Blockbuster presents a selection of artworks by the Austrian artist Axel Stockburger from the period between 2000 and 2014. Stockburgers work focuses on the aesthetical and political transformations emerging from the rise of globally mediated consumer culture. His video installations and text pieces engage with the idiosyncratic worlds of contemporary fan cultures, ranging from computer games over anime and manga towards cosplay.
ed. Axel Stockburger; with essays by Isabelle Arvers, Diana Baldon, Angus Carlyle, Gerald Nestler, Antonia Rahofer & Marc Ries and Felix Stalder (English, Design: Isabella Kohlhuber
Revolver Publishing, Berlin 2014, 128 pp., 21 x 14,5 cm, 128 pp., num. col. ill., paperback
Troubling Research – Performing Knowledge in the Arts
Axel Stockburger (2014) “Cosplay: Embodied Knowledge” in: Carola Dertnig, Diedrich Diederichsen, Tom Holert, et al. (Eds.) Troubling Research – Performing Knowledge in the Arts, Sternberg Press: Berlin
Edited and with contributions by Carola Dertnig, Diedrich Diederichsen, Tom Holert, Johannes Porsch, Johanna Schaffer, Stefanie Seibold, and Axel Stockburger
In 2010/11, a group of Vienna-based art practitioners (artists, art historians, and cultural theorists) embarked on a journey of experimental research, exploring the genealogical and political implications of the ways in which research rhetorics and policies are currently incorporated into the fields of contemporary art and art education. Troubling Research: Performing Knowledge in the Arts, a collection of “books” of essays and conversations, is the quirky and exhilarating outcome of this collaborative endeavor to render a “problematization” by interrogating the very conditions of the current upsurge of the art/research articulation.
Michel Foucault once introduced problematization as a “specific work of thought” that transforms “a group of obstacles and difficulties into problems to which diverse solutions will attempt to produce a response.” For this project, the obstacles and difficulties in question were the terms “art” and “research” and their peculiar conjunction as “artistic” or “arts-based research.” As a result of this process, the understanding of individual artistic/theoretical practices was tested. Working both independently and as a collaborative entity, the group found itself negotiating and contesting each participant’s claim to knowledge in the context of art. The eventual responses to the problem of research proved to be both performative and troubling.
Design by Johannes Porsch
May 2014, English
15 x 20.5 cm, 480 pages, 113 b/w and 92 color ills., softcover
Sternberg Press ISBN 978-3-95679-020-1
POST MEDIA CONDITIONING (2012)
This text is the result of a keynote lecture at the Emoção Art.ficial 6.0 Symposion (Mai 31 and June 2) at Itau Cultural Centre, Sao Paulo – curated by Fernando Oliva
with Laymert Garcia dos Santos, Lisette Lagnado, Arto Lindsay, Chris Kubick, Anne Walsh, Mario Ramiro, Rod Dickinson, Roberto Winter.
HARD TO SELL – GOOD TO HAVE
Hard to Sell, Good to Have
Hrsg. von Alexandra Grausam, Barbara Horvath und Elsy Lahner
Karton Box mit vier Bänden und DVD
Format: 14.8 x 21 cm
Gesamt ca, 200 Seiten, 30 Illustrationen
Verlag für Moderne Kunst, Nürnberg
Mit Essays von:
Diana Baldon, Gabrielle Cram, Franziska Herzog, Genoveva Rückert, Axel Stockburger, Thomas D. Trummer
Mit Statements von:
Robert Barry, Joseph Beuys, Francesco Bonami, Karen te Brake-Baldock, Sabeth Buchmann, Chris Burden, Ian Burn, Helen Escobedo, Sadie Coles, Jan Dibbets, Michael Elmgreen & Ingar Dragset, Lorenzo Fusi, Jack Goldstein, Ingvild Goetz, Thomas Hirschhorn, Ysbrand Hummelen, Andrea Jungmann, William Kentridge, Andreas Kristof, Eve Andrée Laramée, Pip Laurenson, Kristina Leko, Doris Leutgeb, Lucy R. Lippard, Gustav Metzger, Dorcas Müller, Rabih Mroué, Olaf Nicolai, Carsten Nicolai, Yoko Ono, Anatoly Osmolovsky, Kirsten Pieroth, Raqs Media Collective, Georg Russegger, Hiltrud Schinzel, Jasper Sharp, Robert Smithson, Robert Storr, Miho Tagomori, Rirkrit Tiravanija, James Turrell, Bernar Venet, Glenn Wharton und viele weitere.
