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Tijdschrift Kunstlicht

Kunstlicht is an academic journal for visual art, visual culture, and architecture.

04/07/2024

Call for Papers 📝

ONLINE CURATING, Kunstlicht Vol. 46, no. 1-2

We are excited to present our open call for the first issue of 2025 called ‘Online Curating’ guest edited by dr. Annet Dekker.

Deadline: 5 September 2024
Published: April 2025

Online curating challenges traditional models and methods for presenting, accessing and distributing art in relation to the use of space (from white cubes to online spaces) and collaboration (from the expert curator or artist to technology and users). Whereas online exhibitions were perhaps something of a novelty at the time, in the last fifteen years online exhibitions are participating in a wider info-technical development that has and is impacting multiple areas of society and culture, and thus they have become relevant and of interest to people far beyond the various insider circles. In the ongoing exploration of aesthetics, space, time and narrative are frequently discussed topics in exhibition design and curating, in which the relationality and processuality are often emphasised. How is this conceptual triangle shaped in the web?

We seek contributions that investigate the interdependency of curatorial praxis and the socio-technical space of the web. Subsequently, we are looking for analyses of how the diversification of curating practices impacts the value and experience of exhibitions. How does this affect the traditional authority of institutions and their curatorial agency? How might it influence the historical relevance or cultural memory of online exhibitions? Finally, we are particularly interested in contributions that explore how conventional institutions are developing new ways of sharing curatorial authority, with users and technology, thereby empowering users to produce new content and value.

Read the full Call for Papers via the link in our bio!

Image: https://distant.gallery – Yehwan Song, From Here to There, 2022.

03/07/2024

ARTICLE FROM OUR REVERBERANT ECOLOGIES ISSUE 🎧

Murmuring Matter, Sonic Attunement, Rhythmic Relationalities: Exercises in Listening to the Cosmos.
By Bruno Alves de Almeida, Giulia Bellinetti.
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"This paper delves into the transformative potential of sound and sonic practices as tools for attuning to and comprehending the agency and murmurings of various material, viral, vegetal, animal, and atmospheric entities. Departing from Isabelle Stengers' cosmopolitical proposal, this essay advocates for a re-evaluation of power dynamics in political arenas by engaging with the diverse murmurings of what Stengers defines as the "cosmos” — the unknown constituted by multiple, divergent worlds.

The paper is grounded on the analysis of artistic contributions to the event Murmuring Matter: On the Cosmopolitics of Materials, held at the Jan van Eyck Academie in 2023. The event proposed a collective exploration of the materials, bodies, river, forest, and cityscapes of Maastricht and beyond, through sound experiments, listening exercises, and sonic immersions. We explore the potential of such sonic practices as effective responses to Stengers' proposal by attuning to and illuminating positions that often go unnoticed, thus prompting a reconsideration of humanity's connections with the environment."

You can order tijdschrift Kunstlicht online via the link in our bio!

Image 1: Daniel Lie, We are not the center of the universe - attempts at other-than-human protagonisms, part of Murmuring Matter. On the Cosmopolitics of Materials 2023, courtesy Jan van Eyck Academie, Maastricht.
Image 2: Dorien de Wit, Juan Pablo Pacheco Bejarano, Maud van den Beuken, Wim Peumans, MaasMosaMeuseMoûzeMaosMûce. A river choreography, part of Murmuring Matter. On the Cosmopolitics of Materials, 2023, courtesy Jan van Eyck Academie, Maastricht.
Image 3: Zahra Malkani, A Ubiquitous Witness, part of Murmuring Matter. On the Cosmopolitics of Material, 2023, courtesy Jan van Eyck Academie, Maastricht.

29/05/2024

FREE ARTICLE FROM OUR REVERBERANT ECOLOGIES ISSUE 🐳

"Throughout history, whales have been made into resources for technological progress. The hunt for whales pushed imperial frontiers, as whale blubber was transformed into oil that lubricated the machinery at sugar plantations and burned in the first streetlights of Enlightenment-era London. In the twentieth century cetacean communication became the subject of military sonar research, helping submarines “see.” Recently, another form of making whales knowable builds on developments in bioacoustics and AI: Project CETI uses machine learning to “decode” whale languages, for if we understand them, we will protect them better. From a postcolonial perspective, however, understanding and translation have not led to protection, but to domination.

