#disclab

DiscLab | Research and Criticism has been appointed as fellow of the 11th Gwangju Biennale, The Eight Climate (What Does Art Do?). DiscLab together with other fellows will engage in questions of value, continuity, and scale in the forum, “To All the Contributing Factors," curated by Binna Choi and Maria Lind.

More here:

Lecture and workshop session by Ade Darmawan (Ruandgrupa) for the Waiting Sheds Cooperative Study Program at the First Lucban Assembly on Saturday | May 16, 2015.

Two more weeks to catch the three-part dialectical exhibition Systems of Irrigation in Lucban!

DiscLab | Research and Criticism is part of Transactions in the Field Archive Exhibition in Kuala Lumpur, a showcase of works by individuals and organizations working around notions of participation, community, citizenship and various publics. The exhibition is at LostGens' Contemporary Art Space and is open until November 29.

Other participating artists and organizations include:

Alecia Neo Alex Lee Alice Ko Art Lab Ova Buku Jalanan Caique Tizzi Chen, Guan-Jhang Djuwadi (Taring Padi) DiscLab | Research and Criticism Eda Beran Long Laput Sape’ Kelab Elaine Ho Wing-Ah Haymann Oo Herman Mendolicchio Jakob & Manila Lee Cheah Ni Lee Chun Fung (Woofer Ten) Lim Paik Yin Lostgens’/ Petaling Street Community Art Project Makhampom Foundation Misako (Enoa-Ru & Nora) Okui Lala Rika Aki (Teshimano Mada) Susanne Bosch Tey Beng Tze (Findars)

DiscLab's An Auto-Corrected Journal of Printing Properties is available at the New York Art Book Fair. Drop by at our publisher's booth (The Office of Culture and Design/Hardworking Goodlooking) to secure a copy.

"As we initially squatted online, we started collaborating with private and public institutions and local and international individuals and groups to realize projects. The relationship is not generally interdependent. The structure is not akin to a rainforest. Our work is like building a garden between anthills. Strains of radical embeddedness are liminal, however,forming around the edges of frustration and imminent exhaustion. [...]

[...] This printed version hopes to show that knowledges—whether through art, culture or a contemporary—are always made and never natural; and that making and doing with knowledges is an infinite task of submissions, of turning in and returning to." - Editor's note

Available at artbooks.ph:

[ http://artbooks.ph/products/an-auto-corrected-journal-of-printing-properties ]

DiscLab's An Auto-Corrected Journal of Printing Properties, published by The Office of Culture and Design, is now available at Printed Matter in New York.

[ https://www.printedmatter.org/catalog/42687 ]

If you're in Berlin and find yourself at A Public Library, scan and/or read the sole copy of DiscLab's book An Auto-corrected Journal of Printing Properties (published by The Office of Culture and Design) in Europe. Just ask the awesome people of A Public Library to lend you the book with pandas, failed images and some critical notes from the Philippines.

DiscLab's An Auto-Corrected Journal of Printing Properties is available at the New York Art Book Fair. Drop by at our publisher's booth (The Office of Culture and Design/Hardworking Goodlooking) to secure a copy.

"As we initially squatted online, we started collaborating with private and public institutions and local and international individuals and groups to realize projects. The relationship is not generally interdependent. The structure is not akin to a rainforest. Our work is like building a garden between anthills. Strains of radical embeddedness are liminal, however,forming around the edges of frustration and imminent exhaustion. [...]

[...] This printed version hopes to show that knowledges—whether through art, culture or a contemporary—are always made and never natural; and that making and doing with knowledges is an infinite task of submissions, of turning in and returning to." - Editor's note

Amalgam: An Unauthorized Introduction to Contemporary Visual Surplus

AMALGAM: Unauthorized Introduction to Contemporary Visual Surplus is a program that elaborates the consideration of the film trailer as an artifact for criticism. Taking off from the Amalgam project launched last year which published short-form critiques of the trailer of Gutierrez Mangansakan’s Las Cartas de Soledad, this program takes the trailer as a critical subject and vector to open up how forms of excess and their consumption provide access to contemporary visual culture, including its in/formal study and circulation.

Artery Art Space / Sept. 13, 2014