Drawing a Hypothesis is an exciting reader on the ontology of forms of visualizations and on the development of the diagrammatic view and its use in contemporary art, science and theory. In an intense process of exchange with artists and scientists, Nikolaus Gansterer reveals drawing as a media of research enabling the emergence of new narratives and ideas by tracing the speculative potential of diagrams. Based on a discursive analysis of found figures with the artists’ own diagrammatic maps and models, the invited authors create unique correlations between thinking and drawing. Due to its ability to mediate between perception and reflection, drawing proves to be one of the most basic instruments of scientific and artistic practice, and plays an essential role in the production and communication of knowledge. The book is a rich compendium of figures of thought, which moves from scientific representation through artistic interpretation and vice versa.
Index of Figures. – Drawing a Hypothesis (Preface), Nikolaus Gansterer. – I Must Be Seeing Things, Clemens Krümmel. – A line with variable direction, which traces no contour, and delimits no form, Susanne Leeb. – Grapheus Was Here, Anthony Auerbach. – Asynchronous Connections, Kirsten Matheus. – Figures of Thoughts, Gerhard Dirmoser. – Collection of Figures of Thoughts, Gerhard Dirmoser. – The Line of Thought, Hanneke Grootenboer. – Dances of Space, Marc Boeckler, – Distancing the If and Then, Emma Cocker. – Processing the Routes of Thoughts, Kerstin Bartels. – The Hand, the Creatures & The Singing Garden, Moira Roth. – Drawing Interest / Recording Vitality, Karin Harasser. – Hypotheses non Fingo or When Symbols Fail, Andreas Schinner, – Three Elements, Axel Stockburger. – A Fragmentary Collection of Emotions and Orientations, graphically recorded, Christian Reder. – Radical Cartographies, Philippe Rekazewicz. – Measuring the World, Katharina Bösch, Christine Haupt-Stummer, Andreas Kristof. – Subjective Objectivities, Jörg Piringer. – The Afterthought of Drawing: Six Hypotheses, Jane Tormey. – Nonself compatibility in Plants – The Floral-Animal continuity, Monika Bakke. – On the importance of scientific research in relation to the humanities, Walter Seidl. – Strong Evidence for telon-priming Cell Layers in the mammalian olfactory bulb, Nardo, M. L.; Adam, A.; Brandlmayr, P.; Fisher B. F. – Expected Anomalies caused by increased Radiation Activity, Christina Stadlbauer. – On Pluto 86 Winter lasts 92 Years, Ralo Mayer. – The Unthought Known, Felix de Mendelssohn. – wiry fantasy or the electronic line is also a handwriting and itself effects the overcoming of its system, which it draws, constructs and leaves: into the poetical eye, too, which has dreamed its original state of pure perception and launches itself into the dialogue as source, Ferdinand Schmatz. – Appendix: Subindex. Index of Names. Personalia. Notices.
WARPLAY: A few notes on the relationship between war and digital games
in: FORMS OF IMAGINING #1
Project Press is delighted to present Forms of Imagining #1, the first of many publications to enrich the visual arts programme at Project Arts Centre.
The first publication features several newly commissioned texts on the previous exhibitions; Philip, Four New Artists, The First Antechamber, In the Room, Play Safe (Battlefields in the Playground) by Axel Stockburger, Le Truc, Blackboxing, Calling the Elephant and Memos (a selection of texts by Tim Stott about the Dublin art context), and is edited by curator Tessa Giblin.