In light of underwater noise pollution, rising ocean temperatures and the near extinction of whales, I turn to the work of Mexican artist Ariel Guzik to explore what options for decolonial interspecies communication emerge. Guzik builds stringed instruments that, when lowered into the deep, respond to the voices of cetaceans. His work draws attention to their sound-centred world and to the possibility of more-than-human aesthetic experience. It is decidedly unscientific, rather asking what arises once we let go of the will to knowledge and thus, power."

Read this article through the link in our bio!

Image 1: Ariel Guzik, Interview, 2010, ink on paper, courtesy of Ariel Guzik.
Image 2: Ariel Guzik, Holoturian capsule on its first expedition, 2018, San Juan de la Costa, Baja California Sur, photograph by Raúl González.
Image 3: Ariel Guzik, Cetacean Calligraphy, 2014, ink on paper, courtesy of Ariel Guzik.

27/05/2024

NEW ISSUE NEW ISSUE NEW ISSUE 💌

Our newest and biggest issue to date Reverberant Ecologies: On the Relational Impact of Sonic Practices guest edited by Manuela Zammit is out now!

This issue explores the interconnectedness and interdependence that make up ecological systems and social formations through the affordances of sound and sonic practices. It is an exploration into the far and diverse reach of sound and sonic waves, materialising as a force of nature, a meditative encounter, an alchemical reaction, or an interspecies conversation.

Get your copy through the shop link in our bio!

Journal design by
Cover by Angelina Nonaj

22/05/2024

NEW ESSAY 🍄

GALA’S GOLDEN TRIANGLE; TRUST, DIVERSITY AND FLEXIBILITY
By Yasmine Ostendorf-Rodríguez

"It all started a bit over ten years ago. It was the summer of 2012. A so-called golden summer for London, the city where I had just based myself. It was the summer of promise; the word Brexit did not exist in our vocabularies yet, the Olympics were on their way and Boris Johnson was still just a silly blond Mayor. I wasted away many of these golden afternoons in a small room in the back of a theatre in Shepherds Bush, the former offices of Julie’s Bicycle, writing a funding application for the European Commission. The proposal was to realise an ambitious project called The Green Art Lab Alliance, coordinated by TransArtists (now TransArtists l DutchCulture). I remember it well because I was buzzing with excitement. The proposal was for a network that would facilitate a number of seminars, workshops and residencies for artists and cultural organisations. To grow a support structure for those who were keen to reduce their environmental footprint and to start engaging artistically with the topic of sustainability. We called it a ‘knowledge alliance.’ ..."

Read the full essay in our issue Between the Standing and the Inclined. ✨

📸 Image courtesy of Yasmine Ostendorf-Rodríguez.

21/05/2024

NEW ARTICLE 💛

WHO IS GOING TO HOLD THE BABY?
By Irena Borić

This text looks into the work Unease, Anxiety (2016) by artist Tanja Dabo that tackles the existential crisis the artist experienced after having a baby. This text analyses this work and creates a dialogue in order to pinpoint neurological spots at the intersection of making art and taking care of the child. The text ponders upon possible conditions that would provide support, both mat erial and relat ional, in order t o balance the roles of a mother and a working artist. What makes this balance between life and art so difficult to achieve, and how is this struggle represented within art practices? By exploring relational aspects of collective care, the text attempts to imagine a space where holding the baby does not exclude doing art.

📸 MATERNAL FANTASIES, Tell Me How to Disappear (2018), film still, photographic print, copyright MATERNAL FANTASIES.

Get your copy through the link in our bio! ✨

20/05/2024

NEW INTERVIEW 🥖🍞

ONE WHO EATS BREAD WITH ANOTHER: A Conversation On Companionship
By Eléonore Pano-Zavaroni & Kathrin Wolkowicz

Sharing the love for bread, cooking and relational processes, Eléonore Pano-Zavaroni and Kathrin Wolkowicz converse about the multiple dimensions of bread and its echoes in their artistic practices. This conversation is a walk, touching on conceptions of ye**ty and other ecosystems.

