From the deeply personal perspective of his own meeting and fascination with the mountains, the Danish poet and sound artist Morten Søndergaard tells the story of how the anarchist movement arose among the stonecutters of Carrara. “You have time to think a thing or two when you sit and hew stone all day,” he remarks of the men and families who did the dangerous, underpaid work of sawing out the prized marble, more famous in art history for the mythologising tale of Michelangelo’s talent for choosing exactly the right block. Via detours past Walden Pond and anarcho-primitivism, Kropotkin and Bakunin, Asger Jorn and Guy Debord, as well as mutualism among organisms, Søndergaard asks us to reflect on the continued relevance of anarchist thought, not as an end in itself but as a route towards a better lifeworld, a renewed appreciation of the multiplicity and contradiction that is alive all around us.
This English translation updates the Danish text originally published in Pist Protta no. 84, and is accompanied by black and white photographs from the mountains of Carrara and the nearby towns where the anarchist movement took root.
We are back and very pleased to be launching two new books, No Safe Place by Peter Brandt, and Cerro Point Blanco by Lehman Brothers.
No Safe Place will be launched on Friday 2 October at 20:20 in the foyer outside the Lecture Hall of the Faculty of Social Sciences, Gothersgade 140, following Peter Brandt’s presentation as part of The Curatorial Thing 2020.
Cerro Point Blanco will be launched on Friday 9 October from 15:00, in our exhibition space at Gothersgade 167, as the closing event of The Curatorial Thing 2020.
No Safe Place, Peter Brandt
No Safe Place addresses the subject of trauma and the process of healing, and emerges from the artist’s own experience of being the subject of a violent attack and the subsequent social expectation to bring the episode to closure and move on. The publication investigates, through texts, conversations, and Brandt’s artworks themselves, why healing can be such a difficult and perhaps ultimately unsuccessful process; why people appear to expect that a person will heal as a matter of course; and how society places emphasis on the perpetrators of violent crime rather than on the victims. In the context of this, the book also discusses the status of the image as witness, and the socio-cultural ‘resistance’ to the witness.
The book features an essay on ‘The Forensics of Trauma’ by curator Jeppe Ugelvig, conversations between Peter Brandt and author Thomas Lagermand Lundme and theatre director Iben Hendel Philipsen, as well as texts and reproductions of artworks by Brandt that directly address his experience of the violent act and the attempt to heal.
Special book launch price on this day only: 100 DKK (Regular price 200 DKK)
Cerro Point Blanco, Lehman Brothers
The publication Cerro Point Blanco has emerged from Lehman Brothers’ artistic research into titanium extraction in northern Chile and reading of Herman Melville’s Moby-Dick as a metaphor for the madness and downfall of capitalism, as well as the curatorial research of SixtyEight Art Institute during the conception and development of this project.
Read the review of the exhibition of the same name on IDOART
The book contains newly commissioned texts by Lehman Brothers themselves, regarding their search for Cerro Blanco – the White Mountain – and the mysterious White Mountain Titanium Corporation in the dry expanses of the Atacama Desert; Chilean curator Rodolfo Andaur, whose research trips in northern Chile have been fundamental to this project, looks at the history of extractivism in the Atacama region; Danish artist Kristian Byskov draws out the relationship between necropolitics and the widespread protests in Chile last year; while poet and thinker David Lau looks at the legacy of extractivism as it manifests itself in Silicon Valley and post-Covid financial stakes.
In addition, the book features stills from the video piece ‘Cerro Point Blanco’ and an essay by the curators looking at their research into the history of whaling and the future of art and the so-called anthropocene.
Special book launch price on this day only: 80 DKK (Regular price 120 DKK)
Really Simple Syndication Press, the publication arm of SixtyEight Art Institute, warmly welcomes you to the release of Hanne Lise Thomsen by the visual artist Hanne Lise Thomsen.
Book Launch: 6:00 p.m. – 8:00 p.m. Wednesday, 29 May Gothersgade 167, Kbh K
Drinks will be served and all are welcome.
Books will be available for purchase at this event or you can order from RSS Press Shop.
