"Taka iimura has been making films since the early 1960s. His work has gone through a series of relatively clear, consistent developments: from 1962 to 1968, iimura was largely involved with surreal imagery, with eroticism, and with social criticism; from 1968 through 1971, he continued to use photographic imagery, but worked with it in increasingly formal ways; from 1972 until 1978, he devoted himself very largely to a series of minimalist explorations of time and space. During the years since, iimura has been more fully involved with video than with film." --Scott MacDonald "Although Taka was and continues to be an active part of the New York avant-garde scene, he always remained an enigmatic, mysterious presence, pursuing his own unique route through the very center of the avant-garde cinema. While the intensity and the fire of the American avant-garde film movement inspired him and attracted him, his Japanese origins contributed decisively to his uncompromising explorations of cinema's minimalist and conceptualist possibilities. He has explored this direction of cinema in greater depth than anyone else." -- Jonas Mekas

By following and reproducing the cultural turn, the rhetoric of cultural mix and hybridism is disseminated today primarily in its crossing of trade barriers. Cultures reduced to their exchange value function as capital - an accumulative, speculative and, ultimately, financial affair. In some of its media and site-(un)specific manifestations, process art - which aims to encompass both old and new media art - seems to resist this pressure, despite, nonetheless, not being protected from regulations and incorporations. In the present collection of his recent essays, Slavko Kacunko discusses the process art by crossing the disciplines of art history and comparative media-, visual- and -cultural studies. As a first approximation, several historiographical remarks on closed-circuit video installations underline their importance as a core category of process art. In the second part, the problems of process art, seen as a threshold of art history, are further examined in another retroanalytical step, in which concepts and objects related to `mirror', `frame' and `immediacy' are analyzed as the triple delimitation of visual culture studies. In the third part, previously outlined manifestations of what is termed the `post-visual condition' are summarized and projected to the `coreless core' of the emerging art and research related to the coreless beings par excellence, the bacteria.

Performativity and Event in 1960s Japan considers the artists and events in 1960s Japan. In response to the social upheavals of the 1960s, it shows how art interacted with society in unique and transformational ways, nterweaving arguments about the critical role of performance as an artistic medium and as a social dramaturgy.

"Beginning in 1993 with Artaud: Blows and Bombs, Stephen Barber has quietly, independently forged one of the most singular and enriching bodies of work in contemporary writing." -David Peace Over the three decades since 1990, Stephen Barber has written many essays and experimental writings around film and digital arts. For the first time, this collection in two parts assembles all of those writings, many otherwise unavailable, over seventy in all. Many of those writings explore unknown elements of vital bodies of work that remain inspirational for contemporary art, writing and film. Others interrogate the transmutations of cities - especially those of Europe and of Japan - across those three decades, anatomizing their urban futures. These writings are often residues from, or accompaniments to, Stephen Barber’s thirty books, short writings which possess their own distinctive and accumulating presence, and can display the interrogative resilience to explore preoccupations with greater intensity and pointedness than an entire book. THE RESIDUES, PART ONE collects 38 writings on subjects including Antonin Artaud, Jean Genet, Tatsumi Hijikata, Pierre Guyotat, and Friedrich Nietzsche.

"Beginning in 1993 with Artaud: Blows and Bombs, Stephen Barber has quietly, independently forged one of the most singular and enriching bodies of work in contemporary writing." -David Peace Over the three decades since 1990, Stephen Barber has written many essays and experimental writings around film and digital arts. For the first time, this collection in two parts assembles all of those writings, many otherwise unavailable, over seventy in all. Many of those writings explore unknown elements of vital bodies of work that remain inspirational for contemporary art, writing and film. Others interrogate the transmutations of cities - especially those of Europe and of Japan - across those three decades, anatomizing their urban futures. These writings are often residues from, or accompaniments to, Stephen Barber’s thirty books, short writings which possess their own distinctive and accumulating presence, and can display the interrogative resilience to explore preoccupations with greater intensity and pointedness than an entire book. THE RESIDUES, PART TWO collects 30 writings on subjects including JG Ballard, Pier Paolo Pasolini, Donald Richie, and much more.

What is 'performance drawing'? When does a drawing turn into a performance? Is the act of drawing in itself a performative process, whether a viewer is present or not? Through conversation, interviews and essays, the authors illuminate these questions, and what it might mean to perform, and what it might mean to draw, in a diverse and expressive contemporary practice since 1945. The term 'performance drawing' first appeared in the subtitle of Catherine de Zegher's Drawing Papers 20: Performance Drawings, in particular with reference to Alison Knowles and Elena del Rivero. In this book, it is used as a trope, and a thread of thinking, to describe a process dedicated to broadening the field of drawing through resourceful practices and cross-disciplinary influence. Featuring a wide range of international artists, this book presents pioneering practitioners, alongside current and emerging artists. The combination of experiences and disciplines in the expanded field has established a vibrant art movement that has been progressively burgeoning in the last few years. The Introduction contextualises the background and identifies contemporary approaches to performance drawing. As a way to embrace the different voices and various lenses in producing this book, the authors combine individual perspectives and critical methodology in the five chapters. While embedded in ephemerality and immediacy, the themes encompass body and energy, time and motion, light and space, imagined and observed, demonstrating how drawing can act as a performative tool. The dynamic interaction leads to a collective understanding of the term, performance drawing, and addresses the key developments and future directions of this applied drawing process.

Combining a range of content with self-reflexive examination by scholars and practitioners, this edited volume interrogates the contemporary significance of the avant-garde. Rather than focusing on a particular region, period, or movement, the contributors bring together case studies to examine what constitutes the avant-garde canon.

Reflecting the dynamic creativity of its subject, this definitive guide spans the evolution, aesthetics, and practice of today’s digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists. Showcases the critical and theoretical approaches in this fast-moving discipline Explores the history and evolution of digital art; its aesthetics and politics; as well as its often turbulent relationships with established institutions Provides a platform for the most influential voices shaping the current discourse surrounding digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists Tackles digital art’s primary practical challenges – how to present, document, and preserve pieces that could be erased forever by rapidly accelerating technological obsolescence Up-to-date, forward-looking, and critically reflective, this authoritative new collection is informed throughout by a deep appreciation of the technical intricacies of digital art