Order your copy now through the link in our bio! ✨

22/04/2024

NEW ARTICLE ❣️⁣
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‘Institutional Critique Is Not Enough, We Need To Target The Infrastructure’⁣
By Manuela Zammit and Alina Lupu
⁣
In their own words: “The Artist as Public Servant (2022) was partly an attempt by artist Alina Lupu to redirect public money from the cultural sector into the social initiative Helen’s Free Food Market (HFFM). Lupu’s strategic move served to instrumentalise her artistic practice and ensure Helen Van der Bilt’s initiative’s continued viability. In this essay, we question whether Lupu pulled off an applaudable alliance between the social and artistic sector, or a gross misuse of public arts funding. We contextualise her work within what Marina Vishimidt in 2016 termed as “infrastructural critique” to revisit long-ongoing (art) historical questions about art’s autonomy and the relationship between artistic and everyday life practices. Further, we take a look at the current societal land- scape that Lupu’s work intervenes on, to question whether socially-engaged aesthetic practices can realistically hope to change the system from within in the current political, social, and economic spheres. As Lupu herself concludes, subtle schemes such as the one she orchestrated are by no means structural solutions, but as they cut through the status quo and unfold in the space between the material and the possible, they do achieve something within their limited means — including making alternative and solidarity-infused futures apparent.”⁣
⁣
⁣
Buy Between the Standing and the Inclined through the link in our bio!

22/04/2024

NEW ARTICLE ❣️

‘Institutional Critique Is Not Enough, We Need To Target The Infrastructure’
By Manuela Zammit and Alina Lupu

In their own words: "The Artist as Public Servant (2022) was partly an attempt by artist Alina Lupu to redirect public money from the cultural sector into the social initiative Helen’s Free Food Market (HFFM). Lupu’s strategic move served to instrumentalise her artistic practice and ensure Helen Van der Bilt’s initiative’s continued viability. In this essay, we question whether Lupu pulled off an applaudable alliance between the social and artistic sector, or a gross misuse of public arts funding. We contextualise her work within what Marina Vishimidt in 2016 termed as “infrastructural critique” to revisit long-ongoing (art) historical questions about art’s autonomy and the relationship between artistic and everyday life practices. Further, we take a look at the current societal land- scape that Lupu’s work intervenes on, to question whether socially-engaged aesthetic practices can realistically hope to change the system from within in the current political, social, and economic spheres. As Lupu herself concludes, subtle schemes such as the one she orchestrated are by no means structural solutions, but as they cut through the status quo and unfold in the space between the material and the possible, they do achieve something within their limited means — including making alternative and solidarity-infused futures apparent.”

Buy Between the Standing and the Inclined through the link in our bio!

18/04/2024

VISUAL CONTRIBUTION

Did you already scan the QR-code to see Dina From Egypt’s music videos? They are a must see!

Have a little sneak peak with the photos of our launch at .

You can now buy "Between the Standing and the Inclined" on our website.

📸 by

04/04/2024

NEW ARTICLE 🌊

UNSTABLE GROUND
Gunndís Ýr Finnbogadóttir

In Finnbogadóttir own words: I reflect on Nancy Tuana’s notion of Anthropocenean sensibilities that she advocates for us to develop, attend to, and learn from. I will weave in insights into the project Unstable Ground, a collaborative project between artist Þorgerður Ólafsdóttir and myself. Together, we have conducted a number of micro-phenomenological interviews with visitors to the protected island of Surtsey, located off the southern coast of Iceland. I explore how our methodological approach and initial reflections on the interviews might align with Tuana’s concept. How is it possible to connect Anthropocene sensibilities with real, lived experience, particularly in terms of the connection between the body and the environment? Such a connection undoubtedly exists, although it has not received the necessary attention yet from the structures that could support it.

Buy Between the Standing and the Inclined through the link in our bio!

02/04/2024

VISUAL CONTRIBUTION 🏎️ 🏎️ 🏎️ 🏎️

If You Catch My Drift
Mari Kalabegashvili .kala

Since she became a mother, Mari Kalabegashvili found herself missing having fun and ‘a gang’ to hang out with. The art galleries’ opening and events with their strict times and specific rituals were hard to attend with a newborn. Undaunted, the artist refused this condition of isolation and feeling put on the side. A chance encounter with Tbilisi’s amateur car racers, let the artist enter a world of ‘community’s happenings’ and discover a new sociality. Recalling the atmosphere of Claude Lelouch short film C’était un Rendez- vous (1976), where an empty Paris is a ‘found labyrinth’ crossed at high speed, here close ups of the race cars on the asphalt circuits mark the space of a renewed encounter with oneself as a standing subject.