(Project Press, 2010)
€20.00 (plus €1.00 booking fee, postage & packing)*
This book is available to purchase online or in person at Project Arts Centre Bookshop, 39 East Essex Street, Temple Bar, Dublin 2, Ireland.
Voices of Syn: Observations about the role of the voice in contemporary video and computer games
Voice has returned to both theoretical and artistic agendas. In the digital era, techniques and technologies of voice have provoked insistent questioning of the distinction between the human voice and the voice of the machine, between genuine and synthetic affect, between the uniqueness of an individual voice and the social and cultural forces that shape it. This volume offers interdisciplinary perspectives on these topics from history, philosophy, cultural theory, film, dance, poetry, media arts, and computer games. Many chapters demonstrate Lewis Mumford’s idea of the “cultural preparation” that precedes technological innovation—that socially important new technologies are foreshadowed in philosophy, the arts, and everyday pastimes.
Chapters cover such technologies as voice mail, podcasting, and digital approximations of the human voice. A number of authors explore the performance, performativity, and authenticity (or ‘authenticity effect’) of voice in dance, poetry, film, and media arts; while others examine more immaterial concerns—the voice’s often-invoked magical powers, the ghostliness of disembodied voices, and posthuman vocalization. The chapters evoke an often paradoxical reassertion of the human in the use of voice in mainstream media including recorded music, films, and computer games.
Contributors: Mark Amerika, Isabelle Arvers, Giselle Beiguelman, Philip Brophy, Ross Gibson, Brandon LaBelle, Thomas Levin, Helen Macallan, Virginia Madsen, Meredith Morse, Norie Neumark, Andrew Plain, John Potts, Theresa M. Senft, Nermin Saybasili, Amanda Stewart, Axel Stockburger, Michael Taussig, Martin Thomas, Theo Van Leeuwen, Mark Wood
The MIT Press
Utopia Inside: Tracing Aspects of the Utopian in Contemporary Sonic Culture
in: Immediacy and Non-Simultaneity: UTOPIA OF SOUND
Diedrich Diederichsen, Constanze Ruhm (ed.)
Publications of the University of Fine Arts Vienna, Vol. 10
Engl., 264 p., 16,5 x 22 cm, paperback, 2010
€ 24,70 [A]
€ 24,00 [D]
In the last two decades there has been a significant boom in the cultural sensibility towards sounds and noise – a kind of sonic boom that can, following the second meaning of this term, be seen as a breakthrough of the sonic itself. In the wake of this phenomenon, the relationship between Fine Arts and sound as a material of production on the one hand, and the field of Sound Art which emerged since the 60s on the other hand was recalibrated. Questions surrounding issues of spatiality in the Fine Arts that gained in importance with the surge of intermedia installations were increasingly posed on the basis of experimental sound. Pop music has recognised its specific relation to the materiality of sound as its primary source and positioned it at the core of self-reflective projects. Through the ubiquity of individual and ever-present sonic markers such as mobile phone jingles and sound installations in public space, everyday life has become the scene of a continuous sonic semiosis.
With contributions by Nora M. Alter, Michel Chion, Christoph Cox, Diedrich Diederichsen, Caryl Flinn, Barbara Flückiger, Tom Holert, Brandon LaBelle, Christian Petzold, Constanze Ruhm, Christian Scheib, Holger Schulze, Axel Stockburger, Terre Thaemlitz and Hildegard Westerkamp.
Im Auge des Orkans: Künstlerische Perspektiven auf ökonomische Informationsräume
in: Kunstforum Band 201, Wirtschaft und Kunst II, 03.2010
Herausgegeben von Dieter Buchhart und Gerald NestlerDer 201. KUNSTFORUM-Band präsentierte aus aktuellem Anlass einen Bereich des Lebens, der wie kaum ein anderer z.Zt. – nach dem Bankencrash – für Angst und Schrecken, Euphorie und Depression, Ekstase und Verzweiflung verantwortlich ist. Nach Auflösung der ersten Schockstarre wird munter weiter gezockt und es sieht so aus, als seien wir einigen unkontrollierbaren Wahnsinnigen machtlos ausgeliefert. Das allgemeine Interesse am Phänomen Wirtschaft ist folglich sprunghaft angestiegen. Band 201 setzt die in Band 200 begonnene Diskussion fort. In insgesamt 38 Beiträgen, Essays und Gesprächen, beschreiben Künstler, Kritiker und Wissenschaftler die Dualität von Wirtschaft und Kunst aus der Sicht der Kunst und erfassen damit gleichzeitig den Stellenwert der Kunst innerhalb des ökonomischen Systems.
