Georg Diez Book order

Fundamental questions of human existence in an age of crises. Survival is a common practice. We cannot do it alone--we need each other. We need tools and practices that help us to connect, understand, and build in this age of climate crisis, technological upheaval, and existential pain. We need words, values, and ideas that extend beyond the human space. We need to learn and we need to unlearn. This book makes other world designs accessible through and beyond artistic practice. Rooted in experiment and based in solidarity, the works incorporate elementary questions of ecology, technology, and spirituality to demonstrate how cultural survival requires new cultural practices. With innovative texts and rich illustrations, Survival in the 21st Century explores the idea that we have to learn to live and think in contradictions without losing ourselves.

80*81 is a research project by Georg Diez and Christopher Roth which was funded in 2010 by the German Federal Cultural Foundation (Kulturstiftung des Bundes) and grew in partnership with the Goethe-Institutes New Delhi and Johannesburg, Kampnagel Hamburg, the Watermill Center New York, 72film, Katinka Deecke, 032c magazine, Esther Schipper Berlin, BMW Munich, Theater Neumarkt Zurich, and Bayerische Staatsoper Munich. The books Volume 1-11 were published by Edition Patrick Frey, Zurich. Celebrating 100 years of 80*81, 2081 was funded by the Hauptstadt Kulturfonds Berlin and was developed in partnership with the Goethe-Institut Johannesburg, the Goethe-Institut / Max Mueller Bhavan New Delhi, the Kunst-Werke Institute for Contemporary Art Berlin, and the Center for Historical Reenactments Johannesburg. The 2081 book was published by Edition Patrick Frey, Zurich. The book you’re looking at is funded by Georg Diez, Christopher Roth and Merve. Merve changed its logo and cover design around 1981, the rhomb was getting sharper and more dynamic. On the cover of this book the top of the rhomb is from after 1981 and the bottom from before.

In 2081, society has lost all memory and history, with men, drama, and democracy forbidden. Rules and algorithms dominate, but remnants of the past are uncovered in South Africa, India, and Brazil, revealing archives, hard drives, and books. A congress in Berlin and Johannesburg gathers around 20 women and their clones to piece together the past through talks, music, and performances. In this world where only women are allowed, questions arise about the implications of a male-free society and the nature of violence, leaving behind only neo-yogaism. Notable participants include Victoria Nelson, Anne Tismer, and Sarah Nuttall in Berlin, and Jill Richards and Achille Mbembe in Johannesburg, with live contributions from Delhi. The second day features a walk with men, who are now displaced and no longer cloned. In Berlin, the group walks from Kunst-Werke to the Olympic Stadium, while in Johannesburg, they traverse from Goethe on Main to Miniland. This journey symbolizes a collective effort to escape a stagnant present and embrace the future, bringing their shared paranoia and experiences to the forefront.

Aylin Langreuters Kunst lässt sich nicht in eine Schublade stecken. Konzeptkunst, Objektkunst, Design, Grafik, Plastik: das alles bezeichnet ihre Kunst nicht exakt, obwohl alles Genannte darin vorkommt. Ihre gedankliche und künstlerische Arbeit bewegt sich zwischen unmittelbarer Freude an den Dingen und deren philosophischer Durchdringung. Sie entwirft Gegenstände, die sich nicht nutzen lassen, entwickelt Schriften, die sich nicht lesen lassen und schiebt so ihre Objekte aus der Realität in das Reich individueller Vorstellung. „Aber, dass man die Dinge ihrer eigentlichen Funktion beraubt, steht bei mir nicht im Vordergrund, es geht nur damit einher. Das ist wichtig und passiert zwangsläufig, wenn man ihnen einen eigenen Willen zugesteht“. Dieses Buch stellt zwei neue Werkgruppen der jungen Künstlerin vor: „off/on“- Blindlichter/Neonstiche und die „Schriftstücke“. In beiden entfaltet sich das verblüffende Eigenleben einer Welt voller schöner, absurder und meist fröhlicher Dinge. In einem dritten Kapitel zeigt das Buch Werke, die „länger her“ sind.