Buy the issue Between the Standing and the Inclined through the link in our bio!

29/03/2024

NEW ONLINE ARTICLE 💫

Right on time for the long weekend! Scroll over to our website to have a read through Patricia Healy McMeans' article 'A Radical Friendship of Difference'.

This essay explores the power of radical friendships in underpinning artists’ sometimes small but revolutionary acts of world-making. Looking closely into the seeds
of change, it asks what kinds of inclined support and radical friendships were needed and present to the artist during the first moments of incubation. It investigates new ways in which artists’ residencies form themselves around the needs and care
of artists, beginning to change the major known superstructure of the residency field, i.e. demanding displacement, exploitative work, elitism, by working the minor from within. Pulling from historical examples, it then focusses on present day movements of two artist-led residencies begun in mid-late 2000s, Wassaic Project co-founded by Bowie Zunino and Eve Biddle in rural New York, and Le 18 in Marrakesh, Morocco by Laila Hida. They identify how their support needs have shifted over time, what expectations they had and how/whether/which needs were met. Who/what holds up whom?

Link for the article in bio!

📸 Le 18, Marrakesh, Morocco. Photos courtesy of Le 18.

28/03/2024

A big thank you to everyone who joined our second launch for Between the Standing and the Inclined at last month!

We truly enjoyed the talks and performances by , , , and .mcmahon. Thanks for making this such a fun evening!

The evening was hosted by our lovely guest editors Angela Serino and Maja Bekan , who made this gathering such a warm event.

If you haven’t read our latest issue yet, follow the link in our bio to order it!

📸 by

05/03/2024

CALL FOR PAPERS 📝

The Swamp Potential, Vol. 45, No. 3-4

Guest editors: Suzie van Staaveren and Robbie Schweiger
Deadline: 15 April 2024
Published: November 2024

We are thrilled to announce the call for papers for the upcoming issue of Kunstlicht dedicated to the ecological and discursive potential of swamps within artistic practices and design cultures.

Recent projects, such as Turba Tol Hol-Hol Tol presented at the Chilean Pavilion at the 59th Venice Biennale in 2022 and Nomeda and Gediminas Urbonas’ retrospective Partially Swamped Institution at the Vilnius National Gallery of Art in 2023, oppose dominant interpretations and representations of the swamp as hostile, underdeveloped, and unprofitable and reveal the ongoing (post)colonial and climate crimes that are connected to these kinds of landscapes. With organic and archival materials and immersive multisensorial installations, the projects point to the potential of swamps as complex ecosystems of human and non-human coexistence and as political agents able to reverse colonial logic and provide bases for community-based activism and resistance.

For this issue of Kunstlicht, we invite you to think with us and imagine the potential of swamps through art and design practices. What insights does studying (the history and the representation of) swamps with their many human and non-human inhabitants bring? How do these transitional areas between land and water afford other ways of physical and ethical connections to the environment in a time of deep ecological crisis and social injustice? What can artistic practices and design cultures learn from swamps (as spaces or metaphors) in order to create or imagine other ways of being in the world? And how can art practices and design cultures contribute to raising awareness of the swamp’s potential?

The call for papers is the product of the research conducted for the art project Life Compensation Lottery, which is initiated by artist Suzie van Staaveren and curated by Robbie Schweiger and will be presented in Amsterdam in 2025.
Read the full call through the link in our bio!

Image: Aerial photo of the Volgermeerpolder via tauw.nl. 📸: Tom Kisjes.

13/02/2024

ARE YOU JOINING US? ✨
21 February 2024, 7-9 pm at Framer Framed

Next Wednesday we will host our second launch for our issue Vol. 44, N. 4: BETWEEN THE STANDING AND THE INCLINED: STRUCTURES SUPPORTING CHANGE. Will you be there?

This evening will have presentations by Manuela Zammit and Alina Lupu , Kathrin Wolkowicz and Dina from Egypt .danish.

