrazade in the Archives: a testimony from fragments
- Mariam GHANI
Rebranding Mesopotamia: 'power of imagination to rule'
- Ovul DURMUSOGLU
The Poison of Development
- Nabil AHMED
Metabolistic Writing and Reading
- Maria LIND
Session IV: Entangling and Disentangling Printed Matter
Everyday Stories from Conflict Zones
- Aunohita MOJUMDAR
'The Time Lived by Others': an Indian art review after independence
- Devika SINGH
Learning from Dhaka
- Dorothee RICHTER
From Afar and Up Close: artists' books as forms of critical writing
- Sharmini PEREIRA
Four Appendices to the Artists' Apostrophe
- Mike SPERLINGER
Art Writing from Below: transversality in the Country of Mistranslation
- Mustafa ZAMAN
Critical Writing Ensembles: Dhaka Art Summit 2016
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