The book Hanne Lise Thomsen
offers an overview of Hanne Lise Thomsen’s public art works produced in
numerous locations in Denmark and around the world over the last 20
years. Her work is both aesthetic and political: she is interested in
occupying urban spaces with images and in shaping the messages conveyed
through these spaces. Elements of her public practice take the form of
support for women’s rights, for the rights of refugees and the homeless,
seeking to provide counter-narratives to the oversimplified
representations of minorities, and which often nuance and influence
public debates about these topics.
on the interventionist urban art that developed internationally during
the 1980s, Hanne Lise Thomsen’s work takes inspiration from political
protest movements and the experiments artists began making with new
media. In this way, her practice speaks for the idea of the city as a
place of diversity and acceptance. Whether occupying billboards with
stark alternatives to advertising images or projecting private and
personal images into public space, she amplifies the voice of
marginalised and hidden communities, opening territory in urban spaces
usually governed by the competitive logic of economic forces.
inviting many contributors into her projects, working with local
residents and professional photographers alike to articulate these
hidden stories on the participants’ own terms, Hanne Lise Thomsen uses
the photography of others much like a curator or film director,
uncovering obscured histories and revealing them to the viewer in all
their complexity. Each of these public projects is represented in the
book by a selection of images accompanied by texts in English and Danish
contextualising the work. In addition, texts by art historian Ditte
Vilstrup Holm and historian of photography Mette Sandbye further situate
Thomsen’s work in the Danish and international context.
The book Hanne Lise Thomsen
illustrates how, in this ‘post-photographic’ age in which we are
bombarded by an overwhelming array of digital images across social media
and advertising, Hanne Lise Thomsen’s insistence on uncovering personal
stories that intersect with broader social issues, and on using
photography to tell nuanced stories and to articulate politicised
histories in public space, becomes all the more essential as an activist
Hanne Lise Thomsen
(b.1951) was educated at The Royal Danish Academy of Art, Schools of
Visual Arts, Copenhagen (1973–77), and School of Media Arts (1983–85).
Her work as a visual artist focuses on dialogue with the surrounding
society, using urban spaces as widely accessible platforms for
site-specific temporary projects that address both social and political
issues. Over recent decades her long-standing commitment to large-scale
photography projects in public space has earned her numerous honorary
art awards and public commissions.
is a graphic and book designer specialized in developing and
formulating contemporary publications and catalogues. Since 1996, she
has produced a wide range of publications in collaboration with artists,
architects, musicians, writers, editors and curators. Each time giving
form and context to visual layouts based on a honed process of research,
listening, and dialogue in each collaboration. Betak lives and works in
Hanne Lise Thomsen: Hanne Lise Thomsen Really Simple Syndication Press, Copenhagen May 2019. Book design by Jeanne Betak
275 DKK / 37 EU
Books can be ordered online from the Really Simple Syndication PressShop
Also available at:
SixtyEight Art Institute
SixtyEight Art Institute is very pleased to announce the release of our latest book, titled Infinite Bet by Liv Schulman that has been published by our own editorial group, called Really Simple Syndication Press.
Infinite Bet peeks and marvels at Liv Schulman’s continuing artistic research, which is after all things said, a feverish and contextual meeting of notions about economy, subjectivity and desire. At times the book is intersecting with star-crossed themes covered in her performances, such as Formal Economy at Alt_Cph or those like The Empathy presented last year at the Cut the Gap seminar at SMK. Liv Schulman makes use of storytelling techniques by using tactics such as the comic and the collaborative to build the text and escape the subject. To this end, the publication gathers a range of written pieces that together make available a rich body of written work, which includes interviews, play formats, poems, and the work of other artists. Because Liv Schulman broadens experimental forms of speech, only to turn them on their head; the collected writings in themselves offer different challenges to the notions behind the creative freedoms they embody, or even over the political ideas that argue where we get them. In short, this cross-section of written situations and speech acts amounts to a comical and contrarian collective look at the nonsensical economies of desire, we all bet on.
Infinite Bet features an interview with the French stand-up comedian Bettina Atala; drawing and text contributions by Hugo Hopping; a review by Sophie Lapalu; and prints for the first time the English version of the script for the video piece L’Obstruction, which was shown at SixtyEight Art Institute last October in collaboration with Triangle France in Marseille.
Book design by Ida Elisabeth Jensen for RSS.
Liv Schulman (b. 1985) was educated at the École Nationale Supérieure d’Arts de Lyon; the UTDT programa de artistas, Post Master, Buenos Aires; Goldsmiths University of London, MFA Art Writing; and the École Nationale Supérieur d’art de Cergy, MFA Art. The main resources of her work deal with an exhaustive use of language and translation through the instrumental use of a body.
The book Ars Memoria contains reproductions of the artworks produced by Helene Nymann for the exhibition at Rundetaarn (a historical landmark and exhibition space in Copenhagen), as well as contributions from artist Joachim Koester, curator Iben Bach Elmstrøm, poet Mette Moestrup, neuroscientist Lauren Silbert, and psychologist Diana Ø. Tørsløv Møller.
The texts explore the themes of the exhibition, discussing the ideas of the Renaissance polymath Giordano Bruno and art historian Aby Warburg.
This publication has been realized with the generous support of many friends and cultural institutions in Copenhagen.