What is the inclined? Why support structures? And how can these help us speak about change—(because yes, we still want many things around us to be different)?

Support is generally intended as something that holds up or serves as a foundation, provides a basis for the existence or subsistence of someone or something, keeps from yielding, and gives comfort. In this issue, we have used support to speak of all that sustains and thus shapes an art practice, what allows someone to stand as an artist and art professional today in the absence of or despite certain systems, in the cracks of objective material constraints, turning them into opportunities for collective actions and self-empowerment.

Guest-editors of this issue: Maja Bekan and Angela Serino, with contributions by Manuela Zammit and Alina Lupu, Patricia H. McMeans, Eleonore Pano-Zavaroni and Kathrin Wolkowicz, Multiple Choice, Irena Borić, Mari Kalabegashvili, Gunndís Ýr Finnbogadóttir, Yasmine Ostendorf-Rodriguez, Toni Kritzer.

Image from the issue: Maja Bekan and Angela Serino, “Between the Standing and the Inclined”, Visual Dialogue, 2023.

08/02/2024

Thank you for everyone who joined our first launch of Between the Standing and the Inclined at last month! 💕

Didn’t make it? Come to our next launch at on Wednesday 21 February from 7-9pm!

📸 1-2: Luke Cohlen , 3: Lisa Marie Sneijder

18/01/2024

SECOND SPEAKER AT CASCO ✨

Join us this Saturday from 3-5pm at in Utrecht for the first launch of ‘Between the Standing and the Inclined’!

Our second speaker is Patricia Healy McMeans, who will look into into her contribution ‘A RADICAL FRIENDSHIP OF DIFFERENCE’.

This essay explores the power of radical friendships in underpinning artists’ sometimes small but revolutionary acts of world-making. Looking closely into the seeds of change, it asks what kinds of inclined support and radical friendships were needed and present to the artist during the first moments of incubation. It investigates new ways in which artists’ residencies form themselves around the needs and care of artists, beginning to change the major known superstructure of the residency field, i.e. demanding displacement, exploitative work, elitism, by working the minor from within. Pulling from historical examples, it then focusses on present day movements of two artist-led residencies begun in mid-late 2000s, Wassaic Project co-founded by Bowie Zunino and Eve Biddle in rural New York, and Le 18 in Marrakesh, Morocco by Laila Hida. They identify how their support needs have shifted over time, what expectations they had and how/whether/which needs were met. Who/what holds up whom?

See you there!
More info in our link in bio.

Image: Photo of Bowie Zunino, Jeff Barnett-Wimsby, Eve Biddle. Photo courtesy of Wassaic Project.

17/01/2024

FIRST SPEAKER AT CASCO 🌳

Join us this Saturday from 3-5pm at in Utrecht for the first launch of ‘Between the Standing and the Inclined’!

Our first speaker is Toni Kritzer , who will dive into their contribution ‘LANDSCAPE METHODOLOGIES’.

A single tree is not a forest - an artist never stands alone. What can we learn from forests to foster thriving artistic collaborations? Following the paths of biomimicry and social justice organisation deep into the woods, we observe other forms of collectivity, community and collaboration emerging. This essay explores “Landscape Methodologies”, a poetics and ethics for artistic collaborations, taught by forest ecosystems.

See you there!
More info in the link in our bio.

Image: Excerpt from ‘LANDSCAPE METHODOLOGIES’.

04/01/2024

SAVE THE DATE ✨
20 January 2024, 3-5 pm at Casco Art Institute

Coming up on 20th of January 2024 the January launch of Kunstlicht Vol. 44, N. 4: BETWEEN THE STANDING AND THE INCLINED: STRUCTURES SUPPORTING CHANGE.

What is the inclined? Why support structures? And how can these help us speak about change—(because yes, we still want many things around us to be different)?

Support is generally intended as something that holds up or serves as a foundation, provides a basis for the existence or subsistence of someone or something, keeps from yielding, and gives comfort. In this issue, we have used support to speak of all that sustains and thus shapes an art practice, what allows someone to stand as an artist and art professional today in the absence of or despite certain systems, in the cracks of objective material constraints, turning them into opportunities for collective actions and self-empowerment.