Playing at Freedom
in: Pensee Sauvage – Von Freiheit (D/E)
Catalogue published in connection with the exhibition Pensee Sauvage-on Freedom at Frankfurter Kunstverein by Revolver Verlag, Frankfurt am Main. 2007.
Texts by Jennifer Allen, Anselm Franke, Christian Kracht/Ingo Niermann, Chus Martinez, Axel Stockburger and Jan Verwoert. 206 p.
Relations between Sound and Vision in Games
An Interdisciplinary Compendium of Audiovisual Culture. 2 Textbände und Katalogbuch Lentos Kunstmuseum
Verlag der Buchhandlung Walther König 2/2010
AUDIOVISUOLOGY 1. See this Sound. An Interdisciplinary Compendium of Audiovisual Culture. Ed. by Dieter Daniels, Sandra Naumann & Jan Thoben. Texts by Claudia Albert, Amy Alexander, Rainer Bellenbaum, Hans Beller, Axel Stockburger, Sabeth Buchmann, Gerhard Daurer, Hinderk M. Emrich, Barbara Flückiger, Golo Fällmer, Tina Frank, Maureen Furniss, Marc Glöde, Andrea Gottdang, Florian Grond, Boris von Haken, Justin Hoffmann et al. Cologne 2010. 452 S. mit teils farb. Abb., Index, brosch.
This all-embracing compendium brings together texts on various art forms in which the relationship between sound and image plays a signifi cant role and the techniques used in linking the two. The entire spectrum of audiovisual art and phenomena is presented in 35 dictionary entries. Overarching issues are explored deeply in thorough essays and individual works are represented in audiovisual documentation and scientific comment. The list of definitions and terms, elucidated by various prominent authors, ranges from Gesamtkunstwerk, literature, painting, music theatre, animation fi lm, light shows, music videos, sound art and expanded cinema right up to text-image analogies, synchronisation, electronic transformation and software.
An Audience of One. Sound Games as a Specific Form of Visual Music
in: Audio.Visual – On Visual Music and Related Media
Cornelia Lund and Holger Lund (Ed.)
Audio.Visual – On Visual Music and Related Media
320 pages, many images, format 17,5 x 25 cm. Hardcover, with DVD.
€ 39,80 [D] SFr 71
As a publication, Audio.Visual is divided into two sections: the first deals with the academic discussion on the subject of visual music; the second introduces contemporary paradigms of audio-visual praxis in brief presentations and contextualises them. Apart from being a guide in the historical sense, this new volume provides theoretical approaches to understanding and making visual music. The subject is approached from the fringe (music video, Expanded Cinema, games, etc.) so that the phenomenon can, on the one hand, be more accurately defined via interfaces with other forms of audio-visual production and, on the other, through an attempt at distinguishing it from them. Drawing heavily on examples, the individual essays discuss various aspects of visual music. Contemporary approaches to producing and handling visual music are presented in brief essays that abound with examples. The texts and illustrations are intended to introduce visual music from a great many angles, including the perspectives of musicians, artists, curators, festival directors and software developers, and provide insights into what is currently going on both in the experimental sector and at clubs. The approaches and results presented in the book can be verified and checked with the accompanying DVD that features earlier and current examples of visual music. The DVD shows mainly material from live performances that is often extremely hard to find, be it from Expanded Cinema or performances by VJs and musicians. Visual music and the interplay of cutting-edge media. An exciting book on what is going on right now in the new media: from the experimental sector to the club scene.