Guest-editors of this issue: Maja Bekan and Angela Serino, with contributions by Manuela Zammit and Alina Lupu, Patricia H. McMeans, Eleonore Pano-Zavaroni and Kathrin Wolkowicz, Multiple Choice, Irena Borić, Mari Kalabegashvili, Gunndís Ýr Finnbogadóttir, Yasmine Ostendorf-Rodriguez, Toni Kritzer.

Image from the issue: Maja Bekan and Angela Serino, “Between the Standing and the Inclined”, Visual Dialogue, 2023.

22/11/2023

✨ NEW ISSUE ✨

We are delighted to present to you our newest issue, Between the Standing and the Inclined: Structures Supporting Change, guest edited by Angela Serino and Maja Bekan !

In this issue Serino and Bekan want to make space for all that sustains and thus shapes an art practice, what bears, props and holds up, what allows someone to stand as an artist today. Finding the balance in the relational structure between the art world, the world as a whole and the artist, this issue questions how one can simply be and be creatively and why this is not lonesome practice.

You can buy it through the shop link in our bio!

28/09/2023

VISUAL CONTRIBUTION IN NOSETALGIA

Visual Artist Florence Marceau-Lafleur contributes to our Nosetalgia issue by presenting a series of nose whistles inspired by her work as an art model.

The series of artworks I would like to propose for this issue of Kunstlicht is based on the nose of Michelangelo’s David, as I perceive it from the model’s position, in the life sculpture class. In classical academies, the features of David are still used as references to teach the basics of portraiture: replica’s of his nose, ears, lips and eyes are often hung on the studio wall. These sensory fragments do not bear any resemblance to the heroic body exhibited at the Galleria dell’Accademia in Florence. When standing still as a statue, it appears to me that I face the scattered senses of the room itself (and my own skin, eyes, lips, ears and nose seem to create other sensory canals through which the place could perceive itself). After having looked at this nose for hours, I started to imagine that I could breathe through it, and that the nose could make a sound, becoming a flute, or a clay whistle. I imagined the sound of such an instrument filling up the surrounding air, synaesthetically uniting the scattered senses.

You can order tijdschrift Kunstlicht online via the link in our bio!

Image 1: Florence Marceau-Lafleur, Neusfluit, 2020, fineliner, mechanical pencil and charcoal on paper, 31.8 x 22 cm
Image 2: Florence Marceau-Lafleur, Studio Situation With Scattered Senses, 2022, left-eye view in a stereoscope, dimensions variable
Image 3: Florence Marceau-Lafleur, Nose Whistle, 2021, eggs and air-dry clay, ca. 12 x 20 x 11 cm

21/09/2023

FREE ARTICLE FROM OUR NOSETALGIA ISSUE

Have you ever used smell as medium for conversation? Read the intricate research In Search for Common Scents by Pitchaya Ngamcharoen, navigating the role of smell in shaping memories and identities.

"In Search for Common Scents exhibits research conducted by Pitchaya Ngamcharoen, which investigates the use of specific scents as a medium for conversation among individuals in diasporic communities. With a focus on smells commonly known in her home region of South East Asia, Ngamcharoen explores the connection between smells, memory, and identity. In dialogue with her friend and colleague Lotte, Ngamcharoen emphasises the importance of reflecting upon the role of smell in shaping our identities and memories. It suggests that the use of specific scents in conversation can serve as a means of connecting individuals with a shared cultural background, and can foster a sense of belonging and community."

You can order tijdschrift Kunstlicht online via the link in our bio!

Image 1: Tanaka. Courtesy of Pitchaya Ngamcharoen, 2023.
Image 2: Prickly Heat Cooling Powder. Courtesy of Pitchaya Ngamcharoen, 2023.
Image 3: Nangloy. Courtesy of Pitchaya Ngamcharoen, 2023.

19/09/2023

Tijdschrift Kunstlicht is looking for brand-new editors for our 3-yearly journal publications for art, visual culture and architecture!

Do you have affinity within the field of arts and cultures and specifically artistic research?

Do you have a strong feeling for writing and editing?

Do you want to gain experience in the ways of art publishing?

If so, please message us and tell us why you're suited for the job! And if you have any additional questions, please let us know.

14/09/2023

ARTICLE FROM OUR NOSETALGIA ISSUE

In The Smell of Change: Futurist Cooking and Anti-Nostalgia, Dagmar Büchert cooks up a recipe to create your own smell of change.

"This text focuses on the cooking practices and banquets of the early 20th-century Futurist art movement in Italy. The movement articulated the politics surrounding food and a set of practices that aimed to reinvent the Italian kitchen of the time, as well as introduce a multisensory way of preparing, serving and eating food. Futurist food practices expressed a desire for a specific kind of future and disturbed the political status quo while doing so. Smell is often linked to nostalgia and memory, but in the case of the Futurist movement smell becomes the sense for imagining an alternative future, or the smell of change, and thus distinctly anti-nostalgic. Following a brief historical analysis, I propose a recipe inspired by The Futurist Cookbook with the aim of encapsulating what Futurist food practices are all about, and how they might be still applicable and inspiring in our contemporary condition."

You can order tijdschrift Kunstlicht online via the link in our bio!

Image 1: The Futurist Table. View of the room (with cogwheel centrepiece), ca. 1931, photographic print, 17x5 x 23cm, from the Filippo Tommaso Marinetti Papers, General Collection, Beinecke Rare Book and Manuscript Library collection.
Image 2: Three samples of sandpaper for Marinetti’s tables tactiles, Filippo Tommaso Marinetti, ca. 1905-1944, black and white slide, 2.54 x 2.54cm, from the “Libroni” on futurism slide collection, General Collection, Beinecke Rare Book and Manuscript Library collection.

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VISUAL CONTRIBUTION FAILING ON TIME Did you already scan and read through the visual contribution by @postponed_until_further_notice ? Their work has been spread out through the issue with a written reflection at the end. Their project started as an open-ended experiment with a group of artists and curators responding to the perpetual postponement of events, meetings, and life in general during the Covid-19 pandemic. Rather than fight against postponement, we asked ourselves, can we work with postponement? Can we work as postponement?

LABOUR OF LOVE Have you already spotted the flipbook artwork ‘The Repairing Earthquake Project’ by Nishiko in our issue Labour of Love? "The Repairing Earthquake Project evolved from the initial idea to repair objects that were destroyed by the Great East Japan earthquake and subsequent tsunami that took place in March 2011. [...] Repairing is a method used as a way to face negative events, with the hope to convert them into something positive. While collecting these objects, along the way a number of subsidiary projects arose like the Japanese ‘Iyemon’ green tea plastic bottle. It was found on the Canadian beach in Tofino, B.C. in October 2015, during a research trip to find tsunami debris washed ashore on the other side of the Pacific Ocean. The bottle travelled a distance of about 7,000 km in four and a half years. This means that it travelled at approximately 0.18 km/h. After contemplation on how to ‘repair’ the almost intact plastic bottle, it was brought back to where it was supposed to be: in a garbage bin in a Tsunami-hit area in Japan. This series of images is documentation of that action." Images in the issue are courtesy of Nishiko

Thank you to all of the people who have ordered an issue!! We will send them out in a few days as resource shortage have delayed the delivery of paper 💕 In the meantime, we are enjoying the stunning cover made especially for this issue of Kunstlicht by @newrafael and riso printed by @risowiso. This cover is linked to Rafaël Rozendaal’s website plugin called ‘Abstract Browsing’, free for all to download, where all web content is reduced to colourful rectangles. This work - as in all his work - uses the internet as a canvas to look for technological compositions. Our thanks goes to both the artist and @risowiso, as well as the support offered by the team at @upstreamgallery 💜 Image: Rafaël Rozendaal, Accumulation, 2022. Riso by RisoWiso, Arnhem.

New Cover

@RISOWISO is printing the cover for our upcoming issue! Radical Imaginings: Art Practices of/for Justice #KUNSTLICHT_BIRTH #BigRedDot #comingsoon with art work by Manuela Garcia, "Las similitudes se ocultan en las superficies" Follow RISOWISO on instagram: https://www.instagram.com/risowiso/

Fresh off the press, the cover of Kunstlicht's upcoming issue, part two of our investigation into subversive artistic practices, 'Claiming Space: Subversion by Incursion'. It features a still from Gerald van der Kaap's 'Beyond Index' (2017). Out soon!

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