With contributions by: Cornelia Lund, Holger Lund, Sandra Naumann,
Hervé Vanel, Maxa Zoller, Matthias Weiß, Henry Keazor, Axel Stockburger, Fried Dähn
Paul Mumford, Laurent Carlier, Bruce McClure, Vincent Alaphilippe, François Pirault,
Codec aka Niklas Völker, Yves Schmid Dornbierer, Birgit Schneider, Mikomikona
Jan Kopp, Viola Fissek, Philipp Geist.
The Rendered Arena: Modalities of Space in Video and Computer Games
PhD Thesis, University of the Arts London, LCC, with a Research Scholarship from the London Institute.
Supervisors: Dr. Angus Carlyle (LCC), Alan Sekers (LCC), Prof. Clive Richards (Coventry University).
During the last 30 years computer and videogames have grown into a large entertainment industry of economical as well as cultural and social importance.
As a distinctive field of academic inquiry begins to evolve in the form of game studies, the majority of approaches can be identified as emerging either from a background of literary theory which motivates a concentration on narrative structures or from a dedicated focus on the rules in video and computer games. However, one of the most evident properties of those games is their shared participation in a variety of spatial illusions. Although most researchers share the view that issues related to mediated space are among the most significant factors characterising the new medium, as of yet, no coherent conceptual exploration of space and spatial representation in video and computer games has been undertaken.
This thesis focuses on the novel spatial paradigms emerging from computer and video games. It aims to develop an original theoretical framework that takes the hybrid nature of the medium into account. The goal of this work is to extend the present range of methodologies directed towards the analysis of digital games. In order to reveal the roots of the spatial apparatus at work an overview of the most significant conceptions of space in western thought is given. Henri Lefebvre’s reading of space as a triad of perceived, conceived and lived space is adopted. This serves to account for the multifaceted nature of the subject, enables the integration of divergent spatial conceptions as part of a coherent framework, and highlights the importance of experiential notions of spatiality. Starting from Michel Foucault’s notion of the heterotopia, game-space is posited as the dynamic interplay between different spatial modalities. As constitutive elements of the dynamic spatial system mobilized by digital games the following modalities are advanced: the physical space of the player, the space emerging from the narrative, the rules, the audiovisual representation and the kinaesthetic link between player and game. These different modalities are examined in detail in the light of a selected range of exemplary games. Based on a discussion of film theory in this context an original model that serves to distinguish between different visual representational strategies is presented. A chapter is dedicated to the analysis of the crucial and often overlooked role of sound for the generation of spatial illusions. It is argued that sound has to be regarded as the privileged element that enables the active use of representational space in three dimensions. Finally the proposed model is mobilised to explore how the work of contemporary artists relates to the spatial paradigms set forth by digital games. The critical dimension of artistic work in this context is outlined. The thesis concludes with a discussion of the impact of the prevalent modes of spatial practice in computer and video games on wider areas of everyday life.
- Paperback: 172 pages
- Publisher: VDM Verlag
- Language: English
- ISBN-10: 3639207769
- ISBN-13: 978-3639207767
Playing the third place: Spatial modalities in contemporary game environments
in: International Journal of Performance Arts and Digital Media
Volume 3 Issue 2
Cover Date: December 2007
digital games, game studies, spatiality, game art, media studies, interactive art
The article identifies the specific nature of spatiality as one of the most important aspects of contemporary networked game environments and presents a close reading of Henri Lefebvre’s spatial theories in order to gain a different perspective towards the subject. Artistic interventions in the form of online performances by artists such as Eddo Stern and Joseph DeLappe are discussed as exemplary forms of critical engagement with these emerging immersive environments.
Listen to the Iceberg: On the Impact of Sound in Digital Games
“SPACE TIME PLAY” IS A JOURNEY THROUGH THE PAST, PRESENT
AND POTENTIAL SPACES OF COMPUTER AND VIDEO GAMES.
The richly illustrated texts in “Space Time Play” cover a wide range of gamespaces: from milestone video and computer games to virtual metropolises to digitally-overlaid physical spaces. As a comprehensive and interdisciplinary compendium, “Space Time Play” explores the architectural history of computer games and the future of ludic space. More than 140 experts from game studies and the game industry, from architecture and urban planning, have contributed essays, game reviews and interviews. The games examined range from commercial products to artistic projects and from scientific experiments to spatial design and planning tools.
“Space Time Play” is not just meant for architects, designers and gamers, but for all those who take an interest in the culture of digital games and the spaces within and modeled after them. Let’s play!
With contributions by Espen Aarseth, Ernest Adams, Richard A. Bartle, Ian Bogost, Iain Borden, Gerhard M. Buurman, Edward Castranova, Kees Christiaanse, James Der Derian, Stephen Graham, Ludger Hovestadt, Henry Jenkins, Jesper Juul, Frank Lantz, Bart Lootsma, Winy Maas, Lev Manovich, Jane McGonigal, Kas Oosterhuis, William J. Mitchell, Howard Rheingold, Katie Salen, Hans-Peter Schwarz, Axel Stockburger, McKenzie Wark, Mark Wigley and many more.
Space Time Play
Edited by Friedrich von Borries, Steffen P. Walz and Matthias Böttger
In cooperation with Drew Davidson, Heather Kelley, Julian Kücklich
496 pages, 268 color illustrations.
17.0 x 24.0 cm. Softcover.
Price: CHF 52.90* / EUR [D] 31.99
© 2007 Birkhäuser
in: Autumn Leaves – Sound and the Environment in Artistic Practice
Autumn Leaves is a book about how sound encounters space and about how that encounter has been made visible, legible and, most importantly, audible. The book draws together a number of different perspectives – from acoustics to architectural criticism to anthropology and beyond – and places these perspectives in conversation with others developed through creative practice.
Edited by Angus Carlyle, includes Essays by: Bill Davies, John Levack Drever, Tobias Fischer, Steve Goodman, Tim Ingold, Helmi Järviluoma, Ari Koivumäki, Meri Kyotö, Heikki Uimonen, Rahma Khazam, Sylvain Marquis, Tom Rice, David Toop, Salome Vogelin and Hildegard Westerkamp.
Interviews with: Peter Cusack, Max Dixon, Christina Kubisch, Alvin Lucier and Hildegard Westerkamp.
Artworks by: Mira Choi, Jem Finer, Charles Fox, Dan Holdsworth, Zoe Irvine, Nikolaus Gansterer, Cathy Lane, Locus Sonus, NYSAE, Aki Onda, Tashi Petter and Rachel White, Axel Stockburger, the students of Srishti College Bangalore, Goran Vejdova, Claudia Wegener and John Wynne & Tim Wainwright.
Published by Double Entendre & CRISAP
From Appropriation to Approximation
in: Videogames And Art (2007) Eds.: Grethe Mitchell and Andy Clarke, University of Chicago Press, Chicago
From Madden NFL 2007 to Grand Theft Auto: Vice City, videogames are firmly enmeshed in modern culture. Acknowledging the increasing cultural impact of this rapidly changing industry, Videogames and Art is one of the first books devoted to the study of videogame art, featuring in-depth essays that offer an unparalleled overview of the field.
The distinguished contributors range broadly over this vast intellectual terrain, positioning videogame art as a crucial interdisciplinary mix of digital technologies and the traditions of pictorial art. They examine machinima and game console artwork, politically oriented videogame art, and the production of digital art; they also interview prominent videogame artists about their work. Rounding out Videogames and Art is a critique of the commercial videogame industry comprising several critical essays on the current quality and originality of videogames.
Introduction to the Vienna Scene
in: VJ: AUDIO-VISUAL ART + VJ CULTURE, edited by Michael Faulkner/D-FUSE,
published by Lawrence King Publishing
D-Fuse authored book VJ is the first wide-ranging guide to the global phenomenon of audiovisual art and VJ culture. Combining how to, showcase and reference elements this book explores the artists at the forefront of this amazing audio-visual experience. Featuring over 130 global contributors and an extensive hardware and software resource section. The book includes a free DVD featuring documentaries, live performances and videos from featured artists.